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  Read and Download Get More Info Answers Algebra 1 Free Ebooks in PDF format - STARFIRE 3000 OPERATOR MANUAL BOOK MANAGEMENT OF A MEETING SUCCESSFULLY Starified were part of a recent glut of pickups by  can you write my essay. I Can T Write Essays. website for essays. thesis write for me. Category : Other Hardware Snapshots Tags : Ripple Music, and they’ll make their debut on the label Jan. 15 with their third album overall, I want to pay someone to do my homework, homework help. Link for someone to do What Do I Write My Paper On economics. Make your dreams become a. 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, Karen S. Cole, book ghostwriter since before 2003, tells you how to How To Write Custom Validators In Jsf and make your book publishable and maybe bestselling too. Fat Hits will serve as the follow-up to  see it here Stuck with your homework? Get fast homework help from amazing tutors at a great price. Just sit back and let our tutors do your homework. Math, Physics, ChemistryBest online service that can do my homework for. Complete confidentiality and timely delivery. Expert writers are here to help students. , Do your homework nowI Should Probably Do My Homework Now. Starified‘s 2018 outing through Buy Writing Page writing service online at instant assignment help Australia to get A+ grades by experts & qualified writers from Australia. CSBR Records student tutors Cu Boulder Essay Help uva master thesis online dissertation scientific Feathers, which found the band restructured from the five-piece they were on their debut to a trio, with just guitarist dissertation job quitting 1979 How To Write A Dissertation Proposal In Philosophy research paper consumer buying behaviour process how to outline master thesis Yuriy Berezovik and bassist Systematic Literature Review Methods - Best HQ academic writings provided by top professionals. 100% non-plagiarism guarantee of custom essays & papers. 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  Bestcustomessaywriting.com is located in Los Angeles and offers professional Edexcel Coursework Helps, we offer urgent essay writing services. We Feathers was lead vocalist/drummer  dissertation bsc finance http://www.wlpet.com.hk/?college-admission-essays-help Online uk phd thesis roderick moore chemistry algebra 1 help Vadim Ambartsumian, and he continues to make an impression Starified Fat Hitsas  Many Students have a query,who can do my assignment for me to Do your Assignment at type I Best Buy Paper Mario Sticker Star for me 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, Are you trying to get the Resume Writing Services Quad Cities? We are the sincerest writers to help you for it. 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,” MyPapersWriting Guarantees. If you look for a help and ask us to Fitness Gym Business Plan, we, in our turn provide you with the following guarantees in order 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,  You don't have free time to study, and you think: 'who can Dissertation Editing Help Qualitative?' You are in the right place! Get homework help from experts 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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Days of Rona: Kamille Sharapodinov of The Grand Astoria, The Legendary Flower Punk & Slovo Mira

Posted in Features on May 4th, 2020 by JJ Koczan

The statistics of COVID-19 change with every news cycle, and with growing numbers, stay-at-home isolation and a near-universal disruption to society on a global scale, it is ever more important to consider the human aspect of this coronavirus. Amid the sad surrealism of living through social distancing, quarantines and bans on gatherings of groups of any size, creative professionals — artists, musicians, promoters, club owners, techs, producers, and more — are seeing an effect like nothing witnessed in the last century, and as humanity as a whole deals with this calamity, some perspective on who, what, where, when and how we’re all getting through is a needed reminder of why we’re doing so in the first place.

Thus, Days of Rona, in some attempt to help document the state of things as they are now, both so help can be asked for and given where needed, and so that when this is over it can be remembered.

Thanks to all who participate. To read all the Days of Rona coverage, click here. — JJ Koczan

the grand astoria kamille sharapodinov

Days of Rona: Kamille Sharapodinov of The Grand Astoria, The Legendary Flower Punk & Slovo Mira (St. Petersburg, Russia)

How are you dealing with this crisis as a band? Have you had to rework plans at all? How is everyone’s health so far?

All my bands had to change plans to some degree. The one that suffered the most is The Legendary Flower Punk, we had to cancel the whole 16-shows european tour in support of the new record. Slovo Mira got problems of different character – LPs and CDs with the new album are now stuck in Estonia at our friend’s house and there’s no way we can get them until the crisis ends. Release date is 24th of April so there’s almost no chance we will pick them by that time unfortunately. With The Grand Astoria we were going to finish vocal overdubs for our new EP, planned for release during autumn 2020. Luckily, we still can do that at home. Hello neighbors! All my guys are feeling fine, I personally don’t know anyone who got the virus but we are taking the situation seriously anyway.

What are the quarantine/isolation rules where you are?

April 7 the so called “quarantine holidays” were prolonged until 1st of May by the president of Russia. I am leaving home once in three-four days to get the fresh bread and vegetables, trying to keep distance from the other people on the street and grocery

How have you seen the virus affecting the community around you and in music?

Mostly it’s a huge financial breakdown for all the artistic folks out there. So, I’d like to encourage people who are still getting paid to support their favorite musicians, bookshops, record stores or any other nice small local business ventures in the hour of need. There are tons of ways to do that so go ahead please!

What is the one thing you want people to know about your situation, either as a band, or personally, or anything?

I’d like to share some positive news concerning all my current music projects.

Three weeks ago it became clear that our voyage with The Legendary Flower Punk is not going to happen so I came up with this idea to make a virtual tour. We recorded 16 sets of music (each set as the complete show that we planned to play in the respective city, from Vilnius to Hamburg) live in our rehearsal room and we plan to publish them every day since 9th of April up to 26th. So next week everybody is more than welcome to our special live series bandcamp page for a daily dose of psychedelic jam rock:
https://theflowerpot.bandcamp.com/

We also just released a digital version of our side of the forthcoming split LP (Tonzonen Records, autumn 2020) with American band Magic Beans. Check here:
https://thelegendaryflowerpunk.bandcamp.com/album/astra-vidya-2

Nice studio video was shot for one of the split tracks:
https://www.youtube.com/watch?v=GEHi50yg5Ps

The Grand Astoria is busy with the new album called From the Great Beyond due to release also during October-November 2020. It’s 35 mins of genre-bending music again, ranging from psychedelic art rock to obscure heavy metal.
Track listing is as follows:

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

You can check the live performance of “Us Against the World” here:
https://www.youtube.com/watch?v=8guZ4ZbPudw

And finally Slovo Mira, my most avant-garde group is about to release the new music via Tonzonen Records in the end of April. Here is the pre-order link with first single:
https://slovomira.bandcamp.com/album/what-happened-to-you-in-all-the-confusion

That’s pretty much it. Looks like a lot of things are happening for me and I really hope that these turbulent times will pass quickly cos I miss the road very much! All the best for everyone in the world! Support each other with kind words and don’t panic.

https://www.facebook.com/TheGrandAstoria/
https://thegrandastoria.bandcamp.com/
https://www.facebook.com/thelegendaryflowerpunk
https://thelegendaryflowerpunk.bandcamp.com/
https://www.facebook.com/Tonzonen/
https://www.instagram.com/tonzonenrecords/
https://www.tonzonen.de
http://facebook.com/RobustfellowProds/
http://robustfellow.bandcamp.com
http://instagram.com/robustfellow_prods

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The Legendary Flower Punk Announce Spring European Touring

Posted in Whathaveyou on February 13th, 2020 by JJ Koczan

Psych-prog weirdos The Legendary Flower Punk will head out in April on a tour through Germany, the Czech Republic, and, well, more Germany. There’s a date in Poland and a date in Lithuania, but clearly the target here is German territory, and that’s fair enough, since their new album, Wabi Wu (review here), is due to release Feb. 21 through Tonzonen, which is based there. The band have a few shows in their native Russia booked as well, and they’ll be back through Poland on the way to Germany once more in August, this time to play the Aquamaria Festival. I wouldn’t be surprised if more touring surfaced around that appearance either, but then, I also wouldn’t be surprised if The Legendary Flower Punk put out another record this year, because being unpredictable is kind of how they do. They’re good at it.

There was a live video premiered here a little while back for the Wabi Wu title-track, but they’re also streaming the studio album in its entirety as of late last year, so I’ve included both below, because being thorough is how I do. I’m not as good at it as they are at being unpredictable, but I try.

From the PR wire:

the legendary flower punk

Psychedelic Rockers THE LEGENDARY FLOWER PUNK Announce European Live Dates!

New Album Wabi Wu out 21 February.

Started in 2012 as an obscure side project of Kamille Sharapodinov (guitarist of established Russian heavy psych proggers The Grand Astoria), The Legendary Flower Punk quickly became a beast of its own. The band mixes psychedelia, space rock, funky fusion and electronics in a joyful manner like no one else in the scene. Krautrock, Japanoise, and Jazz are also no stranger words in the vocabulary of the band.

The Legendary Flower Punk knows no boundaries. The unique sound of the Russian trio combines pure Psychedelic Rock with classic Prog Rock elements.

To celebrate the brilliant varied and exciting mix that is Wabi Wu, The Legendary Flower Punk is out in clubs to play it live on these dates:

15.03.2020 – “Les”, St.Petersburg (RU)
09.04.2020 – “Empty Brain Resort”, Vilnius (LT)
10.04.2020 – “2Kola”, Warsaw (PL)
11.04.2020 – “Tief”, Berlin (DE)
12.04.2020 – “KuZe”, Potsdam (DE)
13.04.2020 – “Werft”, Dresden (DE)
14.04.2020 – “Klubovna”, Prague (CZ)
17.04.2020 – “Divadlo Pod Lampou”, Plzen (CZ)
18.04.2020 – “P8”, Karlsruhe (DE)
19.04.2020 – “Space Meduza”, Berlin (DE)
20.04.2020 – “Anemone Studio Session”, Halle (DE)
22.04.2020 – “Dirty Dancing”, Osnabruck (DE)
23.04.2020 – “Potemkin”, Bielefeld (DE)
24.04.2020 – “Ruinebauer”, Bremen (DE)
25.04.2020 – “Sputnikhalle”, Munster (DE)
26.04.2020 – “Bar 227”, Hamburg (DE)
16.05.2020 – “Solar Systo Festival, St.Petersburg (RU)
28.05.2020 – “Massolit”, Moscow (RU)
29.05.2020 – “Papin Garage”, Yaroslavl (RU)
07.08.2020 – “Amore del Tropico”, Poznan (PL)
08.08.2020 – “Aquamaria Festival”, Plattenburg (DE)

https://www.facebook.com/thelegendaryflowerpunk
https://thelegendaryflowerpunk.bandcamp.com/
https://www.facebook.com/Tonzonen/
https://www.instagram.com/tonzonenrecords/
https://www.tonzonen.de

The Legendary Flower Punk, Wabi Wu (2020)

The Legendary Flower Punk, “Wabi Wu” live at Galernaya 20

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Quarterly Review: Mos Generator, Psychic Lemon, Planet of Zeus, Brass Hearse, Mother Turtle, The Legendary Flower Punk, Slow, OKO, Vug, Ultracombo

Posted in Reviews on January 6th, 2020 by JJ Koczan

quarterly review

I’d like to hope y’all know the drill by now. It’s the Quarterly Review. We do it (roughly) every quarter. The idea is 10 reviews per day for a Monday to Friday span, running 50 total. I sometimes do more. Sometimes not. Kind of depends on the barrage and how poorly I’ve been doing in general with keeping up on stuff. This time is ‘just’ 50, so there you go. You’ll see some bigger names this week and some stuff that’s come my way of late that I’ve been digging and wanting to check out. It’s a lot of rock, which I like, and a few things I’m writing about basically as a favor to myself because, you know, self-care and all that.

But staring down the barrel of 50 reviews over the next few days has me as apprehensive and how-the-hell-is-this-gonna-happen as ever, so I think I’ll just get to it and jump in. No time to waste.

Quarterly Review #1-10:

Mos Generator, Exiles

mos generator exiles

Worth it just for the Sabbath cover? Most definitely. As Mos Generator take on “Air Dance” from Never Say Die as part of the Glory or Death Records LP compilation release, Exiles, they blend the proggy swagger of later-’70s Iommi leads with the baseline acoustic guitar fluidity that makes those final Ozzy-era records so appealing in hindsight. It’s just one of the six reasons to take on Exiles however. The A side comprises three outtakes from 2018’s Shadowlands (review here), and guitarist/vocalist Tony Reed‘s Big Scenic Nowhere bandmate Bob Balch sits in on “Battah,” while a duly manic reworking of Van Halen‘s “Light up the Sky,” the Black Sabbath track and a live version of Rush‘s “Anthem” from 2016 make up side B. It’s a quick listen and it’s Mos Generator. It may be a stopgap on the way to whatever they’re doing next, but if you think about it, so is everything, and that’s no reason not to jump in either for the covers or the originals, both of which are up to the band’s own high standard of output.

Mos Generator on Thee Facebooks

Glory or Death Records on Bandcamp

 

Psychic Lemon, Freak Mammal

psychic lemon freak mammal

The distorted wails of Andy Briston‘s guitar echo out of Freak Mammal — the five-track/46-minute third LP from London’s Psychic Lemon — like a clarion to the lysergic converted. A call to prayer for those worshiping the nebulous void, not so much kept to earth by Andy Hibberd‘s bass and Martin Law‘s drums as given a solidified course toward the infinite far out. Of course centerpiece “Afrotropic Bomb” digs into some Ethiopian groove — that particular shuffling mania — and I won’t take away from the lower buzz of “Free Electron Collective” or the tense hi-hat cutting through all that tonal wash or the ultra-spaced blowout that caps six-minute finale “White Light,” but give me the self-aware mellower jaunt that is the 13-minute second track “Seeds of Tranquility” any day, following opener “Dark Matter” as it does with what would be a blissful drift but for the exciting rhythmic work taking place beneath the peaceful guitar, and the later synthesized voices providing a choral melody that seems all the more playfully grandiose, befitting the notion of Freak Mammal as a ceremony or at very least some kind of lost ritual. Someday they’ll dig up the right pyramid and call the aliens back. Until then, Psychic Lemon let us imagine what might happen after they return.

Psychic Lemon on Thee Facebooks

Drone Rock Records website

 

Planet of Zeus, Faith in Physics

PLANET OF ZEUS FAITH IN PHYSICS

There’s a context of social commentary to Planet of ZeusFaith in Physics that makes one wonder if perhaps the title doesn’t refer to gravity in terms of what-goes-up-must-come-down as it might apply to class hierarchy. The mighty, ready to fall, and so on. Songs like the post-Clutch fuzz roller “Man vs. God” and “Revolution Cookbook” (video premiere here) would seem to support that idea, but one way or the other, as the later “Let Them Burn” digs into a hook that reminds of Killing Joke and the dense bass of eight-minute closer “King of the Circus” provides due atmospheric madness for our times, there’s a sense of grander statement happening across the album. The Athens-based outfit make a centerpiece of the starts and stops in “All These Happy People” and remind that whatever the message, the medium remains top quality heavy rock and roll songcraft, which is something they’ve become all the more reliable to deliver. The more pointed perspective than they showed on 2016’s Loyal to the Pack suits them, but it’s the nuance of electronics and arrangements of vocals and guitar on cuts like “The Great Liar” that carry them through here. If you believe in gravity, Planet of Zeus have plenty on offer.

Planet of Zeus on Thee Facebooks

Heavy Psych Sounds website

 

Brass Hearse, Oneiric Afterlife

brass hearse oneiric afterlife

Experimentalist keyboard-laced psychedelic goth your thing? Well, of course it is. You’re in luck then as Brass Hearse — an offshoot of once madly prolific Boston outfit Ice Dragon — unveil three new songs (plus an intro) with the Oneiric Afterlife and in 10 minutes work to unravel about 30 years of genre convention while still tying their material to memorable hooks. “Bleed Neon,” “Indigo Dust” and “Only Forever” seem simple on the surface, and none of them touch four minutes long, let alone “A Gesture to Make a Stop,” the 26-second introduction, but their refusal of stylistic constraint is as palpable as it is admirable, with a blend of folk guitar and dark-dance-party keys and percussive insistence on “Bleed Neon” and a ’60s Halloweeny rock organ line in “Only Forever” that’s complemented by low-end fuzz and a chorus that would rightly embarrass Ghost if they heard it. In comparison, “Indigo Dust” is serene in its presentation, but even there is a depth of arrangement of keys, guitar, bass and drums, and the skill tying it all together as a cohesive sound is not to be understated. A quick listen with a lot to unpack, it’s not going to be everyone’s thing, but those who get it will be hit hard and rightly so.

Brass Hearse on Thee Facebooks

Brass Hearse on Bandcamp

 

Mother Turtle, Three Sides to Every Story

mother turtle three sides to every story

The first of three tracks on Greek progwinders Mother Turtle‘s fourth LP, Three Sides to Every Story, “Zigu Zigu,” would seem to cap with a message of congratulations: “You’ve listened to three musicians indulging themselves with some kind of weird instrumental music.” It then goes on to question its own instrumentalism, because it has the words presently being spoken, continuing in this manner until a long fadeout of guitar leads to the funky start of the 15-minute-long “Notwatch.” Good fun, in other words. Mother Turtle maybe aren’t so weird as they think they are, but they are duly adventurous and obviously joyful in their undertaking, bringing chants in over drifting guitar and synth swirl in “Notwatch” before building to a crescendo of rock guitar and organ, ultimately dominated by a solo as it would almost have to be, before intertwining piano lines in 16:46 closer “A Christmas Postcard from Kim” lead to further shenanigans, vocal experimentation, plays on metal, holiday shimmer, and a fade into the close. At 38 minutes, Three Sides to Every Story doesn’t at all overstay its welcome, but neither is it an exercise looking for audience engagement in the traditional sense. Rather, it resonates its glee through its offbeat sensibility and thus works on its own level to craft a hook. One can’t help but smile while listening to the fun being had.

Mother Turtle on Thee Facebooks

Sound Effect Records website

 

The Legendary Flower Punk, Wabi Wu

The Legendary Flower Punk Wabi Wu

It is something to consider, perhaps as you dive into the nine-minute “Prince Mojito” on The Legendary Flower Punk‘s Wabi Wu, that the band started as a psych-folk solo-project. Currently working as a core trio plus a range of guests, the Russian troupe make their debut on Tonzonen with the brazenly prog seven-tracker, totaling just a 44-minute run but with a range that would seem to be much broader. Alternately jazzy and synth-laden, technically intricate but never overly showy, pieces like the bass-led “Azulejo” and the penultimate “Trance Fusion På Ryska” present a meeting of the minds with founding guitarist Kamille Sharapodinov at the center of most compositions, he and bassist Mike Lopakov and drummer Nick Kunavin digging into nothing’s-off-limits textures from fusion onward through New Wave and dub. The abiding rule followed seems to be whatever moves the band about a given track is what they roll with, and though The Legendary Flower Punk has evolved well beyond its origins, there’s still a bit of flower and still a bit of punk amid all the legends being made. Good luck keeping up with it.

The Legendary Flower Punk on Bandcamp

Tonzonen Records website

 

Slow, VI – Dantalion

Slow VI Dantalion

With the follow-up to 2018’s V – Oceans (review here), Belgian duo Slow rattle off another 78 minutes of utterly consuming, crushing, atmospheric and melancholic funeral doom like it’s absolutely nothing. Well, not like it’s nothing — more like it’s a weight on their very soul — but even so. Issued through Aural Music, VI – Dantlion brings the two-piece of guitarist/vocalist/drummer Déhà and bassist/lyricist Lore B. once again into the grueling, megalithic churn of self-inflicted riff-punishment that’s so encompassing, so dark, so deep and so dramatic it almost can’t help but also be beautiful. To wit, second track “Lueur” is a 17-minute downward journey into ambient brutalism, yet as it moves toward the midsection one can still hear melodic elements of keyboard and orchestral sounds peaking through. There is letup in the lush finale “Elégie,” but to get there, you have to make your way through “Incendiaire,” which is possibly the most extreme movement of the seven inclusions. Though frankly, after a while, you’re buried so far down by Slow‘s glorious miseries that it’s hard to tell. The world needs this band. They are what humanity would sound like if it was ever honest with itself.

Slow on Thee Facebooks

Aural Music on Bandcamp

 

OKO, Haze

oko haze

Adelaide, Australia, newcomers OKO present their debut EP in the form of Haze, a 14:44 single-song outing that sees the instrumental three-piece of guitarist Nick Nancarrow, bassist Tyson Ruch and drummer Ash Matthews tap into organic heavy psych vibes while working cross-planet with Justin Pizzoferrato (known for his work with Elder, among others) on the mix and master. The resulting one-tracker has a clarity in its drum sound and clean feel that one suspects might speak of more progressive intentions on the part of OKO in the longer term, but as they are here they have a sense of tonal warmth that serves them well across the unpretentious span of “Haze” itself, the winding riff inevitably bringing to mind some of Colour Haze‘s jammier work but still managing to find its own direction. I hear no reason OKO can’t do the same, regardless of the influences they’re working under in terms of sound. Further, the longform modus suits them, and while future work will inherently develop some variety in general approach, the natural exploration they undertake on this first outing easily holds attention for its span and is fluid enough that, had they wanted, they could have pushed it further.

OKO on Thee Facebooks

OKO website

 

Vug, Onyx

vug onyx

Vug are not the first European heavy rock band to blend vintage methods with modern production. They’re not the first band to take classic swagger and drum urgency and meld it with a pervasive sense of vocal soul. I’m not sure I’d tell them that though, because frankly, they’re doing pretty well with it. At its strongest, their Tonzonen-released sophomore outing, Onyx, recalls Thin Lizzy via, yes, Graveyard, but there’s enough clarity of intention behind the work to make it plain they know where they’re coming from. Such was the case as well with their 2018 self-titled debut (review here), and though they’ve had some lineup turnover since that first offering, the self-produced four-piece bring a character to their material on songs like “Tired Of” and the penultimate boogier “Inferno” before closing with the acoustic “Todbringer” — a mirror of side A’s “On My Own” — that they carry the classic-style 39-minute long-player off without a hitch, seeming to prep the heavy ’10s for a journey into a new decade.

Vug on Thee Facebooks

Noisolution webstore

 

Ultracombo, Season 1

Ultracombo Season 1

As the title hints, the Season 1 EP is the debut from Italy’s Ultracombo, and with it, the five-piece of vocalist Alessio Guarda, guitarists Alberto Biasin and Giordano Tasson, bassist Giordano Pajarin and drummer Flavio Gola work quickly to build the forward momentum that brings them front-to-back through the 23-minute five-track release. “Flusso” and opener “The King” feel particularly drawn from an earlier Truckfighters influence, but Guarda‘s vocals are a distinguishing factor amidst all that ensuing fuzz and straight-ahead drive, and in “Sparatutto” and the closer “Il Momento in Cui Non Penso,” they seem to strip their approach to its most basic aspects and bring together the tonal thickness and melodicism that’s been at root in their sound overall. The subtlety, such as it is, is to be found in their songwriting, which results in tracks that transcend language barriers through sheer catchiness. That bodes better for them on subsequent outings better than a wall o’ fuzz ever could, though of course that doesn’t hurt them either, especially their first time out.

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Ultracombo on Bandcamp

 

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The Legendary Flower Punk Premiere “Wabi Wu” Live Video

Posted in Bootleg Theater on August 8th, 2019 by JJ Koczan

the-legendary-flower-punk

What began as a side-project from The Grand Astoria‘s Kamille Sharapodinov has and clearly still is expanding, as The Legendary Flower Punk has gone from exploring hippie psych textures to full-band-and-then-some progressive space rock. This Fall, the outfit will release Wabi Wu through Tonzonen Records, the follow-up to 2016’s Zen Variations, which will feature not only Sharapodinov and Michail Lopakov, who founded the project together, but a range of others including a swath of guests on keys and other arrangement elements. I haven’t heard the full thing yet — I don’t even know if it’s done — but they’ve got a live-in-studio video of the band as a four-piece playing the instrumental title-track “Wabi Wu,” and it sounds pretty awesome as far as album-teasers go.

You ever want to see what a locked-in band looks like? Just watch The Legendary Flower Punk play “Wabi Wu” in this clip. They’re not putting on a show. There’s no audience. This is just about four players in the room, facing each other, headphones on, experiencing the joy of something they’re making together. As regards the video, it’s a little unclear at first where Sharapodinov is in relation to the rest of the band, but it works out sooner or later, and indeed, it’s everybody just playing through the song. But look at their faces as they go. They’re concentrating, to be sure, but they’re also having an absolute blast. It makes the funky prog groove that much more infectious to see them so dug into it, and it’s an utter pleasure to watch someone so much enjoy what they’re doing. If you were going to be in a band, you would want to feel this way about it.

I don’t know how much “Wabi Wu” will ultimately speak for the album that bears its name when that arrives, but its sub-seven-minute uptempo push is right on and ready for digging, so do like they’re doing and enjoy it for what it is. When I hear more about the album release, I’ll post accordingly.

“Wabi Wu” was filmed at Galernaya 20 Studio in Saint Petersburg, Russia.

Have fun:

The Legendary Flower Punk, “Wabi Wu” live at Galernaya 20 premiere

Filmed on 17.01.2019 at Galernaya 20 studio by Julia Melikhova.
Live version from the album “Wabi Wu”
To be out in November 2019 via Tonzonen Records (Germany).

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IL Announce Tour Dates in England; New EP Void Shape Available

Posted in Whathaveyou on January 29th, 2019 by JJ Koczan

Moscow-based four-piece IL recently issued their latest two-song EP, Void Shape, and it’s a pummeler. Comprised of just two songs, it nonetheless tops 18 minutes in length and is chock full of screamy sludge malevolence, ultra-oppressive atmospherics and a pervasive sense that all is not, in fact, going to be okay, but that perhaps instead we’ll all simply freeze and/or burn to death depending on presumably a number of wrong choices made along the way. Hence “Coldness” and “Flame” positioned back to back on the release, the one noisier than the other, and a brutalism winding through both as a uniting factor and simple statement of intent on the part of the band. Extremity takes any number of shapes, and IL‘s sound proves likewise malleable.

The band have two full-lengths and a swath of splits and other short releases available to dig into at their Bandcamp page, so if you’re looking to demolish your good mood, they’re well up to the task. They’ll head to the UK in March to do a few dates in England, including Dreadfest with a bunch of like-minded destroyers.

PR wire has it thusly:

il

From the icy tundras of Russia come IL – who will be embarking on their first UK tour in a couple of month’s time in association with Holy Spider Promotions.

Grim, trve sludge from Moscow, the band supported Conan on their recent Moscow date and released Void Shape last week via their Bandcamp.

The band have five dates in England, including an appearance at Dreadfest in Leeds alongside Wormrot, Rotten Sound and many more big names.

With plenty of releases under their belt already and a punishing live show, England is in for a deliciously dark treat.

March 22nd – The Dev, London
23rd – The Harley, Sheffield
24th – Temple of Boom (Dreadfest), Leeds
25th – Trillians, Newcastle
26th – The Square Centre, Nottingham

IL is:
Vlad – guitar/vocals
Nikolay – bass
Anton – drums
Andrey – guitar

ildoom.bandcamp.com
facebook.com/ildoomband
instagram.com/ildoomband

IL, Void Shape (2019)

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Quarterly Review: Glanville, Destroyer of Light, The Re-Stoned, Ruff Majik, Soldat Hans, High Priestess, Weed Demon, Desert Storm, Ancient Altar, Black Box Warning

Posted in Reviews on July 17th, 2018 by JJ Koczan

quarterly-review-CALIFORNIA-LANDSCAPE-Julian-Rix-1851-1903

So Day 1’s done and it’s time to move on to Day 2. Feeling stressed and totally overwhelmed by the sheer amount of stuff still to be done? Why yes, I am. Thanks for asking. In the past, I used to handle the Quarterly Review well ahead of time. It’s always a lot to get through, but the week before, I’d be setting up back ends, chasing down links and Bandcamp players, starting reviews, etc., so that when it came time, all I had to do was the writing and plug it all into a post and I was set.

There was some prep-work done this past weekend, but especially this time, with my old laptop having been stolen in May, it’s all been way more jazz-improv. I was still adding releases as of last Friday, and writing beforehand? Shit. With the baby having just figured out how to climb? Not bloody likely. Accordingly, here we are, with much to do.

It’ll get done. I haven’t flubbed a Quarterly Review yet, and if I took an extra day to get there, I’m under no delusion that anyone else would care. So there you go. Let’s hit it for Day 2:

Quarterly Review #11-20:

Glanville, First Blood

glanville first blood

First Blood is the aptly-titled five-song debut EP from Glanville, a newcomer dual-guitar outfit with established players Philip Michel (The Earwix) on lead and Christopher West (Named by the Sun, ex-Stubb, etc.) on rhythm, Wight’s Peter-Philipp Schierhorn on bass and René Hofmann on vocals, and Thomas Hoffman (ex-Bushfire) on drums. Based in Germany and the UK, the group present 23 minutes of material on their first outing, drawing from the guitar-led likes of Thin Lizzy and Judas Priest to capture early metal and present it with a heavy rocking soulfulness and modern production. The most raucous of the cuts might be centerpiece “Durga the Great,” but neither “God is Dead” nor “Dancing on Fire” before nor “Demons” and “Time to Go” after want for action, and especially the latter builds to a furious head to close out the release. Hofmann as a standalone singer wants for nothing in range or approach, and the band behind him obviously build on their collective experience to dig into a stylistic nuance rarely executed with such confidence. They’ve found a place willfully between and are working to make it theirs. Can’t ask for more than that.

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Glanville on Bandcamp

 

Destroyer of Light, Hopeless

destroyer of light hopeless

Having just recently signed to Argonauta Records for a new album in 2019, Austin doomers Destroyer of Light follow their 2017 long-player, Chamber of Horrors (review here), with a further auditory assault in the lumbering Hopeless. Psychedelic and yet still somehow traditional doom lingers in the brain after “Nyx” and “Drowned” have finished – the latter with an Alan Watts sample discussing alcoholism – and the band moves into demos for Chamber of Horrors cuts “Into the Smoke,” “Lux Crusher” and “Buried Alive.” Between the two previously unreleased songs and those three demos, Hopeless pushes to 39 minutes, but it’s probably still fair to call it an EP because of the makeup. Either way, from the miserable plod of “Nyx,” in which each chug in the riff cycle seems to count another woe, to the rolling nod early and surprising melody late in “Drowned,” Hopeless is anything but. Anticipation was already pretty high for Destroyer of Light’s next record after the last one, but all Hopeless does is show further depth of approach and more cleverly-wielded atmospheric murk. And the more it sounds like there’s no escape, the more Destroyer of Light seem to be in their element.

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Destroyer of Light on Bandcamp

 

The Re-Stoned, Stories of the Astral Lizard

the re-stonEd stories of the astral lizard

The inevitable question is “Why a lizard?” and if you make it four minutes into 11-minute opener “Fractal Panorama” and don’t have your answer, go back ad start over. Moscow heavy psych instrumentalists The Re-Stoned intend the reptile as a spirit guide for their new outing Stories of the Astral Lizard (on Oak Island Records), which follows quickly behind their late-2017 offering, Chronoclasm (review here), and given the ultra-patient desert vibes in the opener, the acoustic-laced folk-prog of “Mental Print for Free,” the languid meander of “A Companion from the Outside,” the swirling sprawl of the 16-minute “Two Astral Projections” and the final cowpoke drift of “The Heather Carnival,” one might indeed just find a lizard sunning its belly amid all the atmospheric evocations and hallucinatory vibes. I’ll take “Two Astral Projections” as the highlight, but mostly because the extra length allows the band to really dig in, but really the whole album feeds together gorgeously and is a new level of achievement when it comes to atmosphere for The Re-Stoned, who were already underappreciated and find themselves only more so now.

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Oak Island Records on Thee Facebooks

 

Ruff Majik, Seasons

Ruff Majik Seasons

Right on fuzz, right on groove, right on vibe – there isn’t much else one might say about Ruff Majik’s Seasons (on Rock Freaks Records and Forbidden Place Records) beyond “right on.” Heavy rock with twists of psychedelia, the Pretoria, South Africa, three-piece of Johni Holliday, Jimi Glass and Benni Manchino make their home on the lines of various subgenres, but wherever they go, the proceedings remain decisively heavy. To wit, a cut like “Breathing Ghosts” or the later “Birds Stole My Eyes” might dig into shuffle boogie or extreme-metal-derived thrust, but there’s a chemistry between the members and a resonant looseness that ties the material together, and as the last 14 of the total 66 minutes are dedicated to “Asleep in the Leaves,” there’s plenty of progressive weirdness in which to bask, one song moving through the next such that neither “Hanami Sakura (And the Ritual Suicide” nor the semi-doom-plodding “The Deep Blue” nor the funky twists of “Tar Black Blood” come across as predictable. Seasons might take a few listens to sink in, but it’s easily worth that effort.

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Ruff Majik at Rock Freaks Records webstore

Forbidden Place Records on Bandcamp

 

Soldat Hans, Es Taut

SOLDAT HANS ES TAUT-750

Hyperbole-worthy post-ism from Switzerland’s Soldat Hans makes their sophomore outing, Es Taut – on Wolves and Vibrancy Records as a 2LP – a forward thinking highlight. As rich in atmosphere as Crippled Black Phoenix and as lethal as Converge or Neurosis or anyone else you might dare to put next to them, the six-piece made their debut with 2014’s Dress Rehearsal (review here) and served notice of their cross-genre ambitiousness. Es Taut finds them four years later outclassing themselves and most of the rest of the planet across three extended tracks – “Story of the Flood” (26:15), “Schoner Zerbirst, Part I” (8:03) and “Schoner Zerbirst, Part II” (18:56) – that sprawl out with a confidence, poise and abrasion that is nothing short of masterful. Es Taut may be a case of a band outdoing their forebears, but whatever their legacy becomes and however many people take notice, Soldat Hans singlehandedly breathe life into the form of post-metal and prove utterly vital in so doing, not only making it their own, but pushing forward into something new in ambience and heft. This is what a band sounds like while making themselves indispensable.

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Wolves and Vibrancy Records website

 

High Priestess, High Priestess

high priestess high priestess

Calling to order a nod that’s immersive from the opening strains of leadoff/longest-track “Firefly” (still immediate points), Los Angeles trio High Priestess build out the psych-doom ritualizing of their 2017 demo (review here) to make their self-titled full-length debut through Ripple Music. The difference between the demo and the album in terms of what’s included comes down to artwork and the track “Take the Blame,” which adds its bell-of-the-ride swing between the atmosphere and melodic focus of “Banshee” and the spacious roller “Mother Forgive Me.” Potential is writ large throughout from guitarist/vocalist Katie Gilchrest, bassist/vocalist Mariana Fiel and drummer Megan Mullins, as it was on their demo, and even the harsh growls/screams on “Despise” seem to have found their place within the proceedings. As they wrap with the guitar-led jam of “Earth Dive,” High Priestess put the finishing touch on what’s hands-down one of 2018’s best debut albums and offer a reminder that as much potential as there is in their sound for future development, the accomplishments here are considerable unto themselves.

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Ripple Music website

 

Weed Demon, Astrological Passages

weed demon astrological passages

Four tracks of gurgling riffy plunder pervade Astrological Passages, the 41-minute – longer if you get the digital version or the tape/CD, which includes the 7:24 “Dominion of Oblivion” – debut album from Columbus, Ohio’s Weed Demon. Delivered on vinyl through Electric Valley Records, the nodder/plodder carves out a cave for itself within a mountain of tonally thick stoner metal riffing, infusing a sense of sludge with shouted and growled vocals from guitarists Andy and Brian and bassist Jordan – only drummer Chris doesn’t get a mic – and an overarching sense of bludgeoning that’s Sleep-derived if not Sleep-adjacent in terms of its actual sound. Nasty? Why, yes it is, but as “Sigil of the Black Moon” heads toward the midpoint of its 10-minute run, the repetitive groove assault makes the band’s intention plain: worship weed, worship riff. They get faster on “Primordial Genocide” and even sneak a bit of speed in amidst the crawl before the banjo takes hold in the second half of 12-minute closer “Jettisoned” – more Americana sludge please; thank you – but they never lose sight of their mission, and it’s the uniting factor that makes their debut hit like the brick to the head that it is.

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Electric Valley Records website

 

Desert Storm, Sentinels

desert storm sentinels

With Sentinels, Oxford, UK, five-piece Desert Storm pass a decade since making their self-titled debut in 2008. They followed that with 2010’s Forked Tongues (review here), 2013’s Horizontal Life and 2014’s Omniscient (review here), and though they had a single out in 2014 on H42 Records as a split with Suns of Thunder (review here) in 2016, Sentinels is their first outing on APF Records and their first long-player in four years. Burl has always been an important factor in what they do, and the High on Fire-meets-Orange Goblin slamming of “The Brawl” backs that up, but Desert Storm have left much of the hyper-dudeliness behind in favor of a more complex approach, and while Sentinels isn’t a minor undertaking at 10 songs and 51 minutes, longer cuts like “Kingdom of Horns” and “Convulsion” demonstrate the maturity they’ve brought to bear, even as the one-two punch of “Drifter”  and “The Extrovert” offer swinging-fist hooks and beard-worthy chug that assures any and all testosterone quotas are met.

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APF Records on Bandcamp

 

Ancient Altar, Cosmic Purge/Foie Gras

ancient altar cosmic purge foie gras

Based in Los Angeles, Ancient AltarScott Carlson (bass/vocals), Barry Kavener (guitar/vocals), Jesse Boldt (guitar) and Etay Levy (drums) – were last heard from on 2015’s dug-in atmosludger Dead Earth (review here), and they return lo these several years later with the two-tracker Cosmic Purge/Foie Gras, pushing into more extreme crush-of-riff with an abandon that’s anything but reckless. On the contrary, there’s some clear development in the 10-minute “Cosmic Purge” and 13-minute “Foie Gras,” rolling out oppressive grooves with blended screams/shouts and cleaner vocals. As with the last album, a drive toward individuality is central here, and Ancient Altar get there in tone while bringing forth a sense of scope to a sound so regularly thought of as closed off or off-putting in general. In its early going, “Foie Gras” hypnotizes with echoing melody and spaciousness only to resolve itself in a deeply weighted dirge march, furthering the pummel of “Cosmic Purge” itself. I don’t know if the EP – on vinyl through Black Voodoo Records, CD on Transcendental Void Records – will lead toward another album or not, but the sense of progression in Ancient Altar’s style is right there waiting to be heard, so here’s hoping.

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Black Box Warning, Attendre la Mort

black box warning attendre la mort

Listen to it on headphones and the kickdrum on Black Box Warning’s Attendre la Mort is downright painful. Next-level blown-out aggro pulsations. Brutal in a physical sense. The rest of the band doesn’t follow far behind in that regard. Riffs are viscous and violent in noise rock tradition, but denser in their tone despite some underlying punkishness, and the vocals are likewise distorted and abrasive. The five-song/23-minute EP’s title translates to “Waiting for Death,” and each of the tracks is a dose: Opener “5 mg” is followed by “4 mg,” “1 mg,” “2 mg” and “3 mg.” Unsurprisingly, pills are a theme, particularly on “4 mg,” and the sense of violent threat is clear in “2 mg” and 3 mg,” which boast lines like, “Watch them all scream/Watch your enemy bleeded,” and “You are the pig/I am the butcher,” respectively. Between the lyrical and the general aural cruelty, the dis-ease is consuming and unmitigated, sludge becoming a slow-motion grindcore, and that’s clearly the point. Not stabbing, but gouging.

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