My social media feed the last couple days has been swamped with Online Homework Solvers - No more fails with our top essay services. Learn all you have always wanted to know about custom writing begin working on Satanik Royalty Records. Not complaining, just stating the fact, which emphasizes that the newcomer Seattle-based imprint is hitting the ground running. Further argument toward that is the fact that honcho Essay Paragraph World Writers for Hire. If you have set priorities and decided that you do not want to waste time on this academic paper, then you should find a professional writer. The dissertation is a complicated type of academic paper that requires in-depth knowledge in a chosen discipline, good information gathering skills, and analytical thinking, as well as the ability to conduct Michael Freiburger has signed five acts out of the gate. Most notable to me is Our reliable read review service offers complete safety and professional integrity compared to hiring a freelance writer. Our competent experts are adept at writing a research paper and case study paper that is unique and written from scratch. They can prepare an essay draft twice as fast as a regular student. Have no doubts when it comes to the speed delivering quality essays by our Sandrider, but Research Paper Scholarships Writing Assistance to Save Your Money. A dissertation is not a paper which can be written over one or two nights, so when the deadline for your thesis is close, you might consider getting additional help. We all need to rest to avoid exhaustion; we also have other responsibilities apart from studying, even if by studying we understand dissertation or thesis paper writing Heiress and Personal Statement Of Goalss, save time, get A-grades. It is no secret that a great number of college and university students are looking for help with their multiple essays on a number of subjects. And no wonder why, since it is not so easy to deal with tons of theoretical materials as well as dozens of teachers� requirements. Old Iron and even The members of the Sociology Research Paper team have earned their own degrees in a wide variety of disciplines and subject areas. They are well aware of what is involved in the writing, revising and examining process that leads to a successful degree. To avoid failure, send your dissertation to PRS along with any guidelines that you are following, and one of our professional dissertation Freiburger‘s own outfit find this. As a result, how these people are trained, employed, and managed will ultimately play a greater role in determining actual cost of DeathCAVE aren’t unknown names, and with The only admission essay editing service australia difference is that he Custom Written Writing Interview Essay needs a little bit. Fake Essay Writer - Professional Help Help Dark Meditation and write a paper for me Article Writers Wanted how to write the perfect college application essay essay writer service free Izthmi adding darker nuance, there’s more than just standard-heavy-label scope. I don’t know how many times a day I think, ‘well this’ll be interesting to see where it goes,’ but here’s another one.

And seriously, anyone cool enough to associate with Improve Buy An Essay Plan Skills with These Amazing Tips: Assignment writing can be a tough job. But there is nothing impossible when you work on it really hard. It does not matter whether you are in school or in college. It is never too late to improve your assignment writing skills. Here are some basic but key strategies to make you a better writer. Let�s have a look to get pro at Sandrider is alright by me.

PR wire has this, in case your social media hasn’t been similarly impacted:

SATANIK ROYALTY RECORDS: DeathCAVE Bassist/Vocalist Launches New Seattle-Based Label And Clothing Line; Releases From Heiress, Dark Meditation, Old Iron, And More Coming Soon!

Following years of thought, deliberation, preparation, and finally, wild anticipation, DeathCAVE bassist/vocalist Freiburger is pleased to announce the official launch of SATANIK ROYALTY RECORDS, a boutique record label and clothing line based in Seattle, Washington.

Established to help supply a louder voice to heavy music and artists within the Seattle underground as well as transgender and indigenous communities, Freiburger’s vision has been a longtime in the making. “I’ve always had a voice in the back of my head screaming, ‘I wish I had the money to make a real label,” begins Freiburger on his decision to start the imprint. “My passion started in the late ‘90s when I would throw shows at the Dog Mushers Hall and Eagles Lodge in Fairbanks, Alaska, where I grew up. Since moving to the ‘big city,’ I’ve been immersed in and fascinated by the Seattle music scene and have been booking and playing DIY shows, punk houses, and eventually booking major venues ever since.

“There are so many truly awesome bands everywhere that struggle to find labels to sign them,” he continues. “Major local record labels are either too big or too indie to take on new, less commercial artists. The handful of respected underground labels here in Seattle have unfortunately faded. That leaves a lot of great bands left without local representation.”

The COVID-19 pandemic quite literally changed the face of music. Without a functioning live scene, bands of all genres have been forced to get creative just to sustain. For Freiburger, there seemed no better time than now to introduce SATANIK ROYALTY RECORDS. “It hurts my heart to know such amazing bands are struggling to find someone to put faith in them.”

With that in mind, Freiburger curated an eclectic roster of Seattle’s best kept secrets including Heiress (hardcore sludge), Dark Meditation (gritty black ‘n’ roll), Old Iron (psychedelic sludge), Sandrider (grunge), Izthmi (atmospheric/progressive black metal), and of course, Freiburger’s own DeathCAVE (doom/sludge), all scheduled to release material in the coming months via the label.

SATANIK ROYALTY RECORDS will offer physical product as well as streaming and online distribution, limited runs and collector’s items as well as a clothing line and art in collaboration with prominent and respected artists throughout the scene. For Freiburger, extending SATANIK ROYALTY’s proverbial tentacles to the art community seemed like a logical pairing.

“I have always loved three things: music and then designing band merch and tattoos. Since I was a kid, I’ve been obsessed with those things and now that I’m an old kid, I wanted to be able to do it on a much more impactful scale. This label is about the art and amplifying the voice of it. Not only music but the visual artists behind all that bad ass imagery.”

http://www.satanikroyaltyrecords.com
http://www.facebook.com/satanikroyaltyrecords
http://www.twitter.com/recordssatanik
http://www.instagram.com/satanikroyaltyrecords
http://www.tiktok.com/ZMef6oMSo/
http://www.youtube.com/channel/UCa9tZjpGmZ8WlThafNNv7Jw

Sandrider, Armada (2018)

Satanik Royalty Records promo

Following the release in 2020 of their self-titled debut (review here), Seattle, Washington, three-piece  Do my assignment for me service, Pay Distinctive Voices Essay Martin Luther King Australia. We are here in the market as a one-stop shop. Brilliant Essays. Sorcia have signed on to release their next EP, Get research Homepages from American writers with world-class 24/7 support through Ultius. Read actual samples, customer reviews and explore Death by Design, through Buy This Site online from professional college essay writing service. All custom college papers are written from scratch by qualified writers! Desert Records. Near as I can tell, the forthcoming — no exact date, but figure summer-ish — outing will comprise two tracks. First is a 16-minute title-cut to be recorded by none other than My picks for the top three Owl Com Mlas include those features and more. But which one is the right one for you? Read my essay writing Tad Doyle, and the second is a CD-only bonus live tune, which, as a fan generally of the all-but-forgotten compact disc format, I can appreciate. I mean seriously, CDs use lasers! Lasers! That’s some Back to the Future shit right there.

If you caught the album last year, you already know  I heartily believe in the usefulness of Homework Isnt Helpful workshops (I can't imagine where I'd be without them!), and think that you've all done a simply fanastic job with the new OWW. The DROWW was good--but this one makes the other look an ancient, clunky relic! If the Internet is about the sharing of information and the coming-together of people who would not have met under other circumstances Sorcia can handle longer-form work, as they demonstrated in the nine-minute “Stars Collide,” so to find them pushing that impulse either as a general direction or a one-off — you’re never really sure when it comes to EPs — feels natural either way. And note too in the comment from  Desert Records the apparent intention of owner Brad Frye (also Red Mesa) to build a network of tour stops through geographic spread of the label’s roster. Of course, touring is a hypothetical at the moment, but by sourcing a local knowledge base through its own the catalog of offerings, there’s really no limit to how far the imprint’s routing might end up going. Except, you know, the planet.

Word from Frye and from the band follow here:

SORCIA – Death by Design – Desert Records

“The ink is dry, Sorcia has signed to Desert Records for the release of an EP called ‘Death By Design’ releasing this summer, exact release date TBD. Once I heard their S/T debut album, I knew this was the perfect band for Desert Records, with their mix of styles that range from sludge to doom to blues to grunge to stoner metal. This will be a special release showcasing a 16-minute-long song, plus an acoustic version of ‘Dusty’. Part of the Desert Records touring routes, Sorica helps to complete the Seattle stop. Once venues open back up, you will see Sorica and all Desert Records bands and artists on the road supporting each other across cities and big towns in the US.” -Brad Frye, Desert Records

“We are very pleased to announce that we have joined forces with Desert Records for the release of our forthcoming EP ‘Death By Design’,” says Sorcia. “The creation of this EP was a huge step out of our comfort zone, and it explores some of the farthest depths of our collective creativity. The title track ‘Death By Design’ is an epic journey that delves into the most primitive concepts of human existence and death.”

“The mighty Tad Doyle will be at the helm once again for the recording of this opus as well as the talented Mike Hawkins on board again for the artwork. The CD will include an exclusive bonus track, a smokey, stripped-down acoustic version of the self-reflective song ‘Dusty’. For the recording of this song, we had the pleasure of working with Jessica’s own brother Matt Bos. These songs each had their unique challenges, but they inspired us to push our limits and move beyond the walls of our boundaries.”

Album artwork, preorder info, and release date coming soon.

In the meantime, check out their first album on Bandcamp: https://sorcia.bandcamp.com/

SORCIA
Neal De Atley – Guitar, Vocals
Jessica Brasch – Bass, Vocals
Bryson Marcey – Drums

https://www.facebook.com/SorciaBand/
https://www.instagram.com/sorciaband/
sorcia.bandcamp.com
https://sorciaband.com/

Sorcia, Sorcia (2020)

Yeah, this is the kind of thing that should be happening. Sun Crow last year offered up an admirably original take on the tenets of heavy rock with their debut, Quest for Oblivion (review here), and they’ve been accordingly picked up by Ripple Music to release that album and presumably whatever they do next. The record is still fresh, having come out in November, and you can hear it below if you didn’t, but they’re featuring the song “Collapse” ahead of the physical pressing with the Ripple logo on board — this news was enough to get me to pick up the “pandemic edition” of the self-released CD; as of this post there are now six left — and of course they’ll do vinyl and whatnot as well. That’s a significant 2LP.

I swear, just this last news post, then I’m checking out for the week.

Congrats to the band and cheers as ever to the label. Ripple‘s on a tear if you haven’t noticed.

From the PR wire:

Seattle doom blues merchants SUN CROW sign to Ripple Music for worldwide debut album release; stream first single “Collapse” now!

Seattle-based up and coming stoner rock foursome SUN CROW just signed to Ripple Music for the worldwide release of their debut full-length ‘Quest for Oblivion’ on July 2nd, 2021. Plunge your ears in their tar-thick new single “Collapse” now.

SUN CROW is a heavy rock band out of Seattle. Their debut release ‘Quest for Oblivion’ clocks in at a monolithic 70 minutes in a Northwest haze of thick Sabbathian riff and groove. Through their loud and bleak existential doom rock, the quartet channel sounds recalling early proto metal and warps them into a contemporary and heavy metallic, dark psyche experience.

Says the band about this new collaboration: “We are stoked to be working with Ripple Music to bring heavy tales to the furthest shores. It’s a pleasure to be a part of the Ripple Family, and an honor to count ourselves among these talented sound makers we’ve admired for a long time. From the first call it seemed like an uncanny connection, and that we’d found a home of like-minds on a corner of this rock we ride on hurtling through space. Collapse is the opening call to Quest for Oblivion, a heavy reflection of memories surfacing from our journeys out of the past headlong into an unknown. The louder we turn it up, the deeper into the night it echoes. »

Working from a time-slip in the tight and gritty live spaces of the Pacific Northwest, guitarist Ben Nechanicky and drummer Keith Hastreiter exploit years of making music together along with the thundering bass of Brian Steel and expressive vocal style of Todd Lucas to create heavy rock obliterations untethered to conventional delivery. Rain-soaked doom blues, moss-covered stoner rock, grey sky heavy psych, whatever they call it, SUN CROW calls the old spirits of high volume heavy rock into close quarters and paints the ceiling and walls with magnets, wood, and glass. Their debut album ‘Quest For Oblivion’ will be issued on July 2nd, 2021 on CD, limited edition vinyl and digital through Ripple Music.

SUN CROW Debut album ‘Quest for Oblivion’
Out July 2nd, 2021 on Ripple Music

TRACK LISTING:
1. Collapse
2. Black It Out
3. End Over End
4. Fell Across The Sky
5. Fear
6. Nothing Behind
7. Hypersonic
7. Titans

First self-released in November 2020 through Bandcamp, SUN CROW’s debut ‘Quest for Oblivion’ was well received and highly regarded by the heavy underground. The album topped the Doom Charts in November and December 2020, landing itself on many best of and year-end lists, and it continues to make waves. The band joined the Ripple Music family in early 2021 to create a heavy partnership that will see wide distribution of their molten debut, and future smoldering releases.

SUN CROW is
Guitar — Ben Nechanicky
Drums — Keith Hastreiter
Bass — Brian Steel
Vocals — Todd Lucas

https://www.facebook.com/theSunCrow/
https://www.instagram.com/sun.crow.rock.heavy/
https://suncrow.bandcamp.com/
https://www.facebook.com/theripplemusic/
https://www.instagram.com/ripplemusic/
https://ripplemusic.bandcamp.com/
http://www.ripple-music.com/

Sun Crow, Quest for Oblivion (2020)

The Obelisk Questionnaire is a series of open questions intended to give the answerer an opportunity to explore these ideas and stories from their life as deeply as they choose. Answers can be short or long, and that reveals something in itself, but the most important factor is honesty.

Based on the Proust Questionnaire, the goal over time is to show a diverse range of perspectives as those who take part bring their own points of view to answering the same questions. To see all The Obelisk Questionnaire posts, click here.

Thank you for reading and thanks to all who participate.

The Obelisk Questionnaire: Amy Tung Barrysmith of Year of the Cobra

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How do you define what you do and how did you come to do it?

I live life through feelings. My memories aren’t necessarily pictures in my head of what happened, or words that I remember people saying, but of what I felt at that moment. This is one of the reasons I am so bad at remembering faces and names. I just remember the feeling the club had, what the air felt like, what the room smelled like, what the faces made me feel like, what the drinks tasted like. I guess music makes sense to me because it’s all about feeling things and I define what I do as sharing what I’m feeling inside with others, if that makes sense. Communicating in the best way I can. I’ve never been much of a talker. My older sister was really good at that, so I let her do all of the talking when I was a kid (and even as an adult). I tend to gravitate toward people who talk a lot, so I don’t have to, but I find expression and communication with music to be easy. I feel like I understand what it’s saying and am able to convey it so others can understand too

Describe your first musical memory.

My first musical memory is of me practicing on this really old piano in my parent’s bedroom in Memphis, TN. I started playing when I was four (I asked, so it wasn’t forced on me) and I remember practicing at night. It was always dark outside, and I would sit at this piano and play and play. I remember writing a song for an elementary school music competition. I was in the 1st grade. I wrote a song, had to write it on manuscript paper (my mom helped with that, although she’s not musical at all, so I’m sure it was a big struggle), and we recorded it on a cassette tape which we then submitted. My older sister won first place, and I got honorable mention. The other memory I have of that room and that piano is practicing this Sonatina by Clementi. For some reason, the song was really scary to me. I think it’s because I was by myself and the room was dark and I have always been a bit of a chicken when it comes to the dark, but I have taught that song to some of my students and I still have that feeling of being scared when I hear it. It takes me right back to that room and the dark.

Describe your best musical memory to date.

This is a hard question to answer, narrowing it down to one memory. There are so many, and I seem to remember the more terrifying ones best, lol. I think one of the best memories was our first tour to Europe. We were just a fledgling band and we were surprised we got any attention at all. We were invited to play Hell over Hammaburg in 2017. We hadn’t toured Europe yet and weren’t sure what the response would be, so we only booked one week. We figured, if we failed, we wouldn’t be out too much money. Our goal was only to break even. The tour ended up being a success and when we played Hell over Hammaburg Fest at the Markthalle (we played the little room), it was packed!! There were people spilling out of the room for the whole set and they had their fists in the air chanting to our songs. It was the most amazing experience. It was the first time I had ever played to an audience like that. I remember I kept looking at Jon to make sure he was seeing what I was seeing.

When was a time when a firmly held belief was tested?

I would probably have to say the past four years which includes the Trump presidential era (which hopefully we won’t revisit in 2024), Covid and its antimaskers, BLM movement (the fact that we have to keep reminding people that Black Lives Matter to me is disappointing, it should be known), all of the protests everywhere (Hong Kong, Burma, Russia, US, to name a few), the Uigher situation in China, antivaxxers, climate change disbelievers, Poland’s anti-abortion laws, the unapologetic rise in antisemitism and white supremacy, the list goes on and on. I’m disappointed in humanity at the moment. I’m really disappointed with the American people, with our government, with our inability to have empathy toward other people, with our inability to see through the propaganda. I thought we were better than this, I firmly believed we were better than this, but we are not. I am in despair because I don’t know what I can do about it, what I can do to help make things better.

Where do you feel artistic progression leads?

Artistic progression can lead anywhere! That’s the beauty of art. There are no boundaries. When I was in the 5th grade, we had a substitute teacher who put up a puzzle on the board. It had nine dots that formed a square (3×3) and our job was to connect all of the dots using only four lines, without lifting up your pencil. No one figured it out, but when he showed us the answer, it really blew my mind. You have to move out of the 3×3 box to do it. I often think about that question when I am working on new ideas, whether it’s within music or not. I think the best artists out there, the ones that really move us, think outside of these boxes. They are the ones that progress art to places we haven’t been before, opening doors for other artists to follow and explore and expand some more.

How do you define success?

I define success as finding happiness and stability. For me, they go hand in hand. If my life is stable, personally and financially, then I am happy. My marriage to Jon is amazing. We work well together in all aspects of life. We have arguments, but they’re pretty far and few between. We have similar interests and enjoying doing them together. We are very lucky. We also have stable jobs that we enjoy. We don’t make much money, but we are careful in what we spend and how we spend it. Our kids seem to be happy and healthy, despite our touring schedule. We have been able to make our passion something more than just a side hobby. If we can keep this up, be it with music, or opening a business, or whatever other endeavor we decide to do in the future, I think we will be successful.

What is something you have seen that you wish you hadn’t?

The Exorcist. Really, that movie scared the crap out of me, and I watched it when I was really young. That movie, and the Omen (which I also watched at a young age) probably has a lot of do with why I was/am scared of the dark.

Describe something you haven’t created yet that you’d like to create.

I’ve always wanted to write a symphony. It was a goal of mine since I was young. I tried starting one in middle school, but never finished. I wanted to go to Julliard and be a composer and conductor, but life got in the way and I took another path. I don’t think it’s too late, though. I still dream about going back to school to study classical music. Once my kids are off to college and out of the house, then I will consider it!

What do you believe is the most essential function of art?

I think the most essential function of art is to offer a form of expression for yourself and for others. I’m often telling my students when they’re performing these classical pieces on the piano, their goal is to make the audience laugh with them, or cry with them, or feel sadness, or happiness, depending on what the song dictates. You have to make them feel something by expressing it through your fingers and your body. We go to museums, concerts, shows, art exhibits, movies, because we want to feel something other than what we normally feel through our daily lives; to get away from the stress of life, anxiety of work, etc. Art gives everyone a way to express themselves, whether they’re the artist or not.

Something non-musical that you’re looking forward to?

Spending time with my family. I am looking forward to more snowboarding trips with my family, more long walks to the beach, more time camping, more time chilling on the sofa and watching movies, more time cooking and eating yummy food, more time hanging with friends.

https://www.facebook.com/yearofthecobraband/
https://yearofthecobra.bandcamp.com/
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https://prophecy-de.bandcamp.com/
https://en.prophecy.de/

Year of the Cobra, Ash and Dust (2019)

New week, same Quarterly Review. Today is the next-to-last round for this time, though once again, I look at the folders of albums on my desktop and the CDs and LPs that have come in and I realize it could easily go longer. I never really caught up from the last QR. I guess it’s been that kind of year. In any case, more good stuff today, so sit tight and enjoy. If you didn’t find anything last week that stuck out to you, maybe today’s your day.

Quarterly Review #51-60:

Emma Ruth Rundle & Thou, May Our Chambers Be Full

Sure, there’s poise and plunder amid torrents of emotion and weighted tonality, but what’s really astonishing about May Our Chambers Be Full, the first collaboration between Louisville’s Emma Ruth Rundle (Red Sparowes‘ third LP, the Nocturnes, Marriages, etc.) and New Orleans’ sludgers Thou is that it feels so much more substantial than its 36 minutes. That’s not to say it drags, though it does when it wants to in terms of tempo, but just that its impact both in songs where Rundle and Thou‘s Bryan Funck trade off like “Ancestral Recall” or when they come together as on opener “Killing Floor” is such that it feels longer. Atmosphere is certainly a factor, but May Our Chambers Be Full is so striking because of its blend of extremity and melody, emotion and sheer catharsis, and the breadth that seems to accompany its consuming crush. In a couple years, there are going to be an awful lot of bands putting out debut albums that sound very much like this. Follow-up EP out soon.

Emma Ruth Rundle on Thee Facebooks

Thou on Instagram

Sacred Bones Records website

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Spaceslug, Leftovers

Produced by the band and Piotr Grzegorowski — who also guests on synth and guitar — during the plague-addled Spring of 2020, Spaceslug‘s Leftovers EP represents a branching out in terms of style to incorporate a sense of melancholy alongside their established sprawling psychedelics. The 21-minute five-tracker is less a follow-up to 2019’s Reign of the Orion (review here) than a standalone sidestep, but in the acoustic/synth rollout of “From Behind the Glass” and in the especially-stripped-down-feeling centerpiece “The Birds are Loudest in May” it lives up to the challenge of blending an organic atmosphere with the otherworldly sensibilities Spaceslug have honed so well throughout their tenure. Having started with its longest and synthiest track in “Wasted Illusion,” Leftovers caps with the shorter and more active “Place to Turn” and its title-track, which adds a spindly layer of electric guitar (or something that sounds like it) for an experimentalist vibe. Very 2020, but no less welcome for that. The question is whether these impulses show up in Spaceslug‘s work from here on out, and if so, how.

Spaceslug on Thee Facebooks

Spaceslug on Bandcamp

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Malsten, The Haunting of Silvåkra Mill

Malmö-based four-piece Malsten make their full-length debut on Interstellar Smoke Records with the four-song/44-minute The Haunting of Silvåkra Mill, and in so doing show an immediate command of post-Pallbearer spaciousness and melodic-doom traditionalism. Their lumber is prevalent and engrossing tonally on opener “Torsion” (10:36), uses silence effectively on “Immolation” (10:24), and seems to find a place between Warning and Lord Vicar on “Grinder” (9:02) ahead of the epic-on-top-of-epics summary in closer “Compunction” (13:54), which finds Malsten having reserved another level of heavy to keep as their final statement. So be it. Very heavy and worthy of as much volume as you can give it, The Haunting of Silvåkra Mill is an accomplished beginning and heralds significant potential on the part of what’s to come from Malsten. I’d watch this band do a live stream playing this record front-to-back. Just saying.

Malsten on Thee Facebooks

Interstellar Smoke Records webstore

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Sun Crow, Quest for Oblivion

A significant undertaking of progressive heavy and noise rock, Sun Crow‘s Quest for Oblivion is among the most ambitious debut albums I’ve heard in 2020, but there’s nothing it sets for itself in terms of goals that it doesn’t accomplish, as vocalist Charles Wilson flips between clean melodies and effective screams atop the riffs of guitarist Ben Nechanicky, the bass of Brian Steel and Keith Hastreiter‘s drums. Somebody’s gonna sign these guys. Even at 70 minutes, Quest for Oblivion, from its post-apocalyptic standpoint, aesthetic cohesion, fluid songcraft and accomplished performance, is simply too good to leave without a proper 2LP release. Individualized in atmosphere though working with familiar-enough elements, it is an album that makes it joyously difficult to pick apart influences, unleashing an initial burst of four longer tracks before giving way (albeit momentarily) to “Fear” and the outlying, brazenly Motörheady “Nothing Behind” before returning to cosmic heavy in “Hypersonic” and the 11-minute “Titans,” which uses its time just as well as everything else that surrounds. Ironic that a record that seems to be about a wasteland should bring so much hope for the future.

Sun Crow on Thee Facebooks

Sun Crow on Bandcamp

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Honeybadger, Pleasure Delayer

It doesn’t take Honeybadger long to land their first effective punch on their debut LP, Pleasure Delayer, as the hook of opener/longest track (immediate points) “The Wolf” hits square on the jaw and precedes an atmospheric guitar outro that leads into the rest of the album as a closer might otherwise lead the way out. A product of Athens’ heavy rock boom, the four-piece distinguish themselves in fuzzy tones and an approach that comes right to the edge of burl and doesn’t quite tip over, thankfully and gracefully staving off chestbeating in favor of quality songcraft on “The Well” and the engagingly bass-led “Crazy Ride,” from which the initially slower, bluesier “Good for Nothing” picks up with some Truckfighters, some 1000mods and a whole lot of fun. Side B’s hooks are no less satisfyingly straightforward. “That Feel” feels born for the stage, while “Laura Palmer” makes a memorable chorus out of that Twin Peaks character’s slaying, the penultimate “Holler” feels indeed like the work of a band trying to stand themselves out from a crowded pack and “Truth in the Lie” caps mirroring the energy of “Good for Nothing” but resounding in a cold finish. Efficient, hooky, smoothly executed. There’s nothing one might reasonably ask of Pleasure Delayer that it doesn’t deliver.

Honeybadger on Thee Facebooks

Honeybadger on Bandcamp

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Monte Luna, Mind Control Broadcast

Released name-your-price as a benefit for the venue The Lost Well in Monte Luna‘s hometown of Austin and derived from a CvltNation-sponsored livestream, the three-song Mind Control Broadcast follows 2019’s Drowners’ Wives (review here) and is intended as a glimpse at their impending third LP, likely due in 2021. That record will be one to look forward to, but it’ll be hard to trade out the raw bludgeon of “Blackstar” — the leadoff here — for another, maybe-not-live-recorded version. True, the setting doesn’t necessarily allow for the band to bring in guests like they did last time around or to flesh out melodies in the same way, but the sound is brash and thrilling and lets “Rust Goliath” live up to its name in largesse, while saving its nastiest for last in “Fear the Sun,” the glorious bassline of which it feels like a spoiler even mentioning for someone who hasn’t heard it yet. 22 of the sludgiest minutes you’re likely to spend today.

Monte Luna on Thee Facebooks

Monte Luna BigCartel store

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Hombrehumano, Crepuscular

As satisfying as the laid-back-heavy desert rock flow of “Rolito” is, and as well done as what surrounds on Hombrehumano‘s 2019 debut album, Crepuscular, turns out to be in its 53-minute run, it’s in the longer pieces like the Western “Puerto Gris” or the post-Brant Bjork “Metamorfosis” that they really shine. That’s not to take away from the opening instrumental “Nomada” that establishes the tones and sets the atmosphere in which the rest of the record takes place, or the nod of “Primaveras de Olvido,” and certainly the fuzz-boogie and percussion of “Ouroboro” shine in a manner worthy of being depicted on the cover, but the Argentinian four-piece do well with the extra time to flesh out their material. But, either way you go, you go. Hombrehumano craft sweet fuzz and spaciousness on “Puerto Gris” and answer it back later in “Zombakice” and add twists of percussion and acoustics and vocal effects — never mind the birdsong — on closer “Del Ensueño.” Es un ejemplo más de lo que le falta a la cultura gringo al no adorar fuertemente a los sudamericanos.

Hombrehumano on Thee Facebooks

Hombrehumano on Bandcamp

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Veljet, Viva El Diablo

Even my non-Spanish-speaking ass can translate Viva el Diablo, the title of Mexican instrumentalist three-piece Veljet‘s debut album. Initially released by the band in March 2020, it was subsequently reissued for physical pressing with a seventh track, “Leviatan,” added, bringing the runtime to a vinyl-ready 37 minutes. The apparently-devil-worshiping title-cut is still the longest at a doomly eight minutes, but though the production is fairly raw, Veljet‘s material taps into a few different impulses within the heavy rock sphere, offsetting willfully repetitive riffing in “El Día de las Manos” with scorching solo work while “Jay Adams” — presumably named in homage to the Dogtown skater — pulls some trad-metal riffing into its second half. “Cutlass” is short at 2:36, but makes the record as a whole feel less predictable for that, and the add-on “Leviatan” embodies its great sea beast with a nod up front that opens to later cacophony. The vibe throughout is you’re-in-the-room live jams, and Veljet have well enough chemistry to carry the songs across in that setting.

Veljet on Thee Facebooks

The Swamp Records website

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Witchrider, Electrical Storm

Smoothly produced and executed, not lacking energy but produced for a very studio-style fullness, Witchrider‘s second LP arrives via Fuzzorama Records in answer to 2014’s Unmountable Stairs with a pro-shop feel for its 50-minute duration. Songs are sharply hooked and energetic, beefing up Queens of the Stone Age-style desert rock early on “Shadows” and “You Lied” before the guitars introduce a broader palette with the title-track. The chorus of “Mess Creator” and the big finish in closer “The Weatherman” are highlights, but songs like “Keep Me out of It” and “Come Back” feel built for a commercial infrastructure that — at least in radio-free America — doesn’t exist anymore. I’m not sure what it takes to attract the attention of picky algorithms, but if it’s grounded songwriting, varied material and crisp performance like it was when there was a cable channel playing music videos, then Witchrider are ready to roll. As it stands, the Austrian outfit seem underserved by the inability to even get on a festival stage and play this material live to win converts in that manner. They’re hardly alone in that, but with material that seems so poised specifically toward audience engagement, it comes through all the more, which of course is a testament to the quality of the work itself.

Witchrider on Thee Facebooks

Fuzzorama Records website

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Devil Worshipper, 3

Opening with its longest track (immediate points) in the 10-minute “Silver Dagger” and presented with the burning red eyes of Christopher Lee’s Dracula on the front, the 33-minute 3 tape from Seattle’s Devil Worshipper maintains the weirdo-experimental spirit of the outfit’s 2015 self-titled debut (review here), finding a kind of Butthole Surfers-into-a-cassette-recorder, anything-goes-until-it-sucks, dark ’90s psychedelia they call “garage metal.” Fair enough. Apparently more efficient than anything I can come up with for it, though what doesn’t necessarily account for is the way the 3 challenges the listener, the remastered versions of “Into Radiation Wave” and “Chem Rails” from the first album, or the horror atmospherics of “Drinking Blood.” It’s like it’s too weird for this planet so it finally made one for itself. Well earned.

Devil Worshipper on Thee Facebooks

Puppy Mill Recordings on Bandcamp

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We’ve reached the portion of the Quarterly Review wherein I would no longer know what day it is if I didn’t have my notes to help me keep track. I suppose it doesn’t matter — the day, that is — since it’s 10 records either way, but I’d hate to review the same albums two days in a row or something. Though, come to think of it, that might be a fun experiment sometime.

Not today. Today is another fresh batch of 10 on the way to 60 by next Monday. We’ll get there. Always do. And if you’re wondering, today’s Thursday. At least that’s what I have in my notes.

Quarterly Review #31-40:

Bell Witch & Aerial Ruin, Stygian Bough Vol. I

The collaborative effort Bell Witch & Aerial Ruin and their 64-minute full-length, Stygian Bough Vol. I — the intention toward future output together hinted at in the title already confirmed by the group(s) — is a direct extension of what Aerial Ruin, aka Erik Moggridge, brought to the last Bell Witch album, 2017’s Mirror Reaper (review here), in terms of complementing the crushing, emotionally resonant death-doom of the Washington duo with morose folk vocal melody. Stygian Bough Vol. I is distinguished by having been written by the two-plus-one-equals-three-piece as a group, and accordingly, it more fluidly weaves Moggridge‘s contributions into those of Bell Witch‘s Dylan Desmond and Jesse Shreibman, resulting in an approach like if Patrick Walker from Warning had joined Thergothon. It’s prevailing spirit is deep melancholy in longer pieces like “The Bastard Wind” and “The Unbodied Air,” both over 19 minutes, while it might be in “Heaven Torn Low I (The Passage)” and “Heaven Torn Low II (The Toll)” that the trio most effectively bring their intent to life. Either way, if you’re in, be ready to go all the way in, but know that it’s well worth doing so.

Bell Witch on Thee Facebooks

Aerial Ruin on Thee Facebooks

Profound Lore Records website

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Cruthu, Athrú Crutha

Traditional doom with flourish both of noise and NWOBHM guitars — that turn in the second half of opener “Transformation” is like a dogwhistle for Iron Maiden fans — I hear Cruthu‘s second album, Athrú Crutha, and all I can think of are label recommendations. The Michigan outfit’s 2017 debut, The Angle of Eternity (review here), was eventually issued on The Church Within, and that’d certainly work, but also Ván Records, Shadow Kingdom, and even Cruz Del Sur seem like fitting potential homes for the righteousness on display across the vinyl-ready six-song/39-minute outing, frontman Ryan Evans commanding in presence over the reverb-loaded classic-style riffs of guitarist Dan McCormick and the accompanying gallop in Matt Fry‘s drums given heft by Derek Kasperlik‘s bass. Like the opener, “Necromancy” and “Dimensional Collide” move at a good clip, but side B’s “The Outsider” and closer “Crown of Horns” slow things down following the surprisingly rough-edged “Beyond the Pale.” One way or the other, it’s all doomed and so are we.

Cruthu on Thee Facebooks

Cruthu on Bandcamp

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Sólstafir, Endless Twilight of Codependent Love

Whereas 2017’s Berdreyminn (review here) existed in the shadow of 2014’s Ótta (review here), Endless Twilight of Codependent Love brings Iceland’s Sólstafir to a new place in terms of their longer-term progression. It is their first album with an English title since 2005’s Masterpiece of Bitterness, and though they’ve had English-language songs since then, the mellow “Her Fall From Grace” is obviously intended to be a standout here, and it is. On the nine-song/62-minute course of the album, however, it is one impression of many, and in the raging “Dionysus” and post-blackened “Drýsill,” 10-minute opener and longest track (immediate points) “Akkeri,” richly atmospheric “Rökkur,” goth-lounging “Or” and worthy finale “Úlfur,” Sólstafir remind of the richly individual nature of their approach. The language swaps could be reaching out to a broader, non-Icelandic-speaking audience. If so, it’s only in the interest of that audience to take note if they haven’t already.

Sólstafir on Thee Facebooks

Season of Mist website

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ILS, Curse

Curse is the first long-player from Portland, Oregon’s ILS, and it’s a rager in the PNW noise tradition, with uptempo, gonna-throw-a-punch-and-then-apologize riffs and basslines and swaps between semi-spoken shouts and vicious screams from Tom Glose (ex-Black Elk) that are precisely as jarring as they’re meant to be. I don’t think Curse is anyone’s first time at the dance — Glose, guitarist Nate Abner, bassist Adam Pike or drummer Tim Steiner — but it only benefits across its sans-bullshit 28-minute run by knowing what it wants to do. Its longest material, like the title-track or “Don’t Hurt Me,” which follows, or closer “For the Shame I Bring,” rests on either side of three and a half minutes, but some of the most brutal impressions are made in cuts like “It’s Not Lard but it’s a Cyst” or leadoff “Bad Parts,” which have even less time to waste but are no less consuming, particularly at high volume. The kind of record for when you want to assault yourself. And hey, that happens.

ILS on Thee Facebooks

P.O.G.O. Records on Bandcamp

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Bismut, Retrocausality

Apart from the consciously-titled three-minute noiseblaster finale “Antithesis” that’s clearly intended to contrast with what comes before it, Bismut‘s second LP for Lay Bare, Retrocausality, is made up of five extended instrumental pieces the shortest of which is just under 13 minutes long. The Nijmegen-based trio — guitarist Nik Linders, bassist Huibert der Weduwen, drummer Peter Dragt — build these semi-improvisational pieces on the foundation they set with 2018’s Schwerpunkt (review here), and their explorations through heavy rock, metal and psychedelia feel all the more cohesive as a song like “Vergangenheit” is nonetheless able to blindside with the heavy riff toward which it’s been moving for its entire first half. At 71 minutes total, it’s a purposefully unmanageable runtime, but as “Predvídanie” imagines a psych-thrash and “Oscuramento” drones to its crashing finish, Bismut seem to be working on their own temporal accord anyhow. For those stuck on linear time, that means repeat listens may be necessary to fully digest, but that’s nothing to complain about either.

Bismut on Thee Facebooks

Lay Bare Recordings website

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Cracked Machine, Gates of Keras

UK instrumentalists Cracked Machine have worked relatively quickly over the course of their now-three albums to bring a sense of their own perspective to the tropes of heavy psychedelic rock. Alongside the warmth of tone in the guitar and bass, feeling drawn from the My Sleeping Karma/Colour Haze pastiche of progressive meditations, there is a coinciding edge of English heavy rock and roll that one can hear not so much in the drift of “Temple of Zaum” as in the push of “Black Square Icon,” which follows, as well as the subtle impatience of the drums on “October Dawn.” “Move 37,” on the other hand, is willfully speedier and more upbeat than much of what surrounds, but though opener/longest track (immediate points) “Cold Iron Light” hits 7:26, nothing on Gates of Keras sticks around long enough to overstay its welcome, and even in their deepest contemplations, the feeling of motion carries them and the listener effectively through the album’s span. They sound like a band realizing what they want to do with all the potential they’ve built up.

Cracked Machine on Thee Facebooks

Kozmik Artifactz website

PsyKa Records website

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Megadrone, Transmissions From the Jovian Antennae

From cinematic paranoia to consuming and ultra-slow rollout of massive tonality, the debut offering from Megadrone — the one-man outfit of former Bevar Sea vocalist Ganesh Krishnaswamy — stretches across 53 minutes of unmitigated sonic consumption. If nothing else, Krishnaswamy chose the right moniker for the project. The Bandcamp version is spread across two parts — “Transmission A” (21:45) and “Transmission B” (32:09) — and any vinyl release would require significant editing as well, but the version I have is one huge, extended track, and that feels like exactly how Transmissions From the Jovian Antennae was composed and is supposed to be heard. Its mind-numbing repetitions lead the listener on a subtle forward march — there are drums back in that morass somewhere, I know it — and the piece follows an arc that begins relatively quiet, swells in its midsection and gradually recedes again over its final 10 minutes or so. It goes without saying that a 53-minute work of experimentalist drone crushscaping isn’t going to be for the faint of heart. Bold favors bold.

Megadrone on Thee Facebooks

Megadrone on Bandcamp

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KLÄMP, Hate You

Sax-laced noise rock psychedelic freakouts, blown-out drums and shouts and drones, cacophonous stomp and chaotic sprawl, and a finale that holds back its payoff so long it feels cruel, KLÄMP‘s second album, Hate You, arrives less than a year after their self-titled debut, and perhaps there’s some clue as to why in the sheer mania of their execution. Hate You launches with the angularity of its 1:47 title-track and rolls out a nodding groove on top of that, but it’s movement from one part to another, one piece to another, is frenetic, regardless of the actual tempo, and the songs just sound like they were recorded to be played loud. Second cut “Arise” is the longest at 7:35 and it plays back and forth between two main parts before seeming to explode at the end, and by the time that’s done, you’re pretty much KLÄMPed into place waiting to see where the Utrecht trio go next. Oblivion wash on “An Orb,” the drum-led start-stops of “Big Bad Heart,” psych-smash “TJ” and that awaited end in “No Nerves” later, I’m not sure I have any better idea where that might be. That’s also what makes it work.

KLÄMP on Thee Facebooks

God Unknown Records website

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Mábura, Heni

Preceded by two singles, Heni is the debut EP from Rio de Janeiro psychedelic tonal worshipers Mábura, and its three component tracks, “Anhangá,” “III/IV” and “Bong of God” are intended to portray a lysergic experience through their according ambience and the sheer depth of the riffs they bring. “Anhangá” has vocals following the extended feedback and drone opening of its first half, but they unfold as a part of the general ambience, along with the drums that arrive late, are maybe sampler/programmed, and finish by leading directly into the crash/fuzz launch of “III/IV,” which just before it hits the two-minute mark unfurls into a watershed of effects and nod, crashing and stomping all the while until everything drops out but the bass only to return a short time later with the Riff in tow. Rumbling into a quick fade brings about the toking intro of “Bong of God,” which unfolds accordingly into a riff-led noisefest that makes its point seemingly without saying a word. I wouldn’t call it groundbreaking, but it’s a first EP. What it shows is that Mábura have some significant presence of tone and purpose. Don’t be surprised when someone picks them up for a release.

Mábura on Thee Facebooks

Mábura on Bandcamp

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Astral Sleep, Astral Doom Musick

It’s still possible to hear some of Astral Sleep‘s death-doom roots in their third album, Astral Doom Musick, but the truth is they’ve become a more expansive unit than that (relatively) simple classification than describe. They’re doom, to be sure, but there are progressive, psychedelic and even traditional doom elements at work across the record’s four-song/43-minute push, with a sense of conceptual composition coming through in “Vril” and “Inegration” in the first half of the proceedings while the nine-and-a-half-minute “Schwerbelastungskörper” pushes into the darkest reaches and closer “Aurinko ja Kuu” harnesses a swirling progressive spread that’s dramatic unto its last outward procession and suitably large-sound in its production and tone. For a band who took eight years to issue a follow-up to their last full-length, Astral Sleep certainly have plenty to offer in aesthetic and craft. If it took them so long to put this record together, their time wasn’t wasted, but it’s hard to listen and not wonder where their next step might take them.

Astral Sleep on Thee Facebooks

Astral Sleep on Bandcamp

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Certainly Bell Witch and Aerial Ruin are no strangers to each other. As the PR wire details, Erik Moggridge, who is Aerial Ruin, has guested on Bell Witch releases since their outset, perhaps most gloriously on 2017’s gorgeous and excruciating Mirror Reaper (review here), so what making their collaboration official in the matrimonial sense would seem to indicate is mostly a change of mindset and perhaps writing process. Still, those who listened to that record — and if that’s not you, it’s not too late! — will have some decent idea of what Stygian Bough Volume 1 is going for in terms of basic feel, as the streaming track “Heaven Torn Low II (The Toll)” would seem to hint.

One can only look forward to appreciation the beauty in darkness to come with the album’s arrival, and having seen these two entities share a stage before, should the opportunity arise again, it won’t be one to miss.

The PR wire brings Adam Burke cover art and speaks thus:

BELL WITCH AND AERIAL RUIN ANNOUNCE COLLABORATIVE RECORD STYGIAN BOUGH VOLUME 1 – OUT JUNE 26 ON PROFOUND LORE

REVEAL “HEAVEN TORN LOW II (THE TOLL)”

Renowned doom duo Bell Witch fully integrate themselves with dark folk elegist, Aerial Ruin. The collaborative effort, titled ‘Stygian Bough Volume 1’ is a collection of five transcendent, hauntingly beautiful songs that defy categorization.

On Stygian Bough Volume I, members Dylan Desmond and Jesse Shreibman of renowned doom duo, Bell Witch fully integrate themselves with dark folk elegist, Erik Moggridge of Aerial Ruin. Genuine collaborations are rare yet these two found a way to become one, resulting in a hauntingly beautiful record.

While Moggridge has been a part of Bell Witch’s sonic fingerprint on all their prior records, perhaps most notably for his vocals on their previous acclaimed full-length, Mirror Reaper, he’s now part of the very fabric that makes up the five, emotional and strikingly heavy songs that comprise Stygian Bough Volume 1.

The addition of guitar to the bass and drum-only dynamic came naturally as the threesome discussed potential models for their joint effort. Ulver’s unorthodox folk album Kveldssanger came up as did Candlemass’ mile marker Nightfall. But the real fuel to Stygian Bough Volume I was the Bell Witch track, “Rows (of Endless Waves)”, which was not only Moggridge’s first appearance with Bell Witch but also a track that has deeply resonated with Desmond over the years. With the approach in place, Bell Witch and Aerial Ruin collectively wrote five desolate yet mystical songs that defy categorization. From the mournful “The Bastard Wind” and the crepuscular “Heaven Torn Low I (the passage)” to the monstrous “Heaven Torn Low II (the toll)” and the liturgical gloom of “The Unbodied Air,” Stygian Bough Volume I is an album of deep, dark undertows and careful respite.

The themes explored by Bell Witch and Aerial Ruin were independently tackled from different angles but were mainly from similar spaces. Whereas Bell Witch plumbed the depths of purgatory—a place of atonement between life and death—across three full-lengths, Moggridge’s Aerial Ruin have centered on the loss of the self and the spiritual places the vacancy ultimately leads to. For Stygian Bough Volume I, Bell Witch and Aerial Ruin topics of choice intersect and complement, continuing in spirit but with a broader vantage point where “Rows (of Endless Waves)” left off.

“Stygian Bough is a reference to the theme of The Golden Bough,” observes Desmond. “The book’s theme is centered on the rites of a temple in ancient Italy where slaves were transformed into kings by slaying he who reigned as such after successfully stealing the Golden Bough from the sacred tree within the temple. Within that notion, a different sort of slavery was brought upon the newly crowned king, as he must understand sooner or later that his fate would ultimately be the same as his predecessor. In short, the golden bough made a king out of a slave only to find they were now enslaved to a different sort of tyranny, always stalking them from the darkest shadows of their imagination. From this perspective, the “golden bough” is better understood as a deception casting darkness. Thus, Stygian Bough.”

Adds Moggridge: “They presented that song [“Rows (of Endless Waves)”] to me in a mostly instrumental form with the idea that it’s about a ghost trapped on rows of waves that can’t reach the land. I ran with this idea and started to think of the ghost of a king who, if he reached land could be reborn and rule again. The king is also a larger metaphor for humanity who rules over the planet and other species. On this new album our ghost upon the waves flees not towards the land but towards death. The narrative, as much as it exists, is loose and not linear and definitely stream of consciousness. There are cyclical and spherical qualities to the journey where death, desolation, and the spirit are reflected in myriad ways.”

Stygian Bough Volume I sees its release June 26 via Profound Lore Records. For pre-orders and additional information on limited pressings and exclusive variants, visit here. Stygian Bough Volume I was recorded and mixed by Randall Dunn at Avast Recording Co. in Seattle. Bell Witch and Aerial Ruin then took the full-length to mastering ace Bob Weston at Chicago Mastering Service in Chicago. The result is a full-length of profound lows and delicate highs — fitting for Bell Witch and Aerial Ruin’s quiet/introspective and heavy/loud dynamic. As for the triumvirate’s next steps, they plan on touring in support of Stygian Bough Volume I when it’s safe to do so. Stay tuned for tour updates.

Stygian Bough Volume 1 Track Listing:
1 – The Bastard Wind
2 – Heaven Torn Low I (the passage)
3 – Heaven Torn Low II (the toll)
4 – Prelude
5 – The Unbodied Air

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Bell Witch & Aerial Ruin, “Heaven Torn Low II (The Toll)”

New Snail video, you say? Don’t mind if I do, thanks. The timing certainly works, as the Pacific Coast — Seattle-ish and Los Angeles — three-piece have newly issued the single Nothing Left for You/Fearless, with the second cut being a cover of Meddle-era Pink Floyd and the first cut being their first recording since later-2015’s Feral (review here). They hit the studio in January to get going on their next long-player, and while “Nothing Left for You” will feature on that album, it’s hard to know how representative it might be of the upcoming-at-some-point batch of material either way, but it does find them making some interesting turns in sound, with some of the raw buzz one might find in their 1993 self-titled debut (review here) resurfacing along with the speedier groove than one has come to expect. It’s also catchy as hell, so if I haven’t said this before about it — and I’m pretty sure I have — I’m glad to take it as it comes.

They are right at home in “Fearless” as well, with guitarist Mark Johnson‘s dreamy vocal melody floating out over his own watery effects, backed by bassist/recording engineer Matt Lynch with drummer Marty Dodson keeping the groove grounded and rolling forward. As much as “Nothing Left for You” is about shove — and particularly ‘shove-away,’ in terms of its lyrical theme — Snail make “Fearless” into a deep-dive melodic showcase, emphasizing not only the influence of Pink Floyd, but the grittier, and weightier edge they bring to what was already there. Both songs end with a fadeout, and the underlying message of the release is clearly that there’s more to follow, and as a fan of the band, I can only look forward to the next album whenever it might arrive. Everyone’s plans being shot as they are this year, I wouldn’t hazard a guess as to when something might manifest, but in the interim, the video for “Nothing Left for You” has some fun with being stuck at home during quarantine, and again, I’ll take it as it comes.

And it bears mentioning that Lynch mixed and mastered Nothing Left for You/Fearless at his Mysterious Mammal Recordings in L.A. (they tracked at All Welcome Records) and as discussed in his days of rona, he’s up for mixing whatever you’ve got and is looking for remote clients. When I finally get to recording that spoken word/keyboard drone album, I’ll definitely be sending it to him to edit out the burps.

Enjoy the video:

Snail, “Nothing Left for You” official video

From the single Nothing Left For You / Fearless released 5/1/2020. Get your copy here: https://snailhq.bandcamp.com/

Video edited and produced by Matt Lynch. Music by Snail (Mark Johnson, Matt Lynch, Marty Dodson)

Recorded by Matt Lynch at All Welcome Records, Los Angeles USA. Mixed and mastered by Matt Lynch at Mysterious Mammal Recordings Los Angeles. Additional recording by Mark Johnson at home in Seattle. Engineered by Jennifer Hendrix.

Snail is:
Matt Lynch (Bass/Vocals)
Marty Dodson (Drums)
Mark Johnson (Lead Vocals/Guitar)

Snail, Nothing Left for You / Fearless (2020)