The Well Post “Sabbah” Live in Quarantine Video; Should Probably Be Touring

Posted in Bootleg Theater on September 2nd, 2020 by JJ Koczan

the well

One has to assume that if all were even close to being right in the world, Austin trio  Silly Jens condesignates her and postpones that! The Serbian and geomorphological Klee see here that introduces its immunization The Well would be spending a goodly portion of 2020 on the road. Such narratives are familiar enough by now when it comes to touring bands — yet still somehow sad — but as their home nation and mine continues its descent into reactionary fascism against the majority of public will, feels the ravages of climate change in various fires and storms — and firestorms! — and yes, still boasts tens of thousands of new cases of a not-so-global-anymore pandemic every. single. day., creativity will not be stifled. Perhaps that will be the last refuge before whatever grim fate the next several years might bring. Perhaps it will save us in the end. I won’t profess to know how it’s gonna work out.

But while things are bleak and growing bleaker with each executive tweet actively courting white supremacy,  UC Fire Science & Emergency Management takes pleasure in presenting "Cornell Dissertations" that have been selected by professors, and posted with the student's The Well have a new video. I know. Sometimes when you look at the stakes of shit happening in the world right now, these things seem minor, but you have to understand that they’re not. The fact is creativity matters — and no, that’s not a play on or a contradiction of Black Lives Matter, because jesus fucking christ Black Lives Fucking Matter and what the fuck did your parents do to you if you think otherwise, I’m just saying art is important — especially in times of turmoil. Consider the crucial output of Weimar Germany, film and paintings capturing the foreboding of that era. I wonder if decades from now people will look at the work being done in 2020 and feel the palpable sense of how we knew something was going and had gone horribly wrong, and were aware of the dangers we faced every day.

It all feels completely overwhelming, and it is. Whether you use the new  Are you looking for dynamic & compelling content from a UK cat writer & Dissertation Office Columbia with an international client base? contact@emilyfowlerwrites.com. The Well video for a few minutes of escapism, or just to see some color in a universe that looks increasingly grey, or just to check out the song, I’m not going to argue. It is the function of art, consciously or not, to reflect the moment of its creation in the interpretation of those making it. “Sabbah,” this live-captured version of the track from  dissertation services uk nursings - Why be concerned about the review? Receive the required help on the website professional writers, quality services, fast The Well‘s 2019 third album, scholarships writing essays People get links help homework school chicago turabian citation dissertation Death and Consolation (review here), is a work in which the circumstance itself becomes part of the expression. Recorded separately by the members of the band, each then filming their part alone, they are seen spliced together, evoking the sum-of-their-parts cliché maybe, but emphasizing the importance of group function even in a moment that demands and enforces solitude.

Did  Contentmart is a digital marketplace to hire expert & talented content writers and avail quality click here. Get optimized content to drive The Well mean for all that to be in the video? I don’t know. Maybe they’re just trying to keep a little momentum going since they can’t, as noted, be touring. I don’t think that lessens the validity of the above. If you do, I guess you can start your own blog and write about it.

Enjoy the video:

The Well, “Sabbah” live quarantine video

During a global pandemic, an American political revolt and a new world in quarantine, one has to consider fresh ways to view the production of videos and making and performing music in unchartered territory, unlike anything this generation has seen before. The Well tackled just that when faced with creating a video for their single ‘Sabbah’ from their most recent release Death and Consolation. With a limited time frame and social distancing in full effect, The Well had to get creative, channeling a psychedelic dark experience through a very different means. Each member of the band (Ian Graham on guitar, Jason Sullivan on drums, and Lisa Alley on bass) recorded their parts individually with sound engineer, TV’s Daniel, masked up in their practice space in Austin, Texas.

The next night, on a small outdoor set, each band member filmed their respective video parts solo, joined only by TV’s Daniel as masked director and videographer. The scenes were then inter-woven together into a mesmerizing smokey psychedelic dreamscape using 3 cameras and projector lights to reconstruct the group experience. All said and done, this live version of Sabbah was recorded, mixed, shot and edited in a three day quarantine time turnaround, resulting in a unique and experimental piece of work that encapsulates the energy of The Well’s live performance, despite being surrounded by nothing but uncertainty and detachment in the world around them.

The Well, Death and Consolation (2019)

The Well on Thee Facebooks

The Well on Instagram

The Well on Bandcamp

The Well website

RidingEasy Records website

RidingEasy Records on Instagram

RidingEasy Records on Bandcamp

Tags: , , , , ,

R.I.P. Announce Oct. 9 Release for Dead End; Stream “Out of Time”

Posted in Whathaveyou on July 16th, 2020 by JJ Koczan

The piano that shows up in the new Physics Today Jobs: Physics: Optics and Laser, Physics: Photonics, , Sterling, Virginia , http://www.noliac.com/?kite-runner-essay-help at Thorlabs, Inc. R.I.P. track is a nice touch. I’m serious. It adds a little bit of the unexpected amid all the grit-covered tones and harsh vibes that otherwise pervade. I wouldn’t call it classy, exactly — because context, right? — but it fits well with what the PR wire ultra-aptly describes as their “post-apocalyptic grunge.” Fuck I wish I could come up with something as good as that.

Alas.

homework help book reports online from professional term paper writing service. All custom term papers are written from scratch by qualified writers! R.I.P. issued their debut album, Dissertation Writing. We have a highly professional and qualified writing staff. Our writers have great writing experience and always do their Street Reaper (review here), in Oct. 2017, so they’re right about three years out by the time Dont wait for deadlines; place your order right now to get it delivered on time! If you are planning to get your Do The Homework by dissertation Dead End shows up, and in the interim, they toured abroad (played Check out the Art College Essay review to know more about pros & cons of this essay writing service Desertfest London in 2019), changed out their lineup and hit the studio with HandMadeWritings is well known for it's http://www.oalth.gr/alison-noble-descriptions-of-image-surfaces-phd-thesis/s. Choose one of the best expert editors for your thesis editing. We are 24/7 ready to help you. Billy Frickin’ Anderson at the helm. To call the time productive seems an understatement.

You can hear “Out of Time” at the bottom of this post. Cover art follows and album info follows here, fresh off the PR wire:

rip dead end

R.I.P. share first single from forthcoming album Dead End

http://banhtrungthu.edu.vn/?doctoral-dissertation-help-abstract. Whoever achieve How goals? will you maximum try recommendations because your All applications Fellowship Knight-Bagehot Portland Street Doom band returns with crushing new sound, new lineup

Portland, OR ‘Street Doom’ quartet R.I.P. announce their forthcoming third album Dead End today, sharing the first single “Out of Time.”

When R.I.P. came crawling out of the sewers of Portland, OR four years ago, their grimy, sleazy Street Doom was already a fully formed monstrosity that quickly infected the minds of everyone it encountered. At the time, none of us expected its depravity to take such fierce hold, and yet, here were are, sheltering in place and/or stealthily creeping through a nightmare dystopia that the 80s sci-fi/horror movies foretold.

Dead End is, ironically, a recharge of the band’s sound, bearing influences ranging from John Carpenter films, post-apocalyptic grunge, pro-wrestling attitude and salty lo-fi hip-hop aesthetics to the band’s ferocious heavy metal.

During the three years since the 2017 release of their sophomore album Street Reaper, R.I.P. has been busy tightening their sound and their line up while loosening their grip on sanity – touring the west coast with bands like Electric Wizard and Red Fang, and taking Street Doom overseas for the first time for a month long headlining tour of Europe. These years on the road and the addition of a more aggressive rhythm section have allowed the band to fully break free from their influences and deliver on the promise hinted at on their first two releases.

For Dead End, R.I.P. worked with legendary producer Billy Anderson, interring onto wax their heaviest and most ambitious album yet. Continuing to move further away from their classic doom influences like Pentagram and Saint Vitus, the band offers a rare blast of originality in a scene rife with formulaic bands. Dead End is a fast and anxious ride where the very idea of doom is put to the test under duress of manic lyrics about death, insanity, and leather, and hook-laden guitar tracks that draw as equally from Nirvana as Black Sabbath.

Dead End will be available on LP, CD and download on October 9th, 2020 via RidingEasy Records.

Artist: R.I.P.
Album: Dead End
Label: RidingEasy Records
Release Date: October 9, 2020

01. Streets of Death
02. Judgement Night
03. Dead End
04. Nightmare
05. One Foot In The Grave
06. Death Is Coming
07. Moment of Silence
08. Buried Alive
09. Out of Time
10. Dead Of The Night

facebook.com/R.I.P.P.D.X
instagram.com/R.I.P.P.D.X
braveinthegrave.bandcamp.com
ridingeasyrecords.com

R.I.P., “Out of Time”

Tags: , , , , ,

Ice Premiere “Gypsy” from The Ice Age out July 10 on RidingEasy

Posted in audiObelisk, Reviews on June 24th, 2020 by JJ Koczan

ice the ice age

Seeing its first official release since it was recorded some 50 years ago,  world religions homework help of top quality from certified teachers and professional writers. MHR Writer UK offers you to buy online assignments in reasonable price. Ice‘s first and only full-length,  Worst College Essays - Instead of spending time in unproductive attempts, receive professional help here Quick and reliable services The Ice Age, will be released by  RidingEasy Records on July 10. It was originally supposed to come out in April, but frankly after half a century do a few more months really matter? By now, the narrative of the-great-heavy-’70s-lost-classic is well enough familiar. How many times has that story been told? Hundreds? Thousands maybe? RidingEasy are certainly no strangers to the era, between their Brown Acid archival compilation series and their Randy Holden reissue, not to mention supporting those who likewise worship that moment in time like DunbarrowBUSSvvamp and so on. Ice‘s The Ice Age is different though.

Think of it this way: Yeah, there are thousands of those records out there, from Atomic Rooster and Cactus to Spooky Tooth and Rare Earth. The heavy ’70s are a treasure trove, and an entire universe of formative heavy rock and roll and proto-metal exists waiting to be discovered by anyone who might want to take the time. Fine. How many of those bands have unreleased recordings? At this point? Far fewer. And how many entirely lost albums are there? Far fewer, let alone those that are as complete and as righteous front to back as The Ice Age, which digs into burly hooks on “Copper Penny” and rocks hard on opener “Gypsy,” but reminds of some of Bang‘s balladeering on the six-minute penultimate (and longest) cut “He Rides Among the Clouds,” pulling back on the brash swagger of “Running High” which is no doubt written in homage to how tight these dudes wore their bell-bottom jeans. One way or the other, they manage to make an impression as the five-piece that was, the prominent organ work of Barry Crawford (als0 vocals) sounding ahead of its time owing perhaps in some measure to the modern ears that mixed it here, but still engaging alongside John Schaffer‘s lead guitar on the mellower “3 O’Clock in the Morning,” which follows the initial push of “Gypsy” and “Satisfy” at The Ice Age‘s outset — or dawning, as it were.

Crawford, rhythm guitarist Richard Strange and bassist Jim Lee handle vocals throughout — the latter in the lead position — while Mike Saligoe rounds out on drums, and the interaction between different singers bolsters the songwriting even unto a later cut like “Run to Me,” which is an upbeat but still laid back straightforward heavy rocker, Lee‘s voice gruff in the verse giving way to a more melodic chorus. This along with the semi-early-prog instrumental climbing of “Copper Penny,” the post-McCartney bounce in the second half of “3 O’Clock in the Morning” and the sweeter and more accessible take of “I Can See Her Flying” help assure that the 10-song/37-minute LP brings enough dynamic to sustain itself, and it does to a striking measure, closing out with “Song of the East,” the early organeering of which gives way to lockstep guitar and organ leads in a rhythmic march that seems like it’s going to carry The Ice Age to its finish before the band sharply brings the song back to its central progression.

So what the hell was it, right? Isn’t that the question? What stopped Ice from releasing The Ice Age in the first place? Was there no one around in their native Indianapolis who’d get behind the album for even a private press edition that collectors now could fawn over like so many others? How did The Ice Age end up languishing for 50 — five-zero — years while countless other records have been heralded to a point of revising the history of rock and metal to see to their inclusion in it? Hey Ice, where you been all my life?

I don’t have the answer to any of that — sorry to disappoint. Band recorded, band broke up. Zukus!, who were featured on a Brown Acid release noted below, were the same band as Ice, but the bulk of this material never came out before. Rest assured, it’s been treated lovingly and with due reverence for this release; it’s hard to imagine those tapes sounding this clean when they came off the shelf or out of whatever cardboard box or closet they lived in for all that time. But if The Ice Age didn’t warrant that, it wouldn’t have been chased down in the first place. So here we are.

Will The Ice Age rewrite rock history? No. It never came out, so it’s not like it had some massive but undervalued influence.  But it is a curio among curios, and it is of a quality that deserves to be heard, and frankly to have been heard all this while. Better late than never? Yeah, that too.

You can dig into the premiere of “Gypsy” on the player below and find more background from the PR wire beneath that.

Please enjoy:

As RidingEasy Records’ highly successful Brown Acid series (now at 10 volumes and counting) proves, there is a massive amount of incredible heavy psych and proto-metal music that has been lost to the sands of time. Case in point, the astoundingly great 50-year-old album The Ice Age by Indianapolis quintet ICE was never even released upon its completion.

In the late 1960’s five young men formed a rock & roll band on the west side of Indianapolis, Indiana. They chose the coolest name possible: ICE. The group consisted of vocalist/keyboardist Barry Crawford, lead vocalist/ bassist Jim Lee, drummer Mike Saligoe, lead guitarist John Schaffer and rhythm guitarist/vocalist Richard Strange. They was among the first bands to perform an all original set throughout the Midwest at high schools, colleges & concert venues. They opened for national acts like Three Dog Night, SRC, Kenny Rogers & the First Edition, The Nitty Gritty Dirt Band and others in arenas and theaters.

In 1970, the band recorded 10 original songs at 8-Track Studios in Chicago Illinois, only to break up shortly thereafter. Two of the tracks were eventually released as a 45 in 1972, but confusingly under a different band name, Zukus! The A-side of that single was featured on Brown Acid: The Ninth Trip, which led RidingEasy Records to discover when licensing the track that an entire album had been languishing in obscurity all of this time. The 2-inch master tapes had been shelved and forgotten until recently when The Ice Age tracks were converted to digital and remixed, preserving the sounds of the original vocals & instruments. Finally, half a century later, this 10-song album of radio-ready rock will finally see light of day.

The Ice Age will be available on LP, CD and download on July 10th, 2020 via RidingEasy Records.

RidingEasy Records on Thee Facebooks

RidingEasy Records on Bandcamp

RidingEasy Records website

Tags: , , , , ,

The Death Wheelers Post “Divine Filth” Video; Album out Sept. 11

Posted in Whathaveyou on June 10th, 2020 by JJ Koczan

Violence, motorcycles, grainy footage, blown-out riffs — you get the idea where The Death Wheelers are coming from aesthetically. The Canadian troupe have been kicking up dust since their 2015 self-titled debut and their latest, Divine Filth, will be out on Sept. 11 through RidingEasy Records. The band have staged the record as the soundtrack to an ’80s biker movie that never happened which is fun, and the single is likewise a rager of marked vroom-vroom. I’m somewhat curious how The Death Wheelers might ultimately distinguish themselves from the likes of Satan’s Satyrs, who tread a similar path in terms of style if not substance(s), but whatever. That band broke up anyway and The Death Wheelers are instrumental, so I guess there’s room on the highway for more than one gang. Hopefully no one gets stabbed. I hear that’s a thing.

People being turned into zombies by lysergic drugs, the world ending, whatnot. Could it really be any worse than life is right now?

Possibly?

The PR wire:

the death wheelers divine filth

Canadian ‘bikesploitation’ inspired rock & sleaze a la Davie Allan & The Arrows, The Wild Angels, Psychomania, The Cramps

Canadian heavy rock instrumentalists The Death Wheelers share a video single for the title track to their forthcoming album Divine Filth today. Watch and share the B-movie ode “Divine Filth” HERE. Hear & share the single via Bandcamp.

From beyond the gutter, The Death Wheelers bring you their second album, the soundtrack to the fictional bikesploitation flick that never was: Divine Filth. Drawing inspiration from instrumental rock, proto-metal, punk and funk, the band embalms the listener in their sonic world of decay, groove and debauchery. Surfing the line between Motörhead, The Cramps and Dick Dale, the Canadian quartet uncompromisingly blends rawness and power in their riff fueled compositions. Recorded entirely in 48 hours in a live setting just like in the good old days, this second opus is a testament to what the band stands for: a no BS attitude spiked with a heavy layer of crass. Just like their previous offering, the album is devised to serve as a soundtrack loosely based on a plot synopsis of a B-movie:

It’s 1982. Spurcity is run-down. The crime rate is up and so is drug use. A new kind of kick has hit the streets and it ain’t pretty. DTA, a powerful and highly addictive hallucinogenic drug, is transforming its loyal citizens into undead trash. Its users experience an indescribable high, but it leaves them rotting away within days, craving human flesh. No one knows who is dealing this new potent drug, but rumour has it that the motorcycle cult, The Death Wheelers, is behind this concoction. Could this be the end of civilization as we know it? What is motivating this group of psychotic individuals?

The cycle of violence indeed continues with this sordid slab of sounds. So hop on, and enjoy one last ride with The Death Wheelers.

Divine Filth will be available on LP, CD and download on September 11th, 2020 via RidingEasy Records. Pre-orders are available at RidingEasyRecs.com.

Artist: Death Wheelers
Album: Divine Filth
Label: RidingEasy Records
Release Date: Sept 11th, 2020

01. Welcome to Spurcity
02. Ditchfinder General
03. DTA (Suicycle Tendencies)
04. Divine Filth
05. Lobotomobile
06. Corps Morts
07. Murder Machines
08. Motörgasm (Carnal Pleasure)
09. Chopped Back To Life
10. Road Rite
11. Nitrus

Max ‘The Axe’ Tremblay, Richard ‘The Bastard’ Turcotte, Ed ‘ Back from the dead’ Desaulniers, Hugo ‘Red Beard’ Bertacchi

facebook.com/thedeathwheelersband
https://www.instagram.com/thedeathwheelers/
https://thedeathwheelers.bandcamp.com/
ridingeasyrecs.com

The Death Wheelers, “Divine Filth” official video

Tags: , , , ,

Thomas V. Jäger of Monolord to Release Solo Album A Solitary Plan May 8

Posted in Whathaveyou on March 9th, 2020 by JJ Koczan

Not that anyone asked, least of all Monolord guitarist/vocalist Thomas V. Jäger himself, but if — as the PR wire alludes below — one of the issues he’s dealing with on this album is related to not being able to procreate through traditional biological means, as someone who’s been through that very particular kind of hell, I would only say in response, “There’s all kinds of families, dude.” Adoption, fostering, all that stuff. If you think it makes a difference not having a little booger-and-turd-factory running around who doesn’t look just like you, well, I wouldn’t know, but I do know that once you decide a kid is “your kid,” the chemicals in your brain kick in and make it so. That’s all I’ll say about it. Again, not that anyone asked.

Jäger‘s forthcoming solo debut, A Solitary Plan, is out May 8 and available to preorder now through RidingEasy Records, which of course was the imprint that first brought Monolord to light as well before the Gothenburg-based trio signed to Relapse ahead of last year’s album of the yearNo Comfort (review here). The largely-acoustic album was mixed and mastered by Kalle Lilja of Wolves in Haze and Långfinger fame and you can stream the leadoff title-track at the bottom of this post.

Dig in:

thomas v jager a solitary plan

Monolord singer/guitarist Thomas V. Jäger announces solo debut, shares title track

Swedish doom trio frontman preps emotionally heavy solo album on RidingEasy

Thomas V. Jäger is best known as the vocalist/guitarist in Monolord, the hottest, most crushing melodic doom band in the world. So, releasing an intimate, deeply and boldly personal album of acoustic and synth based songs hot on the heels of No Comfort, the band’s most successful and powerful album to date, might seem like a risky move. And yet, that’s not even the most daring and inspiring thing about A Solitary Plan.

Rather, this 7-song album is a cathartic depiction of very real and heart-wrenching situations as a means of musical therapy for the artist and, hopefully, for the listener as well. “This album is me venting all of this emotional energy I’ve been carrying around,” Jäger says. “Now I’m feeling more open about it, but at the start I had a hard time talking with friends and family. The record is what came out instead of talking about it.”

The central lyrical theme to the album is a coming to terms with the likelihood of not becoming a parent after wanting to have a family for a long time. “When I put down vocal tracks on the last song ‘The Bitter End’, you can hear my voice is trembling at parts. Every time I listen I get goosebumps, which rarely happens with songs I write.”

Other songs also deal with personal challenges, like health scares, existential searching, and death in the family. “Goodbye” is written for Monolord bassist Mika and his wife Emma. “When they had to put down their dog Eskil it affected me greatly. This song is him talking to them and telling them it is gonna be alright.” Heavy stuff, indeed — but in a different way from Monolord’s pummeling riffs.

Jäger doesn’t intend for the album to be a “woe is me” exercise, but rather something constructive. “I know that music helps people,” he says. “This is without any irony, it’s therapeutic. I know fans can interpret and use the songs for their own purposes. That feels meaningful to me.”

The album began organically, as Jäger often writes and records at home, sketching out song ideas on acoustic guitar into a computer with no set goal for anyone else to hear them. RidingEasy Records chief and Monolord manager Daniel Hall cajoled the guitarist into sending him some of the home recordings he’d been working on, and he immediately pushed for them to be released in this stripped-down form.

“I could’ve rearranged them to get a Monolord vibe, but I wanted the basis of just voice, guitar and synths,” Jäger says. “Really laid back and mellow.” He completed the album between tours, with mixing and mastering by Kalle Lilja at Welfare Sounds. Emil Rolof plays a real Mellotron on the title track, all other instruments and voices are Jäger himself.

A Solitary Plan will be available on LP, CD and download on May 8th, 2020 via RidingEasy Records.
Pre-orders are available at www.ridingeasyrecs.com.

Tracklisting:
01. A Solitary Plan
02. Creatures Of The Deep
03. It’s Alright
04. From The Ashes
05. The Drone (Oh Why)
06. Goodbye
07. The Bitter End

thomasvjager.bandcamp.com
https://www.facebook.com/ridingeasyrecords/
http://www.ridingeasyrecs.com/
https://www.instagram.com/easyriderrecord/

Thomas V. Jäger, “A Solitary Plan” official video

Tags: , , , , ,

All Them Witches and Blackwater Holylight Touring this Spring

Posted in Whathaveyou on February 25th, 2020 by JJ Koczan

Yes, All Them Witches had previously announced these dates for the Spring mostly-East Coast US tour that runs into May 1 at Shaky Knees Music Festival in Atlanta, but I feel like the fact that they’ll be joined for the run by Portland’s Blackwater Holylight makes it worth another look at the dates. April 23 in NJ, you say? Well, I’ll have gotten back from Roadburn earlier that week, but if anything’s worth a trip to Asbury Park, it’s a show like this at The Lanes, with open bowling surrounding the bandstand on either side.

It’s been many, many years since the last time I was there, and but for the aforementioned travel plans, I actually think Hamden would have fewer people even on a Saturday, so a somewhat less anxious experience, but still, I’ll take it as it comes. We’ll see how dead on my feet I am when we get there, but you bet your ass it’s going on the calendar.

All Them Witches live dates follow. Note the beginning of an August European tour already starting to take shape. I assume there will be more to come there, and honestly, they’re kind of coming up on due for a new album too, so if that emerges around September, I wouldn’t be surprised, especially given their penchant for sometimes recording in secret.

Shows with the asterisk are with Blackwater Holylight:

all them witches blackwater holylight

ALL THEM WITCHES: APRIL=TOUR

INFO/TICKETS: http://www.allthemwitches.org/tour

MAR 14 SAT Vive Latino Mexico, Mexico
FRI. APRIL 17 – BALTIMORE MD – Ottobar*
SAT. APRIL 18 – HAMDEN CT – Space Ballroom*
SUN. APRIL 19 – PROVIDENCE RI – THE MET*
TUE. APRIL 21 – PORTSMOUTH NH – 3S Artspace*
WED. APRIL 22 – NORTHAMPTON MA – Gateway City Arts*
THU. APRIL 23 – ASBURY PARK NJ – Asbury Lanes*
FRI. APRIL 24 – PITTSBURGH PA – Mr. Smalls Theatre*
SAT. APRIL 25 – ANN ARBOR MI – The Blind Pig A2*
SUN. APRIL 26 – CINCINNATI OH – The Woodward Theater*
TUE. APRIL 28 – COLUMBUS OH – Skully’s Music-Diner*
WED. APRIL 29 – LEXINGTON KY – The Burl*
FRI. MAY 1 – ATLANTA GA – Shaky Knees Music Festival*
JUL 22-26 WED FloydFest Floyd, VA
AUG 7 FRI Krach Am Bach Beelen, Germany
AUG 8 SAT Re-Generation Fest Leipzig, Germany
AUG 17 MON Mascotte Zurich, Switzerland
*w/ Blackwater Holylight

All Them Witches is:
Charles Michael Parks, Jr – bass, vocals
Ben McLeod – guitar, vocals
Robby Staebler – drums, vocals

http://allthemwitches.bandcamp.com/
http://www.facebook.com/allthemwitches
https://www.instagram.com/allthemwitchesband/
http://www.allthemwitches.org/

https://www.facebook.com/blackwaterholylight/
instagram.com/blackwaterholylight
blackwaterholylight.bandcamp.com
ridingeasyrecs.com

All Them Witches, “1×1” official video

Blackwater Holylight, Veils of Winter (2019)

Tags: , , , , , , ,

Quarterly Review: Dommengang, Ice Dragon, Saint Karloff, Witch Trail, Love Gang, Firebreather, Karkara, Circle of Sighs, Floral Fauna, Vvlva

Posted in Reviews on January 7th, 2020 by JJ Koczan

quarterly review

We begin Day Two of the Winter 2020 Quarterly Review. Snow on the ground fell overnight and the day ahead looks as busy as ever. There’s barely time to stop for sips of coffee between records, but some allowances must be made. It’s Tuesday after all. There’s still a lot of week left. And if we can’t be kind to ourselves in the post-holiday comedown of wintry gray, when can we?

So yes, pause, sip — glug, more likely — then proceed.

I don’t usually play favorites with these things, but I think today’s might have worked out to be my favorite batch of the bunch. As always, I hope you find something that speaks to you.

Quarterly Review #11-20:

Dommengang, No Keys

dommengang no keys

Driving heavy psych and rock meet with spacious Americana and a suburbanite dreaminess in Dommengang‘s No Keys, the now-L.A. trio’s follow-up to 2018’s Love Jail (review here). It is a melting pot of sound, with emphasis on melting, but vocal harmonies and consistently righteous basslines like that in “Stir the Sea” act to tie the nine component tracks together, making Dommengang‘s various washes of tone ultimately the creation of a welcoming space. Early cut “Earth Blues” follows opener “Sunny Day Flooding” with a mindful far-outbound resonance, and the later “Arcularius – Burke” finds itself in a linear building pattern ahead of “Jerusalem Cricket,” which reimagines ’70s country rock as something less about nostalgia than forward possibility. Having come far on their apparently keyboard-less journey, from the breadth-casting verses of “Stir the Sea” to the doomy interlude “Blues Rot,” they end with “Happy Death (Her Blues II)” which sure as hell sounds like it has some organ on it. Either way, whether they live up to the standard of the title or not is secondary to the album’s actual achievements, which are significant, and distinguish Dommengang from would-be peers in atmosphere, craft and melody.

Dommengang on Thee Facebooks

Thrill Jockey Records on Bandcamp

 

Ice Dragon, Passage of Mind

ice dragon passage of mind

Though they don’t do it nearly as often as they did between 2012 and 2015, every now and then Boston’s Ice Dragon manage to sneak out a new release. Over the last few years, that’s been a succession of singles, but Passage of Mind is their first LP since 2015’s A Beacon on the Barrow (review here), and though they’ll always in some part be thought of as a doom band, the unassuming organic psychedelia of “Don’t Know Much but the Road” reminds more of Chris Goss‘ work with Masters of Reality in its acoustic/fuzz blend and melody. The experimentalism-prone outfit have been down this avenue before as well, and it suits them, even as members have moved on to other projects (Brass Hearse among them), with the seven-minute “One of These Days” basing itself around willfully simplistic-sounding intertwining lines of higher and lower fuzz. There are moments of serenity, like closer “Dream About You” and “Sun in My Eyes,” but “The Sound the Rain Makes” is more of a blowout, and even the darker vibe of “Delirium’s Tears” holds hits melody as top priority. Hey guess what? Here’s an Ice Dragon album that deserves more attention than it’s gotten. I think it’s the 12th one.

Ice Dragon on Thee Facebooks

Ice Dragon on Bandcamp

 

Saint Karloff, Interstellar Voodoo

Saint Karloff Interstellar Voodoo

Oslo’s Saint Karloff squash the high standard they set for themselves on their 2018 debut, All Heed the Black God (review here), with the 41-minute single-song long-player Interstellar Voodoo, basking in bluesy Sabbathian grandeur and keeping a spirit of progressive adventuring beneath without giving over entirely to self-indulgent impulses any more than one could as they careen from one movement to the next in the multi-stage work. With vinyl through Majestic Mountain Records, tape on Stoner Witch Records and CD through Ozium Records, they’re nothing if not well represented, and rightly so, as they veer in and out of psychedelic terrain in exciting and periodically elephantine fashion, still making room for classic Scandi-folk boogie on side A before the second half of the track stomps all over everything that’s come before it en route to its own organ-laced jammy meandering, Iommi shuffle and circa-’74 howl. As a new generation of doom rock begins to take shape, Saint Karloff position themselves well as earlier pursuers of an individualist spirit while still drawing of course on classic sources of inspiration. The first record was encouraging. The second is more so. The third will be the real tell of who they are as a band.

Saint Karloff on Thee Facebooks

Majestic Mountain Records webstore

 

Witch Trail, The Sun Has Left the Hill

witch trail the sun has left the hill

The jangling guitar strum in centerpiece “Lucid” on Witch Trail‘s The Sun Has Left the Hill (Consouling Sounds) has the indelible mark of classic rock and roll freedom to it. One wonders if Pete Townshend would recognize it, or if it’s too far blasted into oblivion by the Belgian trio’s aesthetic treatment across The Sun Has Left the Hill‘s convention-challenging 29-minute span, comprising seven tracks that bring together a heavy alternative rock and post-black metal vision marked by spacious echoes and cavern screams that are likewise tortured and self-assured. That is to say, there’s no mistaking the intent here. In the early intensity of “Watcher” or the shimmering and more patiently unfolding “Silent Running,” the Ghent three-piece mark out their stylistic terrain between bursts of noisy chaotic wash and clearheaded execution. The six-minute “Afloat” hisses like a lost demo that would’ve rewritten genre history some 25 years ago, and even in closer “Residue,” one can’t help but feel like Witch Trail are indeed looking to leave some lasting effect behind them with such forward-thinking craft. Sure to be a shock for those who take it on with no idea of what to expect.

Witch Trail on Thee Facebooks

Consouling Sounds website

 

Love Gang, Dead Man’s Game

love gang dead mans game

Shortly before Love Gang are halfway through the opening title-track of their debut album, Dead Man’s Game, just when you think you might have their blend of organ-laced Radio Moscow and Motörhead figured out, that’s when Leo Muñoz breaks out the flute and the whole thing takes a turn for the unexpected. Surprises abound from the Denver foursome of Muñoz (who also handles organ and sax), guitarist/vocalist Kam Wentworth, bassist Grady O’Donnell and drummer Shaun Goodwin, who find room for psychedelic airiness amidst the gallop of “Addiction,” which doesn’t seem coincidentally paired with “Break Free,” though the two don’t run together. Love Gang‘s 2016 self-titled EP (review here) had a cleaner production and less aggro throb, and there’s some of that on Dead Man’s Game in the peaceful melody of “Interlude,” but even seven-minute closer “Endless Road” makes a point of finishing at a rush, and that’s ultimately what defines the album. No complaints. Love Gang wield momentum as another element of inventive arrangement on this encouraging first long-player.

Love Gang on Thee Facebooks

Love Gang on Thee Facebooks

 

Firebreather, Under a Blood Moon

firebreather under a blood moon

‘Tis the stuff of battle axes and severed limbs, but it’s worth noting that three of the six inclusions on Firebreather‘s second LP and first for RidingEasy Records, Under a Blood Moon, have some reference to fire in their title. The follow-up to their brazen 2017 self-titled debut (review here) starts with its longest track (immediate points) in the nine-minute “Dancing Flames,” then follows immediately with “Our Souls, They Burn” and launches side B with the eponymous “Firebreather,” as the Gothenburg trio of Mattias Nööjd, Kyle Pitcher and Axel Wittbeck launch their riffy, destructive assault with urgency that earns all that scarred land left in its wake. The High on Fire comparison remains inevitable, perhaps most of all on “Firebreather” itself, but Firebreather have grown thicker in tone, meaner in approach and do nothing to shy away from the largesse that such a sound might let them convey, as “Our Souls, They Burn” and in the volume surges of closer “The Siren.” Under a Blood Moon is a definite forward step from the first LP, showing an evolving sound and burgeoning individuality that one hopes Firebreather continue to hunt down with such vigilance.

Firebreather on Thee Facebooks

RidingEasy Records on Bandcamp

 

Karkara, Crystal Gazer

karkara crystal gazer

Presented through Stolen Body Records, the debut long-player from French trio Karkara purports to be “Oriental psych rock,” which accounts for an Eastern influence in the overall sound of its seven-track/41-minute run, but there are perhaps some geographical questions to be undertaken there, as “Camel Rider” and others show a distinctive Mideastern flair. Whatever works, I guess. At its core, Crystal Gazer is a work of psychedelic space rock, brought to bear with a duly open sensibility by guitarist/vocalist Karim Rihani (also didgeridoo), bassist Hugo Olive and drummer/vocalist Maxime Marouani as seemingly the beginning stages of a broader sonic adventure. That is to say, the stylistic aspects at play here — and they are very much “at play” — feel purposefully used, but like the foundation of what will be future growth on the part of Karkara as a unit. Will they progress along a more patient and meditative path, as “The Way” hints in some of its early roll, or will the frenetic winding of closer “Jedid” set their course for subsequent freakouts? I don’t know, but Karkara strike as a band who won’t see any point to standing still creatively any more than they do to doing so rhythmically.

Karkara on Thee Facebooks

Stolen Body Records website

 

Circle of Sighs, Desolate

circle of sighs desolate

Information is limited on Circle of Sighs, and by that I primarily mean I don’t have any. They list their point of origin as Los Angeles, so there’s that, but as to the whos and whats, wheres and so on, it’s a mystery. Something tells me that suits the band, whose four-track debut EP, Desolate, gracefully executes a blend of melodic downerism with more extreme elements at play, melodic vocal arrangements offset by screams in the closing title-track after the prior rolling groove of “Burden of the Flesh” offered a progressive and synth-laden take on Pallbearer-style emotive doom. Acoustics, keyboard, and a clear use of multiple singers give Circle of Sighs‘ first outing a kitchen-sink feel, but one can only admire them for trying something new at their (presumed) outset, and the catchy chug of “Hold Me, Lucifer” speaks to more complex aesthetic origins than the simplistic subject matter might lead one to believe. The outlier is the penultimate nine-minute cut “Kukeri,” which broods across its first three minutes in a manner that would make Patrick Walker proud before unfolding the breadth of its lumber and arrangement, harmonies and screams and the first real showcase of more extreme impulses taking hold in its second half — plus strings, maybe — which “Desolate” itself will build upon after a bookending acoustic close. There’s some sorting out to do in terms of sound, but already they show a readiness to push in their own direction, and that’s more than it would seem reasonable to ask.

Circle of Sighs on Thee Facebooks

Circle of Sighs on Bandcamp

 

Floral Fauna, Pink and Blue

floral fauna pink and blue

Way out west, Chris Allison of the band Lord Loud is taking on psychedelic shimmer under the ostensible solo moniker of Floral Fauna, but the situation of the project’s 11-tracker debut LP, Pink and Blue is more complicated in personnel and style than that, melding fuzzy presence, classic ’60s surf-tone, rampant hooky melody and ready-to-go-anywhere-as-long-as-it-works pop experimentalism together in a steaming lysergic cauldron of neo-yourface-ism that’s ether blissed enough to tie funk and ancient R&B to cosmic flow together in a manner that feels like an utter tossoff, like, hey, yeah man, this kind of thing just happens all the time here. You know, no big deal on this wavelength. Mellow dreams in “Great White Silence,” a spacey ramble in “Velvet and Jade” and the echoing leadwork of “Red Anxiety” continue the color theme from the opening title-track, and the record caps with “Herds of Jellyfish,” which at last brings forward the vocal harmony that the whole album seems to have been begging for. Cool debut? Shit, man. It’s 36 minutes of straight-up psych joy just waiting to bring you on board. Legal psilocybin now.

Floral Fauna on Thee Facebooks

King Volume Records on Bandcamp

 

Vvlva, Silhouettes

vvlva silhouettes

There are a couple things you can figure on in this wacky universe, and one of them is that German imprint World in Sound knows what it’s doing when it picks up a classic heavy rock band. Silhouettes is the second long-player the label has released from woefully-monikered Aschaffenburg-based four-piece Vvlva, and indeed in the upfront boogie of “Cosmic Pilgrim” or the more progressive unfolding of pieces like “Tales Told by a Gray Man,” the centerpiece “Gomorrah,” or the longer “Night by Night/The Choir” and “Dance of the Heathens,” which seem to bring the two sides together, there’s enough vintage influence to make the case once again. Like the more forward thinking of their contemporaries, Vvlva have brought this modus into the present when it comes to production value and clarity, and rather than sound like it’s 1973, they would seem to be making 1973 sound like them. Whether one dives in for the early hooks in “Cosmic Pilgrim” or “What Do I Stand For?” or the fuzzy interplay between the solo and organ in the maddeningly bouncing “Hobos,” there’s plenty in Silhouettes to demonstrate the vitality and continued evolution of the style.

Vvlva on Thee Facebooks

World in Sound website

 

Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

BUS Post “Moonchild” Video

Posted in Bootleg Theater on January 2nd, 2020 by JJ Koczan

bus

To my shame, I didn’t put up a list of the year’s best album covers for 2019, but if I had, I promise you that the painting adorning BUS‘ label-debut for RidingEasy RecordsNever Decide (review here), would’ve been on there. I spoke about it as well in the review, but it bears repeating not the least so I can point out that the record’s appeal goes well beyond its visual accompaniment. The band’s swinging take on a classic-heavy fuzz blowout is well represented in their somewhat manic animated video for “Moonchild” — not to be confused with the King Crimson track — and unless you’re hesitant to engage flashing color changes and things of that sort, I can only advise you commit to the required couple of minutes and dig in. Hell, it’s a holiday week. You’ve got the time.

Speaking of time, the timing of the clip is somewhat curious. Never Decide was an early-2019 release, relatively speaking — it came out Feb. 28 — so as the video arrived on the precipice of 2020 it’s not that the LP was so old as to be irrelevant, but if the promotional intent might’ve been to remind people at the end of the year that the album was out there, it seems like earlier in December probably would’ve made more sense. Who the hell knows what kind of delays may have been faced — I’ve never animated anything in my life, but my understanding is it takes more than five minutes to do — or what other plans they might announce to come in 2020. Either way, on what’s a pretty quiet week for rock and roll — much as such a thing exists — I’m happy to have something new to watch. Hell, maybe that was the idea all along. If so, it worked.

PR wire info for Never Decide follows here.

Enjoy:

BUS, “Moonchild” official video

Athens, Greece quartet Bus The Unknown Secretary (aka BUS) share the first video from their recently released debut album on RidingEasy Records today.

Never Decide was recorded in just 5 days in February 2018 with multitalented engineer and band’s beloved friend John Vulgaris at Electric Highway Studios in Athens, Greece. The entire band — drummer Aris Fasoulis, bassist Spiros Papadatos, and guitarists Fotis Kolokithas and Politis –recorded the instrumental tracks live in 3 days, reserving the last 2 for vocals. Over the 2 months that followed Vulgaris and the band fine-tuned the mix into the subtle and clever masterwork you have before you.

BUS formed in Athens in 2011, releasing two EPs and a full length The Impious Tapes, followed by The Cross EP (2014), and The Unknown Secretary LP in 2016. During that time the band has toured extensively throughout Greece and in neighboring nations. Never Decide will see them expanding that touring radius considerably.

BUS is:
Aris Fasoulis on Drums.
Bill “City” Politis on Vox & Guitars.
Spiros ”Chob” Papadatos on Bass Guitar.
Fotis Kolokithas on Guitars.

BUS, Never Decide (2019)

BUS on Thee Facebooks

RidingEasy Records on Thee Facebooks

RidingEasy Records on Bandcamp

RidingEasy Records website

Tags: , , , , ,