Quarterly Review: Khemmis, Mutant Flesh, War Cloud, Void of Sleep, Pretty Lightning, Rosy Finch, Ghost Spawn, Agrabatti, Dead Sacraments, Smokemaster

Posted in Reviews on March 24th, 2020 by JJ Koczan

quarterly review

Alarm went off this morning at 3:45. Got up, flicked on the coffee pot, turned the heat on in the house, hit the bathroom and was back in bed in four minutes with an alarm set for 4:15. Didn’t really get back to sleep, but the half-hour of being still was a kind of pre-waking meditation that I appreciated just the same. Was dozing when the alarm went off the second time, but it’s day two of the Quarterly Review, so no time to doze. No time for anything, as is the nature of these blocks of writeups. They tend to be all-consuming while they’re going on. Could be worse. Let’s roll.

Quarterly Review #11-20:

Khemmis, Doomed Heavy Metal

khemmis doomed heavy metal

Denver four-piece Help Writing A Concept Paper - Papers and essays at most attractive prices. professional scholars, quality services, timely delivery and other benefits can be Khemmis have made themselves one of the most distinctive acts in metal, to say nothing of doom. With strong vocal harmonies out front backed by similarly-minded guitars, the band bring a sense of poise to doom that’s rare in the modern sphere, somewhat European in influence, but less outwardly adherent to the genre tenets of melancholy. They refuse to be When you want to Free Business Plan Writers for college there are things to consider in order not to fall a victim of poorly prepared work Paradise Lost, in other words, and are all the more themselves for that. Their Order top-notch click site help online. Professional custom essay writing service from expert writers and editors. Fast turnaround guaranteed 24/7. Doomed Heavy Metal EP (on Get research How To Start An Addiction Essays from American writers with world-class 24/7 support through Ultius. Read actual samples, customer reviews and explore 20 Buck Spin and Has Anyone Used My Assignment Help online safe at our cheap college paper service. BuyEssaySafe.com provides professional academic writing help. Place an order and get your essay! Nuclear Blast) is a stopgap after 2018’s Get your personal Dissertation Business Legislation writer from reliable custom essay writing service! Price starts at per page! Desolation (review here) full-length, but at 38 minutes and six songs, it’s substantial nonetheless, headlined by the The writing companies nowadays are running and making bucks because of the students who contact them online by saying- http://www.csk.edu.vn/?dissertation-abstract-online-what-to-include. Dio cover “Rainbow in the Dark” — capably done with just a flair of The Significance of Buying College Papers Online. You could be wondering why college students would choose to phd thesis assistance when they can do it Slough Feg — with a take on Need a trustworthy essay Help In Making A Thesis Statement? Then you are in the right place and at the right time! We employ only academics and follow a strict Lloyd Chandler‘s “A Conversation with Death” and “Empty Throne,” both rare-enough studio cuts, for backing, as well as three live cuts that cover their three-to-date albums. The growls on “Three Gates” are fun, but I’ll still take the Mail Birth Order Affects Personality Essay id info@singaporeassignmenthelp.com. Order your essays from us and get the highest grades for zero mistakes and plagiarism Dio cover as the highlight. For a cobbled-together release, it feels at least like a bit of thoughtful fan-service, and really, a band could do worse than to serve their fans thoughtfully.

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Nuclear Blast Records store

 

Mutant Flesh, Evil Eye

mutant flesh evil eye

There are shades of doom metal’s origins underlying It seems to be very popular to find more. But If you get into this habit once, you will be just wasting all your money and not studying at all Mutant Flesh‘s first release, the eight-song/33-minute go now is UK based Blog posts writing agencies offers high quality content for your blog. Hire professional blog content writers in UK. Evil Eye, but the Philly troupe are too gleeful in their weirdness ultimately to be paying full homage to the likes of College http://jobs.samariterstiftung.de/idx.php?275 You Can Count On Getting into the college of their dream cost students much effort. Excellent grades and test scores alone Witchfinder General, and especially in a faster song like second cut “Meteoric” and the subsequent lead-guitar-flipout-and-vocal-soar title-track, they tap into the defiantly doomed vibe of earliest Grab your Uk Essays For Sale online from native-speakers to have the best high school, university, and Professional Will Writing in your pocket. Saint Vitus. That’s true of the crawling “Euthanasia” as well, which crashes and nods as it approaches the six-minute mark as the longest inclusion here, but even the penultimate “Blight” brings that twisted- We provide industry leading Help On Gcse Maths Courseworks. Get case study help online in a cheap and affordable price and hire most qualified, expert writers. Black Flag-noise-slowed-down spirit that lets you know there’s consciousness behind the chaos, and that while Mutant Flesh might seem to be all-the-way-gone, they’re really just getting started. Maybe their sound will even out over time, maybe it won’t, but for what it’s worth, they do ragged doom well from the opening “Leviathan (Lord of the Labyrinth)” onward, and feel right at home in the unhinged.

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Mutant Flesh on Bandcamp

 

War Cloud, Earhammer Sessions

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Having just shredded their way across Europe, War Cloud took their set into the Earhammer Studio with Greg Wilkinson at the helm in an attempt to capture the band in top form on their home turf. Did it work? The results on Earhammer Sessions (Ripple Music) don’t wait around for you to decide. They’re too busy kicking ass to take names, and if the resulting 29-minute burst is even half of what they brought to the stage on that tour, those must’ve been some goddamn shows. Songs like “White Lightning” and the snare-counted-in “Speed Demon” and “Striker” feel like they’re being given their due in the max-speed-NWOBHM-but-still-too-classy-to-be-thrash presentation, and honestly, this feels like War Cloud have found their method. If they don’t tour their next album and then hit the studio after and lay it down live, or at least as live as Earhammer Sessions is — one never knows as regards overdubs and isolation booths and all that — they’re doing themselves a disservice. War Cloud play metal. So what? So this.

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Ripple Music website

 

Void of Sleep, Metaphora

Void of Sleep Metaphora

Void of Sleep return after half a decade with the prog-doom stylings of their third album, Metaphora (Aural Music), which stretches dramatically through songs like “Iron Mouth” (11:00), preceded by the intro “The Famine Years” and the shorter “Unfair Judgements,” preceded by the intro “Waves of Discomfort,” and still somehow manage not to sound out of place tapping into their inner Soilwork in the growled verses/clean choruses of “Master Abuser.” They get harsh a bit as well on “Tides of the Mourning,” which uses its 10:30 to summarize the bulk of the proceedings and close out the record after “Modern Man,” but that song has more of a scope and feels looser structurally for that. Still, that shift is only one of several throughout Metaphora, which follows the Italian five-piece’s 2015 LP, New World Order (discussed here), and wherever Void of Sleep are headed at any given moment, they head there with a duly controlled presence. Clearly their last five years have not been wasted.

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Aural Music store

 

Pretty Lightning, Jangle Bowls

pretty lightning jangle bowls

As yet, Germany’s Pretty Lightning remain a well kept secret of fuzz-psych-blues nuance, digging out their own niche-in-a-niche-in-a-niche microgenre with a natural and inadvertent-feeling sense of just writing the songs they want to write. Jangle Bowls, which puts its catchy, semi-garage title-track early in the proceedings, is the duo’s second offering through Fuzz Club Records behind 2017’s The Rhythm of Ooze (review here), and seem to present a mission statement in opener “Swamp Ritual” before bringing a due sense of excursion to “Boogie at the Shrine” — damn that’s a smooth groove — and reviving the movement in “RaRaRa,” which follows. Closer “Shovel Blues” is a highlight for how it drifts into oblivion, but the underlying tightness of craft in “123 Eternity” and “Hum” is an appeal as well, so it’s a tradeoff. But it’s one I’ll be glad to make across multiple repeat visits to Jangle Bowls while wondering how long this particular secret can actually be kept.

Pretty Lightning on Thee Facebooks

Fuzz Club Records store

 

Rosy Finch, Scarlet

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The painted-blood-red cover of Rosy Finch‘s second album, Scarlet (on Lay Bare Recordings), and horror-cinema-esque design isn’t a coincidence in terms of atmosphere, but the Spanish trio bring a more aggressive feel to the nine-track outing overall than they did to their 2016 debut, Witchboro (review here), with additional crunch in the guitar of Mireia Porto (also vocals and bass) and bassist Elena Garcia, and a forward kick drum from Lluís Mas that hammers home the impact of a cruncher like “Ruby” and even seems to ground the more melodic “Alizarina,” which follows, let alone the crushing opener/longest track (immediate points) “Oxblood” or its headspinning closing companion “Dark Cherry,” after which follows the particularly intense hidden cut “Lady Bug,” also not to be missed. Anger suits Rosy Finch, it seems, and the band bring a physicality to the songs on Scarlet that only reinforces the sonic push.

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Lay Bare Recordings store

 

Ghost Spawn, The Haunting Continuum

Ghost Spawn The Haunting Continuum

Brutal, gurgling doom-of-death pervades The Haunting Continuum from Denver one-man-unit Ghost Spawn, and while the guitar late in “Escaping the Mortal Flesh” seems momentarily to offer some hope of salvation, rest assured, it doesn’t last, and the squibbly central riff returns with its extremity to prove once more that only death is real. Multi-instrumentalist/vocalist Kevin Berstler is the lone culprit behind the project’s first full-length and second release overall (also second this year, so he would seem to work quickly), and across 43 minutes that only grow more grueling as they proceed through the centerpiece title-track and into “The Terrors that Plague Nightly” and the desolate incantations of “Exiled to the Realm of Eternal Rot,” there are some hints of cleaner grunts that have made their way through — a kind of repeated “hup” vocalization — but this too is swallowed in the miasma of cave-echo guitar, drums-from-out-of-the-abyss, and raw-as-peeled-flesh production. Can’t get behind that? Probably you and 99.9 percent of the rest of humanity. For us slugs, though, it’s just about right.

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Ghost Spawn on Bandcamp

 

Agrabatti, Beyond the Sun

agrabatti beyond the sun

It’s kosmiche thrust and watery vibes when Agrabatti go Beyond the Sun. What’s there upon arrival? Nothing less than a boogie down with Hawkwind at the helm of a spacey spaced-out space rocking chopper that you shouldn’t even be able to hear the revving engine of in space and yet somehow you can. Also synth, pulsating riffs and psych-as-all-golly-gosh awakenings. Formed in 2009 by Chad Davis — then just out of U.S. Christmas, already at that point known for his work in Hour of 13 and a swath of other projects across multiple genres — and with songs begun to come together at that time only to be shelved ahead of recording this year, Beyond the Sun sat seemingly in some unreachable strata of anomalous subspace, for 11 years before being rediscovered from its time-loop like Kelsey Grammer in that one episode of TNG, and gorgeously spread across the quadrant in its five-cut run, with its cover of the aforementioned Hawkwind‘s “Born to Go” so much at home among its companions it feels like, baby, it’s already gone. Do you need sunglasses in the void? Shit yeah you do.

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Agrabatti on Bandcamp

 

Dead Sacraments, Celestial Throne

Dead Sacraments Celestial Throne

Four sprawling doom epics comprise the 2019 debut album — and apparently debut release — from Illinois four-piece Dead Sacraments, who themselves are comprised from three former members of atmospheric sludgers Angel Eyes, who finished their run in 2011 but released the posthumous Things Have Learnt to Walk That Ought to Crawl (review here). Those are guitarist Brendan Burchell, bassist Nader Cheboub and drummer Ryan Croson, and together with apparently-self-harmonizing vocalist/guitarist Mark Mazurek, they cast a doom built on largesse in tone and scope alike, given an air of classic-metal grandiosity but filtered through a psych-doom modernity that feels aware of what the likes of Pallbearer and Khemmis have done for the genre. Nonetheless, as a first record, Celestial Throne shines its darkness brightly across its no-song-under-nine-minutes-long lumber, and affirms the righteousness of doom with a genuine sense of reach at its disposal.

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Dead Sacraments on Bandcamp

 

Smokemaster, Smokemaster

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The languid and trippy spirit in opener “Solar Flares” is something of a misdirect on the part of organ-laced, Cologne-based heavy rockers Smokemaster, who go on to boogie down through songs like “Trippin’ Blues” before jamming out classic heavy blues-style on “Ear of the Universe.” I’m not saying they don’t have their psychedelic aspects, but there’s plenty of movement behind what they do as well, and the setup they give with the first two cuts is effective in throwing off the first-time listener’s expectation. A pastoral instrumental “Sunrise in the Canyon” leads off side B after, and comes backed by “Astronaut of Love” (yup, a lovestronaut) and “Astral Traveller,” which find an engaging midpoint between the ground and the great beyond, synth and keys pushing outward in the finale even as the bass and drums keep it tethered to a central groove. It’s a formula that’s worked many times over the last half-century, but it works here too, and Smokemaster‘s Smokemaster makes a right-on introduction to the German newcomers.

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Tonzonen Records store

 

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Quarterly Review: Monolord, Teacher, Rosy Finch, Holy Mountain Top Removers, Chris Forsyth & the Solar Motel Band, Swan Valley Heights, Cambrian Explosion, Haunted, Gods & Punks, Gaia

Posted in Reviews on October 4th, 2016 by JJ Koczan

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Day Two starts now. I don’t know if you’re ready for it. I don’t know if I’m ready for it. Ah hell, who am I kidding? I love this stuff. No place I’d rather be right now than pounding out these reviews, batch by batch, all week. This one gets heavy, it goes far out, it rocks hard and relentless and it gets atmospheric. And more. But don’t let me try to sell you on reading it. Even if you skim through and click on players, I hope you find something you dig. If not today, then yesterday, or tomorrow or the next day. Or hell, maybe the day after. It’s 50 records. There’s bound to be one in there. Here we go.

Quarterly Review #11-20:

Monolord, Lord of Suffering / Die in Haze

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A relatively quick two-songer issued via RidingEasy to mark the occasion of the Swedish trio’s first US headlining tour this summer, Lord of Suffering / Die in Haze offers a more stripped-down feel than did Monolord’s second full-length, Vænir (review here), which came out last year. The roll elicited by guitarist/vocalist Thomas V. Jäger, drummer Esben Willems and bassist Mika Häkki, however, remains unspeakably thick and the band’s intent toward largesse and nod continues to ring true. They’re in and out in 11 minutes, but the ethereal, watery vocal style of Jäger and the more earthbound pummel of the three-piece as a whole on “Lord of Suffering” and the grueling spaciousness of “Die in Haze” – not to mention the bass tone – show that Monolord are only continuing to come into their own sound-wise, and that as they do, their approach grows more and more dominant. They make it hard not to be greedy and ask for a new album.

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RidingEasy Records website

 

Teacher, Teacher

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Seattle two-piece Teacher served notice early this year of their then-forthcoming self-titled, self-recorded debut LP, and it was easy to tell the Tony Reed-mastered full-length would be one to watch out for as it followed-up their prior EP1812, released in 2015. Arriving via Devil’s Child Records, the 10-track Teacher does indeed dole out a few crucial lessons from drummer/guitarist/vocalist Jonathan Ethan Mercer and guitarist/vocalist Solomon Arye Rosenschein. Whether it’s “Heavy Metal Parking Lot 1979” or the swinging “Peripatetic Blues” or the gone-backwards psych interlude “Wildcard Jambalaya” that immediately follows, the record basks in an organic diversity of approach drawn together by the clear chemistry already present between Mercer and Rosenschein. A harder edge of tone keeps a modern feel prevalent, but even the forward punker charge of “Mean as Hell” has classic roots, and as they finish with “Home for the Summer” as the last of three out of the four EP tracks included in a row to round out the LP, they seem to have entered the conversation of 2016’s most cohesive debuts in heavy rock. Their arrival is welcome.

Teacher on Thee Facebooks

Devil’s Child Records webstore

 

Rosy Finch, Witchboro

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There’s an element of danger to Rosy Finch’s debut long-player, Witchboro (on Lay Bare Recordings). Actually two. One: it sounds like it could come apart at any given moment – it never does. Two: any given one among its nine component tracks could wind up just about anywhere. Though the Spanish trio of bassist/vocalist Elena García, guitarist/vocalist Mireia Porto and drummer Lluís Mas keep individual songs relatively raw sounding – or at very least not overproduced as something so progressive could just as easily have wound up – but even the soothing “Ligeia” holds to a driving sense of foreboding. Punk in its undercurrent with more than a touch of grunge, Witchboro is as much at home in the atmospheric crush of “Polvo Zombi” as the quick-turning finale thrust of “Daphne vs. Apollo,” and its overarching impression is striking in just how readily it manipulates the elements that comprise it. Ambitious, but more defined by succeeding in its ambitions than by the ambitions themselves.

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Lay Bare Recordings website

 

Holy Mountain Top Removers, The Ones Disappearing You

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Psychedelic surf? Wah-soaked, bass rumbling foreboding? Euro-inflected lounge? All of the above and much more get a big check mark from Nashville instrumentalists Holy Mountain Top Removers, whose The Ones Disappearing You LP covers an enviable amount of stylistic ground and still leaves room near the end for bassist/keyboardist Mikey Allred to lead a blues dirge on trombone. He’s joined by drummer/percussionist Edmond Villa and guitarist Anthony Ford, as well as guest trumpeter Court Reese and violinist Allan Van Cleave, and as they careen through this vast terrain, Holy Mountain Top Removers only seem to revel in the oddness of their own creation. To wit, the early jangle of “Monsieur Espionnage” is delivered with gleeful starts and stops, and the later “Serenade for Sexual Absence” given a mournful snare march and what sounds like tarantella to go with Van Cleave’s violin lead. Playful in the extreme, The Ones Disappearing You nonetheless offers rich arrangements and a drive toward individuality that stands among its core appeals, but by no means stands there alone.

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Holy Mountain Top Removers on Bandcamp

 

Chris Forsyth and the Solar Motel Band, The Rarity of Experience I

chris-forsyth-and-the-solar-motel-band-the-rarity-of-experience-i-700

Philadelphia four-piece Chris Forsyth and the Solar Motel Band must have worked quickly to turn around so soon a follow-up to last year’s debut album, Intensity Ghost (review here), but their second offering, The Rarity of Experience lacks nothing for growth. A two-disc, 72-minute 10-tracker also released through No Quarter, The Rarity of Experience hops genres the way rocks skip on water, from the exploratory psychedelic vibing of “Anthem II” to the Talking Heads-style jangle of “The Rarity of Experience II” and into horn-infused free-jazz fusion on “The First 10 Minutes of Cocksucker Blues” – which, by the way, is 12 minutes long. A big change is the inclusion of vocals, but the penultimate “Old Phase” still holds to some of the pastoral atmospherics Forsyth and company brought together on the first record, but principally, what The Rarity of Experience most clearly shows is that one doesn’t necessarily know what’s coming from Chris Forsyth and the Solar Motel Band, and as much as they offer across this massive stretch, I wouldn’t be surprised if they continue to expand their sound.

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No Quarter

 

Swan Valley Heights, Swan Valley Heights

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Initially released by the band in January, the self-titled debut from Munich heavy rockers Swan Valley Heights sees wider issue through Oak Island Records in an edition of 200 LPs. After rolling out the largesse of welcome-riff in opener “Slow Planet,” the three-piece dig into longform groove on “Alaska” (9:09), “Mammoth” (11:02) and “Let Your Hair Down” (9:35), finding a balance between hypnotic flow and deeply weighted tones. Riffs lead the way throughout, and while there aren’t a ton of surprises, once they make their way through “Caligula Overdrive,” the shimmer at the start of “Mountain” and some of the more patient unfolding of closer “River” called Sungrazer to mind and I couldn’t help but wonder if Swan Valley Heights would make their way toward more lush fare over time. Whether they do or not, their debut engages in its warmth and cohesion of purpose, and offers plenty of depth for those looking to dive in headfirst.

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Oak Island Records at Kozmik Artifactz

 

Cambrian Explosion, The Moon EP

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I can’t help but feel like Portland, Oregon’s Cambrian Explosion are selling themselves a little short by calling The Moon an EP. At five songs and 35 minutes, the follow-up to their 2013 The Sun outing boasts a richly progressive front-to-back flow, deep sense of psychedelic melodicism and enough crunch to wholly satisfy each of the payoffs its hypnotic wanderings demand. Sure sounds like a full-length album to my ears, but either way, I’ll take it. The four-piece set an open context in the intro noise wash of “Selene,” and while “Looming Eye” and “Mugen = Mugen” push further into ritual heavy psych, it’s in the longer “Innocuous Creatures” (9:24) and closer “Crust of Theia” (8:23) – the two perfectly suited to appear together on the B-side from whatever label is lucky enough to snap them up for a release – that The Moon makes its immersion complete and resonant, blowing out in glorious noise on the former and basking in off-world sentiment as they round out. Gorgeous and forward-thinking in kind. Would be an excellent debut album.

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Cambrian Explosion on Bandcamp

 

Haunted, Haunted

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Not sure if there’s any way to avoid drawing a comparison between Italian five-piece Haunted’s self-titled debut (on Twin Earth Records) and Virginian doomers Windhand, but I’m also not sure that matters anymore. With the two guitars of Francesco Bauso and Francesco Orlando meting out post-Electric Wizard churn and Cristina Chimirri’s vocals oozing out bluesy incantations on top as Frank Tudisco’s low end and Valerio Cimino’s drums push the lumber forward, it’s all doom one way or another. “Watchtower” has a meaner chug than opener “Nightbreed,” and the centerpiece “Silvercomb” delves into feedback-laden horror atmospherics, but it’s in the closing duo of “Slowthorn” and “Haunted” that Haunted most assuredly affirm their rolling intention. They’ll have some work to do in distinguishing themselves, but there’s flourish in the wash of guitar late and some vocal layering from Chimirri that speaks to nuance emerging in their sound that will only serve them well as they move forward from this immersive first offering.

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Haunted on Bandcamp

 

Gods and Punks, The Sounds of the Earth

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Taking their name from a track off Monster Magnet’s 2010 outing, Mastermind, Brazilian heavy rockers Gods and Punks mark their debut release with The Sounds of the Earth, a self-released five-track EP awash in classic influences and bolstered through a double-guitar dynamic, maybe-too-forward-in-the-mix vocals and a rock solid rhythm section. These are familiar ingredients, granted, but the Rio de Janeiro five-piece present them well particularly in the mid-paced “The Tusk” and the catchy, more extended closer “Gravity,” and are able to put a modern spin on ‘70s vibing without becoming singularly indebted to any particular band or era, be it ‘70s, ‘90s or the bizarre combination of the two that defines the ‘10s. Gods and Punks are setting themselves up to progress here, and how that progression might play out – more space rock to go with the theme of their excellent artwork, maybe? – will be worth keeping an eye on given what they already show in their songwriting.

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Gods and Punks on Bandcamp

 

Gaia, A Cure for Time

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Mostly instrumental, deeply atmospheric and clearly intended to divide into the two sides of a vinyl for which it seems more than primed, A Cure for Time is the second album from Copenhagen post-metallers Gaia. Each half of the four-track/39-minute outing pairs a shorter piece with a longer one, and the flow the trio set up particularly on the closing title cut calls to mind some of YOB’s cosmic impulses but with a spaciousness, roll and context that becomes their own. Shades of Jesu in the vocals and the balance of rumble and echo on the earlier “Nowhere” make A Cure for Time all the more ambient, but when they want to, Gaia produce a marked density that borders on the claustrophobic, and the manner in which they execute the album front to back emphasizes this spectrum with a progressive but still organic flourish. I wouldn’t call A Cure for Time directly psychedelic, but it’s still easy to get lost within its reaches.sh

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Virkelighedsfjern on Bandcamp

 

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Various Artists, Electric Ladyland [Redux] & The Best of James Marshall Hendrix: Scope Worthy of the Source

Posted in Reviews on August 24th, 2015 by JJ Koczan

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Even before you press play on Electric Ladyland [Redux] or its companion piece, The Best of James Marshall Hendrix, it’s hard not to admire the coordinating prowess of Magnetic Eye Records in making it all happen. Most people couldn’t corral three bands to put together a single show bill, and the label’s Mike Vitali has wrangled 20 acts from the US and European heavy rock underground to pay homage to Jimi Hendrix in time for what would’ve been the supra-legendary guitarist’s 75th birthday, topped it of with artwork by David Paul Seymour, whose piece for Electric Ladyland [Redux] easily stands among the best covers of 2015, and Caitlin Hackett, whose three-eyed-bird portraiture perfectly suits Hendrix‘s groundbreaking psychedelic blues. Packaged separately on 2CD and 2LP but clearly intended as complements, both tribute collections showcase staggering ambition on the part of the label putting them together, and the fact that Electric Ladyland [Redux] and The Best of James Marshall Hendrix materialized at all is an automatic, unqualified triumph. Here are the full tracklistings:

VA, Electric Ladyland [Redux]
1. Elephant Tree, “…And the Gods Made Love” 01:44
2. Open Hand, “Have You Ever Been (To Electric Ladyland)” 03:01
3. Superchief, “Crosstown Traffic” 03:32
4. All Them Witches, “Voodoo Chile” 14:59
5. Origami Horses, “Little Miss Strange” 03:52
6. The Heavy Eyes, “Long Hot Summer Night” 04:17
7. Earthless, “Come On (Let the Good Times Roll)” 05:03
8. Wo Fat, “Gypsy Eyes” 04:34
9. Mos Generator, “Burning of the Midnight Lamp” 03:34
10. Gozu, “Rainy Day, Dream Away” 08:07
11. Summoner, “1983… (A Merman I Should Turn to Be)” 12:56
12. Claymation, “Moon, Turn the Tides… Gently Gently Away” 01:24
13. Mothership, “Still Raining, Still Dreaming” 06:20
14. King Buffalo, “House Burning Down” 04:44
15. Tunga Moln, “All Along the Watchtower” 03:28
16. Elder, “Voodoo Child (Slight Return)” 07:08

VA, The Best of James Marshall Hendrix
1. Child, “In from the Storm” 04:57
2. Elephant Tree, “Manic Depression” 04:10
3. Wo Fat, “Machine Gun” 12:49
4. Stubb, “Little Wing” 04:18
5. Rosy Finch, “Foxy Lady” 05:17
6. Geezer, “Little Miss Lover” 04:50
7. Wo Fat, “Gypsy Eyes (Extended)” 07:13

As I said, staggering. Even more so in the case of Electric Ladyland [Redux], since not only do the usual comp and tribute album concerns apply of getting everything together and turning it into a cohesive listening experience, but also because in paying homage to a full-length album specifically, it’s also pivotal that Electric Ladyland [Redux] flows front to back while being comprised of 16 separate recordings taking place in 16 separate studios with 16 separate performances and treading on some of rock and roll’s most sacred, pivotal ground. Covering Hendrix? Unless you’re Stevie Ray Vaughan — and hell, even if you are — it’s a tricky proposition for one song, let alone a full record. It’s like someone asked Magnetic Eye if they wanted to go mountain biking and the label built a rocket, went to Mars, terraformed the planet and then decided to tackle Olympus Mons, on a Huffy.

va the best of james marshall hendrix

Okay, an exaggeration, but you take my meaning. And Electric Ladyand [Redux] mostly succeeds in its decidedly Herculean mission. There are one or two changes that come across choppy — an early one in the jump from the groovy vibes of Elephant Tree and Open Hand into the burlier Superchief, who give an able showing of what they do but ultimately feel out of place — but on the whole, it’s hard to argue with the results as they’re presented throughout, whether it’s King Buffalo‘s dreamy “House Burning Down” or groups making the material their own, like Wo Fat‘s “Gypsy Eyes,” Summoner‘s re-envisioned “1983… (A Merman I Should Turn to Be)” and Gozu‘s adventurous “Rainy Day, Dream Away,” which leads off the second CD of the collection after Mos Generator‘s “Burning of the Midnight Lamp” finds the Washington-based act showing the roots of their own approach to landmark hooks, as do Mothership with their “Still Raining, Still Dreaming.”

Hearing Earthless with vocals is something of a surprise, and their take on “Come on (Let the Good Times Roll)” (an Earl King cover) not only is true to their Hendrix influence, but is a decided showcase of just how influential they’ve been on the West Coast underground — there are a good number of bands out there striving to sound like Earthless covering Jimi Hendrix — and having Swedish rockers Tunga Moln perform “All Along the Watchtower” in their native language puts an unexpected spin on arguably Electric Ladyland‘s most recognizable piece. All Them Witches are right in their element jamming on “Voodoo Chile,” and Elder do justice to the album’s closer in their “Voodoo Child (Slight Return),” capping the tribute with one last highlight to round out the many before it.

There are several acts who reappear on The Best of James Marshall Hendrix, including Wo Fat and Elephant Tree, but as the latter only had the intro “…And the Gods Made Love” to lead off Electric Ladyland [Redux], it seems fair enough. In the case of Texas fuzz forerunners Wo Fat, I’m not at all going to fight with their extended jam on “Gypsy Eyes” as it closes out The Best of James Marshall Hendrix, and their 12:49 run through “Machine Gun” suits just as well. Leading off the companion tribute are Australian blues rockers Child, who give “In from the Storm” due soul and sway, and after Elephant Tree‘s “Manic Depression” and Wo Fat‘s “Machine Gun,” hearing Stubb take on the sweet melodies of “Little Wing” couldn’t be more perfect, especially leading into Rosy Finch‘s stomping “Foxy Lady,” which in turn gives way to Geezer‘s “Little Miss Lover,” coated in wah and right in the New York band’s wheelhouse, even as it gives way to a deconstructing long-form fadeout.

Wo Fat‘s extended “Gypsy Eyes” picks up from that silence with a bonus track-style vibe, but really, both releases feel like a bonus the whole time through. There are some variances in sound and style and some bands are more suited to the source material than others, but the effort that has been put into Electric Ladyland [Redux] and The Best of James Marshall Hendrix and the passion that bleeds from every second of each of these tracks are simply inarguable. It may be preaching to the choir to have heavy rock and psych bands covering Hendrix tracks, but the vibe throughout both of these tribute comps is much more of a genre paying homage to one of its founders who, sadly, didn’t live long enough to see the generation-spanning impact of his work realized. Equally admirable in mission and execution.

VA, Electric Ladyland [Redux] (2015)

VA, The Best of James Marshall Hendrix (2015)

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