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Quarterly Review: Carcass, LLNN, Smiling, Sail, Holy Death Trio, Fuzz Sagrado, Wolves in Haze, Shi, Churchburn, Sonolith

Posted in Reviews on October 1st, 2021 by JJ Koczan

the-obelisk-fall-2016-quarterly-review

Welcome to Friday. I’m glad to have come this far in the Quarterly Review, and even knowing that there are two days left to go — next Monday and Tuesday, bringing us to a total of 70 for the entire thing — I feel some measure of accomplishment at doing this full week, 10 reviews a day, for the total of 50 we’ll hit after this batch. It has mostly been smooth sailing as regards the writing. It’s the rest of existence that seems intent to derail.

But these are stories for another time. For now, there’s 10 more records to dive into, so you’ll pardon me if I do precisely that.

Quarterly Review #41-50:

Carcass, Torn Arteries

carcass torn arteries

The original progenitors of goregrind return in gleeful fashion with their first full-length since 2013’s Surgical Steel. They’ve toured steadily over the intervening years, and Torn Arteries would seem to arrive timed to a return to the road, though it also follows the 2020 EP, Despicable, so make of that what you will. One way or the other, the 10-track/50-minute offering is at very least everything one could reasonably ask a Carcass record to be in 2021. That’s the least you can say of it. Point of fact, it’s probably much more. Driven by Bill Steer‘s riffs and solos — which would be worth the price of admission alone — as well as the inimitable rasp of bassist Jeff Walker, Carcass sound likewise vital and brutal, delighting in the force of “Kelly’s Meat Emporium” and the unmitigated thrash of “The Scythe’s Remorseless Swing,” while scalpel-slicing their way through “Eleanor Rigor Mortis” and the 10-minute “Flesh Ripping Sonic Torment Limited,” which, yes, starts out with acoustic guitar. Because of course it does. After serving as pioneers of extreme metal, Carcass need to prove nothing, but they do anyway. And bonus! Per Wiberg shows up for a guest spot.

Carcass on Facebook

Nuclear Blast Records website

 

LLNN, Unmaker

LLNN Unmaker

Some concerned citizen needs to file assault charges against Copenhagen crushers LLNN for the sheer violence wrought on their third full-length, Unmaker. Comprised of 10 songs all with single-word titles, the Pelagic Records release uses synth and tonal ultra-heft of guitar and bass to retell Blade Runner but starring Godzilla across 39 minutes. Okay so maybe that’s not what the lyrics are about, but you’d never know it from the harsh screams that pervade most of the outing — guitarist Christian Bonnesen has a rare ability to make extreme vocals sound emotional; his performance here puts the record on another level — which renders words largely indecipherable. Still, it is their combination of whiplash-headbang-inducing, bludgeoning-like-machines-hitting-each-other, air-moving weight and keyboard-driven explorations evocative enough that LLNN are releasing them on their own as a companion-piece that makes Unmaker the complete, enveloping work it is.

LLNN on Facebook

Pelagic Records on Bandcamp

 

Smiling, Devour

Smiling Devour

I’m not sure it’s fair to call something that was apparently recorded five years ago forward thinking, but Smiling‘s melding of post-punk urgency, violin flourish, the odd bit of riot-style aggression, psychedelia and poppy melodic quirk in varying degrees and at various points throughout the debut album, Devour, is that anyway. Fronted by guitarist/songwriter Annie Shaw, Smiling makes a cut like even the two-minute “Other Lives” feel dynamic in its build toward a swelling-rumble finish, immediately shifting into the dreamier psych-buzz of “Forgetful Sam” and the melancholy-in-the-sunshine “Do What You Want.” Yeah, it goes like that. It also goes like the rager title-track though, so watch out. The earlier “Lighthouse” swings like Dandy Warhols, but the closing trilogy of “FPS,” “Take Your Time” and “Duvall Gardens” — also the three longest songs included — showcase a more experimentalist side, adding context and depth to the proceedings. So yeah, forward thinking. Time is all made up anyway.

Smiling website

Rebel Waves Records webstore

 

Sail, Flood

Sail Flood

The track itself, “Flood,” runs all of three minutes and 18 seconds, and I do mean it runs. The Taunton, UK, four-piece of guitarist/vocalists Charlie Dowzell and Tim Kazer, bassist/harsh-vocalist Kynan Scott and drummer Tom Coles offer it as a standalone piece and the track earns that level of respect with its controlled careening, the shouted verses giving way to a memorable clean-sung chorus with zero sense of trickery or pretense in its intention. That is to say, “Flood” wants to get stuck in your head and it will probably do precisely that. Also included in the two-songer digital outing — that’s Flood, the release, as opposed to “Flood,” the song — is “Flood (Young Bros Remix),” which extends the piece to 4:43 and reimagines it as more sinister, semi-industrial fare, but even in doing so and doing it well, it can’t quite get away from the rhythm of that hook. Some things are just inescapable.

Sail on Facebook

Sail on Bandcamp

 

Holy Death Trio, Introducing…

Holy Death Trio Introducing

Austin’s Holy Death Trio have the distinction of being the first band signed as part of the collaboration between Ripple Music and Rob “Blasko” Nicholson (bassist for Ozzy Osbourne, etc.), and Introducing…, the three-piece’s debut, is enough of a party to answer any questions why. Gritty, Motörheadular riffs permeate from post-intro leadoff “White Betty” — also some Ram Jam there, I guess — underscored by Sabbathian semi-doomers like “Black Wave” and the near-grim psychedelia of closer “Witch Doctor” while totaling an ultra-manageable 33 minutes primed toward audience engagement in a “wow I bet this is a lot of fun live” kind of way. It would not seem to be a coincidence that the centerpiece of the tracklist is called “Get Down,” as the bulk of what surrounds seems to be a call to do precisely that, and if the bluesy shuffle of that track doesn’t get the job done, something else is almost bound to.

Holy Death Trio on Facebook

Ripple Music website

 

Fuzz Sagrado, Fuzz Sagrado

fuzz sagrado self titled

Having put Samsara Blues Experiment to rest following the release earlier this year of the swansong End of Forever (review here), relocated-to-Brazil guitarist/vocalist Christian Peters (interview here) debuts the instrumental solo-project Fuzz Sagrado with a three-song self-titled EP, handling all instruments himself including drum programming. “Duck Dharma,” “Two Face” and “Pato’s Blues” take on a style not entirely separate from his former outfit, but feel stripped down in more than just the lack of singing, bringing together a more concise vision of heavy psychedelic rock, further distinguished by the use of Mellotron, Minimoog and Hammond alongside the guitar, bass and drum sounds, complementing the boogie in “Pato’s Blues” even as it surges into its final minute. Where Peters will ultimately take the project remains to be seen, but he’s got his own label to put it out and reportedly a glut of material to work with, so right on.

Fuzz Sagrado on Facebook

Electric Magic Records on Bandcamp

 

Wolves in Haze, Chaos Reigns

wolves in haze chaos reigns

It’s 10PM, do you know where your head is? Wolves in Haze might. The Gothenburg-based three-piece of vocalist/guitarist Manne Olander, guitarist Olle Hansson and drummer/bassist/co-producer Kalle Lilja set about removing that very thing with their second record, Chaos Reigns, working at Welfare Sounds with Lilja and Per Stålberg at the helm in a seeming homage to Sunlight Studios as reinvented in a heavy rock context. Still, “In Fire” and “The Night Stalker” are plainly sinister in their riffs — the latter turning to a chorus and back into a gallop in a way that reminds pointedly of At the Gates, never mind the vocals that follow — and “Into the Grave” is as much bite as bark. They’re not without letup, as “Mr. Destroyer” explores moodier atmospherics, but even the lumbering finish of the title-track that ends the album is violent in intent. They call it Chaos Reigns, but they know exactly what the fuck they’re doing.

Wolves in Haze on Facebook

Majestic Mountain Records store

Tvåtakt Records store

 

Shi, Basement Wizard

shi basement wizard

They work a bit of NWOBHM guitar harmony into the solos on “Rehash” and “At Wit’s End,” and the centerpiece “Interlude” is a willful play toward strum-and-whistle Morricone-ism, but for the most part, Louisville’s Shi are hell-bent on destructive sludge, with the rasp of guitarist Bael — joined in the effort by guitarist Jayce, bassist Zach and drummer Tyler — setting a Weedeater-style impression early on “Best Laid Plans” and letting the rest unfold as it will, with “Lawn Care for Adults” and “We’ll Bang, OK?” and the chugging fuckery of the title-track sticking largely to the course the riffs lay out. They make it mean, which is exactly the way it should be made, and even the sub-two-minute “Trough Guzzler” finds its way into a nasty-as-hell mire. Sludge heads will want to take note. Anyone else will probably wonder what smells like rotting.

Shi on Facebook

Shi on Bandcamp

 

Churchburn, Genocidal Rite

churchburn genocidal rite

Oh, that’s just disgusting. Come on now. Be reasonable, Churchburn. This third LP from the Providence, Rhode Island, extremists brings them into alignment with Translation Loss Records and though it’s just five songs — plus the intro “Toll of Annihilation” — and 33 minutes long, that’s plenty of time for guitarist/vocalist Dave Suzuki and company to pull you down a hole of blistering, vitriolic terrors. Where does the death end and the doom begin? Who gives a shit? Suzuki, bassist/vocalist Derek Muniz, guitarist Timmy St. Amour and drummer Ray McCaffrey take a duly mournful respite with “Unmendable Absence,” but after that, the onslaught of “Scarred” and the finale “Sin of Angels” — with Incantation‘s John McEntee sitting in on vocals — is monstrous and stupefyingly heavy. You’ll be too busy picking up teeth to worry about where the lines of one microgenre ends and another begins.

Churchburn on Facebook

Translation Loss Records webstore

 

Sonolith, Voidscapes

Sonolith Voidscapes

Have riffs, will plod. Voidscapes, the three-song second EP from Las Vegas’ Sonolith lets the listener know quickly where it’s coming from, speaking a language (without actually speaking, mind you) that tells tales of amplifier and tonal worship, the act of rolling a massive groove like that central to nine-minute opener “Deep Space Leviathan” as much about the trance induced in the band as the nod resultant for the listener. Close your eyes, follow it out. They complement with the shorter “Pyrrhic Victory,” which moves from a subdued and spacey opening line into post-High on Fire chug and gallop, effectively layering solos over the midsection and final payoff, and “Star Worshipers,” which slows down again and howls out its lead to touch on Electric Wizard without being so overt about it. At about three minutes in, Sonolith kick the tempo a bit, but it’s the more languid groove that wins the day, and the concluding sample about traveling the universe could hardly be more appropriate. Asks nothing, delivers 21 minutes of riffs. If I ever complain about that, I’m done.

Sonolith on Facebook

Sonolith on Bandcamp

 

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Snake Mountain Revival Premiere “Satellite Ritual”; Announce Debut LP Everything in Sight

Posted in audiObelisk, Whathaveyou on August 30th, 2021 by JJ Koczan

SNAKE MOUNTAIN REVIVAL

Virginia Beach heavy psychedelic rockers Snake Mountain Revival release their debut album, Everything in Sight, Nov. 19 on Rebel Waves Records. By joining the ranks of the Ripple Music imprint, the trio become labelmates to Kabbalah, Arcadian Child, Sacred Shrines, Las Robertas and Smiling, who also recently issued a label debut. The record is comprised of eight tracks, five of which have been featured on the band’s prior two EPs, 2019’s The Valley of Madness and 2018’s self-titled, but the recordings are different, and “Satellite Ritual” (premiering at the bottom of this post) is brandy-new either way. If you want to skip the rest of my blah-blah and the PR wire info and click play, I wouldn’t blame you. The text will still be here when you get back.

You can hear their roots in improv jamming to be sure, but Everything in Sight remains a collection of songs. Eight of them, in fact, spanning a broad and warm 43 minutes. Grim garage echo, instrumentalist surf safari, guitar winding, drums no less distorted than the vocal howls where and when. You can set your watch to its acid boogie but it’s in its own time zone.

The takeaway here? Song’s below — listen to it — album’s out Nov. 19 and has Ripple‘s say-so behind it. I think it’s worth your time or I wouldn’t be writing this sentence.

Now then:

snake mountain revival everything in sight

SNAKE MOUNTAIN REVIVAL – New album ‘Everything In Sight’ out November 19 on Rebel Waves Records

Preorder: https://ripplemusic.bandcamp.com/album/everything-in-sight

Formed in the Summer of 2017, Snake Mountain Revival quickly gained traction their first few shows by performing completely improvised sets in the coastal Virginia area complete with liquid light shows. The three members met in their hometown of Virginia Beach after years of pursuing different styles of music in different parts of the country.

Drummer Josh Woodhouse cut his teeth playing death metal and progressive music in Florida, while bassist and vocalist Ryan Chandler was exploring experimental and psychedelic sounds. Guitarist Zack Trowbridge rounds out the trio with his background in blues, jazz and surf rock.

The release of 2018’s self-titled demo EP gained praise in the blogosphere both in the USA and overseas. With a polarizing live show and crossover sound, they’ve been afforded the opportunity to share the stage with diverse bands such as Acid Dad, Freedom Hawk, Sammi Lanzetta and Frankie & the Witch Fingers.

Recording & Engineered by Danny Zawacki & Zack Trowbridge
Produced by Zack Trowbridge
Mixed by Snake Mountain Revival
Mastered by Keith Hernandez (Suite 2e Studios, Austin TX)

All lyrics by Ryan Chandler
Album art by Stanislov Pobytov

Snake Mountain Revival:
Drums & Percussion – Josh Woodhouse
Guitar – Zack Trowbridge
Vocals & Bass – Ryan Chandler

https://www.facebook.com/snakemountainrevival/
https://www.instagram.com/snakemountainrevival/
https://snakemountainrevival.bandcamp.com/
https://www.facebook.com/Rebelwavesrecords/
http://www.rebelwavesrecords.bigcartel.com/
https://rebelwavesrecords.bandcamp.com/

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Review & Full Album Premiere: Kabbalah, The Omen

Posted in audiObelisk, Reviews on January 12th, 2021 by JJ Koczan

kabbalah the omen

[Click play above to stream Kabbalah’s The Omen in its entirety. Album is out Jan. 15 on Rebel Waves Records.]

Though they’ve been brewing potent etherealities in the Kingdom of Navarre for the better part of a decade, it was not until 2017 that Spanish trio Kabbalah made their full-length debut with Spectral Ascent. That album, released through Twin Earth Records, solidified the first-name-only — Alba on vocals and guitar, Marga on bass, Carmen on drums — three-piece’s approach around classic proto-heavy and cult rock, not quite bent as closely to pop as Ghost, but ready and able with a waiting supply of hooks for those willing to be indoctrinated. The Omen is the follow-up. Its eight tracks arrive through Ripple imprint Rebel Waves Records without pretense — which is no small feat considering the inherent theatricality of the witchy, be-robbed aesthetic — and run a tight-knit 29 minutes, showcasing growth in melody and construction generally while digging further into a classic-minded near-doom style of heavy rock, most typified by the ’70s tapes of Pentagram but by no means exclusive to that or strictly vintage in sound.

Unlike the first LP, there is no intro on The Omen, which begins with the creeper riff of your fuzzy Halloween daydreams, set to an immediately accessible pace that tells you plenty but still only a piece of what you need to know about the record that ensues. At 3:57, lead cut “Stigmatized” is second in length only to closer “Liturgy,” which is the only song here over four minutes long. Kabbalah are traditionalists in structure, and though their cultish take draws on the heavy ’70s as it almost invariably would, their tones are not purely vintage and particularly the manner in which vocal melodies/harmonies are layered is a giveaway of their modernity. Not that they’re trying to hide it. Rather, these melodies, beginning in “Stigmatized” but perhaps even more so in the catchier second track “Ceibas,” become a crucial aspect of the band’s approach. I don’t know if it’s only Alba singing or if Marga or Carmen add their voices, but as The Omen begins to unfold, the vocals help set the atmosphere no less than any of the other instruments being played, even the church organ that takes hold as the first track fades out ahead of the grungy-strummed start of the second.

So if the first song establishes the mood and the second reaffirms the trio’s penchant for hookmaking, its chanting final chorus likewise peppered with organ lines and vocal bounce, then the subsequent “Night Comes Near” brings a greater sense of complexity in progression and arrangement, vocal parts woven over each other in a pace that’s deceptive only for how unhurried it actually is while sounding more intense and busier than the previous two songs. As side A finishes with “The Ritual,” the fuzz thickens, the bell ride tolls your march, and the flow resimplifies without giving up the impression of a proggy undertone. The guitar solo is short but effective and sets a bed for the vocals to rejoin the apex of the song in a chorus return, bringing to light the sheer efficiency of Kabbalah‘s work here. It’s not that they’re restrained in some way, just that they’ve come to a place of knowing what they want these songs to do — or sounding that way, anyhow — and making them do that. Lessons understood from prior experience; this is why it can take a band five years to put out a debut album and several more for a follow-up. Because there’s genuine growth taking place.

Kabbalah

“Lamentations” begins side B with the bulk of its first minute dedicated to a gradually unfolding riff, but when the drums kick in, they’re double-timed on the hi-hat to bring some feeling of urgency, even if the following first verse oozes out smoothly in dynamic, harmonized fashion. A play on structure, “Lamentations” doesn’t have a chorus as such, but it accomplishes what it sets out to do in leading off the second half of the record with a purpose that mirrors that of “Stigmatized” at the outset. It’s not quite Kabbalah looking to knock their listener off balance — which they never really do — but hinting that the whole story of The Omen hasn’t yet been told. Distant echoes in the verses “Labyrinth” and a more forward chorus would seem to confirm this, making the track a highlight in the process as it willfully marches into highlight bass tone at its pulled-apart finish. Feedback. Darker atmospherics. Still, Kabbalah aren’t offering any drama that feels unearned by the music itself, and in traditional LP form, the penultimate “Duna” returns the album to ground ahead of the aforementioned finale in “Liturgy.”

In another context one might call “Duna” a kind of heavy post-rock, but after its first minute, a weightier riff serves as a kind of instrumental chorus and offsets the garage doom of the verse before they make the interesting turn of finishing the track without a final return to that same verse. It’s too short to really be a jam, but Alba‘s guitar is tasked with leading the outward movement of “Duna,” which it does ably, bringing the song to a close ahead of the actual march rhythm that begins “Liturgy” and the guitar, bass and drums soon join. More spacious in the guitar and vocals initially, “Liturgy” does have a kind of chanting verse, but it never quite gives up that beginning rhythm, which of course doubles as an ending for the record after the closing solo finishes. Even there, Kabbalah‘s melodic intent holds firm and is the essential component.

It’s not, however, the only one to which due attention has been paid, and the recording — the production style — of The Omen helps too in bringing a vitality that underscores the songwriting shown throughout. Kabbalah emerge somewhat out of place and out of time, but no more than they would seem to want to be, and there is no point at which their devotionalism overwhelms their craft. A burgeoning individuality holds further promise for growth, but one would be remiss not to note the confidence and righteous poise with which this material is — still organically — delivered.

Kabbalah, “Ceibas” official video

Kabbalah on Facebook

Kabbalah on Instagram

Kabbalah on Bandcamp

Rebel Waves Records on Facebook

Rebel Waves Records BigCartel store

Rebel Waves Records on Bandcamp

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Kabbalah Announce Jan. 15 Release for The Omen; “Ceibas” Video Posted

Posted in Whathaveyou on December 4th, 2020 by JJ Koczan

Kabbalah

Because of general cultural ignorance on my part, I had to look up what a ‘ceiba’ is. If you’re curious, it’s a species of tree considered sacred by some in Mayan culture — a kind of tree of life, but one connected to the underworld. If you’re thinking Yggdrasil from Norse mythology, you’re not too far off-base, but ceiba-as-world-tree is older by a couple millennia. That’s what I learned on the internet today. Well that and some stuff about Star Trek, anyhow. Alright.

Kabbalah‘s new record runs as a taut 29-minute/eight-song cultish mass, thoroughly modern in melody and tonal presence, but given an edge of folkanalia just the same. Its longest song is closer “Liturgy” at 4:14 and at no point does The Omen waste the band’s time or the listener’s. If you can’t appreciate that, surely the uptempo push of “Ceibas” or the animated day-in-the-life-of-Death video that accompanies its unveiling will hook you. If not, well, thanks for reading anyhow.

For everyone else, album preorders are up for The Omen ahead of a Jan. 15 release.

Plant a tree:

kabbalah the omen

Occult rock trio KABBALAH to release new album ‘The Omen’ on January 15th via Rebel Waves Records; watch spooky animated video “Ceibas” now!

Pamplona-based occult rockers KABBALAH unveil all details about their sophomore album ‘The Omen’, to be released on January 15th, 2021 through Rebel Waves Records. On this occasion, the trio debuts their ritualistic and colorful “Ceibas” video.

“Ceibas is about how evil and destructive human behavior is to the Earth, and the video walks you through the song and the lyrics wonderfully” describes the band.

Hailing from Pamplona in the north of Spain, KABBALAH was formed on the ashes of local outfit Las Culebras, looming in the dark, esoteric realms of witchcraft and closed door arts. The trio started a prolific cycle of music by self-releasing three EPs (‘Kabbalah’, ‘Primitive Stone’ and ‘Revelations’) between 2013 and 2016, progressing to their 2017 debut album ‘Spectral Ascent’. With their garage-sounding, 70s-style hard rock and Coven–inspired occult atmospheres draped over the bones of Black Sabbath and Blue Öyster Cult, the Spanish power trio has been well received among followers of the darkest sounds.

On new album ‘The Omen’, KABBALAH affirm this unique way of theirs to turn their 70s rock influences into a craft of their own: while the guitar and bass twirl around like on a haunted carousel, the trio sprinkles all eight tracks with a subtle Spanish folk and western vibe while keeping the heaviness intact. An unwaveringly creative, enigmatic and spellbinding album that has chances to quickly enter your 2021 favorites list!

‘The Omen’ is out on January 15th, 2021 on Rebel Waves Records and available to preorder as:
– LTD edition vinyl pressed on bone colored vinyl with gold and black splatter
– Black vinyl
– LTD edition digipack
– Digital

KABBALAH New album “The Omen”
Out January 15th, 2021 on Rebel Waves Records
PREORDER NOW

TRACK LISTING:
1. Stigmatized
2. Ceibas
3. Night Comes Near
4. The Ritual
5. Lamentations
6. Labyrinth
7. Duna
8. Liturgy

In the winter of 2021, KABBALAH are coming back to life with their sophomore full-length ‘The Omen’, an occult rock grimoire where sticky melodies, funerary riffs and liturgy vocals come together as an impressive and infectious breed of 70s heavy, doom and psych. It will be released through US independent label REBEL WAVES RECORDS, Ripple Music’s imprint for all things psychedelic, alt-rock, pop, post-punk and garage. Keep your eyes peeled for more info about ‘The Omen’ will come your way soon!

KABBALAH is:
Carmen Espejo — Drums/vocals
Marga Malaria — Bass/vocals
Alba DDU — guitar/vocals

https://www.facebook.com/Kabbalahrock
https://www.instagram.com/kabbalahband/
https://kabbalahrock.bandcamp.com/
https://www.facebook.com/Rebelwavesrecords/
http://www.rebelwavesrecords.bigcartel.com/
https://rebelwavesrecords.bandcamp.com/

Kabbalah, “Ceibas” official video

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Kabbalah Sign to Ripple Imprint Rebel Waves Records; The Omen Coming Soon

Posted in Whathaveyou on October 22nd, 2020 by JJ Koczan

Three years ago, Spanish trio Kabbalah made their full-length debut with Spectral Ascent (discussed here) through Twin Earth Records (also Hellas Records on tape), and as that kind of thing will, it piqued my interest because I’m well aware of the label’s particular affinity for melody and tone. As it turned out, the three-piece offered plenty of both in a cultish aesthetic they’ll now port over to Ripple Music imprint Rebel Waves Records with their second long-player, The Omen, due out next year.

If you’re the type who notices such things, you might key in on the point that the garage/psych-focused Rebel Waves was formerly known as Rogue Wave. I’m not sure what prompted the rebrand — too close to Rogue One? — but either way the label brings Kabbalah into the company of Las RobertasSacred Shrines and Arcadian Child as the imprint builds its stable of acts. As you might guess, Kabbalah are the darkest of the bunch to-date.

The announcement came down the PR wire:

kabbalah

Spanish occult rock trio KABBALAH signs to Rebel Waves Records for new album release in early 2021.

Rebel Waves Records announce the signing of Pamplona-based occult 70s and garage rockers KABBALAH to their roster. The trio will release their new album ‘The Omen’ in early 2021, with more details to be revealed soon!

Hailing from from Pamplona in the north of Spain, KABBALAH was formed on the ashes of local outfit Las Culebras, looming in the dark, esoteric realms of witchcraft and closed door arts. The trio started a prolific cycle of music by self-releasing three EPs (‘Kabbalah’, ‘Primitive Stone’ and ‘Revelations’) between 2013 and 2016, progressing to their 2017 debut album ‘Spectral Ascent’. With their garage-sounding, 70s-style hard rock and Coven–inspired occult atmospheres draped over the bones of Black Sabbath and Blue Öyster Cult, the Spanish power trio has been well received among followers of the darkest sounds.

In early 2021, KABBALAH will come back to life with their sophomore full-length ‘The Omen’, an occult rock grimoire where sticky melodies, funerary riffs and liturgy vocals come together as an impressive and infectious breed of 70s heavy, doom and psych. It will be released through US independent label REBEL WAVES RECORDS, Ripple Music’s imprint for all things psychedelic, alt-rock, pop, post-punk and garage. Keep your eyes peeled for more info about ‘The Omen’ will come your way soon!

Kabbalah is:
Carmen (drums)
Marga (bass)
Alba (guitar)

https://www.facebook.com/Kabbalahrock
https://www.instagram.com/kabbalahband/
https://kabbalahrock.bandcamp.com/
https://www.facebook.com/Rebelwavesrecords/
http://www.rebelwavesrecords.bigcartel.com/
https://rebelwavesrecords.bandcamp.com/

Kabbalah, “Abomination”

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