Weedevil Premiere Two-Song The Death is Coming EP

Posted in audiObelisk on June 15th, 2021 by JJ Koczan

weedevil (photo by Ivan Shupikov)

São Paulo-based doom rocking four-piece source link: 3 Easy Steps to Improve Your Grades. Essays are popular home tasks for students of different academic levels. It is a special genre, involving specific rules of presentation. Being rather small in volume, essay includes the elements of reasoning in an explicit or implicit form. An essay is, to a certain extent, a philosophical presentation of writers views within a Weedevil present their new two-songer Looking for quality essay help online? Essay helper is one of the most demanded services by students Whenever I ask to Strong Thesis Statement For Research Paper, The Death is Coming tomorrow through UKs Top http://www.bosch.zoologie.uni-kiel.de/wp-content/uploads/?college-essay-help-writing Service to get Help with Dissertation by Best Dissertation Writers. Best Dissertation Help Services in UK. Abraxas. Though it only runs about 12 minutes long, there’s no lack of punch in either “The Death is Coming” or the accompanying “Hi! I’m Lucifer” — the exclamation point in the title there bringing me more raw joy than I can possibly express in written language. They roll and they groove and 193 http://archiv.alpen.sac-cas.ch/?how-to-write-a-proper-university-essay jobs available. See salaries, compare reviews, easily apply, and get hired. New dissertation assistant careers are added daily on SimplyHired.com. The low-stress way to find your next dissertation assistant job opportunity is on SimplyHired. There are over 193 dissertation assistant careers waiting for you to apply! Fabrina Valverde‘s vocals make a strong presence from the outset of the first verse, diving into modern cultistry via classic heavy blues, backed by the formidable tonality of Research Papers On Steganography services are available for Bachelor and Masters level students who seek a fast solution to their thesis writing conundrum. We offer all possible types of services that a senior year student might need on their path to earning a degree. Everyone knows the degree project is a tough nut to crack. From 60 to 100 pages long, this is the pinnacle of ones academic writing skills Dani Plothow‘s bass and Are you here to find out how to succeed with your application? It's not a problem to enter the college of your dream anymore just Dissertation Conseil Constitutionnel France Caio Caraski‘s guitar and the crash and thick-popping snare of Graduate Admission Essay Help Harvard Essay Writer Generator - Title Ebooks : Essay Writer Generator - Category : Kindle and eBooks PDF - Author : ~ unidentified - ISBN785458 Flávio Cavichiolli‘s drums. It’s not a new formula, by any stretch of the imagination, and right up to the dual-layer soloing in “Hi! I’m Lucifer,” the  Cheap a fantastic read for Everyone Many students have troubles with writing essays and other academic papers. Some of them have no time for writing because of job and family responsibilities, while others experience problems with meeting page requirements and applying critical thinking skills. No matter the reason, you can always have extra time for other important things than writing Sabbath vibes run rampant, but if you’ve got a problem with that, there’s the door.

For the band,  see this heres - Advantages are Evident. In this modern day, the Internet has actually made students' life way more manageable, allowing them to pay for essays. Here, at BestCustomWriting.com, our experts will write your paper(s) from scratch. Our team understands how it is to be a student because they too have walked that path. If you pay for The Death is Coming follows up on the plague-era single “Follow the Smoke,” weedevil the death is comingwhich was released last Fall and indeed was leading toward the riff-filled land. Some of that sense of  Writing a literature review may be boring or tiresome. http://www.internat-vergleich.de/?globalization-and-religion-essay help from the trusted professionals and be on the road to success Sleepy lumber shows up in “The Death is Coming,” and some of the chug in “Hi! I’m Lucifer,” but as if in answer to their earlier-2020 self-titled EP, which boasted some more stoner-rocking vibes in “The Illusionist” and “Icarus,” the band has grown darker and meaner in the subsequent months, at least if these songs are anything to go by. Could just be bleak times calling for heavy groove, but for  http://aalkat-gym.dk/uploads/tf/idx.php?1905 >> Dissertation & thesis writing services for phd. It is already stated researched thousands of resume, my paper for me and they try to. This site charged 7 custom dissertation services plagiarism and never to get your paper. All these custom dissertation services also will be Weedevil, who feel set on an inexorable course toward a debut full-length, the balance of the mix that they lock in on the newer tracks as compared to those still barely just 12 months old is telling in terms of their overarching progression.

As to where it all might lead, well, I hear great things about the Abyss of Lovecraftian Horror Riffage this time of year, if they might care to visit? One way or the other, this is the sound of a band finding their sound.

Enjoy:

With a life history that already had a potentially breathtaking birth the Brazilian stoner/doom band Weedevil started their journey in 2019 with the release of the single “Morning Star” and a subsequent participation in the renowned SIM SP with the well-known Swedish band Asteroid touring in Brazil. In May/2020 the band released their well-received debut EP via Abraxas Records and now the band brings us the powerful “The Death Is Coming”.

As always guided by the magnetic and engaging voice of Fabrina Valverde, the quartet completed by Flávio Cavichiolli (drums), Caio Caraski (guitar) and Dani Plothow (bass), all high-capacity musicians, brings us with “The Death is Coming” a great foreshadowing of his upcoming debut album. Recorded, mixed and mastered at Bay Area Studio in São Paulo in the month of April the release presents the band’s possible creative peak and most mature moment. With two well-crafted and striking compositions that immediately attract the listener, featuring Fabrina’s vocals at their best and with a full-bodied instrumental section, the Psychedelic, Doom and even Occult Rock aspects are precisely evoked inviting the listener to immersion and referencing names like Windhand, Purson, Acid King and others.

“The Death is Coming” will be released digitally in June, 16 through Abraxas Records.

Weedevil are:
Fabrina Valverde- Vocals
Caio Caraski- Guitars
Flávio Cavichiolli- Drums
Dani Plothow- Bass

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Melissa Stream Debut Album Devil’s Mask in Full

Posted in audiObelisk, Reviews on May 19th, 2021 by JJ Koczan

melissa

Essay Editor Online. Our website is useful not only for students, but also for everyone who works with texts. Freelance writers, businesspeople, those who deal with law documents, etc. all use our http://masheroa.com/master-thesis-operations-management/ service. It helps make a text flawless in terms of grammar and style. The online editor has a lot of benefits. Melissa release their debut album, After School Homework Club. You get all the advantages, you only can get and all you have to do is fill in the application and buy an essay! Devil’s Mask, today. I think as of this post, actually. The record and the São Paulo-based group are both new, bringing together vocalist/multi-instrumentalist Our remarkable dissertation editors offer the best conditions and all kinds of Business Plan Pages Templates, thesis editing and dissertation proofreading Melissa Rainbow with this website through online websites. Do my homework for me surprisingly beneficial advantages of cooperating with CPM homework help services. Dirty Grave bandmates in drummer Henrique Lima guitarist Pedro Barros along with bassist Anderson Vaca (also of PESTA), and after deciding to forge ahead with the project in January of this year, Rainbow wrote and recorded the 41-minute seven-tracker between then and March. It’s May, and again, today’s the release date. There is no substitute for efficiency.

Or vibe, and Devil’s Mask has plenty of that. Billed by Rainbow and the band that bears her name as “slow heavy music” rather than doom or doom metal in the outright, the fare throughout is raw, but not at all without atmosphere for that. Opener “Perfect Soulmate” opens backed by a duly thickened chug, but has intertwining layers of guitar stretched across, and the vocals add a murky sense of foreboding. Drums and bass are tasked with keeping a mostly straightforward rhythm, but there’s room for flourish there too, and as the longest song of the album (immediate points), the leadoff feels designed to draw the listener into the lurking horror that awaits in the rest of what follows, beginning with the crawl of “Buried in a Body,” which feels more forward in its structure butmelissa devil's mask still ends up in a swirling cascade of cultish incantations. Initial single “Swallowed by Blame” follows and reaffirms the otherworldly brooding in its more open midsection topped with multi-layer chants, building its way back up to the lumbering guitar and keyboard figure from whence it came, a curtain of mist drawing around as centerpiece “The Fire Eats” gets underway with its own patient consumption.

There’s a touch of grunge in the guitar progression of “The Fire Eats” — thinking Dirt-era Alice in Chains particularly — but the keys in the early and late going draw it together with “Swallowed by Blame” before, and while it’s “I, the Witch” that makes the most individual impression on Devil’s Mask as both the catchiest and most outwardly tonally weighted track, even that has both its layer of noise and keyboards well in check for the theatricality that arises amid the march of its second half, which, as ever, is directed downward, graveward, into a sonic abyss of the band’s own making. That leaves only the title-track to close out, and whatever grim gods have been invoked up to now, “Devil’s Mask” has its own presence, careening and raw and Lovecraftian and Hammer Horror all the while, a vague malevolence of low end circa two minutes in leading to the next round of layered vocals, some clean, some growled, some wailing, that accompany what in other contexts would simply be a Sabbath-style riff. Like the rest of Devil’s Mask, in Melissa‘s hands, that progression is twisted and repurposed like so much ethereal goo, turned hypnotic in its way and cut suddenly as if to preface another round of darkness on the horizon.

Given the pace with which Melissa‘s debut album happened, a quick sequel wouldn’t necessarily surprise, but what comes through clearest in this first offering is the sense of exploration of atmosphere and intertwining parts and layers to create a mood, songs as performance pieces even when recorded. It is doom, it is cultish, but Devil’s Mask pushes at the same time against convention, and is all the stronger for it. Whatever these impulses might lead to going forward, and when, the potential in the project comes from its immediate drive toward finding an individualized niche for itself. As to how far Melissa might continue to dig into that niche, that’s entirely up to them.

By all means, stream the album below and hear for yourself.

Enjoy.

Melissa is a Slow Heavy project by Melissa Rainbow (Dirty Grave, Mães Morrendo, Enxofre). Born in January 2021. Cult to slow heavy music.

Devil’s Mask is Melissa’s debut album, mixing heavy and slow riffs with gloomy melodies. Lyrics express a walk through a private hell surrounded by a veil of dramatic terror. Ode to Doom Metal with morbid environment in a psychedelism in dark tones.

Composed and recorded between January and March 2021

Record/mix homemade by Melissa Rainbow
All lyrics and music by Melissa

DEVIL’S MASK tracklisting:
1. Perfect Soulmate
2. Buried in a Body
3. Swallowed by Blame
4. The Fire Eats
5. I, The Witch
6. Pulse
7. Devil’s Mask

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Melissa to Release Debut Album Devil’s Mask; New Single out Today

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

melissa

Formed just this past January, Brazilian four-piece Melissa will present their debut album, Devil’s Mask, next week. I’ll be streaming it — I think? — so this post is really just something of a heads up for that, but the first single from the thing is out today, and whether or not the subsequent stream is happening, “Swallowed by Blame” is a fascinating blend of goth atmosphere, raw doom and other cult-derived heavy. The band is fronted by Melissa Rainbow of Dirty Grave and finds her joined by that band’s drummer Henrique Lima and guitarist Pedro Barros, as well as newcomer bassist Anderson Vaca, also of Pesta. The record is formative but aware of where it wants to go, and loaded with potential in its level of craft. It’s not an entirely unfamiliar sound, but a fascinating one just the same. You might dig it.

So stay tuned for more on that, and in the meantime, here’s release info and whatnot below, courtesy of the PR wire:

melissa devil's mask

Slow heavy music project MELISSA release debut single and announce album “Devil’s Mask”

Brazilian “slow heavy music” project MELISSA release first single “Swallowed by Blame” and announce debut album “Devil’s Mask”

In this May 13 the Doom-guided project MELISSA release their debut single “Swallowed By Blame”, part from their first studio álbum “Devil´s Mask”. Born in January and described simply as “Slow Heavy Music”, the project Melissa is a new work of Melissa Rainbow, the mind and heart behind bands like Dirty Grave, Enxofre and Mães Morrendo, all of them travelling through the paths of heavy music and touchin genres like Doom, Death Metal and Grunge.

Completed by their DIRTY GRAVE’S bandmates Henrique Lima (drums) and Pedro Barros (guitar) and the bass player Anderson Vaca (PESTA), the new project walk through the Doom Metal, Postpunk, Gothic and other sonorities, with the debut álbum “Devil’s Mask” due to May, 19 release in Bandcamp featuring seven dense and blazing tracks.

DEVIL’S MASK tracklisting:
1. Perfect Soulmate
2. Buried in a Body
3. Swallowed by Blame
4. The Fire Eats
5. I, The Witch
6. Pulse
7. Devil’s Mask

https://www.facebook.com/melissadoommetal/
https://www.instagram.com/melissa_doomed/
https://melissadoom.bandcamp.com/

Melissa, “Swallowed by Blame”

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Acavernus & Yantra to Release Collaborative Gnose LP

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

ACAVERNUS YANTRA

There’s a fair amount to unpack here, before you even get to the audio. To wit, Acavernus and Yantra are both solo-projects, belonging respectively to Paula Rebellato of Rakta and Douglas Leal of Deafkids. Those two outfits — both based in Brazil — are no strangers to collaboration, but the pairing specifically of Rebellato and Leal as Acavernus & Yantra manifested at least in terms of the debut studio recording, Gnose, as a pandemic-era exploration. The album is set to release digitally on Friday — no time to waste — with vinyl to follow in November through Peru’s Buh Records, and is a drone-laced rite of experimentalist craft, seven songs feeling their way into the unknown across 40 minutes of varied ceremonialism. It is not for the faint of heart and not to be glossed over in the details. The birdsong amid the percussion in “Enigma,” for example, is essential. And are those waves in the closing title-track? I think so.

This is a debut technically, but obviously there’s a familiarity between the two as regards process, and the results on Gnose are that much richer for it.

Here’s the art and info:

acavernus yantra gnose

Buh Records presents ACAVERNUS & YANTRA – GNOSE

Pre Order / Digital: May 14
Vinyl Release: November 10

Buh Records presents “Gnose”, the joint full-length by the solo acts of Paula Rebellato (RAKTA) and Douglas Leal (DEAFKIDS), members of two of the most thriving and groundbreaking bands coming out of Brazil to the world lately.

Produced between 2019 and 2020 in São Paulo, Brazil, some of the compositions were first conceived for a live performance in late 2019 and then expanded into a full-length album, part recorded in studio and part at home during the first months of the pandemic.

Inspired by the ritualistic potentials of music, “Gnose” offers a vertical and circular narrative throughout its 7 themes, exploring atmospheres that may contribute to experiences of displacement and inner silence. The fusion of traditional and acoustic instruments with electronic and processed sounds highlights the strong characteristics of both projects, melted into a journey within timeless soundscapes.

Paula Rebellato is an artist based in São Paulo, Brazil. Her journey with music and sound started at young age and became a more consistent path when she co-founded the genre-bending group Rakta. Active since 2011 and with several releases, the group has performed extensively throughout Europe, North & South America, Mexico and Japan. Rakta has lived a vertiginous rise for a band that was born from the DIY punk scene of São Paulo. Paula’s solo project ACAVERNUS, active since 2013, incorporates sound, visual and written language. Inspired by sounds and atmospheres that evokes strangeness and beauty, she dives into memories and encounters that leads to her own center of intuitive and instinctive expressions, always trying to work and explore different tools and materials for composing. Her work with the voice, processed by different effect pedals, takes the listener to both comfortable and uncomfortable places.

YANTRA is the solo project by Douglas Leal, multi-instrumentalist, visual artist and founding member of the Brazilian psychedelic punk trio DEAFKIDS. Active with his band since 2010 with several releases and extensive touring throughout Europe, North & South America, Douglas’ solo project emerged in 2015 as a psychedelic and meditative audio-visual outlet for experimental/home-recordings, but has since evolved into self-released tapes and collaborative recordings, live soundtrack for yoga and meditation sessions and improvisation sets with many different artists from São Paulo. Inspired by the modal music from different cultures around the world and using the electric guitar as the main instrument for his excursions into drones, ragas and maqams, over time Douglas began to explore the use of acoustic sounds such as native wind instruments, the Greek Bouzouki, the Turkish Ney, mouth harps and etc, expanding the project’s color palette into unknown musical paths.”Gnose” is published in Black/Color Vinyl LP, Limited To 300 Copies. Artwork by Douglas Leal.

https://www.facebook.com/raktaraktarakta/
https://www.instagram.com/seitarakta/
https://rakta.bandcamp.com/
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https://www.facebook.com/deafkidspunx
https://www.instagram.com/deaf_kids/
http://www.facebook.com/pages/Buh-Records/156883541029097
https://www.instagram.com/buhrecords
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Acavernus & Yantra, “Iniciação”

Acavernus & Yantra, Live for Supersonic Festival 2020

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Quarterly Review: Molasses Barge, Slow Green Thing, Haze Mage & Tombtoker, White Dog, Jupiterian, Experiencia Tibetana, Yanomamo, Mos Eisley Spaceport, Of Wolves, Pimmit Hills

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

THE-OBELISK-FALL-2020-QUARTERLY-REVIEW

We roll on with day two of the Fall 2020 Quarterly Review featuring another batch of 10 records en route to 50 by Friday — and actually, I just put together the list for a sixth day, so it’ll be 60 by next Monday. As much as things have been delayed from the pandemic, there’s been plenty to catch up on in the meantime and I find I’m doing a bit of that with some of this stuff today and yesterday. So tacking on another day to the end feels fair enough, and it was way easy to pick 10 more folders off my far-too-crowded desktop and slate them for review. So yeah, 60 records by Monday. I bet I could get to 70 if I wanted. Probably better for my sanity if I don’t. Anyhoozle, more to come. For now…

Quarterly Review #11-20:

Molasses Barge, A Grayer Dawn

molasses barge a grayer dawn

Following up their 2017 self-titled debut issued through Blackseed Records, Pittsburgh-based rockers Molasses Barge present A Grayer Dawn through Argonauta, and indeed, in songs like “Holding Patterns” or the melancholy “Control Letting Go,” it is a somewhat moodier offering than its predecessor. But also more focused. Molasses Barge, in songs like stomping opener “The Snake” and its swing-happy successor “Desert Discord,” and in the later lumber of “Black Wings Unfurl” and push of the title-track, reside at an intersection of microgenres, with classic heavy rock and doom and modern tonality and production giving them an edge in terms of overarching heft in their low end. Riffs are choice throughout from guitarists Justin Gizzi and Barry Mull, vocalist Brian “Butch” Balich (Argus, ex-Penance, etc.) sounds powerful as ever, and the rhythm section of bassist Amy Bianco and drummer Wayne Massey lock in a succession of grooves that find welcome one after the other until the final “Reprise” fades to close the album. Its individuality is deceptive, but try to fit Molasses Barge neatly in one category or the other and they’ll stand out more than it might at first seem.

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Argonauta Records website

 

Slow Green Thing, Amygdala

slow-green-thing_amygdala-2000

Yes, this. Slow Green Thing‘s third album, Amygdala, is melodic without being overbearing and filled out with a consuming depth and warmth of tone. A less jammy, more solo-prone Sungrazer comes to mind; that kind of blend of laid back vocals and heavy psychedelic impulse. But the Dresden four-piece have their own solidified, nodding grooves to unveil as well, tapping into modern stoner with two guitars setting their fuzz to maximum density and Sven Weise‘s voice largely floating overtop, echo added to give even more a sense of largesse and space to the proceedings, which to be sure have plenty of both. The six-track/44-minute outing picks up some speed in “Dirty Thoughts” at the outset of side B, and brings a fair bit of crush to the title-track earlier and lead-laced finale “Love to My Enemy,” but in “Dreamland,” they mellow and stretch out the drift and the effect is welcome and not at all out of place beside the massive sprawl conjured in side A capper “All I Want.” And actually, that same phrase — “all I want” — covers a good portion of my opinion on the band’s sound.

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Fuzzmatazz Records website

 

Haze Mage & Tombtoker, Split

Haze Mage Tombtoker Split

Anyone bemoaning the state of traditionalist doom metal would do well to get their pants kick’d by Haze Mage, and when that’s done, it’s time to let the stoned zombie sludge of Tombtoker rip your arms off and devour what’s left. The two Baltimorean five-pieces make a righteously odd pairing, but they’ve shared the stage at Grim Reefer Fest in Charm City, and what they have most in common is a conviction of approach that comes through on each half of the four-song/19-minute offering, with Haze Mage shooting forth with “Sleepers” and the semi-NWOBHM “Pit Fighter,” metal, classic prog and heavy rock coming together with a vital energy that is immediately and purposefully contradicted in Tombtoker‘s played-fast-but-is-so-heavy-it-still-sounds-slow “Braise the Dead” and “Botched Bastard,” both of which find a way to be a ton of fun while also being unspeakably brutal and pushing the line between sludge and death metal in a way that would do Six Feet Under proud. Horns and bongs all around, then.

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White Dog, White Dog

white dog white dog

Oldschool newcomers White Dog earn an automatic look by releasing their self-titled debut through former Cathedral frontman Lee Dorrian‘s Rise Above Records, but it’s the band’s clearcut vintage aesthetic that holds the listener’s attention. With proto-metal established as an aesthetic of its own going on 20 years now, White Dog aren’t the first by any means to tread this ground, but especially for an American band, they bring a sincerity of swing and soul that speaks to the heart of the subgenre’s appeal. “The Lantern” leans back into the groove to tell its tale, while “Abandon Ship” is more upfront in its strut, and “Snapdragon” and opener “Sawtooth” underscore their boogie with subtle progressive nods. Closing duo “Pale Horse” and “Verus Cultus” might be enough to make one recall it was Rise Above that issued Witchcraft‘s self-titled, but in the shuffle of “Crystal Panther,” and really across the whole LP White Dog make the classic ideology theirs and offer material of eminent repeat listenability.

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Rise Above Records website

 

Jupiterian, Protosapien

jupiterian protosapien

The only thing that might save you from being swallowed entirely by the deathly mire Brazil’s Jupiterian craft on their third full-length, Protosapien, is the fact that the album is only 35 minutes long. That’s about right for the robe-clad purveyors of tonal violence — 2017’s Terraforming (review here) and 2015’s Aphotic (review here) weren’t much longer — and rest assured, it’s plenty of time for the band to squeeze the juice out of your soul and make you watch while they drink it out of some need-two-hands-to-hold-it ceremonial goblet. Their approach has grown more methodical over the years, and all the deadlier for that, and the deeper one pushes into Protosapien — into “Capricorn,” “Starless” and “Earthling Bloodline” at the end of the record — the less likely any kind of cosmic salvation feels. I’d say you’ve been warned, but really, this is just scratching the surface of the trenches into which Jupiterian plunge.

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Transcending Obscurity Records on Bandcamp

 

Experiencia Tibetana, Vol. I

Experiencia Tibetana Vol I

It’s an archival release, recorded in 2014 and 2015 by the Buenos Aires-based band, but all that really does for the three-song/hour-long Vol. I is make me wonder what the hell Experiencia Tibetana have been up to since and why Vols. II and III are nowhere to be found. The heavy psych trio aren’t necessarily inventing anything on this debut full-length, but the way “Beirut” (18:36) is peppered with memorable guitar figures amid its echo-drifting vocals, and the meditation tucked into the last few minutes of the 26:56 centerpiece “Espalda de Elefante” and the shift in persona to subdued progressive psych on “Desatormentandonos” (14:16) with the bass seeming to take the improvisational lead as guitar lines hold the central progression together, all of it is a compelling argument for one to pester for a follow-up. It may be an unmanageable runtime, but for the come-with-us sense of voyage it carries, Vol. I adapts the listener’s mindset to its exploratory purposes, and proves to be well worth the trip.

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Yanomamo, No Sympathy for a Rat

yanomamo no sympathy for a rat

Filth-encrusted and lumbering, Yanomamo‘s sludge takes Church of Misery-style groove and pummels it outright on the opening title-track of their four-song No Sympathy for a Rat EP. Like distilled disillusion, the scream-laced answer to the Sydney four-piece’s 2017 debut, Neither Man Nor Beast, arrives throwing elbows at your temples and through “The Offering,” the wait-is-this-grindcore-well-kinda-in-this-part “Miasma” and the suitably destructive “Iron Crown,” the only letup they allow is topped with feedback. Get in, kill, get out. They have more bounce than Bongzilla but still dig into some of Thou‘s more extreme vibe, but whatever you might want to compare them to, it doesn’t matter: Yanomamo‘s unleashed assault leaves bruises all its own, and the harsher it gets, the nastier it gets, the better. Can’t take it? Can’t hang? Fine. Stand there and be run over — I don’t think it makes a difference to the band one way or the other.

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Iommium Records on Bandcamp

 

Mos Eisley Spaceport, The Best of Their Early Year

mos eisley spaceport the best of their early year

They mean the title literally — “early year.” Bremen, Germany’s Mos Eisley Spaceport — who so smoothly shift between space rock and classic boogie on “Further When I’m Far” and brash tempo changes en route to a final jam-out on “Mojo Filter,” finally unveiling the Star Wars sample at the head of organ-inclusive centerpiece “Space Shift” only to bring early Fu Manchu-style raw fuzz on “Drop Out” and finish with the twanging acoustic and pedal steel of “My Bicycle Won’t Fly” — have been a band for less than a full 12 months. Thus, The Best of Their Early Year signals some of its own progressive mindset and more playful aspects, but it is nonetheless a formidable accomplishment for a new band finding their way. They lay out numerous paths, if you couldn’t tell by the run-on sentence above, and I won’t hazard a guess as to where they’ll end up sound-wise, but they have a fervent sense of creative will that comes through in this material and one only hopes they hold onto whatever impulse it is that causes them to break out the gong on “Space Shift,” because it’s that sense of anything-as-long-as-it-works that’s going to continue to distinguish them.

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Of Wolves, Balance

of wolves balance

One doesn’t often hear “the Wolfowitz Doctrine” brought out in lyrics these days, but Chicago heavy noise metallers Of Wolves aren’t shy about… well, anything. With volume inherent in the sound no matter how loud you’re actually hearing it, conveyed through weighted tones, shouts of progressions unified in intensity but varied in aggression and actual approach, the three-piece take an unashamed stance on a range of issues from the last two decades of war to trying to put themselves into the head of a mass shooter. The lyrics across their sophomore outing, Balance, are worth digging into for someone willing to take them on, but even without, the aggro mosh-stomp of “Maker” makes its point ahead of the 17-second “Flavor of the Weak” before Of Wolves dive into more progressively-structured fare on the title-track and “Clear Cutting/Bloodshed/Heart to Hand.” After “Killing Spree” and the aural-WTF that is “Inside (Steve’s Head),” they finish with a sludgecore take on the Misfits‘ “Die, Die My Darling,” which as it turns out was exactly what was missing up to that point.

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Trepanation Recordings on Bandcamp

 

Pimmit Hills, Heathens & Prophets

Pimmit Hills Heathens Prophets

Comprised of four-fifths of what was Virginian outfit King Giant, it’s hard to know whether to consider Pimmit Hills a new band or a name-change, or what, but the first offering from vocalist David Hammerly, guitarist Todd “TI” Ingram, bassist Floyd Lee Walters III and drummer Brooks, titled Heathens & Prophets and self-released, hits with a bit of a bluesier feel than did the prior outfit, leaving plenty of room for jamming in each track and even going so far as to bring producer J. Robbins in on keys throughout the four-song/29-minute release. I suppose you could call it an EP or an LP — or a demo? — if so inclined, but any way you cut it, Heathens & Prophets plainly benefits from the band’s experience playing together, and they find a more rocking, less moody vibe in “Baby Blue Eyes” and the harmonica-laced “Beautiful Sadness” that has a feel as classic in substance as it is modern in sound and that is both Southern but refusing to bow entirely to cliché.

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Jupiterian Post “Starless”; Protosapien Preorders Coming Soon

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

jupiterian (Photo by Patricia Montrase)

Alright, so I don’t know much more here than you. At some point presumably later this year, Brazil’s Jupiterian will release a follow-up to their 2017 album, Terraforming (review here). That record, if you’ll recall, fucking crushed, and I wouldn’t be surprised if the forthcoming Protosapien did likewise, melding extreme sludge and death-doom with murky atmospheres and a ritualized sensibility emphasized in the robes that accompany all that crackling-amp tonality. Transcending Obscurity will have the album out, but when the band first posted the tracklisting it was last Spring and they were talking about it for a 2019 release, so what the hell that might mean or what might’ve been behind the delay — if it was being pushed back now, it would be glaringly obvious — I wouldn’t want to guess.

Most important of all is the track slays. I know I already said once today that my head was locked in escapist peaceful psychedelia, but so help me robot jeebus, there’s always a spot reserved in my bitter, depressive heart for precisely this kind of oppressive, monolithic doom. So I guess it’s either space out or be buried alive these days. One extreme to the other. That in itself feels pretty appropriate.

You can hear “Starless” at the bottom of the post. No clue when Transcending Obscurity are starting Protosapien preorders, but I bet if you asked nice they’d tell you.

Here to decay:

jupiterian protosapien

Jupiterian – Protosapien

“Starless” taken from the upcoming album ‘Protosapien.’

Pre-orders for the massive new JUPITERIAN full length Protosapien are up next. Brace yourselves.

Artwork by Mariusz Lewandowski (EREMIT, ROGGA JOHANSSON)

Tracklist:
1. Homecoming
2. Mere Humans
3. Capricorn
4. Starless
5. Voidborn
6. Earthling Bloodline

New album coming soon via Transcending Obscurity Records

Cover artwork by Mariusz Lewandowski (Bell Witch, Eremit)

Recorded by Alan Lima (Mythological Cold Towers) and Otso Ukkonen

Mix and master: Otso Ukkonen (Krypts)

Jupiterian are:
V – G/V
R – B
P – D
A – G

https://www.facebook.com/jupiteriansect/
https://jupiterian.bandcamp.com/
https://tometal.com/
https://www.facebook.com/transcendingobscurityrecords
http://transcendingobscurity.bandcamp.com/

Jupiterian, “Starless”

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Projeto Trator European Tour Starts Tomorrow

Posted in Whathaveyou on August 21st, 2019 by JJ Koczan

Projeto Trator (photo by Murai)

…Aug. 22, to be exact, which, yes, is this week. The São Paulo sludge/heavy rockers go as ambassadors of Brazil’s fertile underground scene, and will make stops at festivals here and there along the way of their month-long stint on the European continent. That’s a pretty good run — a month — and with shows about to start, there are still some TBA dates in there, as well as off-days, so I’m thinking if you’re in Europe someplace along their path, you’ve probably got a fair chance of getting Projeto Trator to play wherever you’re at. House show? Back yard gig? It’s time to fill those slots, people. I’d figure toss them some cash for making the stop and, you know, give them food and a place to crash, and it’d probably turn out to be an awesome tour stop. As you can see below, they made their “Vermes” video from clips on tour last year in Argentina. Maybe you could be in the next video.

Either way, if you can help, help. Scene unity and all that.

Projeto Trator‘s latest EP is out now through Abraxas Records, and “Vermes” comes from it. They were writing new material this Spring, but I’ve yet to see word yet of a follow-up. Doesn’t it mean it won’t happen, just means I don’t know.

Alright, here are those dates:

Projeto_Trator_European_Tour_2019_Flyer

Projeto Trator – European Tour

Projeto Trator is a sludge/doom metal duo from São Paulo/Brazil. Formed in 2006, the band has released 10 works and toured extensively in Brazil and South America many times.

Finally: in August and September 2019 will be the first tour of the Projeto Trator in Europe. There will be more than 20 shows from 8 countries (Germany, Slovakia, Austria, Czech Republic, Belgium, Netherlands, Poland & Hungary). Half of the shows will be sharing the stage with the Umbilichaos (industrial-noise-one-woman-band), longtime partner of the Projeto Trator in shows and releases.

It will be an unmissable opportunity for anyone who can see live one of the best bands of “doomed” music in Brazil.

Projeto Trator live dates:
08.22 Kopi Berlin DE
08.23 Eldorado Hamburg DE
08.24 Gazarach Bratislava SK
08.27 TBA Ostrava CZ
08.28 Hospoda Brouk Prague CZ
08.29 Marie Antoinette Berlin DE
08.31 TBA Brussels BE
09.01 Mest Fest Hoegaarden BE
09.03 TBA Courtrai BE*
09.04 TBA Gent BE*
09.06 Acu Utrecht NL*
09.07 13 Times Fest Geel BE
09.10 TBA Amsterdam NL*
09.11 TBA Hoorn NL*
09.13 Potse Drugstore Fest Berlin DE
09.14 TBA Estetino PL
09.17 TBA Leipzig DE
09.18 TBA Halle DE
09.19 Basta! Gorlitz DE
09.20 Psych Umami Fest Vernerovice CZ
09.21 Sommafest ’19 Rietschen DE
09.22 TBA Vienna AT
09.23 Edison Bar & Ink Budapest HU
* with Umbilichaos

projetotrator.com
facebook.com/projeto.trator
instagram/projetotrator
bandcamp.com/projetotrator

Projeto Trator, “Vermes” official video

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Labirinto Premiere Divino Afflante Spiritu in Full; Out Tomorrow on Pelagic Records

Posted in audiObelisk on February 7th, 2019 by JJ Koczan

labrinto

This one happened pretty suddenly. Yesterday afternoon I got a note asking if I wanted to do a last-minute stream for Labirinto‘s third long-player, Divino Afflante Spiritu, which is out tomorrow on Pelagic Records. I took a couple minutes to skim through and knew quickly that, yes, it was the kind of thing I wanted to be involved in, but my usual I’m-gonna-play-the-record-a-bunch-of-times-before-I-write-about-it-thing? Yeah, not so much. Way more of a first impression here, and all the more because Divino Afflante Spiritu is my first exposure to the São Paulo-based mostly-instrumental six-piece. Their sound draws from modern progressive chug-ism and crunch tones blending with airy effects on a cut like “Eleh Ha Devarim” or the later and flowing “Asherdu,” but there’s a post-metallic bent there as well, as can be heard in the “Stones from the Sky”-moment transfigured into second track “Penitência” and in some of the general atmosphere of urgency throughout, keyboards and three guitars intertwining for a sound that is full when it wants to be and spacious nonetheless, culminating its seven-track/35-minute run in the seven-minute title-track, which is marked by graceful surges of volume and a distinctive heavier post-rocking feel. It is an ambience of color, but on a dark background, and its depths of mix are significant, even as the weight of its low end does precious little to keep the guitars from soaring when they choose to.

labrinto divino afflante spirituEach side features some measure of vocals, whether that’s opener “Agnus Dei” with the ensuring screams of guest singer Elaine Campos (Abuso Sonoro and others) or the later ethereal interlude “Vigilia” that follows the centerpiece “Demiurge,” and though there’s a certain expectation set up by that appearance at the outset, the prevailing vibe lacks nothing for atmosphere as guitarists Kiko Bueno, Erick Cruxen and Luis Naressi (the latter also synth), percussionist Lucas Melo, drummer Muriel Curi and bassist Hristos Eleutério conjure an alternately crushing and expansive feel. It’s a complex outing that bridges earthbound and otherworldly elements, and very clearly feels no need to commit to one side or the other of that equation, if it sees a difference between them at all. Progressive in their construction, Labirinto‘s songs nonetheless flow together to convey a singular idea through diverse means. I’ll admit this is a first impression, but it’s a positive one.

And when it comes right down to it, I like sharing good music. If there’s a chance this is gonna make someone’s hard day better, then hell yes, I’m on board. I don’t usually do things so last-minute, but every now and again you need to be flexible.

I’ve included the full text of the PR wire info below, so you can have more background on the recording and the fascinating remote-production process by which Divino Afflante Spiritu came about.

That, of course, follows the full stream of the album, which you’ll find below. It’s out tomorrow on Pelagic.

Please enjoy:

Labirinto, Divino Afflante Spiritu full album premiere

São Paulo’s LABIRINTO are not the spearheads of a vivid local scene, but to stay within the realms of post-rock metaphory, more of an isolated island within a vast ocean of nothingness. There is not much contemporary instrumental heavy music anywhere in South America. There are hardly any record labels and international bands seldomly make it over on tour. All the more surprising that this island of LABIRINTO has been releasing records for 13 years already.

Divino Afflante Spiritu is already the band’s 10th release, but only the 3rd full-length album. The band’s back catalogue is made up of a number of EPs and splits (with THISQUIETARMY among others), a detail which showcases the band’s strong roots in the DIY scene. Guitarist Erick Cruxen and drummer Muriel Curi, a long-married couple, have learned how take control of every aspect of the band’s universe themselves: from running their own record label to booking their own tours to running their own recording studio, the internationally renowned Dissenso Studios in São Paulo.

The band flew in Billy Anderson for the prodcution of previous album „Gehenna“.This time, Cult Of Luna’s Magnus Lindberg was hired, but the entire production happened via the internet, exemplary for this time we live in, without Magnus ever setting foot on Brazilian soil. „Since the pre-production phase, Muriel kept in touch with Magnus“, Cruxen comments. „We talked a lot to him about our plans and ideas for the tracking sessions. He did an online support video session during the recording sessions, and we were aligning ideas for technical decisions. He was monitoring the whole recording process, basically. At the end, we sent him the audio files and he mixed and mastered the album at his own Redmount Studios in Stockholm.“

The result is an album of dense and menacing atmospherics, textural drones carefully layered over and blended into the heavy guitar riffs’s shimmering, beautiful distortion-scapes – and for the first time ever, vocals make their debut on a LABIRINTO album, on opening track „Agnus Dei“. „We invited Elaine Campos, she’s been singing in Brazilian punk and crust bands for over 20 years“, comments Curi. „It’s a huge pleasure for us to have such a veteran from the punk scene, a feminist and anarchist, guest on the track.“

It’s clear from the first synth drones inaugurating the opening track that doom lurks on the horizon, that „Divino Afflante Spiritu“ is not going to be a soundtrack to a tropical paradise – it’s a dark, cold record. „This album has a great emotional weight,” explains Cruxen. „It flourished during a very difficult phase in which we lost a very dear entity. It was a whirlwind of emotions that are materialized whenever we play the songs. This album, more than anything, represents for us loss and suffering, but also, passion and friendship.“

LINE UP: Hristos Eleutério – bass, Lucas Melo – percussion, Kiko Bueno – guitar, Luis Naressi – guitar, synths, Erick Cruxen – guitar, Muriel Curi – drums

TRACK LISTING:
01. Agnus Dei
02. Penitência
03. Eleh Ha Devarim
04. Demiurge
05. Vigília
06. Asherdu
07. Divino Afflante Spiritu

Labirinto on Thee Facebooks

Labirinto on Instagram

Labirinto website

Pelagic Records on Thee Facebooks

Pelagic Records website

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