Quarterly Review: King Woman, Mythic Sunship, Morningstar Delirium, Lunar Funeral, Satánico Pandemonium, Van Groover, Sergio Ch., Achachak, Rise Up Dead Man, Atomic Vulture

Posted in Reviews on July 19th, 2021 by JJ Koczan

the-obelisk-fall-2016-quarterly-review

Hey, how was your weekend? You won’t be surprised to learn mine was full of tunes, which I mark as a win. While we’re marking wins, let’s put one down for wrapping up the longest Quarterly Review to-date in a full 11 days today. 110 releases. I started on July 5 — a lifetime ago. It’s now July 19, and I’ve encountered a sick kid and wife, busted laptop, oral surgery, and more riffs than I could ever hope to count along the way. Ups, downs, all-arounds. I hope you’ve enjoyed the ride.

This day was added kind of on an impulse, and the point I’m looking to emphasize is that you can spend two full weeks reviewing 10 albums a day and still there’s more to be had. I’ve learned over time you’re never going to hear everything — not even close — and that no matter how deep you dig, there’s more to find. I’m sure if I didn’t have other stuff scheduled I could fill out the entirety of this week and then some with 10 records a day. As it stands, let’s not have this Quarterly Review run into the next one at the end of September/beginning of October. Time to get my life back a little bit, such as it is.

Quarterly Review #101-110:

King Woman, Celestial Blues

king woman celestial blues

After the (earned) fanfare surrounding King Woman‘s 2017 debut, Created in the Image of Suffering, expectations for the sophomore outing, Celestial Blues, are significant. Songwriter/vocalist Kris Esfandiari meets these head-on in heavy and atmospheric fashion on tracks like the opening title-cut and “Morning Star,” the more cacophonous “Coil” and duly punishing “Psychic Wound.” Blues? Yes, in places. Celestial? In theme, in its confrontation with dogma, sure. Even more than these, though, Celestial Blues taps into an affecting weight of ambience, such that even the broad string sounds of “Golgotha” feel heavy, and whether a given stretch is loud or quiet, subdued like the first half of “Entwined” or raging like the second, right into the minimalist “Paradise Lost” that finishes, the sense of burden being purposefully conveyed is palpable in the listening experience. No doubt the plaudits will be or are already manifold and superlative, but the work stands up.

King Woman on Facebook

Relapse Records website

 

Mythic Sunship, Wildfire

Mythic Sunship Wildfire

Mythic Sunship are a hopeful vision for the future of progressive psychedelic music. Their fifth album and first for Tee Pee Records, Wildfire offers five tracks/45 minutes that alternates between ripping holes in the fabric of spacetime via emitted subspace wavelengths of shredding guitar, sax-led freakouts, shimmer to the point of blindness, peaceful drift and who the hell knows what else is going on en route from one to the other. Because as much as the Copenhagen outfit might jump from one stretch to the next, their fluidity is huge all along the course of Wildfire, which is fortunate because that’s probably the only thing stopping the record from actually melting. Instrumental as ever, I’m not sure if there’s a narrative arc playing out — certainly one can read one between “Maelstrom,” “Olympia,” “Landfall,” “Redwood Grove” and “Going Up” — and if that’s the intention, it maybe pulls back from that “hopeful vision” idea somewhat, at least in theme, if not aesthetic. In any case, the gorgeousness, the electrified vitality in what Mythic Sunship do, continues to distinguish them from their peers, which is a list that is only growing shorter with each passing LP.

Mythic Sunship on Facebook

Tee Pee Records website

 

Morningstar Delirium, Morningstar Delirium

Morningstar Delirium Morningstar Delirium

I said I was going to preorder this tape and I’m glad I did. Morningstar Delirium‘s half-hour/four-song debut offering is somewhere between an EP and an album — immersive enough to be the latter certainly in its soothing, brooding exploration of sonic textures, not at all tethered to a sonic weight in the dark industrial “Blood on the Fixture” and even less so in the initial minutes of “Silent Travelers,” but not entirely avoiding one either, as in the second half of that latter track some more sinister beats surface for a time. Comprised of multi-instrumentalists/vocalist Kelly Schilling (Dreadnought, BleakHeart) and Clayton Cushman (The Flight of Sleipnir), the isolation-era project feeds into that lockdown atmosphere in moments droning and surging, “Where Are You Going” giving an experimentalist edge with its early loops and later stretch of ethereal slide guitar (or what sounds like it), while closer “A Plea for the Stars” fulfills the promise of its vocalists with a doomed melody in its midsection that’s answered back late, topping an instrumental progression like the isolated weepy guitar of classic goth metal over patiently built layers of dark-tinted wash. Alternating between shorter and longer tracks, the promise in Morningstar Delirium resides in the hope they’ll continue to push farther and farther along these lines of emotional and aural resonance.

Morningstar Delirium on Instagram

Morningstar Delirium on Bandcamp

 

Lunar Funeral, Road to Siberia

lunar funeral road to siberia

Somewhere between spacious goth and garage doom, Russia’s Lunar Funeral find their own stylistic ground to inhabit on their second album, Road to Siberia. The two-piece offer grim lysergics to start the affair on “Introduce” before plunging into “The Thrill,” which bookends with the also-11-minute closer “Don’t Send Me to Rehab” and gracefully avoids going full-freakout enough to bring back the verse progression near the end. Right on. Between the two extended pieces, the swinging progression of “25th Hour” trades brooding for strut — or at least brooding strut — with the snare doing its damnedest by the midsection to emulate handclaps could be there if they could find a way not to be fun. “25th Hour” hits into a wash late and “Black Bones” answers with dark boogie and a genuine nod later, finishing with noise en route to the spacious eight-minute “Silence,” which finds roll eventually, but holds to its engaging sense of depth in so doing, the abiding weirdness of the proceedings enhanced by the subtle masterplan behind it. Airy guitar work winding atop the bassline makes the penultimate “Your Fear is Giving Me Fear” a highlight, but the willful trudge of “Don’t Send Me to Rehab” is an all-too-suitable finish in style and atmosphere, not quite drawing it all together, but pushing it off a cliff instead.

Lunar Funeral on Facebook

Helter Skelter Productions / Regain Records on Bandcamp

 

Satánico Pandemonium, Espectrofilia

satanico pandemonium espectrofilia

Sludge and narcosadistic doom infest the six-track Espectrofilia from Mexico City four-piece Satánico Pandemonium, who call it an EP despite its topping 40 minutes in length. I don’t know, guys. Electric Wizard are a touchstone to the rollout of “Parábola del Juez Perverso,” which lumbers out behind opener “El Que Reside Dentro” and seems to come apart about two minutes in, only to pick up and keep going. Fucking a. Horror, exploitation, nodding riffs, raw vibes — Satánico Pandemonium have it all and then some, and if there’s any doubt Espectrofilia is worthy of pressing to a 12″ platter, like 2020’s Culto Suicida before it, whether they call it a full-length or not, the downward plunge of the title-track into the grim boogie of “Panteonera” and the consuming, bass-led closer “La Muerte del Sol” should put them to rest with due prejudice. The spirit of execution here is even meaner than the sound, and that malevolence of intent comes through front-to-back.

Satánico Pandemonium on Facebook

Satánico Pandemonium on Bandcamp

 

Van Groover, Honk if Parts Fall Off

Van Groover Honk if Parts Fall Off

Kudos to Van Groover on their know-thyself tagline: “We’re not reinventing the wheel, but we let it roll.” The German trio’s 10-track/51-minute debut, Honk if Parts Fall Off, hits its marks in the post-Truckfighters sphere of uptempo heavy fuzz/stoner rock, injecting a heaping dose of smoke-scented burl from the outset with “Not Guilty” and keeping the push going through “Bison Blues” and “Streetfood” and “Jetstream” before “Godeater” takes a darker point of view and “Roadrunner” takes a moment to catch its breath before reigniting the forward motion. Sandwiched between that and the seven-minute “Bad Monkey” is an interlude of quieter bluesy strum called “Big Sucker” that ends with a rickity-sounding vehicle — something tells me it’s a van — starts and “Bad Monkey” kicks into its verse immediately, rolling stoned all the while even in its quiet middle stretch before “HeXXXenhammer” and the lull-you-into-a-false-sense-of-security-then-the-riff-hits “Quietness” finish out. Given the stated ambitions, it’s hard not to take Honk if Parts Fall Off as it comes. Van Groover aren’t hurting anybody except apparently one or two people in the opener and maybe elsewhere in the lyrics. Stoner rock for stoner rockers.

Van Groover on Facebook

Van Groover on Bandcamp

 

Sergio Ch., Koi

Sergio Ch Koi

There is not much to which Buenos Aires-based singer-songwriter and multi-instrumentalist Sergio Chotsourian, aka Sergio Ch., is a stranger at this point. In a career that has spanned more than a quarter-century, he’s dipped hands in experimentalist folk and drone, rock, metal, punk, goth and more in varying prolific combinations of them. Koi, his latest full-length, still finds new ground to explore, however, in bringing not only the use of programmed drum beats behind some of the material, but collaborations with his own children, Isabel Ch., who contributes vocals on the closing Nine Inch Nails cover, “Hurt,” which was also previously released as a single, and Rafael “Raffa” Ch., who provides a brief but standout moment just before with a swirling, effects-laced rap tucked away at the end of the 11-minute “El Gran Chaparral.” If these are sentimental inclusions on Chotsourian‘s part, they’re a minor indulgence to make, and along with the English-language “NY City Blues,” the partial-translation of “Hurt” into Spanish is a welcome twist among others like “Tic Tac,” which blend electronic beats and spacious guitar in a way that feels like a foreshadow of burgeoning interests and things to come.

Sergio Ch. on Facebook

South American Sludge Records on Bandcamp

 

Achachak, High Mountain

Achachak High Mountain

Less than a year removed from their debut full-length, At the Bottom of the Sea, Croatian five-piece Achachak return with the geological-opposite follow-up, High Mountain. With cuts like “Bong Goddess,” “Maui Waui,” they leave little to doubt as to where they’re coming from, but the stoner-for-stoners’-sake attitude doesn’t necessarily account either for the drifty psych of “Biggest Wave” or the earlier nod-out in “Lonewolf,” the screams in the opening title-track or the follow-that-riff iron-manliness of “”Mr. SM,” let alone the social bent to the lyrics in the QOTSA-style “Lesson” once it takes off — interesting to find them delving into the political given the somewhat regrettable inner-sleeve art — but the overarching vibe is still of a band not taking itself too seriously, and the songwriting is structured enough to support the shifts in style and mood. The fuzz is strong with them, and closer “Cozy Night” builds on the languid turn in “Biggest Wave” with an apparently self-aware moody turn. For having reportedly been at it since 1999, two full-lengths and a few others EPs isn’t a ton as regards discography, but maybe now they’re looking to make up for lost time.

Achachak on Facebook

Achachak on Bandcamp

 

Rise Up, Dead Man, Rise Up, Dead Man

Rise Up Dead Man Rise Up Dead Man

It’s almost counterintuitive to think so, but what you see is what you get with mostly-instrumentalist South African western/psych folk duo Rise Up, Dead Man‘s self-titled debut. To wit, the “Bells of Awakening” at the outset, indeed, are bells. “The Summoning,” which follows, hypnotizes with guitar and various other elements, and then, yes, the eponymous “Rise Up, Dead Man,” is a call to raise the departed. I don’t know if “Stolen Song” is stolen, but it sure is familiar. Things get more ethereal as multi-instrumentalists Duncan Park (guitar, vocals, pennywhistle, obraphone, bells, singing bowl) and William Randles (guitar, vocals, melodica, harmonium, violin, bells, singing bowl) through the serenity of “The Wind in the Well” and the summertime trip to Hobbiton that the pennywhistle in “Everything that Rises Must Converge” offers, which is complemented in suitably wistful fashion on closer “Sickly Meadow.” There’s some sorting out of aesthetic to be done here, but as the follow-up just to an improv demo released earlier this year, the drive and attention to detail in the arrangements makes their potential feel all the more significant, even before you get to the expressive nature of the songs or the nuanced style in which they so organically reside.

Rise Up, Dead Man on Facebook

Rise Up, Dead Man on Bandcamp

 

Atomic Vulture , Moving Through Silence

Atomic Vulture Moving Through Silence

Yeah, that whole “silence” thing doesn’t last too long on Moving Through Silence. The 51-minute debut long-player from Brugge, Belgium, instrumentalists Atomic Vulture isn’t through opener “Eclipse” before owing a significant sonic debt to Kyuss‘ “Thumb,” but given the way the record proceeds into “Mashika Deathride” and “Coaxium,” one suspects Karma to Burn are even more of an influence for guitarist Pascal David, bassist Kris Hoornaert and drummer Jens Van Hollebeke, and though they move through some slower, more atmospheric stretch on “Cosmic Dance” and later more extended pieces like “Spinning the Titans” (9:02) and closer “Astral Dream,” touching on prog particularly in the second half of the latter, they’re never completely removed from that abiding feel of get-down-to-business, as demonstrated on the roll of “Intergalactic Takeoff” and the willful landing on earth that the penultimate “Space Rat” brings in between “Spinning the Titans” and “Astral Dream,” emphasizing the sense of their being a mission underway, even if the mission is Atomic Vulture‘s discovery of place within genre.

Atomic Vulture on Facebook

Polderrecords on Bandcamp

 

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Quarterly Review: Elara Sunstreak Band, Lost Breed, T.G. Olson, Acid Reich, White Powder, Hellish Form, Mosara, Tombstunner, Moanhand, Appalooza

Posted in Reviews on July 12th, 2021 by JJ Koczan

the-obelisk-fall-2016-quarterly-review

Second week, locked in and ready to roll. The message of today is that the Quarterly Review goes where it wants when it wants. If I’m steering this ship at all, it’s in only the most passive of ways. I hope you had a good weekend. I hope you spent it listening to killer music. I hope you managed to get all your reviews done. Ha.

So much good stuff to come this week. I’m looking forward to diving into it. And you know what? I did end up adding the extra day, so the Summer 2021 QR will go 11 days instead of 10, bringing it to 110 releases covered. Pretty sure that’s the longest I’ve ever gone.

Better get to it.

Quarterly Review #51-60:

Elara Sunstreak Band, Vostok I

Elara Vostok 1

True, Elara Sunstreak Band‘s second album and first for Sulatron Records, dubbed Vostok 1, is not a minor ask at four songs and 72 minutes. But by the time you’re through the 19:44 opener/longest track (immediate points) “Nexus,” the three-piece of bassist/vocalist Daniel Wieland, drummer Martin Wieland and guitarist/sitarist/synthesist Felix Schmidt have set their course outward and they continue to surprise along the way, from the shimmering Elder-style progressive guitar work in the title-track to the guest vocals of Felix Seyboth nodding at Blind Melon in the crescendo of sitar-laced closer “Orange October.” Even “On a Drink With Jim” manages to thrill with its blend of the terrestrial with the spacious, let alone its Doors homage as hinted in its title. These nuances meld with an overarching hypnosis to create a satisfying depth of presentation on the part of Elara Sunstreak Band, and it becomes all the more a far out journey worth taking.

Elara Sunstreak Band on Facebook

Sulatron Records webstore

 

Lost Breed, Speak No Evil

Lost Breed Speak No Evil

Classic doom metal from experienced practicioners of the art. Speak No Evil is kind of a curious release. Vinyl only as yet, and self-released by the band, it answers back to the group’s initial Hellhound Records run in the 1990s and also their 1989 Wino Daze demo that featured Scott “Wino” Weinrich on vocals around the same time he left Saint Vitus and restarted The Obsessed. Weinrich appears on vocals and lead guitar throughout the first half of Speak No Evil, fronting the catchy opener “My Way Out” as well as “Thrift Store Girl,” “Cradle to the Grave” and the double-kick-laced “Doom,” which is nothing if not aptly-titled, while guitarist Pat Lydon sings on “Snakebite,” the less outwardly political “Wake the Dead,” “Siren Song” and “Stalker,” the pairing of which feels intentional. One might think the two sides/two-frontmen thing would make the release uneven, or the fact that it was recorded across two coasts, but nah, it’s doom either way and these guys know what they’re doing. Don’t sweat it. Do hope it gets a wider release.

Lost Breed on Facebook

Pat Lydon on YouTube

 

T.G. Olson, T.G. Olson

T.G. Olson T.G. Olson

Though it’s been a minute as he’s reprioritized Across Tundras, embarked on other projects, relocated to Iowa, farmed, and so on, T.G. Olson has still put out enough records under his own name that to have one arrive as a self-titled is significant in itself. Sure enough and somewhat ironically for someone who’s done so much him-and-guitar work in the past, the nonetheless-unassuming 35-minute eight-tracker features more personnel and broader arrangements than one might expect. That’s hardly a detriment, as even the layers of voice on “Steal a Day” come through as benefitting from the attention to detail, and the harmonica-inclusive twang of “Scythe” has its blues all the more emphasized for the clarity of its strum, while closer “Downer Town” invites a singalong. Personnel varies throughout, but the contibutions of Abigail Lily O’Hara (vocals), Ben Schriever (guitar, bass) and Caleb R.K. Williams (synth, guitar, banjo) — all of whom feature in the latest incarnation of Across Tundras as well — aren’t to be understated, as identifiable as Olson‘s songcraft is at the core of this material.

Across Tundras/T.G. Olson on Bandcamp

 

Acid Reich, Mistress of the Perpetual Harvest

Acid Reich Mistress of the Perpetual Harvest

John McBain, Tim Cronin and Dave Wyndorf — in Dog of Mystery together at the time — would go on to form Monster Magnet a short time after, seemingly on a whim, Acid Reich‘s freakout Mistress of the Perpetual Harvest was put to tape in their rehearsal space as one of a number of “fake” weirdo projects. Listening to these five tracks, including likewise irreverent takes on “Set the Controls for the Heart of the Sun” and “Amazing Grace,” the feel here is like an acid psych treasure trove of Jersey Shore fuckery. Joining the trio were Ripping Corpse‘s Shaune Kelley and Joe Paone of hellSausage, and by their own admission, the audio’s a mess. It’s an archival tape dug up from 1989 — if you’re thinking you’re getting high fidelity, you’re missing at least one of the points of putting it out in the first place. Laced with acid culture samples that may or may not have been added after the fact, this is the first official release this material has ever gotten, and it’s nasty, raw, demo fare that, if it wasn’t so blown into the cosmos you’d call it punk rock. If that doesn’t sound right on to you, it’s probably your loss.

Guerssen Records on Bandcamp

Guerssen Records website

 

White Powder, Blue Dream

white powder blue dream

Based in Austin, Texas, and operatin as the four-piece of guitarist Jason Morales (also Tia Carrera), bassist Win Wallace, keyboardist Ezra Reynolds and drummer Jeff Swanson, White Powder recorded their whoa-this-shit-is-awesome mostly-instrumentalist debut LP, Blue Dream in 2014 and only now is it being at last pressed to vinyl. Given their chosen moniker, the 46-minute/nine-song session is perhaps surprisingly laid back, with the keys/synth and guitar coming together in mellow-prog style atop not-entirely-languid-but-not-overly-insistent grooves; all parties seeming geared toward immersion as much of self as for their listenership, be it in the piano of “Connemara” or the later fuzzer “Rula Jabreal,” where ripplng organ lines top the popping-snare rhythmic tension until the guitar pushes it over the edge of volume swell and wash. Some classic heavy for good measure in “Alice Walker,” but Blue Dream works best taken in its entirety, and listening to it that way, one only hopes they manage to do another in seven years or so. Or seven months. That’d work too. Extra points for the sleek-as-hell soul vocals in the Steely Dan cover “Dirty Work” on side B.

White Powder on Spotify

White Powder on Bandcamp

 

Hellish Form, Remains

Hellish Form Remains

Quarantine-era cross-country duo Hellish Form earn a Khanate comparison on their debut release, Remains, for their sheer unwillingness to pull back from the grueling, punishing tension they create in the slowly unfolding opener/longest track (immediate points) “Your Grave Becomes a Garden.” The dirge is so much forward that it makes the post-Bell Witch lead guitar mourning feel like an afterthought, and the screaming, echoing vocals shared between multi-instrumentalists Willow Ryan (Body Void) and Jacob Lee — who both recorded their parts at home — are a harsh reminder of the existential chaos serving as the background to these songs’ making. “Ache” is shorter and puts synth more forward, and “Shadows with Teeth” thicker and nastier if that’s possible, but through them and the 10-minute finale “Another World,” the feeling of dread, fear, and loss is palpable, and Remains is a fitting name for a record that feels so much like an aftermath.

Hellish Form on Facebook

Translation Loss Records website

 

Mosara, Mosara

Mosara Mosara

Mosara emerge from Phoenix, Arizona, with a sound that just as easily could’ve come down from the mountains as out of the desert, and that’s by no means a complaint. Big riffs promulgate their eight-song self-titled debut LP, and they bring forth aggro sludge undertones alongside lumbering rollout, rawly-captured in the recording but not lacking presence for that, as the mounted chug of “Cypher” demonstrates. Is it heavy enough to crash your hard drive? I’m not trying to lay blame on Mosara‘s riffs or anyone else’s, but apparently there’s only so much assault modern technology can take before falling victim. We’ll call that computer a sacrifice to the eight-minute “Earth God,” its crashing drums and deceptively spacious mix creating a cavernous largesse in spite of the barebones vibe that persists across the span, “Clay and Iron” and “Majestik XII” establishing the atmosphere early but not the full sonic reach of the band, whose plunge is made all the deeper by the High on Fire-style drive of “Oumuamua.” Doesn’t have to be a revolution to fuck you up.

Mosara on Facebook

Transylvanian Tapes on Bandcamp

 

Tombstunner, Call to the Void

Tombstunner Call to the Void

I don’t know if Grand Rapids, Michigan, yet has an officially designated “scourge,” but I’d be happy to see Tombstunner end up with the title. The band’s debut album, Call to the Void, reminds at once of fellow sneering Midwestern chicanery-bringers Bloodcow and also of early ’90s, Blind-era C.O.C., their tones refusing to give themselves over to one side or the other of the argument between metal and heavy rock. Marked out by considered and sometimes willfully clever lyrics, the record strikes with plenty of groove — plenty of “strike,” for that matter — and not an ounce of pretense on pieces like “ASH” or the later “Contempt’s Concrete,” which touches on harsher fare, but again, isn’t really keen to leave its rock foundation behind. They probably make the right choice in that. Eight-minute capper “The Last Ride” is catchy and weighted in kind, seeming to pack as much as possible into its finale as though to let there be no uncertainty the band has more to say. Fair enough. There’s growing to be done, but Call to the Void‘s untamed sensibility is ultimately a strength, not a weakness.

Tombstunner on Facebook

Tombstunner on Bandcamp

 

Moanhand, Present Serpent

moanhand present serpent

Sometimes there’s nothing like a good scream. Moscow-based Roman Filatov has one. The lone figure behind Moanhand can growl, and unlike many harsher metal vocalists, he can also sing, and does so readily across his band’s first album, Present Serpent, but god damn, that’s a good scream. Enviable. Comprised of six tracks, Present Serpent is as progressive as it is extreme, as doom as it is any number of other microgenres, and despite the formidable and varied nature of his performances throught — second track “The Charmthrower” has more scope than many bands do in an entire career arc — he does not fail to put songwriting first ahead of either technique or impact. Present Serpent will not hit a nerve with everyone, but the lumbering “Raw Blessings” and the atmosludge metal of finisher “The Boomering of Serpents,” calling back to opener “Serpent Soul (A Tale of Angels’ Slaughter)” in semi-blackened throb, just leaves me wondering why the hell not. On the level of Moanhand‘s forward potential alone — never mind any of the actual songs — it is a staggering debut.

Moanhand on Facebook

Moanhand on Bandcamp

 

Appalooza, The Holy of Holies

appalooza-the-holy-of-holies-cover

The percussion nuance and guitar lick nodding at Morricone in opener “Storm” amid all the post-Alice in Chains vocal arrangements should be a signal of the reach France’s Appalooza bring to their second LP and Ripple debut, The Holy of Holies. To wit, the subsequent “Snake Charmer” is off and careening almost immediately on its own path, and it’s commendable on the band’s part that where they go on the burlier “Reincarnation” and the more spacious “Nazareth” and the centerpiece “Conquest” — which starts out particularly hard-hitting and by the time it’s done is given over to standalone acoustic guitar without sounding disjointed in getting there — remains so seemingly even-handed in its delivery. Their material is considered, then. It proves no less so through the brash/tense “Azazael,” the desert-but-not “Distress” and “Thousand Years After,” which is a melodic highlight even among the many other surrounding. Tasked with summarizing, closer “Canis Majoris” answers “Conquest” with melancholy and heft, its ending satisfying in an emotional context in additing to being a well earned sonic payoff.

Appalooza on Thee Facebooks

Ripple Music website

 

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Starified Premiere “What If” Live Performance Video

Posted in Bootleg Theater on April 19th, 2021 by JJ Koczan

starified

What is it about a singing drummer that manages to be so gosh darn impressive? I’m not knocking singing guitarists or singing bassists, or singers, for that matter, but maybe it’s just the anomalous aspect. You don’t see a singing drummer every day, and even less often one who can really deliver melodies alongside the pattern of their drumming. I can think of a couple if I sit hard enough and try, but Vadim Ambartsumian of Starified deserves a place on that still-comparatively-short list for sure. The Starified drummer and lead vocalist is backed by guitarist Yuriy Berezovik on “What If” from the band’s Ripple-issued second album, Fat Hits (review here), which arrived amid the tumult of January with all the comforts of an okay-it’s-time-to-rock-and-roll-now heart worn on the three-piece’s collective sleeve.

Based in Moscow and completed by Dmitri Shurpakov on bass, Starified eschew most microgenre niche-picking in favor of a more straightforward heavy rock approach, with songwriting, melody and groove acting coherently together in order to get their sonic point across. The video premiering below for the aforementioned “What If” seems to have been captured live in the studio, and though the audio is produced — that is to say, you’re not hearing an unmixed, bootleg-style song; unless these guys are just that smooth, in which case they should do everything live all the time forever and save themselves and their recording engineers a lot of studio hours — the crispness of sound is unquestionably part of the band’s aesthetic. They use it to the song’s advantage, furthering the notion that the song is what it’s all about in the first place, which, once you hear the chorus, is a notion with which you’ll likely agree. And a good cause, at that.

I won’t keep you, but if you missed Fat Hits in your start-of-the-year winter hunkerdown, you get a solid four-minute sampler of the energy Starified bring to what they do here, and as far as endorsements go, that’s the one to heed.

Please enjoy:

Starified, “What If” official video premiere

New album ‘Fat Hits’ out now on Ripple Music: https://ripplemusic.bandcamp.com/album/fat-hits

With infectious hooks, knockout clean vocals from drummer Vadim Ambartsumian and an unabashed nod to late 90s heavy, the Moscow heavy trio takes no prisoner and conjures up an irresistible FM aura, having you hooked all throughout its 41 minutes of straight-up, energetic and headbang-inducing heavy.

Video production by LAPAKOTA (http://instagram.com/lapakota.prod?)
Audio production by Artem Shcherbakov

Starified are:
Vadim Ambartsumian – vocals, drums
Yuriy Berezovik – guitars
Dmitri Shurpakov – bass guitar

Starified on Thee Facebooks

Starified on Instagram

Starified on Bandcamp

Ripple Music on Thee Facebooks

Ripple Music on Bandcamp

Ripple Music website

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Moanhand to Release Present Serpent June 18; New Song Streaming

Posted in Whathaveyou on April 13th, 2021 by JJ Koczan

moanhand

Righteously produced and full in its arrangement, the one-man outfit Moanhand‘s album-opener and advance-single “Serpent Soul (A Tale of Angels’ Slaughter)” speaks well of the cross-genre heavy extremity to come. Devin Townsend-style proggy melodies swapped with vicious screams over fuzz-toned riffing? Yeah, I’m on board for that, thank you very much. Given what he’s doing in this first cut, I wouldn’t expect one song to speak for everything multi-instrumentalist/vocalist Roman Filatov is bringing to the record, but it makes an enticing lead-in for sure, and dude very clearly has his hands in multiple styles, which he brings together with marked fluidity. Might be a sleeper in terms of hype — too extreme for some, not enough for others — but I wouldn’t be surprised if Present Serpent turned a few heads. Some people like that in-between stuff. I count myself as one.

The PR wire brings details and the ever-crucial preorder link:

moanhand present serpent

MOANHAND /// Moscow-based Multi-Instrumentalist to Release Diverse Underground Debut this June

Present Serpent by Moanhand is released 18th June 2021 on Burning Shine

Preorders: https://linktr.ee/moanhand

Hailing from Moscow, musician/songwriter Roman Filatov is the one-man intermediary of rising metal behemoth, Moanhand.

Created in 2016 as a vehicle for Filatov to flex his musical muscle and classically tempered mind, he has since gone on to produce an imposing catalogue in recent years. Always under the radar and autonomous-in-action, his talents have culminated most recently in the release of Plague Sessions, an EP recorded live at Pentagram House Studio, in 2019. But 2021 will see the arrival of his biggest project yet.

“I’ve always tried to avoid putting myself into boxes when making music,” explains Filatov. “Present Serpent is definitely a hybrid of genres. It’s not just a doom, sludge or stoner album. There are a lot of different influences from black/death metal, post-metal, classical and even pop music. It’s as melodic as it is brutal.”

Written, arranged, performed and programmed by Filatov himself, there’s no question that as an album, Present Serpent is the apex of an almighty creative offering, and a truly dynamic piece of work that demands your attention.

Present Serpent will be officially released on 18th June 2021 on Burning Shine. New single ‘Serpent Soul (A Tale of Angels’ Slaughter)’ is out now and can be streamed below.

TRACK LISTING:
1. Serpent Soul (A Tale of Angels’ Slaughter)
2. The Charmthrower
3. Nightwings
4. Endless Embrace
5. Raw Blessings
6. The Boomerang of Serpents

https://www.facebook.com/moanhandband/
https://www.instagram.com/moanhandburns/
https://moanhand.bandcamp.com/

Moanhand, “Serpent Soul (A Tale of Angels’ Slaughter)”

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Quarterly Review: DVNE, Wowod, Trace Amount, Fuzzcrafter, Pine Ridge, Watchman, Bomg, White Void, Day of the Jackal, Green Druid

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

quarterly-review-spring-2019

Oh, hello there. Don’t mind me. I’m just here, reviewing another 10 records today. I did it yesterday too. I’ll do it again tomorrow. No big deal. It’s Quarterly Review time. You know how it goes.

Crazy day yesterday, crazy day today, but I’m in that mode where I kind of feel like I can make this go as long as I want. Next Monday? Why not? Other than the fact that I have something else slated, I can’t think of a reason. Fortunately, having something else slated is enough of one. Ha. Let’s go.

Quarterly Review #31-40:

DVNE, Etemen Ænka

dvne Etemen Ænka

It’s like Scotland’s DVNE threw all of modern heavy metal into a blender and hit “cohesive.” Etemen Ænka‘s lofty ambitions are matched indeed by the cohesion of the band’s craft, the professionalism of their presentation, and the scope of their second album’s 10 component tracks, whether that’s in the use of synth throughout “Towers” or the dreamy post-rock aside in “Omega Severer,” the massive riffing used as a tool not a crutch in “Court of the Matriarch,” closer “Satuya” and elsewhere, and even the interlude-y pieces “Weighing of the Heart,” “Adraeden” and the folkish “Asphodel” that leads into the finale. DVNE have made themselves into the band you wish Isis became. Also the band you wish Mastodon became. And probably six or seven others. And while Etemen Ænka is certainly not without prog-styled indulgence, there is no taking away from the significant accomplishment these songs represent for them as a group putting out their first release on Metal Blade. It’ll be too clean for some ears, but the tradeoff for that is the abiding sense of poise with which DVNE deliver the songs. This will be on my year-end list, and I won’t be the only one.

DVNE on Thee Facebooks

Metal Blade Records website

 

Wowod, Yarost’ I Proshchenie

Wowod Yarost I Proshchenie

Beginning with its longest track (immediate points) in the 11-minute “Rekviem,” Yarost’ I Proshchenie is the third full-length from St. Petersburg’s Wowod, and its sudden surge from ‘unfold’ to ‘onslaught’ is a legitimate blindside. They hypnotize you then push you down a flight of stairs as death growls, echoing guitar lines and steady post-metallic drum and bass hold the line rhythmically. This sense of disconnect, ultimately, leads to a place of soaring melody and wash, but that feeling of moving from one place to another is very much the core of what Wowod do throughout the rest of the album that follows. “Tanec Yarosti” is a sub-three-minute blaster, while “Proshschenie” lumbers and crashes through its first half en route to a lush soundscape in its second, rounding out side A. I don’t care what genre “Zhazhda” is, it rules, and launches side B with rampaging momentum, leading to the slow, semi-industrial drag of “Chornaya Zemlya,” the harsh thrust of “Zov Tysyachi Nozhey” and, finally, dizzyingly, the six-minute closer “Top’,” which echoes cavernous and could just as easily have been called “Bottom.” Beautiful brutality.

Wowod on Thee Facebooks

Church Road Records on Bandcamp

 

Trace Amount, Endless Render

trace amount endless render

The chaos of last year is writ large in the late-2020 Endless Render EP from Brooklyn-based solo industrial outfit Trace Amount. The project headed by Brandon Gallagher (ex-Old Wounds) engages with harsh noise and heavy beatmaking, injecting short pieces like “Pop Up Morgues” with a duly dystopian atmosphere. Billy Rymer (The Dillinger Escape Plan, etc.) guests on drums for opener “Processed Violence (in 480P)” and the mminute-long “Seance Stimulant,” but it’s in the procession of the final three tracks — the aforementioned “Pop Up Morgues,” as well as “S.U.R.V.I.V.A.L.” and “Easter Sunday” — that Gallagher makes his most vivid portrayals. His work is evocative and resonant in its isolated feel, opaque like staring into an uncertain future but not without some semblance of hope in its resolution. Or maybe that’s the dream and the dance-party decay of “Dreaming in Displacement” is the reality. One way or the other, I’m looking forward to what Trace Amount does when it comes to a debut album.

Trace Amount on Thee Facebooks

Trace Amount on Bandcamp

 

Fuzzcrafter, C-D

Fuzzcrafter C D

French instrumentalists Fuzzcrafter issued C-D in October 2020 as a clear answer/complement to 2016’s A-B, even unto its Jo Riou cover art, which replaces the desert-and-fuzz-pedal of the first offering with a forest-and-pedal here. The six works that make up the 41-minute affair are likewise grown, able to affect a sense of lushness around the leading-the-way riffage in extended cuts “C2” (13:13) and the psychedelic back half of “D2” (13:18), working in funk-via-prog basslines (see also the wah guitar starting “D1” for more funk) over solid drums without getting any more lost than they want to be in any particular movement. In those songs and elsewhere, Fuzzcrafter make no attempt to hide the fact that they’re a riff-based band, but the acoustic side-finales in “C3” (which also features Rhodes piano) and “D3,” though shorter, reinforce both the structural symmetry of the mirrored sides as a whole and a feeling of breadth that is injected elsewhere in likewise organic fashion. They’re not changing the world and they’re not trying to, but there’s a mark being left here sound-wise and it’s enough to wonder what might be in store for the inevitable E-F.

Fuzzcrafter on Thee Facebooks

Fuzzcrafter on Bandcamp

 

Pine Ridge, Can’t Deny

Pine Ridge Can't Deny

Pine Ridge‘s second album, Can’t Deny, finds the Russian four/five-piece working in textures of keys and organ for a bluesier feel to tracks like the post-intro opening title-cut and the classic feeling later “Genesis.” Songwriting is straightforward, vocals gritty but well attended with backing arrangements, and the take on “Wayfaring Stranger” that ends the record’s first half conjures enough of a revivalist spirit to add to the atmosphere overall. The four tracks that follow — “Genesis,” “Runaway,” “Sons of Nothing” and “Those Days” — featured as well on 2019’s Sons of Nothing EP, but are consistent in groove and “Sons of Nothing” proves well placed to serve as an energetic apex of Can’t Deny ahead of “Those Days,” which starts quiet before bursting to life with last-minute electricity. A clear production emphasizes hooks and craft, and though I’ll grant I don’t know much about Siberia’s heavy rock scene, Pine Ridge ably work within the tenets of style while offering marked quality of songwriting and performance. That’s enough to ask from anywhere.

Pine Ridge on Thee Facebooks

Karma Conspiracy website

 

Watchman, Behold a Pale Horse

watchman behold a pale horse

Plain in its love for Sabbath-minded riffing and heavy Americana roll, “Bowls of Wrath” opens the three-song Dec. 2020 debut EP, Behold a Pale Horse, from Indiana-based solo-project Watchman, and the impression is immediate. With well-mixed cascades of organ and steadily nodding guitar, bass, drums and distorted, howling vocals, there is both a lack of pretense and an individualized take on genre happening at once. The EP works longest to shortest, with “Wormwood” building up from sparse guitar to far-back groove using negative space in the sound to bolster “Planet Caravan”-ish watery verses and emphasize the relative largesse of the track preceding as well as “The Second Death,” which follows. That closer is a quick four minutes that’s slow in tempo, but the lead-line cast overtop the mega-fuzzed central riff is effective in creating a current to carry the listener from one bank of the lake of fire to the other. In 15 minutes, multi-instrumentalist/vocalist/producer Roy Waterford serves notice of intention for a forthcoming debut LP to be titled Doom of Babylon, and it is notice worth heeding.

Watchman on Instagram

Watchman on Bandcamp

 

Bomg, Peregrination

bomg peregrination

Bomg‘s Peregrination isn’t necessarily extreme the way one thinks of death or black metal as extreme styles of heavy metal, but is extreme just the same in terms of pushing to the outer limits of the aesthetics involved. The album’s four track, “Electron” (38:12), “Perpetuum” (39:10), “Paradigm” (37:17) and “Emanation” (37:49), could each consume a full 12″ LP on their own, and presented digitally one into the next, they are a tremendous, willfully unmanageable two-and-a-half-hour deep-dive into raw blowout dark psychedelic doom. The harsh rumble and noise in “Perpetuum” some 28 minutes on sounds as though the Ukrainian outfit have climbed the mountains of madness, and there is precious little clarity to be found in “Paradigm” or “Emanation” subsequent as they continue to hammer the spike of their manifestations deeper into the consciousness of the listener. From “Electron” onward, the self-recording Kyiv trio embark on this overwhelming journey into the unknown, and they don’t so much invite you along as unveil the devastating consequences of having made the trip. Righteously off-putting.

Bomg on Thee Facebooks

Robustfellow Productions on Bandcamp

 

White Void, Anti

white void anti

As much as something can fly under the radar and be a Nuclear Blast release, I’m more surprised by the hype I haven’t heard surrounding White Void‘s debut album, Anti. Pulling together influences from progressive European-style heavy rock, classic metal, cult organ, New Wave melodies and a generally against-grain individualism, it is striking in its execution and the clear purpose behind what it’s doing. It’s metal and it’s not. It’s rock and it’s pop and it’s heavy and it’s light and floating. And its songs have substance as well as style. With Borknagar‘s Lars Nedland as the founding principal of the project, the potential in Anti‘s eight component tracks is huge, and if one winds up thinking of this as post-black metal, it’s a staggeringly complex iteration of it to which this and any other description I’ve seen does little justice. It’s going to get called “prog” a lot because of the considered nature of its composition, but that’s barely scratching the surface of what’s happening here.

White Void on Thee Facebooks

Nuclear Blast Records store

 

Day of the Jackal, Day Zero

Day of the Jackal Day Zero

Leeds, UK, four-piece Day of the Jackal bring straight-ahead hard rock songwriting and performance with an edge of classic heavy. There’s a Guns ‘n’ Roses reference in “Belief in a Lie” if you’re up for catching it, and later cuts like “Riskin’ it All” and “‘Til the Devil” have like-minded dudes-just-hit-on-your-girlfriend-and-you’re-standing-right-there vibes. They’re a rock band and they know it, and while I was a little bummed out “Rotten to the Core” wasn’t an Overkill cover, the 10 songs of love and death that pervade this debut long-player are notably hooky from “On Your Own” to “Deadfall” and “Rock ‘n’ Roll Deathride,” which casually inhabits biker riffing with no less ease of movement than the band would seem to do anything else. Production by James “Atko” Atkinson of Gentlemans Pistols highlights the clarity of the performance rather than giving a rawer glimpse at who Day of the Jackal might be on stage, but there’s plenty of vitality to go around in any case, and it’s headed your way from the moment you start the record.

Day of the Jackal on Thee Facebooks

Day of the Jackal on Bandcamp

 

Green Druid, At the Maw of Ruin

green druid at the maw of ruin

Following their 2018 debut, Ashen Blood (review here), Denver heavy lifters Green Druid give due breadth to their closing take on Portishead‘s “Threads,” but the truth is that cover is set up by the prior five tracks of huge-sounding riffery, basking in the varying glories of stoner doom throughout opener “The Forest Dark” while keeping an eye toward atmospheric reach all the while. It is not just nod and crush, in other words, in Green Druid‘s arsenal throughout At the Maw of Ruin, and indeed, “End of Men” and “Haunted Memories” bridge sludge and black metal screaming as “A Throne Abandoned” offers surprising emotional urgency over its ready plod, and the long spoken section in “Desert of Fury/Ocean of Despair” eventually gives way not only to the most weighted slamming on offer, but a stretch of noise to lead into the closer. All along the way, Green Druid mark themselves out as a more complex outfit than their first record showed them to be, and their reach shows no sign of stopping here either.

Green Druid on Thee Facebooks

Earache Records website

 

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Pine Ridge Sign to Karma Conspiracy Records; Can’t Deny Due This Summer

Posted in Whathaveyou on March 12th, 2021 by JJ Koczan

Russian heavy blues rockers Pine Ridge will release their new album, Can’t Deny, through Italy’s Karma Conspiracy Records this summer. The full-length is their second overall behind 2016’s From Somewhere, to Nowhere…, and it follows a pair of EPs and the 2020 single “We Come Around.” That latter track — streaming below — will feature on the nine-song full-length, as well as a gruff take on “Wayfaring Stranger” and other sundry classic-heavy-via-blues originals.

Veterans of the esteemed Nasoni Records, the band pay particular attention to atmosphere despite being reasonably straightforward in their approach, and Can’t Deny is all the more stirring for that. I’m afraid I had to look up where Yekaterinburg is in Russia — headed east, in Siberia; it turns out it is Russia’s fourth largest city — but these guys are further proof that easy-to-dig heavy rock and crop up just about anywhere.

No exact release date for Can’t Deny, but Karma Conspiracy sent the signing announcement down the PR wire:

pine ridge

PINE RIDGE ENTER KARMA CONSPIRACY RECORDS ROSTER

OUT ON SUMMER 2021 THEIR DEBUT LP

These guys are lovers of everything from the 70’s: From classic rock vibes and psychedelic notes to stoner moments and jazzy keys, all fused into powerful blues-rock – that’s PINE RIDGE.

Formed in 2014 and based in Yekaterinburg, Russia, the band started its journey by making blues rock-inspired tunes in the university basement.

Since then they became real professionals, released their debut LP “From Somewhere, to Nowhere…” on vinyl by Berlin record label “Nasoni-Records”, went on numerous tours in Russia and performed at many festivals.

Now they have just finished working on their new LP called “Can’t Deny”, a crazy mix of various rock genres with allusions to Pink Floyd, Deep Purple including all those classic rock bands which made PINE RIDGE “sound like many bands and unlike anyone else at the same time.”

PINE RIDGE is a modern age band that combines classic rock traditions with their own unique style and flavour.

PINE RIDGE DEBUT LP CAN’T DENY, published and worldwide distributed by KARMA CONSPIRACY RECORDS, will be out on SUMMER 2021.

LINE UP
Vasiliy Pishchukhin (Lead/Vocals)
Michael Kislovskiy (Keys)
Konstantin Zakhlestin (Drums)
Boris Zhvakin (Sax)
Kate Keniaikina, Mr.T (Backing Vocals)

https://www.facebook.com/pineridgeband/
https://www.instagram.com/pineridgeband/
https://pineridgeband.bandcamp.com/
https://pineridgeband.com/
www.facebook.com/karmaconspiracyrecords
www.karmaconspiracy.it

Pine Ridge, “We Come Around”

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Starified Premiere “Don Loco” Video; Fat Hits Coming Jan. 15

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

Starified band 2020

Moscow-based heavy rockers Starified were part of a recent glut of pickups by Ripple Music, and they’ll make their debut on the label Jan. 15 with their third album overall, Fat Hits. The LP runs 10 tracks/41 minutes and is being given its first public airing today with a premiere of the band’s video for “Don Loco.”

Upon its arrival in a great unknowable future, Fat Hits will serve as the follow-up to Starified‘s 2018 outing through CSBR RecordsFeathers, which found the band restructured from the five-piece they were on their debut to a trio, with just guitarist Yuriy Berezovik and bassist Dmitri Shurpakov carried over from the original lineup on the prior 2017 self-titled debut. The newcomer in this pared down version of the group for Feathers was lead vocalist/drummer Vadim Ambartsumian, and he continues to make an impression Starified Fat Hitsas Starified strip away excess from their songwriting and refine their material in songs like “Wider Lane,” “An Ode to Tenacious D” and indeed “Don Loco” to an accessible blend of heavy and hard rock drawing from an array of influences modern and otherwise. There’s some glam in “An Ode to Tenacious D,” and yes, I mean that, but the later “Pick a Fight” delves into atmospherics for its verses before returning to ground for a breakout chorus.

Their songs are energetic, at times aggressive in that later-’90s grunge-is-over-what-do-we-do-now kind of way, as on “Saraton,” and while the penultimate “Noah” seems to show some patience in its rollout — at least until the screaming starts — the finale “Same Old River” is unabashed in its commercial readiness in a way that “Wider Lane” earlier hints toward. Does Russia have rock radio? If so, Starified have a single. A few, actually.

From the opening bruiser “Scapegoat” through “Don Loco” — the cinematic clip for which you can see below — and the sans-frills structures of “What If” and “Anti-Rebel,” Fat Hits is clean and sharp in its production and holds its purpose in the songcraft, but isn’t to be taken lightly in terms of performance. Less “a drummer who sings” than both a drummer and a vocalist, Ambartsumian casts a significant presence and is forward in the mix, but he, Berezovik and Shurpakov are all pretty clearly on the same page when it comes to knowing what they want their sound to do, and that would seem to be to engage as many ears as possible.

Like it says in the headline, Jan. 15 is the due date for Fat Hits. Think of the “Don Loco” video as a preview in the meantime.

And please enjoy:

Starified, “Don Loco” official video premiere

STARIFIED (hard rock, stoner, progressive) – a Moscow based power-trio with a singing drummer (est. 2017). The band members call themselves students of the old-school rock masters: from Led Zeppelin and Black Sabbath to Foo Fighters and Jack White. Their shows are known for mad expression and glamourous entourage. STARIFIED has already had two Russian tours, a European tour, lots of shows in their hometown – Moscow, released two LP’s, a number of live videos, produced their official music video and they keep on working on the new material.

Starified are:
Vadim Ambartsumian – vocals, drums
Yuriy Berezovik – guitars
Dmitri Shurpakov – bass guitar

Starified on Thee Facebooks

Starified on Instagram

Starified on Bandcamp

Ripple Music on Thee Facebooks

Ripple Music on Bandcamp

Ripple Music website

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The Grand Astoria Stream “Us Against the World”; From the Great Beyond out Nov. 30

Posted in Whathaveyou on October 23rd, 2020 by JJ Koczan

Three years between new releases isn’t at all uncommon, but for Russia’s The Grand Astoria, it would seem to be a bit longer than they’d prefer. At least if the “finally” below is anything to go by. Band founder and spearhead Kamille Sharapodinov hasn’t been idle since 2017’s many-pedaled The Fuzz of Destiny EP (review here), as other projects The Legendary Flower Punk and Slovo Mira have brought new outings to fruition, and even The Grand Astoria have posted a couple live recordings to Bandcamp, but for an act not strangers to putting out multiple releases the same year, I guess it’s fair enough they’d be ready to offer up something new. Hello, From the Great Beyond.

The EP has been given a Nov. 30 release digitally, and I’m not sure if there’s a plan for a physical version as yet, or if one is intended or what, but with the eight-minute “Us Against the World” currently streaming via Bandcamp and preorders up, I’m already wondering how much of an EP this is as opposed to an LP — entirely possible the other five tracks are all two minutes long; one never knows with The Grand Astoria and that’s why it’s fun — and already encouraged by the scope of the band’s continually progressive take on heavy rock and roll.

Note also “Ten Years Anniversary Riff” as a follow-up to “Eight Years Anniversary Riff” from The Fuzz of Destiny. May they continue that count.

Here’s info cobbled together:

the grand astoria from the great beyond

New music from The Grand Astoria finally!

Our EP “From the Great Beyond” will be out on November 30.

Listen to the first single and pre-order the digital version here: https://thegrandastoria.bandcamp.com/album/from-the-great-beyond-ep

Enjoy and spread the word please!

Tracklisting:
1. From The Great Beyond
2. Wasteland
3. Njanatiloka
4. Us Against the World
5. Anyhow
6. Ten Years Anniversary Riff

Recorded by Danila Danilov in Red Wave Studio (St.Petersburg). Mixed and Mastered by Nick Samarin in Orange Studio (Moscow).

The Grand Astoria are:
Kamille Sharapodinov – lead, rhythm and acoustic guitars, lead and backing vocals, percussion
Danila Danilov – lead and backing vocals, percussion, keyboards (2), recording and editing
Alexander Vorontsov – bass
Konstantin Smirnov – drums
Gleb Kolyadin – keyboards (1,3,4,5)
Igor Suvorov – lead guitar (3)
Kirill Ildyukov – lead guitar (4)
Denis Kirillov – flute
Boris Shulman – banjo (5), backing vocals (1,5)
Sophia Miroedova – artwork

https://facebook.com/thegrandastoria2009/
https://thegrandastoria.bandcamp.com/

The Grand Astoria, From the Great Beyond EP

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