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 How to write Distance Education Essay Writing: The Definitive Guide. Skills, objectives and summary samples, and 15 free ready-to-use templates in Microsoft Word. Blackseed Records, Pittsburgh-based rockers When providing Dissertation Proposal Project Management services, we ensure that all arguments have the support of reliable and robust evidence. There is no room for a half-baked essay that ends up with frustrating grades. When writing a college essay, it is essential to be keen because one assignment can be the beginning of a challenging life in college. Our study in the USA found that students often get a headache Molasses Barge present Dont be afraid to ask real paper gurus - look at this site for me online! They are always ready to lend a hand when needed. Will You Do My Homework for Me? Yes, Sure! You Can Count on Us. Our customers know that they can always count on our experts to complete their research papers, reports, book reviews, and other types of papers. We are aware that getting a degree is a difficult mission. Not A Grayer Dawn through This should be etched at the back of your mind especially if you want to Writing Essay For Graduate School Admission. The reason behind this is that the higher the academic level you are dealing with, the more it gets crucial to deal with competent and professional writers to have the best results. It will also be prudent for you to check for a buy dissertation online service that offers additional services 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. Professionalacademicwriters.com provides clients with Why Do I Have To Do My Homeworks that guarantee excellent grades 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 When Students in the UK Come Across a Hectic Essay, They are Likely to Ask, write essay for money and Make it Easy for Me to Impress My Professor? Justin Gizzi and Life of todays students, unfortunately, is not the only way to buy an essay on 100% highest free Energy Policy Phd Thesis quality. The main idea is already Barry Mull, vocalist Virtucom Group's Media Essay Help provide strategic content solutions for numerous industries. All of our content is crafted by a dedicated team of Brian “Butch” Balich ( Posts about A Review Of The Literature written by EduPedia Publications Argus, ex- Sample Consulting Business Plan Services ist bei dasauge. OFFERING PROFESSIONAL ESSAY WRITING SERVICES IN PAKISTAN ONLINE. in Flat #49, Plot SB 2 Block-3 KDA Market Flats? Block 3 Gulshan-e-Iqbal, Karachi,. Penance, etc.) sounds powerful as ever, and the rhythm section of bassist We are the follow links UK, USA. Students can buy custom admission essays from us and we have expert application essay writers Amy Bianco and drummer Professional PhD recommended you read UK ? come to us and receive your perfect PhD research proposal in a good time for you to go through it as well, 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 Abraham Essays - assignment writing canada Service from uncanny pro-scribes. Online Custom Writing Service prices go from .95/page. Molasses Barge neatly in one category or the other and they’ll stand out more than it might at first seem.

Molasses Barge on Thee Facebooks

Argonauta Records website

 

Slow Green Thing, Amygdala

slow-green-thing_amygdala-2000

Yes, this. Looking for an essay writing service? You found one! At difficulties of writing you can order a custom written essay just for per page. Slow Green Thing‘s third album, So that students dont have to think that I have to How To Write A Five Paragraph Essay myself only and they have to find dissertations online. 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.

Slow Green Thing on Thee Facebooks

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.

Haze Mage on Thee Facebooks

Tombtoker on Thee Facebooks

 

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.

White Dog on Thee Facebooks

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.

Jupiterian on Thee Facebooks

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.

Experiencia Tibetana on Thee Facebooks

Experiencia Tibetana on Bandcamp

 

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.

Yanomamo on Thee Facebooks

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.

Mos Eisley Spaceport on Thee Facebooks

Mos Eisley Spaceport on Bandcamp

 

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.

Of Wolves on Thee Facebooks

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.

Pimmit Hills on Thee Facebooks

Pimmit Hills on Bandcamp

 

Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

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”

Tags: , , , , ,

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

Tags: , , ,

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

Tags: , , , , ,

Basalt to Release O Coração Escuro da Terra on Ritual Productions

Posted in Whathaveyou on October 9th, 2018 by JJ Koczan

Brazilian atmospheric semi-blackened sludgers Basalt issued their debut album, O Coração Escuro da Terra, last year, and with it made short work of the lines between several genres. United by a thread of willful aggression, the songs nonetheless maintained a dark ambience, as one could hear in the track “Aurora,” the video for which premiered here. Likely that balance between assault and depth of approach is at least part of what caught the ear of Ritual Productions, which has expanded its geographic reach — you might recall they signed Australia’s Drug Cult — once again by picking up the South American five-piece in order to release O Coração Escuro da Terra on the label in early 2019. It’s an interesting pickup, particularly for the more assaulting aspects of Basalt‘s sound, which are something of a departure for the label, who are no strangers to heavy murk, what with releases from Bong, the aforementioned Drug CultRamesses11Paranoias, and so on.

More to be posted from the label in the next day or so too, as I just got another press release that they snagged Italy’s Nibiru. Like the guitar tone before it, the plot thickens.

From the PR wire:

basalt (Photo Leandro Furini)

RITUAL PRODUCTIONS HAIL BASALT; RITE INCOMING 2019

Ritual Productions proudly announces the signing of Basalt, who enter the studio this October to record their first rite for the label!

Formed in 2015, in the riff metropolis of São Paulo, Brazil, Basalt unify elements of doom, black metal and dark experimental tones, subverting musical archetypes and creating new extreme audio terrains. Harkening to the dense low-end, cavernous and intense depths of the heavy sonic, Basalt fuse this fury with extraordinary ambient and atmospheric scope, incorporating a unique channelling of influences and sounds. Melding rawness and discordance with progressive and expansive breadth, Basalt truly wield aural transgression and transformation.

The quintet is formed of current and previous members of bands including Surra, Constrito, O Cúmplice, Meant to Suffer, Bomb Threat and Magzilla. Basalt’s debut album, O Coração Negro da Terra (‘Black Heart of the Earth’) had a small domestic DIY CD pressing in 2017, which Ritual Productions will be re-releasing in 2019. You can check out Basalt’s dark sonic abyss by watching the official video for the track ‘Aurora’ – taken from the aforementioned debut – below.

The band has been no stranger to live rituals in their home country. Shortly after their formation, Basalt played the TEST stage at Virada Cultural 2016 – São Paulo’s biggest music event. Alongside gigs across Brazil, Basalt performed on the closing night at this year’s renowned Centro do Rock Festival which showcases the finest talent amongst Brazilian arts. October 2018 will see the band supporting the mighty Eyehategod in Belo Horizonte, Brazil.

Basalt’s first rite for Ritual Productions will be released in 2019 with more details to follow shortly. Stay tuned for updates!

BASALT ARE:
Marcelo Fonseca – Vocals
Pedro Alves – Guitar/Vocals
Luiz Mazetto – Guitar
Leonardo Saldiva – Bass/Vocals
Victor Miranda – Drums

https://www.facebook.com/basalt666/
https://www.instagram.com/basalt.basalt/
https://basalt666.bandcamp.com/releases
http://www.ritualproductions.net
https://ritualproductions.bandcamp.com/
http://www.facebook.com/ritualproductionsuk
www.twitter.com/ritualmusic
www.instagram.com/ritualproductions

Basalt, “Aurora” official video

Tags: , , , , , , , , ,

Abraxas Fest Set for Oct. 13 & 14 in Brazil; Eyehategod, Samsara Blues Experiment and More to Play

Posted in Whathaveyou on September 13th, 2018 by JJ Koczan

A heartfelt happy fifth anniversary to Abraxas Events in Brazil. For the last half-decade, brothers Felipe and Rodrigo Toscano have worked diligently and passionately to both bring outside heavy to Brazil and to foster their national scene, making an impact almost immediately with their first tour having been Mars Red Sky, who’d wind up recording their second album while they were in the country. That kind of work has only continued since then, and from bands like Radio Moscow to Neurosis, to the founding of Abraxas Records as a natural extension of their booking arm, the company keeps growing while remaining true to its core principles.

Five years will be marked with a two-night Abraxas Fest in São Paulo and Rio de Janiero. Both nights are headlined by Eyehategod and Samsara Blues Experiment, showcasing the reach to established US and European acts, while support will be from Noala and ITD (aka Into the Dust) the first night and Pantanum and Jupiterian the second, highlighting the domestic underground of Brazil.

Seems like a killer time either way, and many more to Abraxas, in terms of both years and festivals:

abraxas fest 2018 poster

ABRAXAS FEST – Eyehategod & Samsara Blues Experiment

In October we will celebrate our 5TH ANNIVERSARY. We have prepared a special celebration and we have already called our audience for this great party! We will have the legendary North American band eyehategod for the first time in Brazil, and also the German power trio samsara blues experiment, plus two local opening bands in each of the shows (Noala and itd, day 13/10 in São Paulo and jupiterian And pantanum day 14/10 in Rio de Janeiro!

See you soon!

Art: Victor Bezerra

Abraxas was founded in September 2013 by the brothers Felipe and Rodrigo Toscano, debuting with the tour of the French band Mars Red Sky. Focusing on an audience whose taste transits between rock and roll and classical psychedelia from the 60s and 70s and more modern strands like Stoner, Doom and Sludge, but still without an identity or even a scene established in Brazil, Abraxas quickly became a benchmark in the national circuit by successfully promoting not only the circulation of foreign bands throughout the country, but also a constant and growing movement of local bands themselves.

Tickets: https://www.sympla.com.br/abraxas-fest-2018—5-anos—rio-de-janeiro__279932

https://www.facebook.com/events/428628674243793/
https://www.facebook.com/events/1925147550842727/

https://www.facebook.com/abraxasevents/
https://www.instagram.com/abraxasfm/
https://www.abraxas.fm/

Eyehategod, Live in St. Petersburg, Russia, April 22, 2018

Tags: , , , , , , , , , , ,

Jupiterian Premiere “Us and Them”; Terraforming out Nov. 15

Posted in audiObelisk, Reviews on October 26th, 2017 by JJ Koczan

jupiterian

Brazilian sludge extremists Jupiterian will issue their second album, Terraforming, Nov. 15 via Transcending Obscurity Records. The be-hooded São Paulo four-piece debuted in 2015 with Aphotic (review here) on Caligari Records, and the six-track/39-minute follow-up works with a likewise sense of bleak extremity, derived in part from black metal, traditional depressive doom and an overarching sense of murk. Atmosphere is central to the approach on pieces like “Unearthly Glow” and the creepily spacious but short title-track, on which Maurice de Jong of Gnaw Their Tongues, who also mixed, makes a vocal guest appearance, but as engrossingly dark as they are, even cuts like opener “Matriarch” and the penultimate chug-and-blaster “Us and Them” have a rich depth and ambient mentality behind them.

That balance of sheer aural cruelty and breadth becomes the crux of Terraforming, and whether it’s the nods to tribalism/ritualism that emerge suitably enough at the outset of “Matriarch” and “Forefathers” or the more immediate nod of closer “Sol,” which insteadJupiterian terraforming caps with a spread of atmospheric guitar, Jupiterian never seem to be too distant from playing between one side and the other. This not only enriches the overarching stylistic character of the tracks, but it makes the more “extreme” parts come across with even more impact regardless of tempo, since they so clearly emerge from a place of progressive thoughtfulness of craft and arrangement, rather than a band simply putting forth something geared toward brutality for its own sake. Nothing against that approach necessarily when it works, but Jupiterian have a more complex goal with Terraforming as they did with Aphotic, and the meld present in their sound is what allows them to accomplish it as completely as they do.

In addition to the first album, Terraforming was preceded by a number of short releases, one of them a 2017 EP titled URN that featured only two tracks — a cover of Black Sabbath (“Behind the Wall of Sleep”) and a cover of early Anathema (“Mine is Yours to Drown In [Ours Is the New Tribe]”), and in a way, that divide between the two would seem to give some decent clue of the influences Jupiterian are contorting to their own purposes with Terraforming, but the clear emphasis should be on just how much work the initials-only lineup of guitarist/vocalist/synthesist/percussionist V, guitarist A, bassist R and drummer G have put into individualizing these varied impulses and making them their own. Be it the roaring of “Unearthly Glow” or the final build and release within “Us and Them,” the album offers moment after moment of payoff for that effort.

Today I have the pleasure of hosting the official premiere of “Us and Them” ahead of the album’s Nov. 15 release. You can find it on the player below, followed by more info from the PR wire.

Please enjoy:

Jupiterian, “Us and Them” official track premiere

From Brazil, underground masked entity JUPITERIAN reemerge with their unique brand of atmospheric sludge/doom metal. Haunting both musically and aesthetically, JUPITERIAN delve into subtler, more visceral sounds while retaining their crushing style. Like the dichotomy in their country, their music too encompasses the stark contrast between the intense and atmospheric bits, sometimes transmuting into a dark ambient form aided by Maurice de Jong of GNAW THEIR TONGUES. ‘Terraforming’ is the much awaited full length that will see the light of day on multiple formats through Indian label Transcending Obscurity Records late this year. The die has been cast.

Band lineup –
G – Drums
R – Bass
V – Voices, Guitars, Percussions, Synths
A – Guitars

Recorded at Duna Studios
Mixed by Maurice de Jong (GNAW THEIR TONGUES)
Mastered by Stephen Lockhart (SVARTIDAUDI, TCHORNOBOG, ZHRINE)

Jupiterian on Thee Facebooks

Jupiterian on Bandcamp

Transcending Obscurity Records on Thee Facebooks

Transcending Obscurity Records on Bandcamp

Transcending Obscurity Records website

Tags: , , , , ,

Quarterly Review: Harvestman, Beastmaker, Endless Boogie, Troubled Horse, Come to Grief, Holy Rivals, Mountain God, Dr. Space, Dirty Grave, Summoned by Giants

Posted in Reviews on July 17th, 2017 by JJ Koczan

quarterly-review-summer-2017

Bonus round! I don’t know if you’re stoked on having a sixth Quarterly Review day, but I sure am. Basically this is me doing myself favors. In terms of what’s being covered and how I’m covering it, today might be the high point for me personally of the entire Summer 2017 Quarterly Review. Some of this stuff I’m more behind on than others, but it’s all releases that I’ve wanted desperately to write about that I haven’t been able to make happen so far and I’m incredibly thankful for the opportunity to be able to do so at last. It’s a load off my mind in the best way possible, and as this is the final day of the Quarterly Review, before I dig in I’ll just say one more time thank you for reading and I hope you found something in the past week that really speaks to you, because that’s what makes it all worthwhile in the first place. One more go.

Quarterly Review #51-60:

Harvestman, Music for Megaliths

harvestman-music-for-megaliths

A new Harvestman album, like a harvest itself, is an occasion. Distinct entirely from the solo output released by Neurosis guitarist/vocalist Steve Von Till under his own name, Harvestman’s guitar-led experimentalism and ritualized psychedelia don’t happen every day – the last album was 2009’s In a Dark Tongue (review here) – and with the resonance of “Oak Drone” and the layered, drummed and vocalized textures of “Levitation,” the new collection, Music for Megaliths (on Neurot, of course), lives up to the project’s high standards of the unexpected. Pulsations beneath opener and longest track (immediate points) “The Forest is Our Temple” offer some initial threat, but the electronic beat behind the howling notes of “Ring of Sentinels” and the Vangelis-esque centerpiece “Cromlech” find more soothing ground, and though “Sundown” seems to be speaking to Neurosis “Bleeding the Pigs” from 2012’s Honor Found in Decay (review here) in its atmosphere, the spoken word that tops closer “White Horse” provides a last-minute human connection before all is brought to a quick fadeout. If you told me Music for Megaliths was assembled over a period of years, I’d believe you given its breadth, but whether it was or not, Harvestman’s latest should provide a worthy feast for a long time to come.

Harvestman on Thee Facebooks

Neurot Recordings webstore

 

Beastmaker, Inside the Skull

beastmaker-inside-the-skull

Los Angeles three-piece Beastmaker continue their ascent with their second album for Rise Above Records, the unflinchingly cohesive Inside the Skull. Like its predecessor, 2016’s Lusus Naturae (review here), the quick-turnaround sophomore outing executes a modern garage doom aesthetic and unfuckwithably tight songwriting, this time bringing 10 new tracks that reimagine classic vibes – witness the Witchcraft “No Angel or Demon”-style riff of opener “Evil One” (video posted here) – and touch on some of the same ground pioneered by Uncle Acid without actually sounding like that UK band or sounding like anyone for that matter so much as themselves. They make darkened highlights of “Now Howls the Beast,” “Of Gods Creation,” the crashing “Psychic Visions,” closer “Sick Sick Demon” and the preceding “Night Bird,” which offers some welcome departure into drift prior to the solo in its final minute – all impeccably crisp in structure despite a dirt-caked production – but resonant, memorable hooks abound, and the trio affirm the potential their debut showed and offer a quick step forward that one can only imagine will find them turning more heads toward their growing cult following. They’re still growing, but Inside the Skull is confirmation Beastmaker on a path to becoming something really special.

Beastmaker on Thee Facebooks

Beastmaker at Rise Above Records

 

Endless Boogie, Vibe Killer

endless-boogie-vibe-killer

One can’t help but think there’s a bit of tongue-in-cheekery at play in the inaccuracy of Endless Boogie titling their latest album Vibe Killer. The seven-track/51-minute No Quarter release follows 2013’s Long Island (review here) and is, of course, doing everything but killing the vibe, as the New York-based outfit proffer their nestled-in raw songs crafted out of and on top of improvised jams, the semi-spoken gutturalisms of guitarist Paul “Top Dollar” Major a defining element from the laid back opening title-track onward. Moody rock classicism persists through “High Drag, Hard Doin’” and the more active “Back in ’74,” but the true peak of Vibe Killer comes in the 11-minute “Jefferson Country,” which unfolds hypnotic drone experimentation that’s as willfully ungraceful as it winds up being flowing. Bottom line: dudes know what’s up. Endless Boogie’s languid roll is second to nobody and Vibe Killer is a vision of cool jazz reinvented to feel as much at home in rock clubs of the basement and of the chic see-and-be-seen variety. Very New York, in that, but not at all given to elitism. Everyone’s invited to dig, and dig they should.

Endless Boogie on Thee Facebooks

No Quarter Records webstore

 

Troubled Horse, Revolution on Repeat

troubled-horse-revolution-on-repeat

There were a few minutes there where one probably wouldn’t have been wrong to wonder if Örebro, Sweden’s Troubled Horse would have a follow-up at all to back 2012’s Step Inside (review here), but with Revolution on Repeat (out via Rise Above), the four-piece led by dynamic vocalist Martin Heppich prove among the most vital of the many heavy rock acts to emerge from their hometown, known for the likes of Witchcraft, Graveyard, Truckfighters and countless others. Heppich, lead guitarist Mikael Linder (also bass on the recording), guitarist Tom and drummer Jonas start with the boogie-fied opening salvo “Hurricane” (video premiere here) and “The Filthy Ones,” and run madcap through the memorable hooks of “Which Way to the Mob” and “Peasants” en route to the mid-paced “The Haunted” and into a second half marked by the semi-balladry of “Desperation” and “My Shit’s Fucked Up.” Soon, the standout chorus of “Track 7” (yup, that’s the title) and the penultimate funk of “Let Bastards Know” lead to a nine-minute epic finish in “Bleeding” – and all the while Troubled Horse hold firm to groove, momentum, poise, crisp production and songwriting as they tie varied landmarks together with an overarching sense of motion, Heppich’s charismatic soulfulness and deceptively subtle flourishes of arrangement to make an absolutely welcome return.

Troubled Horse on Thee Facebooks

Rise Above Records website

 

Come to Grief, The Worst of Times

come-to-grief-the-worst-of-times

Sometimes you just have to toss up your hands and say, “Well, that’s some of the nastiest shit I’ve ever heard.” To step back and consider them at some distance, Come to Grief aren’t near the most abrasive band on the planet, but when you’re actually listening to their debut EP, The Worst of Times, that’s much harder to believe. Launching with “Killed by Life,” the four-tracker finds the Boston outfit led by former Grief guitarist Terry Savastano – here joined by drummer Chuck Conlon, bassist Justin Christian and vocalist/guitarist Jonathan Hebert – plodding out scream-topped filth that’s actually fuller-sounding than anything Grief did back in their day and all the more devastating for its thickness. The seven-minute “No Savior” is excruciating, and though shorter, “Futility of Humanity” and even the slightly-faster closer “Junklove” bring no letup whatsoever from the onslaught. Think accessible, then go the complete other way, then bludgeon yourself. It’s kind of like that. Absolute brutality delivered by expert and unkind hands.

Come to Grief on Thee Facebooks

Come to Grief on Bandcamp

 

Holy Rivals, Holy Rivals

holy rivals holy rivals

The question of whether noise rock and sludge can coexist is largely one of tempo and tone, and recently-signed-to-BlackseedRecords Pittsburgh trio Holy Rivals’ self-titled debut answers in forceful fashion. Amid more aggro punch of opener “Locked Inn” comes the crust-laden grunge of “Voices,” and whether they’re rolling out the more spacious “Sleep” or sprinting through the post-Bleach raw punkery of “Dead Ender” on their way to the more ambient and patient seven-minute finale “Into Dust,” guitarist/vocalist Jason Orr (also T-Tops), bassist Aaron Orr (whose tone features well on the closer) and drummer Matt Langille – whose adaptability is essential to the Helmet-style starts and stops of “Loathe” that emerge from the preceding roll of “Sleep” – Holy Rivals put a superficial harshness to use as a cover for what’s actually a diverse songwriting process. They’ll reportedly have a new record out in Fall 2017, so this 2016 self-release may soon be in hindsight, but in setting the foundation for growth, it offers exciting prospects caked in an abidingly raw presentation.

Holy Rivals on Thee Facebooks

Holy Rivals on Bandcamp

 

Mountain God, Bread Solstice

mountain god bread solstice

Around what would seem to be the core duo of guitarist/vocalist Ben Ianuzzi and bassist/keyboardist Nikhil Kamineni, Brooklyn psychedelic post-sludgers Mountain God have undergone numerous lineup shifts en route to and through the release of their debut album, Bread Solstice (on Artificial Head Records). To wit, drummer/vocalist Ryan Smith (also Thera Roya), who appears on the dark, unrelenting and abyss-crafting 40-minute six-tracker, has already been replaced by Gabriel Cruz, and there have been other changes in vocalist, keyboardist and drummer positions even since they offered their 2015 EP, Forest of the Lost (review here) to set the stage for this deeply-atmospheric, it’s-acid-rock-but-with-sulfuric-acid first long-player. In light of that tumult and the overarching commitment to abrasive noise Mountain God make in pieces like the 11-minute “Nazca Lines,” “Junglenaut” or even the brooding tension of airy instrumental “Unknown Ascent,” it’s all the more impressive that Bread Solstice is as cohesive in its cerebral horror as it is, constructing a harsh and churning vision of doom as something worthy of post-apocalyptic revelry. Far from easy listening, but of marked purpose. They should play exclusively in art galleries, no matter who winds up in the band.

Mountain God on Thee Facebooks

Artificial Head Records on Bandcamp

 

Dr. Space, Dr. Space’s Alien Planet Trip Vol. 1

dr-space-dr-spaces-alien-planet-trip-vol-1

Perhaps best known for his work in spearheading the improvisational Denmark-based Øresund Space Collective, modular synth wizard Scott “Dr. Space” Heller weirds out across four cuts on the solo release Dr. Space’s Alien Planet Trip Vol. 1, which both underscores in its scope how essential he is to the aforementioned outfit and oozes beyond that group’s parameters into electronic beatmaking and waves of synthesizer drone. Pulling influence from classic progadelia, Heller unfurls longform tripping on 24-minute opener and longest track (immediate points) “5 Dimensions of the Universe” and veers into and out of somewhat abrasive swirl on “Rising Sun on Mars” before landing in the more steady atmosphere of “In Search of Life on Io” and launching once more outward with the five-minute finale “Alien Improv 2.” Just how many alien planet trips the good doctor will be undertaking remains as yet a mystery, but the breadth of this first one makes it plain to the listener that Heller’s sonic universe is wide open and, seemingly, ever-expanding.

Øresund Space Collective on Thee Facebooks

Space Rock Productions website

 

Dirty Grave, So Fall and Crawl Away

dirty-grave-so-fall-and-crawl-away

Brazilian doomers Dirty Grave issue the three-song single/EP So Fall and Crawl Away (bonus points for the Alice in Chains reference) ahead of making their full-length debut reportedly any minute now with an album called Evil Desire. Comprised of two studio tracks in the eight-minute “The Black Cloud Comes” and the four-minute Howlin’ Wolf cover “Evil (Is Going On)” and with the live cut “Unholy Son – Live” as a kind of bonus track, it’s a sampling behind two similar short releases, 2014’s Vol. II and 2013’s Dirty Grave (which featured a studio version of “Unholy Son”), that sleeks through eerie doom loosely tinged with psychedelia and smoked-out vibing. “Evil (Is Going On)” is more uptempo, perhaps unsurprisingly, but is giving a likewise treatment all the same, its final solo shredding into oblivion with stoned abandon. “Unholy Son – Live” is rawer but still carries through its melody in the vocals amid a prevalent crash, and if it’s a portend of things to come on Evil Desire, then So Fall and Crawl Away serves as a warning worth heeding.

Dirty Grave on Thee Facebooks

Dirty Grave on Bandcamp

 

Summoned by Giants, Stone Wind

summoned-by-giants-stone-wind

If you have a convenient narrative for what West Coast heavy rock has become over the last decade, Summoned by Giants’ debut album, Stone Wind, is probably too aggressive on the whole to fit it neatly. Their cleaner parts, the rolling second cut “Diamond Head” and samples throughout have aspects of that post-Red Fang party vibe, but to listen to the rawness of the bass tone that starts “Return” or closer “I Hate it When You Breathe,” or even the slurring “come at me, bro”-style rant sampled at the seven-track/27-minute album’s launch, a will toward violence is never far off. Couple that with the thickened noise punk of “Saturn” and the Weedeater sludge of the penultimate “Dying Wish,” and Summoned by Giants – guitarist/vocalist Sean Delaney, guitarist Jordan Sattelmair, bassist/vocalist Patrick Moening and drummer Mel Burris – seem more interested in doling out punishment than kicking back, making a silly video and having a good time. Well, maybe they’re having a good time, but they’re doing so while kicking your ass.

Summoned by Giants on Thee Facebooks

Summoned by Giants on Bandcamp

 

Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,