R.I.P. Paul DeLeon of Las Cruces

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

Condolences to the family, friends and bandmates of Las Cruces drummer Paul DeLeon, who passed away on Jan. 6 after contracting COVID-19. The band was most recently heard from in 2016 when they announced the return of original vocalist Mark Zamarron to the fold, but after releasing 2010’s Dusk (review here) and signing to Ripple Music in 2014 for a fourth full-length to be titled Altar of the Seven Sorrows, the San Antonio group would continue to play shows and fests around Texas but the album had yet to materialize. What their plans might be now isn’t known.

Having been fortunate enough to see DeLeon play live, I remember him as loving being behind that kit and bringing classic metal flair to Las Cruces’ thoroughly doomed style. Founding guitarist George Trevino had words on his friend and bandmate’s passing, as per the PR wire:

paul deleon las cruces

LAS CRUCES Drummer PAUL DE LEON has passed away to Covid on January 6th. LAS CRUCES guitarist, George Trevino, wrote on the band’s Facebook page, “This is the hardest post I’ve had to post on this page but I’m saddened to report the passing of our drummer and brother Paul De Leon. He passed away today after battling Covid. Rest In Peace my dear friend and Metal Brother. You will never be forgotten. We love you. RIP.”

He later added: “Have to say good bye to one of my best friends… He was my friend for 30 years and musical colleague for 15. I will always remember our times on the road and that wonderful laughter and love of life you had my friend. I don’t know if I’ll ever get over this one. I hate Covid for taking you like this. While I try to be very private about how I feel and stuff I cannot deny the love I have for you my Brother. Rest in Peace Paul. I love you.”

Guitarist George Trevino founded LAS CRUCES in 1994 in San Antonio, Texas and has since made his mark across The Lone Star State and the American doom-metal scene.

https://www.facebook.com/crucesdoom
https://lascrucesdoom.com/

Las Cruces, “Cocaine Wizard Woman” official video

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Review & Full Album Stream: Somnus Throne, Somnus Throne

Posted in audiObelisk, Reviews on September 22nd, 2020 by JJ Koczan

Somnus Throne Somnus Throne

[Click play above to stream Somnus Throne’s Somnus Throne in full. Album is out Sept. 24 on Burning World Records.]

Gutter riffs. Riffs to turn your soul green. The narrative — blessings and peace upon it — has it that That is why our writing specialists write Study Help Essay Questionss for sale and try to refresh the mind of the students. Whenever your tutor asks you to create a custom paper, our writers can start to write it, if you order us. Our team and their project on various subjects. Our company presents you with cheap custom essay writing service, and we have also a good record of making the students successful Somnus Throne‘s self-titled debut was realized after years spent on the part of guitarist/vocalist Buy essay online at professional Critical Thinking Concepts service. Order custom research academic papers from the best trusted company. Just find a great help for Evan hobo’ing around the country, living in flops and finding himself in that very lost, druggy, American vastness, all the while accompanied by a latent urge for volume satisfied only upon discovery of amp-worshiping doom, sludge and stoner idolatry. As narratives go, it’s a pretty good one, and though one has learned over time to approach such things with a healthy raised eyebrow of curiosity if not outright skepticism, the fact that A reliable company with 7 years of experience provides Help On Writing Persuasive Essays for the students from around the world. We got sparkling research paper for sale! Evan, bassist Entrepreneur.com Business Plan with Confidence. You just cannot call dissertation writing a simple task, even if you know how to proceed with the whole thing. The problem is that writing a dissertation is an extremely time-consuming task, and most students will never have enough time to have their complete focus on researching, writing, and formatting their synthesis essay topics and dissertations. They Haley and drummer the rocking horse winner essay http://www.kloech.com/?cheap-custom-essay love exists essay formatting a mid term paper help Luke — everyone in the trio seems to have lost their surname along the way — all hail from different cities would seem to speak to a certain transient nature behind their work.

Congregation, as it were, happened in Los Angeles to record the album, and  dissertation explicative exemple Go Here homework help work cited pages qualities of a good phd thesis Evan credits  Today's top 5029 get more jobs in United States. Leverage your professional network, and get hired. New Service Writer jobs added daily. Luke for having it together enough to corral the band and make  What Is Persuasive Essay Services in UK Dissertation Writing Services UK from Expert Writers. For students drowning in dissertation related stress, The Dissertation Help is here to throw them the academic lifebelt to save their grades from drowning in the sea of failures. With phenomenal services like ours, we promise to finally let you breathe a sigh Somnus Throne happen, and if that’s the case, then those seeking immersive nod and back-to-zero distorted lumber will want to send a thank-you card — address it to “Luke in L.A.” and I’m sure it’ll get there — since the three-piece manifest four rolling, downer-vibing, what’s-this-again-oh-well-shrug-and-inhale subfloor slabs of weighted groove. Apart from the 47-second intro “Caliphate Obeisance,” there is nothing on  Do Need Hire Resume Writer Like No Other. The average student often finds themselves in a bind, due to most of the student work that they have to do. They have to go to classes, study for exams, handle chores, go to their part-time job and occasionally socialize if they wish to maintain their sanity. Somnus Throne‘s first album under 10 minutes long — a statement in itself — and throughout “Sadomancer,” “Shadow Heathen,” “Receptor Antagonist” and the 14-minute finale “Aetheronaut – Permadose,” they bask in darkly-lysergic disaffection and a sense of abiding fuckall as few in the post- A few reasons for you to choose PayForEssay.net when you think, "I'd rather pay someone to http://aemurtosa.edu.pt/writing-services-edmonton/." Electric Wizard strain of anti-artisans have been able to conjure. It is noteworthy that their first outing comes courtesy of  Original http://www.drk-worfelden.de/?average-dissertation-length-words and Master's thesis writing help for students who need a well-written model dissertation, dissertation abstact, or research Burning World Records, which was once responsible for unleashing  Our College Essay Review can provide you with assistance in choosing a suitable theme and will write for you a high-quality work. Dissertation on Conan‘s early work, but what  Get high volume traffic to your site with professional this link. We provide best quality, copyscape pass articles for you. Know more here! Somnus Throne represent is the stylistic going to ground of a new generation, digging to find the roots of what heavy has become over the last 20 years.

That has led  Read and Download Mcmaster University Thesis Search Answers Algebra 1 Free Ebooks in PDF format - STARFIRE 3000 OPERATOR MANUAL BOOK MANAGEMENT OF A MEETING SUCCESSFULLY Somnus Throne to a style that wouldn’t have been at all be out of place on Will you http://www.nova-clinic.de/?gang-violence-research-paper cheap? Yes, we offer cheap dissertation assistance. We want our papers to be available to anyone who needs them, even those on a tight budget. Can I Get High Quality At A Reasonable Price? We aim to give our customers the cheapest writing service available, while maintaining professional working standards that guarantee high quality papers. Our customers can Man’s Ruin Records during that era, with a sense of overarching fog that reminds of a more aggro  Sons of Otis — so, say, earlier Sons of Otis — even when “Receptor Antagonist” kicks into its speedier second half. It wouldn’t be appropriate to call it a “fresh” take on that style, because sounding “fresh” is far from the intent of these songs — fetid, more like — but the energy they bring to the material is unmistakably that of a group who are excited about what they’re playing as they’re playing it, who are realizing something new for them even if the aesthetic scope is playing toward genre. Throughout “Sadomancer” and “Shadow Heathen” especially, this happens with a palpable sense of will behind it. Somnus Throne are letting their audience know that their mission is to harness the primitive.

somnus throne other art

Think of how the first Monolord record seemed so simple on its surface that one could almost miss its innovation, or even earlier Conan to some degree. Somnus Throne operate in a similar fashion, but are rawer in their substance and still manage to offer hints of variety in the changes in vocal approach from Evan. There are moments that sound like call and response as his voice shifts from one line to the next. If indeed that is all him and not, say, Luke, taking on a backing role — information is purposefully sparse in this regard — then that malleability is an asset already working in the band’s favor that one can only expect to do so even more as they move forward. As it stands, the plodding wash in “Shadow Heathen” is enhanced, and the rough edge that emerges circa nine minutes into “Aetheronaut – Permadose” and directly winks at ’90s-era Sleep being a further sense of character to the songs, and however barebones the offering may feel as a whole, there’s no taking away either from the effectiveness of those changes or the fullness of tone in the mix that surrounds them. Somnus Throne, in short, know their shit.

And to take it back for a second to the narrative, to the context of the album’s making, one can hear the disillusion. They’re not hiding it. Even in “Sadomancer” with all the discussion of witches and spells and samples about the devil and other trappings of turn-of-the-century sludge-doom, the atmosphere feels genuine, and being aware of that background changes the listening experience, making Somnus Throne all the more relevant as a record of a particular On the Road American experience set to task by and for a generation who came of age in a time of rampant corruption, economic collapse, climate change and endless war. Throw in governmental collapse and a global pandemic for the next album, and how else should it sound? Somnus Throne don’t tackle these issues directly — again, witches, spells, monsters, etc. — but their material feels affected and influenced by the moment of its creation in an intangible drudgery throughout. Plod born of turmoil. So be it.

Even the use of the word “caliphate” in the title of the intro — which is a sample offering young people an experience of a quaint, gourmet drug culture that gives way to noise — speaks to the time in which the album was made and the generation of its makers. The question is what Somnus Throne might do next. If this album represents a turn toward stability and sustainability as a band, despite the members living in different places between Portland, Oregon, Los Angeles and San Antonio — if they can find a way to operate — they’ve given themselves a crucial first outing from which to progress; and should that progression keep or enhance the rawness here, that’s still progression, not regression, in aesthetic terms. Even if they can’t or don’t, or whatever, and Somnus Throne becomes a one-off, what-could’ve-been footnote of a heavy release in arguably the worst year to put out an album in the last half-century, it does its part to capture the wretchedness of the time and turn it back on itself with disgust that is righteous and heavy in kind.

Somnus Throne on Thee Facebooks

Somnus Throne on Instagram

Somnus Throne on Bandcamp

Burning World Records website

Burning World Records on Bandcamp

Burning World Records on Thee Facebooks

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Somnus Throne to Release Self-Titled Debut Oct. 9

Posted in Whathaveyou on September 11th, 2020 by JJ Koczan

When Burning World Records takes notice of a new band, your ears should perk up. Somnus Throne would seem to be a project for an era of working remotely, with members spread throughout multiple cities, and though their origins are murky, that’s nothing compared to their riffs. They come big and slow on the band’s self-titled debut, which will be out Oct. 9, topped with samples and a free-your-mind lumber that’s thoroughly genre-based and it knows it.

Digging it as I am, I sent an email about doing a premiere since I guess the digital release is Sept. 23 and I’ve got this coming Monday open as of now. I haven’t heard back about that, but maybe it’ll come together and maybe it won’t. If it does, it’ll be a little bit of double coverage with this news post in such close proximity, but I sincerely doubt anyone cares half as much as I do about that kind of thing. In case that doesn’t happen — there’s no audio out from it yet — I wanted to post this just as a heads up that the record is a good time and coming out to the few people who might see this post and get turned onto it. New band, new record. You like new bands and new records, right? Me too.

Here’s one:

Somnus Throne Somnus Throne

With members spread out across New Orleans, Los Angeles, Portland and San Antonio, Somnus Throne is a new heavy and psychedelic doom band that pays homage to legends such as Sleep, High On Fire and Pentagram.

The band’s self-titled debut album is now set for release on October 9 via Burning World Records and sees Somnus Throne playing some Sabbath-tinged, mammoth-size and hypnotic doom riffs across five epic tracks. Each riff is so spine-asphyxiating heavy as if they possess the power to create a seismic tremor in the walls of your houses.

Somnus Throne proves that the music Black Sabbath birthed decades ago can still hit hard and sound engaging after all these years.

Tracklisting:
1. Caliphate Obeisance 0:45
2. Sadomancer 10:17
3. Shadow Heathen 10:13
4. Receptor Antagonist 10:15
5. Aetheronaut – Permadose 14:30

https://www.facebook.com/TrueSomnist
https://www.instagram.com/somnus__throne/
https://somnusthrone.bandcamp.com/
https://www.burningworldrecords.com
https://burningworldrecords.bandcamp.com
https://www.facebook.com/burningworldrecords

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Gary Lee Conner: The Microdot Gnome LP Available to Preorder

Posted in Whathaveyou on November 7th, 2019 by JJ Koczan

Listening to Gary Lee Conner‘s 2014 first solo long-player, The Microdot Gnome, I can’t help but think of Masters of Reality at their psychedelic best. The manifestation is different, and Conner — best known as former guitarist for Screaming Trees — is way more acid-drenched on the whole, but there’s a similar affinity and clear, genuine passion for pioneering ’60s psych that comes through the deeply melodic and exploratory material that makes it an unabashed sunshiny joy to take on, as heard in the McCartney bounce of “Stained Rainbow” and the organ so prominently featured on “Moonflower.” I’d covered Conner‘s 2011 single, Low Flying Bird/Strange Hades (review here), released under the moniker of Microdot Gnome, but I guess not managed to keep up. He also had two full-lengths out last year in Jan. 2018’s Ether Trippers and October’s Unicorn Curry, so I guess I’ve got some work to do there. Noted.

The Microdot Gnome will be issued on vinyl through Vincebus Eruptum Recordings on Jan. 15. They’re only pressing 300 copies and preorders are up now. I hate to spend your money (actually I love it.), but I think if you take a listen to the Bandcamp stream of the album at the bottom of this post, the audio itself is the most compelling argument to get your order in before they’re gone. That’s all I’ll say.

From the label:

gary lee conner the microdot gnome lp

GARY LEE CONNER “The Microdot Gnome”

Finally available to pre-order!!!

Only 300 copies will be published…

For the first time on vinyl (since now published only on digital and cassette) the long awaited SUPER-PSYCHEDELIC album by Gary Lee Conner!

THE MICRODOT GNOME

For the fans of Screaming Trees, but not only…believe me!

https://vincebuseruptum.bigcartel.com/product/gary-lee-conner-the-microdot-gnome-includes-association-fee

Issue date: 15th of January 2020

Limited edition vinyl (VELP028): 300 copies on purple vinyl The long awaited FIRST album by the SCREAMING TREES guitar player!
Recorded in 2010…long awaited vinyl release since it’s already been on digital and cassette.

Track-list:
A1 – Gardens of Time
A2 – Confessions of the White Rabbit (edit)
A3 – Stained Rainbow
A4 – Sadie’s Golden Mirror
A5 – Smokerings Are My Only Friends
A6 – Morning Glory Pincushion
B1 – Low Flying Bird
B2 – Julian Hades
B3 – Moonflower
B4 – Chester Apple
B5 – To Andromeda

http://www.facebook.com/garyleeconner
https://garyleeconner.bandcamp.com/
https://vincebuseruptum.bigcartel.com/
http://www.vincebuseruptum.it/

Gary Lee Conner, The Microdot Gnome (2014)

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Quarterly Review: Sumac, Cortez & Wasted Theory, Thunder Horse, The Howling Eye, Grime, URSA, Earthling Society, Bismarck, Grand Reunion, Pledge

Posted in Reviews on December 7th, 2018 by JJ Koczan

quarterly-review

As we land on what would otherwise be the end of a Quarterly Review — day 5, hitting the standard 50 records across the span of a week that this time we’re doubling with another 50 next week — it occurs to me not how much 100 albums is, but how much it isn’t. I mean, it’s a lot, don’t get me wrong. I’ve been sitting and writing about 10 records every day this week. I know how much that is. But it’s astounding to me just how much more there is. With the emails I get from people looking for reviews, discs sent in the mail, the messages on Facebook and everything else, I could do another 100, easy.

Well, maybe not ‘easy,’ but it would be full.

Is it a new golden age of heavy? 45 years from now are rockers going to look back and say, “Hell yeah, from like 2012-2019 was where it’s at,” all wistful like they do now for the ’70s? Will the Heavy ’10s be a retro style? I don’t know. But if it was going to happen, there would certainly be enough of an archive to fuel it. I do my best to cover as much as I can, but sometimes I feel like we barely crack the surface. With 100 records.

That said, time’s a-wasting.

Quarterly Review #41-50:

Sumac, Love in Shadow

sumac love in shadow

What are Sumac if not the most vital and highest profile atmospheric metal act out there today? With Aaron Turner (Isis, etc.) on guitar/vocals, Brian Cook (Russian Circles) on bass and Nick Yacyshyn (Baptists) on drums, they qualify easily as a supergroup, and yet their third album, Love in Shadow (on Thrill Jockey), is still more about creative growth and the exploration of sound than anything else. Certainly more than ego — and if it was a self-indulgent exercise, it’d probably still be pretty good, frankly. As it stands, the four massive tracks through which Sumac follow-up 2016’s What One Becomes (review here) and their 2015 debut, The Deal (review here), refine the sound Sumac has developed over the past three years-plus into a sprawling and passion-driven sprawl that’s encompassing in scope, challenging in its noise quotient, and in utter refusal to not progress in its approach. And when Sumac move forward, as they do here, they seem to bring the entire aesthetic with them.

Sumac on Thee Facebooks

Thrill Jockey Records on Bandcamp

 

Cortez & Wasted Theory, The Second Coming of Heavy: Chapter Nine

cortez wasted theory second coming of heavy ch 9

Ripple Music‘s split series The Second Coming of Heavy hits its ninth chapter in bringing together Boston’s Cortez and Delaware’s Wasted Theory, and neither band fails to live up to the occasion. Cortez‘s range only seems to grow each time they hit the studio — vocalist Matt Harrington makes easy highlights of the opener and longest track (immediate points) “The Firmament” and the echo-laden “Close” — and Wasted Theory‘s “Ditchpig,” “Abominatrix,” “Baptized in Gasoline” and “Heresy Dealer” are so saturated with whiskey it might as well be coming out of their pores. It’s a decidedly North/South release, with Cortez rolling straightforward New England heavy rock through “Fog of Whores” and the Deep Purple cover “Stormbringer” while Wasted Theory dig with all good speed into a grit that’s more and more become their own with time, but there’s a shared penchant for hooks and groove between the two acts that draws them together, and whatever aspects they may or may not share are ultimately trumped by that. As Ripple starts to wind down the series, they continue to highlight some of the finest in heavy that the underground has to offer. One would expect no less.

Cortez on Thee Facebooks

Wasted Theory on Thee Facebooks

Ripple Music on Bandcamp

 

Thunder Horse, Thunder Horse

thunder horse thunder horse

There’s an unmistakable sense of presence throughout Thunder Horse‘s six-song/43-minute self-titled debut that undercuts the notion of it as being the San Antonio four-piece’s first album. With professionalism and a firm sense of what they want to be as a band, the Texans liberally sprinkle samples throughout their material and hone a professional sound built around massive riffs and even-more-massive lumbering grooves. Indeed, they’re not strangers to each other, as three-fourths of the group — guitarist/vocalists Stephen Bishop, guitarist/sampler T.C. Connally and drummer Jason West — double in the more industrial-minded Pitbull Daycare, whose debut LP came out in 1997. Completed by bassist/vocalist Dave Crow, Thunder Horse successfully cross the genre threshold and are well comfortable in longer cuts like “Liber ad Christ Milites Templi” and “This is the End,” both of which top nine minutes, and shorter pieces like the rocking “Demons Speak” and the shimmering finale “Pray for Rain.” With “Coming Home” and the sneering “Blood Ritual” at the outset, Thunder Horse pulls listener quickly toward dark atmospheres and flourishes amid the weighted tones therein.

Thunder Horse on Thee Facebooks

Thunder Horse on Bandcamp

 

The Howling Eye, Sonorous

the howling eye sonorous

Poland’s The Howling Eye make a lengthy long-player debut with Sonorous, but more important than the reach of their runtimes — closer “Weedblazer” tops 16 minutes, the earlier “Reflections” hits 12, etc. — the reach of the actual material. The common pattern has been that psychedelic jamming and doom are two distinct things, but The Howling Eye tap into a cosmic interpretation of rolling riffs and push it with an open spirit far into the ether of spontaneous creation. It’s a blend that a group would seem to need to be cautious to wield, lest the whole notion fall flat, but with the assurance of marked chemistry behind them, the Bydgoszcz-based trio of drummer/sometimes vocalist Hubert “Cebula” Lewandowski (also harmonica where applicable), guitarist Jan Chojnowski and bassist Mi?osz Wojciechowski boldly shift from the more structured beginnings of the funky “Kairos” and the aggro beginning “Stranded” into an outward push that’s ambient, psychedelic and naturalistic all at once, with room left over for more funk and even some rockabilly on “The Potion.” It is not a minor conglomeration, but it works.

The Howling Eye on Thee Facebooks

The Howling Eye on Bandcamp

 

Grime, What Have We Become

grime what have we become

Their roots in metal, North Dakota trio Grime — not to be confused with the Italian sludge outfit of the same name — unleash their first full-length in the form of What Have We Become, an ambitious 51-minute offering of progressive heavy rock marked by thoughtful lyrics and fluid songwriting made all the more so by the shared vocals of bassist Andrew Wickenheiser and guitarist Nick Jensen, who together with drummer Tim Gray (who would seem to have been replaced by Cale Mogard) effect a classic feel through “Alone in the Dark” while chugging and winding through the not-a-cover “Hand of Doom” with some harsher vocals peppered in for good measure. Seven-minute opener and longest track (immediate points) “Through the Eye” sets a broad tone that the rest of the record seems to build on, with the penultimate “Sunshine” delivering the title line ahead of the grittier closer “The Constant Grind,” which seems to payoff everything before it with a final explosion before a big rock finish. They’ll need to decide whether their sound will ultimately tighten up or loosen over time, but for now, what they’ve become is a band with a solid foundation to grow from.

Grime on Thee Facebooks

Grime on Bandcamp

 

URSA, Abyss Between the Stars

ursa abyss between the stars

Modern doom meets a swath of metallic influences on URSA‘s full-length debut, Abyss Between the Stars (on Blood Music), as members of Petaluma, California’s Cormorant take on such classic themes as wizards, dragons, yetis, witches, a spider king, mountains, and… actually, yeah, that covers the six included tracks on the 46-minute LP, which shifts gracefully between epic fantasy doom and darker, soemtimes more extreme fare. It’s easy enough to put URSA in the narrative of a band started — circa 2016 — around a central idea, rather than just dudes picking up instruments and seeing what happened next. Not just because bassist/vocalist Matt Solis, guitarist/keyboardist Nick Cohon and drummer Brennan Kunkel were already three-quarters of another band, but because of the purposefulness with which they approach their subject matter and the cohesion in all facets of their approach. They may be exploring new ground here, but they’re doing so on sure footing, and that comes not only from their experience playing together, but from knowing exactly where they want to be in terms of sound. I would not be surprised if that sound adopted more post-Candlemass grandeur with time — one can hear that burgeoning in “Serengeti Yeti” — but whatever direction they want to go, their debut will only help them on that path.

URSA on Thee Facebooks

Blood Music website

 

Earthling Society, MO – The Demon

earthling society mo the demon

Look, if you can’t get down with a bunch of freaks like Earthling Society tapping into the lysergic fabric of the cosmos to come up with an unsolicited soundtrack to a Hong Kong martial arts movie, I just don’t know what to tell you. Issued by Riot Season, the seven-track MO – The Demon is reportedly the end of the band’s technicolor daydream, and as they crash their plane into the side of “Mountains of Bliss” and hone space rock obliteration throughout “Super Holy Monk Defeats the Black Magic Mothafucker,” their particular experimentalist charm and go-anywhere-anytime sensibility demonstrates plainly exactly why it will be missed. There’s a sharp high-pitched tone at the start of opener “Theme from MO – The Demon” that’s actually pretty abrasive, but by the time they’re through the kosmiche laser assault in “Spring Snow” and the let’s-be-flower-children-until-it’s-time-to-freak-the-fuck-out throb of closer “Jetina Grove,” that is but a distant memory. So is consciousness. Fare thee well, Earthling Society. You were a band who only sought to make sense to yourselves, and for that, were all the more commendable.

Earthling Society on Thee Facebooks

Riot Season Records on Bandcamp

 

Bismarck, Urkraft

bismarck urkraft

Norwegian five-piece Bismarck bring spaciousness to doom riffing on their debut album, Urkraft, which is constructed of five molten tracks for a 34-minute totality that seems much broader than the time it takes to listen. Vocals are growls and shouts across a cosmic stretch of tone, giving a somewhat aggressive pulse to heavier psychedelic soundscaping, but a bouncing rhythm behind “A Golden Throne” assures the song is accessible one way or the other. The 10-minute “Vril-Ya” is naturally where they range the farthest, but the Bergen outfit even there seem to be playing by a set of aesthetic principles that includes maintaining a grounded groove no matter how spaced they might otherwise get. Rolling riffs bookend in opener “Harbinger” and closer “The Usher,” as “A Golden Throne,” playing-to-both-sides centerpiece “Iron Kingdom” and the subsequent “Vril-Ya” explore atmospheres that remain resonant despite the low end weight that seems to chug out beneath them. The mix by Chris Fielding at Skyhammer (who also co-engineered) doesn’t hurt in crafting their largesse, but something tells me Urkraft was going to sound big no matter what.

Bismarck on Thee Facebooks

Apollon Records website

 

Grand Reunion, In the Station

grand reunion in the station

In the Station doesn’t seem like anything too fancy at first. It’s produced cleanly, but not in any kind of overblown fashion, and Grand Reunion‘s songwriting is so solid that, especially the first time through their eight-track debut LP, it’s easy to say, “Okay, that’s another cool hook,” and not notice subtleties like when the organs turn to keyboard synth between opener “Eres Tan Serpiente” and second cut “Gordon Shumway,” or to miss the Latin percussion that Javier Tapia adds to Manuel Yañez‘s drumming, or the ways that guitarist Christian Spencer, keyboardist Pablo Saveedra, bassist Mario Rodríguez and Tapia work to complement guitarist Cristóbal Pacheco on vocals. But all of that is happening, and as they make their way toward and through the eight-minute fuzzer “Band Band the Headbang,” through the soaring “Weedow” and into the acoustic-led closer “It’s Alright,” the character and maturity in Grand Reunion‘s songwriting shows itself more and more, inviting multiple listens in the most natural fashion possible: by making you want to hear it again.

Grand Reunion on Thee Facebooks

Grand Reunion on Bandcamp

 

Pledge, Resilience

pledge resilience

16 minutes of scathing post-hardcore/sludge from Portuguese four-piece Pledge, who are in and out of their Resilience EP with a clean break and a windmill kick to the face. The newcomers lack nothing for ferocity, and with the throat-searing screams of Sofia M.L. out in front of the mix, violent intentions are unmistakable. “Profer Lumen Caecis,” “The Great Inbetweeness,” “Doom and Redemption” and “The Peter, the Wolf” nonetheless have groove built on varying degrees of extremity and angularity, with Vítor Vaz‘s bass maintaining a steady presence alongside the guitar of Hugo Martins and Filipe Romariz‘s drumming, frenetic as it sometimes is. I wouldn’t say things calm down in “The Peter, the Wolf” so much as the boiling seems to take place beneath the surface, waiting for a time to burst out, which it eventually does, but either way, for all its harsher aspects, Pledge‘s material isn’t at all void of engagement. It does, however, state the requirement right there on the front cover.

Pledge on Thee Facebooks

Pledge on Bandcamp

 

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Burn Ritual Preorders up for Blood of the Raven

Posted in Whathaveyou on August 10th, 2018 by JJ Koczan

burn ritual

Late last year, San Antonio doom rockers Burn Ritual signed to Cursed Monk Records on the heels of their successful debut EP, Like Suffering. That two-songer, released on limited tapes (gone) and CDs (gone and back), showcased a weighted tonality and flourish of classic Sabbathian melody, and the two songs currently streaming from their upcoming full-length, Blood of the Raven, would seem to follow suit. Play your cards right — i.e., look at the bottom of this post — and you can hear “The Mirror” and the album’s title-track now, and they’re both a clarion to the converted, calling to worship. Preorders are up for the album now through Cursed Monk ahead of the official release date, which is Oct. 1.

The PR wire put it like this:

burn ritual blood of the raven

Cursed Monk Records are thrilled to announce that pre-orders are now open for Burn Ritual’s highly anticipated debut album Blood of the Raven

Blood of the Raven will be released October 1st on CD and Digital Download via the Cursed Monk Records Bandcamp. Each preorder comes with the immediate download of the first two tracks from the album, plus a free woven Burn Ritual patch for the first number of orders, although patches are limited. Preorders can be made directly from our Bandcamp.

Based out of San Antonio, TX, Burn Ritual brew their own brand of heavy riffs, bluesy hazy vocals, and massive hypnotic fuzzed out tones. The band combine their love for traditional doom and stoner rock bands with modern elements making it a unique but familiar journey for the listener. Originally the brainchild of vocalist/guitarist Jake Lewis, who performed and recorded on most of the band’s positively received debut EP Like Suffering. The one man project soon paved way for the necessity for a full band of musicians to bring the songs to the stage the way they were meant to be heard. Now a full four piece band, Burn Ritual has shared the stage with bands such as The Lucid Furs, Black Pussy, and Goya.

The Black Sabbathian foursome has really cemented their sound with Blood of the Raven. And what they have delivered is an album full of monster hooks and gargantuan riffs drenched in a fuzzy psychedelic haze. A must have for every fan of the genre.

Let the burn ritual commence.

Burn Ritual is:
Jake Lewis – vocals, lead guitar, keys
Brent Standifer- drums
Richard Perez – guitar
Chris Trezona – bass

https://www.facebook.com/burnritualband/
https://burnritual.bandcamp.com/
https://cursedmonk.bandcamp.com
https://www.facebook.com/cursedmonk/
https://www.instagram.com/cursedmonkrecords/

Burn Ritual, Blood of the Raven (2018)

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Burn Ritual Sign to Cursed Monk Records

Posted in Whathaveyou on October 11th, 2017 by JJ Koczan

Texas doomgazers Burn Ritual issued the two-song EP Like Suffering this past summer, and the hazy ways the then-one-man outfit showed have been enough to get the now-a-full-band picked up by Irish imprint Cursed Monk Records. My chief question going forward is whether the garage-raw nod of “Unleash the Dogs” and “Like Suffering” will be maintained now that Jake Lewis has a complete lineup working around him, but I guess we’ll find out in the New Year when he and the rest of his cohorts get around to recording and releasing the album.

Until then, if you didn’t hear Like Suffering, which was mastered by Mos Generator‘s own Tony Reed, you’ll find it at the bottom of this post courtesy of the Burn Ritual Bandcamp. Here’s the announcement from Cursed Monk about having snagged the band for the impending release:

burn ritual

Burn Ritual have joined the cult of the Cursed Monk

Burn Ritual have signed with Cursed Monk Records!

Burn Ritual is a doom metal band based out of San Antonio, Texas, brewing its own brand of heavy riffs, bluesy hazy vocals, and massive hypnotic fuzzed out tones. The band combine their love for traditional doom and stoner rock bands with a modern element making it a unique but familiar journey for the listener. Burn Ritual is the brainchild of vocalist/guitarist Jake Lewis, who performed and recorded on most of the band’s debut EP Like Suffering, which was mastered by Tony Reed of Mos Generator.

The one man project soon paved way for the necessity for a full band of musicians to bring the songs to the stage the way they were meant to be heard , loud and in your face! Now a full four piece band, Burn Ritual plans to keep performing for the rest of the year and then start recording its first full length album in the beginning of 2018 which will be released by Cursed Monk Records.

Burn Ritual’s positively received E.P Like Suffering was released by the band in August 2017 and can be heard here.

https://www.facebook.com/burnritualband/
https://burnritual.bandcamp.com/releases
https://www.facebook.com/cursedmonk/
https://twitter.com/CursedMonkRec
https://www.instagram.com/cursedmonkrecords/
https://cursedmonk.bandcamp.com/

Burn Ritual, Like Suffering EP (2017)

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Cursus to Release Self-Titled Debut April 28; New Song Streaming

Posted in Whathaveyou on February 20th, 2017 by JJ Koczan

cursus

At any given second, there is nothing about the new streaming Cursus track that doesn’t seem to want to be as heavy as it can possibly be. One can hear the Neurosis influence noted by the PR wire in “Waters of Wrath,” which is the first audio to come from the San Antonio, Texas, two-piece’s self-titled debut, but less so the likes of Om or YOB, at least as regards an immediate ritualistic or cosmic impression — though after listening to the band’s 2013 Summer Solstice Sessions demo (available name-your-price at their Bandcamp) neither would I count on “Waters of Wrath” to speak for the entirety of the album.

An April 28 release has been set through Artificial Head Records, the label helmed by Funeral Horse guitarist/vocalist Walter Carlos, and I’ll be interested to find out what it has in store to go with the forceful churn Cursus showcase initially. For now, they certainly seem to know how to make a first impression.

Cover art and album details follow:

cursus self titled

CURSUS: Texan doom-duo crush worlds on colossal debut | Listen to new song ‘Waters of Wrath’

Cursus will be released on vinyl/digital on 28th April 2017 via Artificial Head Records

Artificial Head Records is pleased to announce the signing of psychedelic sludge band Cursus and with it the release of their self-titled debut album this April.

Taken from the Latin word meaning “course” – specifically the mournful paths our ancestors once took to bury their dead – the San Antonio-based paring of guitarist/vocalist CJ Duron and drummer Sarah Roork first came into being in the winter of 2013 with the release of their Summer Solstice Sessions demo. Influenced by the likes of Om, Neurosis, YOB and Ufomammut, and deep in experimentation with different sounds, instruments and drone frequencies, the demo slowly unfurled colossal riff driven soundscapes that permeated and punched in equal measure.

Released through Bandcamp it quickly caught the ear of label boss and fellow Texan, Walter Carlos, who signed Cursus on the spot to his Houston-based label Artificial Head Records.

“I had toured with Cursus a few times over the years and I’ve always admired their massive sound. Their ability to crush bodies in the room with their songs is uncanny,” explains Carlos. “Initially, we were going to release a live cassette by the band from recordings they made while on tour. But as the project kept going, we decided that a full-length studio album would be better and we’re proud to have Cursus as part of our family.”

Three years on from the release of Summer Solstice Sessions and Duron and Roork have their debut album loaded. Produced in a basement-recording studio by close friend Chris Dillard, over six devastating songs Cursus summons personal and spiritual pains and turns each into amplified dirges packed with riffs, hypnotic string arrangements and spellbinding percussion. With the power of cosmic doom burning brightly, distortion slams hard into 6/8 rhythms as the Duron and Roork charter a longboat through a magnificent storm of ethereal destruction.

Cursus’s self-titled debut album will be released on vinyl/digital on 28th April 2017 via Artificial Head Records.

Cursus:
CJ Duron – Guitar and Vocals
Sarah Roork – Drums

Album art by Javier “Warhorse” Luis
Artist: Cursus
Title: Cursus
Release Date: 28th April 2017
Label: Artificial Head Records
Formats: Vinyl/Digital

https://www.facebook.com/cursusdoom/
https://cursus.bandcamp.com/
https://www.facebook.com/ArtificialHead
https://artinstitute.bandcamp.com/

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