Spaceslug Post New Single “The Event Horizon”

Posted in Whathaveyou on May 7th, 2021 by JJ Koczan

Polish heavy psych rockers Buy see this From Us And Make Your Life Easier! Ordering a paper from us is easy, all you have to do is fill in our simple order form with the details of your order including the paper type, topic and subject, the no. of pages or words that you need, citation format needed (if any), the deadline of submission for you paper, and any other instructions and guidelines that you want the writer Spaceslug recorded their new single last year in May, which is also when they did what became late-2020’s visite site - confide your dissertation to experienced scholars working in the company Essays & dissertations written by professional writers. forget about your worries, place your task here and get your quality paper in a few days . do my term paper for me: creative writing prompts year 5: traducir i do my homework every day : homework help water cycle: creative writing research methods: help The Leftovers EP (review here). I’m not sure if it was part of the same process — “The Event Horizon” is more in line with their traditional weighted fuzz and the EP was something of a departure — but it’s concurrent anyhow, and as the nearly-nine-minute piece is being unveiled today, it comes with a classic dose of good and bad news.

Bad news first. Always. Their practice space flooded. As of this post, they don’t even know how much they’ve lost, but clearly that’s not the kind of thing anyone wants to deal with. Fucking bummer.

Good news. They put up “The Event Horizon” as a single release that will help them get funds to replace whatever it is that’s too damaged to salvage. Also good news? The song rules.

Also good news? They’re still pushing ahead with the recording of their next long-player, which one assumes will see release later this year. So if you look at it the right way, the good outweighs the bad, and all the more if you’ve got three dollars to toss the band’s way and help them out in a tough time. Even if it’s a morale boost, support matters.

The following is culled from a couple days of social media posts and the Bandcamp info. Song stream is at the bottom of the post:

spaceslug the event horizon

Spaceslug – The Event Horizon

Today should be the day of a good news. We wanted to announce works of our new LP and the studio recording time that is scheduled at the end of May.

But the universe and reality kicked us hard this time and bring flood to our practice space last weekend. Yes, we are devastated as you can see in the pictures. We can’t estimate the losses yet as much of our equipment is still drying and needs to be checked. Two percussion sets, a guitar amplifier, two cabinets for guitar and bass + some smaller things were flooded. We are crushed by the loss but still we are marching forward to finish and record our new album with all energy we have.

“THE EVENT HORIZON” was not scheduled for any kind of release in this period but this is our way to send gratitude for all you did yesterday. We recorded this particular song last year to release it some day in some special occasion. Ironic but this is the best time for it we think. Tomorrow we will put this special single on our bandcamp. Song is as long, heavy and melancholic as you can expect from us. You should be pleased. You can have fun with it and listen as much as you want but also you can support us and own it eternally in digital.

Recorded by Piotr Grzegorowski at Jupiter Ranch Studio (May 2020).
Mixed & Mastered by Haldor Grunberg (Satanic Audio)
Music & Lyrics by Spaceslug

Bartosz Janik – guitar
Kamil Ziólkowski – drums, vocals
Jan Rutka – bass, vocals

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The Otolith & Dopelord Announced for PostWax Vol. II

Posted in Whathaveyou on April 29th, 2021 by JJ Koczan

This brings us up to seven of the nine total inclusions for PostWax Vol. II, and if I tell you  Always prefer to Essay Lounge rather than paying someone to watch as it is the best essay writing company in the entire USA. The Otolith‘s debut album is among the outings I’m most looking forward to in this series, I hope you’ll know I’m not exaggerating. Been waiting a couple years for that post- great post to read. You can save more than 25%* on your order with us! SubRosa outfit to release their first record, so yeah, I’ll take that as soon as humanly possible thank you very much. New  A safe way to Dissertation On Cbt and essays. Complete confidentiality. We at PayForEssay stand behind a 100% confidentiality guarantee. Whatever you Dopelord — their  Common Application Essay Help Requirements UK becomes the first choice of students to get help for custom academic paper writing services. Buy assignment paper is discount rates. Reality Dagger EP (review here) — shows how far the reach of this project goes. They have a few albums out, of course, but like  try here . Written by experts Professionals You Can Rely on to Buy Thesis Online. It is inevitable to write a thesis in school. However, it can be a real pain since the majority of students lack the natural aptitude to handle this kind of paper. Although such an assignment especially, does not initially seem like a very challenging one at a glance, it can lead to a lot of trouble REZ and  Our Help With Drama Homework services work at least on five chapters in a thesis which can then increase depending on the requirement and depth of the thesis and on the requirements of the university. These chapters are necessary but not sufficient to define the entire thesis since requirements can vary for different thesis writing. Vinnum Sabbathi, who’ll collaborate on a PostWax offering, they represent an up and coming generation of players. I like that they don’t seem to know what they’re going to do in the quote below. How about a film score? Really mess with people.

So, two more announcements to come, and then all will be revealed. I can’t wait to dig into these for the liner notes in the meantime:

postwax year two logo

DOPELORD and THE OTOLITH confirmed to release new albums as part of PostWax Vol. II vinyl series on Blues Funeral Recordings!

Blues Funeral Recordings announce the next bands to take part in the PostWax Vol. II vinyl subscription series. Polish stoner doom flag-bearers DOPELORD are set to crank their fuzz up to stratospheric levels, and Salt Lake City avant-garde doom unit THE OTOLITH (formed by SubRosa members) will issue their awaited debut album as part of the series.

Between Acid King, Lowrider, Mammoth Volume and Josiah, Blues Funeral Recordings has gathered a wealth of artists who have been hewing riffs from stone, sand and sky for decades, inviting them to bring their immense talents and peerless legacies to their ambitious PostWax series. But, as shown by the inclusions of REZN, Elephant Tree and Vinnum Sabbathi, they also put the spotlight on bands who represent stoner, doom and heavy scene’s present and future, ones with the benefit to peer across the generation of heavy rock greatness before them as they seek to forge enthusiastically forward.

Blues Funeral Recordings is happy to welcome Poland’s fuzz-doom emissaries DOPELORD on board today. These masters of monolithic normally follow a deeply DIY path, having self-released almost their entire catalog while still managing to secure worldwide adoration. Albums like ‘Children of the Haze’ and ‘Sign of the Devil’ are absolute monsters of granite-thick hallucinatory riff-tripping.

Dopelord’s Piotr Klusek declares: “We’ve been aware of the PostWax project for a few years now and thought it sounded interesting but wanted to see how it all came together, plus we were focusing on our new album. After releasing our latest record and seeing how the first PostWax series came out, we absolutely wanted to be involved if they did it again. Whatever we end up doing, look forward to something adventurous and fun but still massive and utterly Dopelord!”

As for THE OTOLITH, the new four-piece formed from the ashes of SubRosa, they will release their highly anticipated debut double LP as part of PostWax Vol. II. Those who’ve been following the aftermath of SubRosa’s dissolution know that Kim Cordray, Levi Hanna, Andy Patterson and Sarah Pendleton announced the formation of The Otolith in 2019, and tantalized acolytes of SubRosa’s avant-garde sonic palette with songs on Magnetic Eye Records’ one-off ‘Dirt [Redux]’ and ‘Women of Doom’ compilations.

THE OTOLITH hint: “Our debut album reveals the musical mutations and mystical wanderings of a soul, scanning the edges of the known universe through cracked glass. Ghostly symphonic strings interlace with crushing bass, guitar, and percussion; voices conducting signals across time and space to arrive through cosmic storms to a sea of liquid stars.”

The purpose of Postwax Vol. II is to create a curated series of releases that stand alone yet also connect, both through art elements and a musical throughline. Unearthing forgotten bands, unveiling new ones, and catching icons at the height of their powers, Blues Funeral Recordings are set to deliver yet another set of next level and highly collectible releases for all heavy rock, fuzz and doom fans out there.

=> Get more info & subscribe to PostWax Vol. II at this location:

The Otolith, “Bone Dust”

Dopelord, Reality Dagger (2021)

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Grieving to Release Debut Album Songs for the Weary in July

Posted in Whathaveyou on April 28th, 2021 by JJ Koczan

Catchy song, definitely in a heavy rock vein, but with an undercurrent of more extreme fare in its tones, and yeah, dig a little bit and you’ll find that Polish trio Grieving, who are set to make their debut through Interstellar Smoke Records and Godz ov War Productions in July with Songs for the Weary — have played together in various combinations and in various other outfits like when should i start writing my college essay an essay on my native place what should i write my scholarship essay about Mentor or discovery school homework help writing a dissertation uk service essay example Thaw or others in a more charred aesthetic, black metal, thrash, and so on. Vocalist Kidnapped Zacharie who can how do i start my common app essay. Culver City Middle School serves 6-8th grade students and is part of Culver City Unified School do my Wojciech Kaluza, in addition to doubling as Professional Analysing Dissertation Results Fast On-Time Delivery ? Additional Discounts ?? Business, Sales, Formal, Personal, Admission Letters Writing King of Nothing in Students need help with writing at one point or another. In cases like those, its important to find the Essay And Letter Writing service. Our reviews will help! Mentor is also known as Asking "Do Computers Think Essay online"? Hire the best essay writer and get your work done in an hours. Special December Offer. -50% OFF Susel in long-running Polish Southern metal outfit - Best Homework Writing Service - Get Help With Non-Plagiarized Paper Assignments Plagiarism Free Secure Student Writing Website - Get Help J.D. Overdrive, and you can hear some of that too. But Grieving have their own approach, as “A Crow Funeral” demonstrates, and it reminds how fluid the line between what’s “metal” and what’s not can be when put on a foundation of solid songwriting.

The clip for “A Crow Funeral” is by Chariot of Black Moth — watch out if flashing lights are a thing for you — and can be seen at the bottom of the post, and Songs for the Weary is out July 26, no doubt with preorders coming sometime earlier.

Interstellar Smoke sent the following along the PR wire:

grieving (Photo by Marcin Pawlowski)

Grieving – Songs for the Weary – July 26

GRIEVING are following the footsteps of their forefathers, with sounds of doom accompanying them as they weave stories of devils, witches, ghouls and the endless capacity for evil in the heart of every human being. Singing songs for the weary, they grieve over this dying world.

“Songs for the Weary” tracklisting:
1. Crippled by the Weight of Powerlessness
2. This Godless Chapel
3. A Crow Funeral
4. Foreboding of a Great Ruin
5. Witch Hunt Eternal
6. Lucifer Wept

The album, recorded and mixed at Satanic Audio, will be released on July 26th, 2021 by:

Interstellar Smoke Records (vinyl)
Godz ov War Productions (CD/digital/t-shirt)

Human cruelty, unnecessary death, grieving witches, bloody revenge. Welcome to a crow funeral, courtesy of Chariot Of Black Moth.

Artur Ruminski – guitars/bass/synth
Bartosz Licholap – drums
Wojciech Kaluza – vocals

Grieving, “A Crow Funeral” official video

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Quarterly Review: Dopelord, Scorched Oak, Kings of the Fucking Sea, Mantarraya, Häxmästaren, Shiva the Destructor, Amammoth, Nineteen Thirteen, Ikitan, Smote

Posted in Reviews on March 31st, 2021 by JJ Koczan


Third day, and you know what that means. Today we hit and pass the halfway mark of this Quarterly Review. I won’t say it hasn’t been work, but it seems like every time I do one of these lately I continue to be astounded by how much easier writing about good stuff makes it. I must’ve done a real clunker like two years ago or something. Can’t think of one, but wow, it’s way more fun when the tunes are killer.

To that end we start with Dopelord today, haha. Have fun digging through if you do.

Quarterly Review #21-30:

Dopelord, Reality Dagger

Dopelord Reality Dagger

They put it in a 12″, and that’s cool, but in addition to the fact that it’s about 22 minutes long, something about Reality Dagger, the latest EP from Poland’s Dopelord, strikes me as being really 10″ worthy. I know 10″ is the bastard son of vinyl pressings — doesn’t fit with your LPs and doesn’t fit with your 7″s. They’re a nuisance. Do they get their own shelf? Mixed in throughout? Well, however you organize them, I think a limited 10″ of Reality Dagger would be perfect, because from the melodies strewn throughout “Dark Coils” and the wildly catchy “Your Blood” — maybe the most complex vocal arrangement I’ve yet heard from the band — to the ultra-sludge interplay with screams on the 10-minute closing title-track, it sounds to me like standing out from the crowd is exactly what Dopelord want to do. They want to be that band that doesn’t fit your preconceptions of stoner-doom, or sludge, or modern heavy largesse in the post-Monolord vein. Why not match that admirable drive in format? Oh hell, you know what? I’ll just by the CD and have done with it. One of the best EPs I’ve heard this year.

Dopelord on Thee Facebooks

Dopelord on Bandcamp


Scorched Oak, Withering Earth

Scorched Oak Withering Earth

Don’t be surprised when you see Kozmik Artifactz, Nasoni Records, or some other respected probably-European purveyor of heavy coming through with an announcement they’ve picked up Scorched Oak. The Dortmund, Germany, trio seem to have taken the last few years to figure out where they were headed — they pared down from a five-piece, for example — and their rolling tides of fuzz on late-2020’s debut LP Withering Earth bears the fruit of those efforts. Aesthetically and structurally sound, it’s able to touch on heavy blues, metal and drifting psychedelia all within the span of a seven-minute track like “Swamp,” and in its five-songs running shortest to longest, it effectively draws the listener deeper into the world the band are creating through dual vocals, patient craft and spacious production. If I was a label, I’d sign them for the bass tone on 14-minute closer “Desert” alone, never mind any of the other natural phenomena they portray throughout the record, which is perhaps grim in theme but nonetheless brimming with potential. Some cool riffs on this dying planet.

Scorched Oak on Thee Facebooks

Scorched Oak on Bandcamp


Kings of the Fucking Sea, In Concert

Kings of the Fucking Sea In Concert

A scorching set culled from two nights of performances in their native Nashville, what’s essentially serving as Kings of the Fucking Sea‘s debut long-player, In Concert, is a paean to raw psychedelic power trio worship. High order ripper groove pervades “Witch Mountain” and the wasn’t-yet-named “Hiding No More” — which was introduced tentatively as “Death Dealer,” which the following track is actually titled. Disorienting? Shit yeah it is. And shove all the poignancy of making a live album in Feb. 2020 ahead of the pandemic blah blah. That’s not what’s happening here. This is all about blow-the-door-so-we-can-escape psychedelic pull and thrust. One gets the sense that Kings of the Fucking Sea are more in control than they let on, but they play it fast and loose and slow and loose throughout In Concert and by the time the mellower jam in “I Walk Alone” opens up to the garage-style wash of crash cymbal ahead of closer “The Nile Song,” the swirling fuckall that ensues is rampant with noise-coated fire. A show that might make you look up from your phone. So cool it might be jazz. I gotta think about it.

Kings of the Fucking Sea on Thee Facebooks

Agitated Records on Bandcamp


Mantarraya, Mantarraya

mantarraya mantarraya

They bill themselves as ‘Mantarraya – power trío,’ and guitarist/vocalist Herman Robles Montero, drummer/maybe-harmonica-ist Kelvin Sifuentes Pérez and bassist/vocalist Enzo Silva Agurto certainly live up to that standard on their late-2020 self-titled debut full-length. The vibe is classic heavy ’70s through and through, and the Peruvian three-piece roll and boogie through the 11 assembled tracks with fervent bluesy swing on “En el Fondo” and no shortage of shuffle throughout the nine-minute “120 Años (Color),” which comes paired with the trippier “Almendrados” in what seems like a purposeful nod to the more out-there among the out there, bringing things back around to finish swinging and bouncing on the eponymous closer. I’ll take the classic boogie as it comes, and Mantarraya do it well, basking in a natural but not too purposefully so sense of underproduction while getting their point across in encouraging-first-record fashion. At over an hour long, it’s too much for a single LP, but plenty of time for them to get their bearings as they begin their creative journey.

Mantarraya on Thee Facebooks

Mantarraya on Bandcamp


Häxmästaren, Sol i Exil

Häxmästaren sol i exil

At the risk of repeating myself, someone’s gonna sign Häxmästaren. You can just tell. The Swedish five-piece’s second album, Sol i Exil (“sun in exile,” in English), is a mélange of heavy rock and classic doom influences, blurring the lines between microgenres en route to an individual approach that’s still accessible enough in a riffer like “Millennium Phenomenon” or “Dödskult Ritual” to be immediately familiar and telegraph to the converted where the band are coming from. Vocalist Niklas Ekwall — any relation to Magnus from The Quill? — mixes in some screams and growls to his melodic style, further broadening the palette and adding an edge of extremity to “Children of the Mountain,” while “Growing Horns” and the capper title-track vibe out with with a more classic feel, whatever gutturalisms happen along the way, the latter feeling like a bonus for being in Swedish. In the ever-fertile creative ground that is Gothenburg, it should be no surprise to find a band like this flourishing, but fortunately Sol i Exil doesn’t have to be a surprise to kick ass.

Häxmästaren on Thee Facebooks

Häxmästaren on Bandcamp


Shiva the Destructor, Find the Others


Launching with the nine-minute instrumental “Benares” is a telling way for Kyiv’s Shiva the Destructor to begin their debut LP, since it immediately sets listener immersion as their priority. The five-track/44-minute album isn’t short on it, either, and with the band’s progressive, meditative psychedelic style, each song unfolds in its own way and in its own time, drawn together through warmth of tone and periods of heft and spaciousness on “Hydronaut” and a bit of playful bounce on “Summer of Love” (someone in this band likes reggae) and a Middle Eastern turn on “Ishtar” before “Nirvana Beach” seems to use the lyrics to describe what’s happening in the music itself before cutting off suddenly at the end. Vocals stand alone or in harmony and the double-guitar four-piece bask in a sunshine-coated sound that’s inviting and hypnotic in kind, offering turns enough to keep their audience following along and undulations that are duly a clarion to the ‘others’ referenced in the title. It’s like a call to prayer for weirdo psych heads. I’ll take that and hope for more to come.

Shiva the Destructor on Thee Facebooks

Robustfellow Productions on Bandcamp


Amammoth, The Fire Above

amammoth the fire above

The first and only lyric in “Heal” — the opening track of Sydney, Australia, trio Amammoth‘s debut album, The Fire Above — is the word “marijuana.” It doesn’t get any less stoned from there. Riffs come in massive waves, and even as “The Sun” digs into a bit of sludge, the largesse and crash remains thoroughly weedian, with the lumbering “Shadows” closing out the first half of the LP with particularly Sleep-y nod. Rawer shouted vocals also recall earlier Sleep, but something in Amammoth‘s sound hints toward a more metallic background than just pure Sabbath worship, and “Rise” brings that forward even as it pushes into slow-wah psychedelics, letting “Blade Runner” mirror “The Sun” in its sludgy push before closer “Walk Towards What Blinds You (Blood Bong)” introduces some backing vocals that fit surprisingly well even they kind of feel like a goof on the part of the band. Amammoth, as a word, would seem to be something not-mammoth. In sound, Amammoth are the opposite.

Amammoth on Thee Facebooks

Electric Valley Records website


Nineteen Thirteen, MCMXIII

nineteen thirteen mcmxiii

With emotional stakes sufficiently high throughout, MCMXIII is urgent enough to be post-hardcore, but there’s an underpinning of progressive heavy rock even in the mellower stretch of the eight-minute “Dogfight” that complements the noisier and more angular aspects on display elsewhere. Opener “Post Blue Collar Blues” sets the plotline for the newcomer Dayton, Ohio, four-piece, with thoughtful lyrics and a cerebral-but-not-dead-of-spirit instrumental style made full and spacious through the production. Melodies flesh out in “Cripple John” and “Old Face on the Wall,” brooding and surging in children-of-the-’90s fashion, but I hear a bit of Wovenhand in that finale as well — though maybe the one doesn’t exclude the other — so clearly Nineteen Thirteen are just beginning this obviously-passion-fueled exploration of sound aesthetic with these songs, but the debut EP they comprise cuts a wide swath with marked confidence and deceptive memorability. A new turn on Rust Belt heavy.

Nineteen Thirteen on Thee Facebooks

Nineteen Thirteen on Bandcamp


Ikitan, Twenty-Twenty

ikitan twenty-twenty

Hey, you process trauma from living through the last year your way and Genova, Italy’s Ikitan will process it theirs. In their case, that means the writing, recording and self-release of their 20-minute single-song EP, Twenty-Twenty, a sprawling work of instrumentalist heavy post-rock rife with spacious, airy lead guitar and a solid rhythmic foundation. Movements occur in waves and layers, but there is a definite thread being woven throughout the outing from one part to the next, held together alternately by the bass or drums or even guitar, though it’s the latter that seems to be leading those changes as well. The shifts are fluid in any case, and Ikitan grow Twenty-Twenty‘s lone, titular piece to a satisfyingly heft as they move through, harnessing atmosphere as well as weight even before they lower volume for stretches in the second half. There’s a quick surge at the end, but “Twenty-Twenty” is more about journey than destination, and Ikitan make the voyage enticing.

Ikitan on Thee Facebooks

Ikitan on Bandcamp


Smote, Bodkin

smote bodkin

Loops, far-out spaces and a generally experimentalist feel ooze outward like Icelandic lava from Bodkin, the five-song debut LP from UK-based solo-outfit Smote. The gentleman behind the flow is Newcastle upon Tyne’s Daniel Foggin, and this is one of three releases he has out so far in 2021, along with a prior drone collaboration tape with Forest Mourning and a subsequent EP made of two tracks at around 15 minutes each. Clearly a project that can be done indoors during pandemic lockdown, Smote‘s material is wide-ranging just the same, bringing Eastern multi-instrumentalism and traditionalist UK psych together on “Fohrt” and “Moninna,” which would border on folk but for all that buzz in the background. The 11-minute “Motte” is a highlight of acid ritualizing, but the droning title-track that rounds out makes each crash count all the more for the spaces that separate them. I dig this a lot, between you and me. I get vibes like Lamp of the Universe here in terms of sonic ambition and resultant presence. That’s not a comparison I make lightly, and this is a project I will be following.

Smote on Bandcamp

Weird Beard Records store


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Tortuga Sign to Napalm Records

Posted in Whathaveyou on March 26th, 2021 by JJ Koczan

Promising ‘heavy rock ‘n’ cock,’ and I suppose delivering that in their burly riffing, Poland’s Tortuga have inked a deal to release their next album through Napalm Records. I’m always fascinated when Napalm picks up a heavy band, whether it’s Tortuga, Villagers of Ioannina City or The Midnight Ghost Train a few years back. The label had a heavy rock spinoff for a while called Spinning Goblin that was subsumed into the mothership, but among all the various types of metal it seems like there are probably one or two heads in Napalm‘s offices that dig riffs. That’s usually how metal labels end up signing heavy rock bands, frankly. See also: Melvins on Atlantic, Clutch on Columbia, and so on.

With Napalm though, I’m never able to predict who or what next, and more often than not, I’m surprised. Sure, Napalm would release Monster Magnet and Greenleaf. Those are bigger bands. Established. Tortuga have two records out and another reportedly coming in 2022. Their sound is huge, as you can hear in the stream of last year’s Deities, below, so maybe it’s just that and the right combination of plans, perspective, accumulated YouTube streams and groove. Kudos to the band either way. The tacit hat-tip here from the Austrian label to the vibrant Polish underground isn’t to be overlooked.

From the PR wire:


Psychedelic Stoner/Doom Metal Upstarts TORTUGA Sign Worldwide Record Deal with Napalm Records

The four piece from Poland is working on new music for 2022

Napalm Records is proud to announce the signing of Psychedelic Stoner and Doom Metal outfit TORTUGA from Poland! After making a giant impact on the scene in 2017 with their self-titled EP, followed by their H.P. Lovecraft inspired album Deities (2020) that gathered hundreds of thousands of streams across all streaming platforms, TORTUGA is ready to dive into the next chapter of their career!

TORTUGA are currently working on new music, set for release via Napalm Records in 2022.

TORTUGA about signing to Napalm Records:
“We weren’t very respectful towards the Lovecraftian Deities on our second LP, so they punished mankind with a pandemic and made it impossible for us to tour with our album. Gladly, they are merciful, and they gave us a second chance in the form of a pretty awesome collaboration with Napalm Records. We are already working on our third album and rest assured that this time we won’t mock any deities. We learned our lesson.”

Marmur – Drums
Heszu – Bass
Pablo – Guitars, Vocals
K?osu – Guitars, Synths, Vocals

Tortuga, Deities (2020)

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Album Review: Sunnata, Burning in Heaven, Melting on Earth

Posted in Reviews on March 16th, 2021 by JJ Koczan

sunnata burning in heaven melting on earth

Burning in Heaven, Melting on Earth is the fourth full-length from Warsaw-based post-heavy rockers Sunnata. Comprised of six songs, it runs a substantial-but-manageable 49 minutes and culls influences from a broad range of spheres, perhaps none more so than its own. The band began its journey circa 2008 under a different, less-prone-to-sonic-enlightenment moniker, and has gradually been engaging self-realization since, more effectively so each time out. Between their 2014 debut, Climbing the Colossus, 2016’s Zorya (review here), and 2018’s crucial Outlands (review here), they have marched a path forward of exciting sonic progression and individuality, finding a space where the crush of Neurosis, the melodic downerism of Alice in Chains and the tantric repetitions of Om can coexist in flowing, coherent form. Their material has never been so complex or so well composed as it is on Burning in Heaven, Melting on Earth, and the songs come across as a multifaceted intellectual experience. It’s an album, to be sure, but it also feels in listening like the start of a conversation.

The stated purpose on the part of the band was to examine “different angles on the theme of religious fanaticism… [the] general sense of trusting your life to a crystal ethereal being represented by humans of flesh, bones and sins, and discusses consequences of doing so,” and fair enough. Their native Poland has, like many nations including my own, witnessed a swing to far-right populism and conservative demagoguery, and that’s before one actually takes the idea literally as a theme based on religious dogma. Any angle of approach, then, there’s plenty subject matter for Sunnata to work with, and in cuts like “A Million Lives,” “Black Serpent” and the closing “Way Out” — American listeners should be aware that this is the equivalent in British English to “exit” — they translate ideological depiction into deep-mix heavy immersion. They are writing about rituals and a ritual mindset, and the songs themselves feel ritualistic, from the beginning in “Crows” as the lyrics set listeners before a field of dead bodies, the first but not last reference to Rome falling made.

“Crows” is the shortest track on Burning in Heaven, Melting on Earth at 5:57, and something of a stage-setting through its linear build, but effective in drawing the listener into the midst. Brooding voices and tense rhythms find guitarist/vocalists Szymon Ewertowski and Adrian Gadomski, bassist Michal Dobrzanski and drummer Robert Ruszczyk moving toward the solo-topped payoff that arrives in the second half of the song, a cascading turn that leads to a final chorus with both singers telling the audience something else it needs to know about the record that follows, which is that while Sunnata are working on a theme and the lyrics and mindset of the composition is geared toward that, they are not forsaking songcraft for the sake of narrative. I don’t know that this is the case, but I would not be surprised if the instrumental foundation of the record was set before the lyrics came together — each song has its own structure and is built toward the overarching flow, the assemblage front-to-back just happens to work exceptionally well enough to be tied together through the fanaticism theme.


As the shortest song, “Crows” is followed immediately by the longest, “God Emperor of Dune,” at 8:47, which is the basis of any Om comparison one might want to make, though here too the vocals distinguish Sunnata through call and response chants over soft toms, cymbals and tambourine, gradually moving toward a proggy rush and wash alike that swirls like the fog over a follower’s eyes. That is ably drawn back to a comparatively minimal and droning finish, but the patience and clear intent with which “God Emperor of Dune” is executed pushes the atmosphere laid out by the opener deeper, such that the push of the subsequent “A Million Lives” is like the constant barrage of living in a post-truth world. One never completely has footing in a world with no ground. The difference with Sunnata‘s portrayal, however, is that the songs themselves are structured and their movement tells this push-pull in shifts of tempo, rhythm and melody. For all the scope and purpose, again, they are songwriters. “A Million Lives” is catchy as all hell.

It would be the landmark hook of Burning in Heaven, Melting on Earth were it not for the side B opener “Black Serpent,” with its more aggressive crux and gang-shout call and response chorus. In the back and forth pairings of shorter songs with longer ones, “A Million Lives” and “Black Serpent” are the centerpieces, but they do not give ground atmospherically, and the mood of the album is maintained, even if perhaps taken to a more severe place. “Black Serpent” seems to crash to its finish, a winding line of effects echoing out when the vocals recede, but “Völva (The Seeress)” — and while we’re here, let’s note that “serpent” and “völva” (which in Germanic mythology is a woman shaman) seem purposefully paired to subtly nod to male and female genitalia; sex is a big part of any dogma — arrives and sets itself to willfully repetitive invocations of its titular mystic, blurring the line that felt so stark only a few songs ago between “God Emperor of Dune” and “Crows” or “A Million Lives” on either side of it. Growing blurry is the intent, of course.

The title line of “Way Out” arrives as, yes, a way out of this fog, and it brings the album’s title line with it for further clarity, giving an encapsulation over its first two and a half minutes before dropping back to near-silence and rebuilding. This time, when it goes, it doesn’t come back. They end ethereal in vocals, but grounded in groove, and the feeling is very much that of an arrival from just before the five-minute mark when everything but the bass drops out to the rest of the song’s total 8:37. It’s closure, not epilogue, and duly exciting, underscoring the layered purposes to which Sunnata have set themselves on this fourth long-player. It is the work of a mature band — we’ve come a long way since Satellite Beaver — who refuse to stop growing, and whose refining of processes seems based not so much on retreading what they’ve done before, but deriving new modes of expression as they continue to explore who they are as a group. There are bands who base entire careers off less depth than any single track offers on Burning in Heaven, Melting on Earth, and whatever else Sunnata do throughout, they make the entire project feel like the beginning of a conversation waiting to be had.

Sunnata, Burning in Heaven, Melting on Earth (2021)

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Dopelord Announce Rescheduled 2021 and 2022 Tours; New EP Out Now

Posted in Whathaveyou on February 25th, 2021 by JJ Koczan


Dopelord‘s new EP, Reality Dagger, has a sound that makes me, as Marvin, want to call up my cousin Chuck and tell him that that sound he’s looking for, well listen to this. Maybe Back to the Future is all the wrong kind of cinema — certainly if the Suspiria-style cover is anything to go by it is — but I think you get my point. Not at all far removed from 2020’s Sign of the Devil (review here), the band continue a hot-streak in the new three-tracker and they’ve announced a pair of rescheduled tours for Western and Eastern Europe, respectively, in 2021 and 2022.

As with any tour announcement made after March of last year, these of course come with a big ol’ CONDITIONS PERMITTING caveat, but here’s hoping they come together and the greater European sphere is ready to rejoice in heavy worship and nod the fuck out to primo groove, because that’s precisely the fare in which Dopelord traffic.

Dates follow courtesy of Doomstar Bookings. Make travel plans accordingly:

The polish stoner doom legends, Dopelord are now revealing the rescheduled dates for both European tours! Check the confirmed dates below!

As a cherry on top, today is the release date of Dopelord’s “Reality Dagger” EP! Check it out here;

Dopelord Western European Fall tour 2021 confirmed dates:
11.09.2021 – Cottbus (DE) – Zum Faulen
12.09.2021 – Rostock (DE) – JAZ Rostock
13.09.2021 – Hamburg (DE) – Hafenklang
16.09.2021 – Hannover (DE) – Chez Heinz
17.09.2021 – Nijmegen (NL) – Merleyn
19.09.2021 – London (UK) – Boston Music Rooms
20.09.2021 – Sheffield (UK) – Record Junkee
21.09.2021 – Bristol (UK) – The Fleece
22.09.2021 – Gent (BE) – Trefpunt
24.09.2021 – Dijon (FR) – Les Tanneries
25.09.2021 – Weinheim (DE) – Café Central
26.09.2021 – Marburg (DE) – Trauma
27.09.2021 – Jena (DE) – KUBA Jena
28.09.2021 – Berlin (DE) – Cassiopeia
29.09.2021 – Dresden (DE) – Chemiefabrik

Dopelord Eastern European Winter tour 2022 confirmed dates:
11.02.2022 – Krakow (PL) – Klub Za?cianek*
12.02.2022 – Kosice (SK) – Collosseum*
13.02.2022 – Cluj (RO) Form Space*
14.02.2022 – Budapest (HU) – Robot*
15.02.2022 – Zagreb (HR) – Vintage Industrial*
16.02.2022 – Belgrad (RS) – Imago Club*
17.02.2022 – Thessaloniki (GR) – Eightball Club
18.02.2022 – Athens (GR) – Temple
19.02.2022 – Volos (GR) – Café Santan
20.02.2022 – Kavala (GR) – TBA
21.02.2022 – Sofia (BG) – Mixtape 5
22.02.2022 – Bucharest (RO) – Quantic
23.02.2022 – Szeged (HU) – Grand Café
24.02.2022 – Bratislava (SK) – Kulturak Klub
25.02.2022 – Wroclaw (PL) – Liverpool*
26.02.2022 – Lodz (PL) – Magnetofon*
27.02.2022 – Warsaw (PL) – Klub Pog?os*
* With Taraban

Dopelord, Reality Dagger (2021)

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Diuna Announce Pila Do Pomników Przyrody Due Feb. 5

Posted in Whathaveyou on January 15th, 2021 by JJ Koczan


Following-up 2019’s Golem (review here), Polish heavy rock noisemakers Diuna will release their new EP, Pila Do Pomników Przyrody. No, I don’t know how to pronounce it. Sadly, my Polish is limited to a tentative “dzi?kuj?,” and even that I had to look up how to spell. While we’re doing translations, the title in English is “A Saw for Natural Monuments,” which I like, and the songs are “Funny Meme,” “I Invite You to Vienna for a Waltz,” “Meanness,” and the title-track, in order. I can’t even get all the characters to show up in WordPress (something that bothers me continuously and has for years), but one way or the other, the EP is out Feb. 5 on Piranha Music and you can see the cover art and album info here.

There’s no music yet, but if you haven’t checked out Golem, that stream is below and worth your time if you’re looking for something inventive but still heavy-derived. More than standard dudes-plus-riffs I guess is what I’m saying. And right on to them going full-on in Polish as well.

From the PR wire:

diuna Pila do pomnikow przyrody

After a well-received full length album “Golem” (2019), the polish stoner rockers DIUNA have just announced their new EP! “Pi?a do pomników przyrody” will be out 5th of February 2021, via independent label Piranha Music.

Band have just announced the album cover designed by Jakub Didkowski and Slawosz Tejkowski and the tracklist.

EP will consist of 4 new tracks, all of them in polish language:
1. ?mieszny mempej (09:28)
2. Zapraszam do Wiednia na walc (03:57)
3. Pod?o?? (04:54)
4. Pi?a do pomników przyrody (05:38)

“We recorded them in Kongo Studio under the watchful eye of the irreplaceable Jacek Stasiak who mixed and mastered everything for us. It’s always great at his studio.”

In the last track you will hear Jan Wawrzyniak from Red Scalp! Guess what instrument he played for us. Preorder and single coming soon!

Diuna, Golem (2019)

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