Quarterly Review: Hum, Hymn, Atramentus, Zyclops, Kairon; IRSE!, Slow Draw, Might, Brimstone Coven, All Are to Return, Los Acidos

Posted in Reviews on October 7th, 2020 by JJ Koczan

THE-OBELISK-FALL-2020-QUARTERLY-REVIEW

Day three of the Quarterly Review. Always a landmark. Today we hit the halfway point, but don’t pass it yet since I’ve decided to add the sixth day next Monday. So we’ll get to 30 of the total 60 records, and then be past half through tomorrow. Math was never my strong suit. Come to think of it, I wasn’t much for school all around. Work sucked too.

Anyway, if you haven’t found anything to dig yet — and I hope you have; I think the stuff included has been pretty good so far — you can either go back and look again or keep going. Maybe today’s your day. If not, there’s always tomorrow.

Quarterly Review #21-30:

Hum, Inlet

HUM INLET

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Hum on Thee Facebooks

Polyvinyl Records webstore

 

Hymn, Breach Us

Hymn Breach Us

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Hymn on Thee Facebooks

Fysisk Format on Bandcamp

 

Atramentus, Stygian

Atramentus stygian

Carried across with excruciating grace, Atramentus‘ three-part/44-minute debut album, Stygian, probably belongs in a post-Bell Witch category of extreme, crawling death-doom, but from the script of their logo to the dramatic piano accompanying the lurching riffs, gurgles and choral wails of “Stygian I: From Tumultuous Heavens… (Descended Forth the Ceaseless Darkness)” through the five-minute interlude that is “Stygian II: In Ageless Slumber (As I Dream in the Doleful Embrace of the Howling Black Winds)” and into the 23-minute lurchfest that is “Stygian III: Perennial Voyage (Across the Perpetual Planes of Crying Frost and Steel-Eroding Blizzards)” their ultra-morose procession seems to dig further back for primary inspiration, to acts like Skepticism and even earliest Anathema (at least for that logo), and as guttural and tortured as it is as it devolves toward blackened char in its closer, Stygian‘s stretches of melody provide a contrast that gives some semblance of hope amid all the surrounding despair.

Atramentus on Thee Facebooks

20 Buck Spin webstore

 

Zyclops, Inheritance of Ash

zyclops inheritance of ash

As it clocks in 27 minutes, the inevitable question about Zyclops‘ debut release, Inheritance of Ash, is whether it’s an EP or an LP. For what it’s worth, my bid is for the latter, and to back my case up I’ll cite the flow between each of its four component tracks. The Austin, Texas, post-metallic four-piece save their most virulent chug and deepest tonal weight for the final two cuts, “Wind” and “Ash,” but the stage is well set in “Ghost” and “Rope” as well, and even when one song falls into silence, the next picks up in complementary fashion. Shades of Isis in “Rope,” Swarm of the Lotus in the more intense moments of “Ash,” and an overarching progressive vibe that feels suited to the Pelagic Records oeuvre, one might think of Zyclops as cerebral despite their protestations otherwise, but at the very least, the push and pull at the end of “Wind” and the stretch-out that comes after the churning first half of “Rope” don’t happen by mistake, and a band making these kinds of turns on their first outing isn’t to be ignored. Also, they’re very, very heavy.

Zyclops on Thee Facebooks

Zyclops on Bandcamp

 

Kairon; IRSE!, Polysomn

Kairon IRSE Polysomn

It’s all peace and quiet until “Psionic Static” suddenly starts to speed up, and then like the rush into transwarp, Kairon; IRSE!‘s Polysomn finds its bliss by hooking up a cortical node to your left temple and turning your frontal lobe into so much floundering goo, effectively kitchen-sink kraut-ing you into oblivion while gleefully hopping from genre to cosmic genre like they’re being chased by the ghost of space rock past. They’re the ghost of space rock future. While never static, Polysomn does offer some serenity amid all its head-spinning and lobe-melting, be it the hee-hee-now-it’s-trip-hop wash of “An Bat None” or the cinematic vastness that arises in “Altaïr Descends.” Too intelligent to be random noise or just a freakout, the album is nonetheless experimental, and remains committed to that all the way through the shorter “White Flies” and “Polysomn” at the end of the record. You can take it on if you have your EV suit handy, but if you don’t check the intermix ratio, your face is going to blow up. Fair warning. LLAP.

Kairon; IRSE! on Thee Facebooks

Svart Records webstore

 

Slow Draw, Quiet Joy

slow draw quiet joy

The second 2020 offering from Hurst, Texas’ Slow Draw — the one-man outfit of Mark “Derwooka” Kitchens, also of Stone Machine Electric — the four-song Quiet Joy is obviously consciously named. “Tightropes in Tandem” and closer “Sometimes Experiments Fail” offer a sweet, minimal jazziness, building on the hypnotic backwards psych drone of opener “Unexpected Suspect.” In the two-minute penultimate title-track, Kitchens is barely there, and it is as much an emphasis on the quiet space as that in which the music — a late arriving guitar stands out — might otherwise be taking place. At 18 minutes, it is intended to be a breath taken before reimmersing oneself in the unrelenting chaos that surrounds and swirls, and while it’s short, each piece also has something of its own to offer — even when it’s actively nothing — and Slow Draw brims with purpose across this short release. Sometimes experiments fail, sure. Sometimes they work.

Slow Draw on Thee Facebooks

Slow Draw on Bandcamp

 

Might, Might

might might

It took all of a week for the married duo of Ana Muhi (vocals, bass) and Sven Missullis (guitars, vocals, drums) to announce Might as their new project following the dissolution of the long-ish-running and far-punkier Deamon’s Child. Might‘s self-titled debut arrives with the significant backing of Exile on Mainstream and earns its place on the label with an atmospheric approach to noise rock that, while it inevitably shares some elements with the preceding band, forays outward into the weight of “Possession” and the acoustic-into-crush “Warlight” and the crush-into-ambience “Flight of Fancy” and the ambience-into-ambience “Mrs. Poise” and so on. From the beginning in “Intoduce Yourself” and the rushing “Pollution of Mind,” it’s clear the recorded-in-quarantine 35-minute/nine-song outing is going to go where it wants to, Muhi and Missullis sharing vocals and urging the listener deeper into doesn’t-quite-sound-like-anything-else post-fuzz heavy rock and sludge. A fun game: try to predict where it’s going, and be wrong.

Might on Thee Facebooks

Exile on Mainstream website

 

Brimstone Coven, The Woes of a Mortal Earth

brimstone coven the woes of a mortal earth

Following a stint on Metal Blade and self-releasing 2018’s What Was and What Shall Be, West Virginia’s Brimstone Coven issue their second album as a three-piece through Ripple Music, calling to mind a more classic-minded Apostle of Solitude on the finale “Song of Whippoorwill” and finding a balance all the while between keeping their progressions moving forward and establishing a melancholy atmosphere. Some elements feel drawn from the Maryland school of doom — opener the melody and hook of “The Inferno” remind of defunct purveyors Beelzefuzz — but what comes through clearest in these songs is that guitarist/vocalist Corey Roth, bassist/vocalist Andrew D’Cagna and drummer Dave Trik have found their way forward after paring down from a four-piece following 2016’s Black Magic (review here) and the initial steps the last album took. They sound ready for whatever the growth of their craft might bring and execute songs like “When the World is Gone” and the more swinging “Secrets of the Earth” with the utmost class.

Brimstone Coven on Thee Facebooks

Ripple Music website

 

All Are to Return, All Are to Return

all are to return all are to return

Take the brutal industrial doom of Author and Punisher and smash it together — presumably in some kind of stainless-steel semi-automated contraption — with the skin-peeling atmosphere and grueling tension of Khanate and you may begin to understand where All Are to Return are coming from on their debut self-titled EP. How they make a song like four-minute centerpiece “Bare Life” feel so consuming is beyond me, but I think being so utterly demolishing helps. It’s not just about the plodding electronic beat, either. There’s some of that in opener “Untrusted” and certainly “The Lie of Fellow Men” has a lumber to go with its bass rumble and NIN-sounding-hopeful guitar, but it’s the overwhelming sense of everything being tainted and cruel that comes through in the space the only-19-minutes-long release creates. Even as closer “Bellum Omnium” chips away at the last remaining vestiges of color, it casts a coherent vision of not only aesthetic purpose for the duo, but of the terrible, all-gone-wrong future in which we seem at times to live.

All Are to Return on Bandcamp

Tartarus Records website

 

Los Acidos, Los Acidos

Los Acidos Los Acidos

I saved this one for last today as a favor to myself. Originally released in 2016, Los Acidos‘ self-titled debut receives a well-deserved second look on vinyl courtesy of Necio Records, and with it comes 40 minutes of full immersion in glorious Argentinian psicodelia, spacious and ’60s-style on “Al Otro Lado” and full of freaky swing on “Blusas” ahead of the almost-shoegaze-until-it-explodes-in-sunshine float of “Perfume Fantasma.” “Paseo” and the penultimate “Espejos” careen with greater intensity, but from the folksy feel that arrives to coincide with the cymbal-crashing roll of “Excentricidad” in its second half to the final boogie payoff in “Empatía de Cristal,” the 10-song outing is a joy waiting to be experienced. You’re experienced, right? Have you ever been? Either way, the important thing is that the voyage that, indeed, begins with “Viaje” is worth your time in melody, in craft, in its arrangements, in presence and in the soul that comes through from front to back. The four-piece had a single out in late 2019, but anytime they want to get to work on a follow-up LP, I’ll be waiting.

Los Acidos on Thee Facebooks

Necio Records on Bandcamp

 

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Funeral for Two Post “Sculpture of a Demon” Video; Self-Titled EP out Aug. 20

Posted in Bootleg Theater on July 23rd, 2020 by JJ Koczan

FUNERAL FOR TWO

Say the words ‘Finnish doom’ and one of two classifications will come to mind in either the pioneering death-doom of Skepticism or the traditionalism of Reverend Bizarre. Both massively influential. Newcomer outfit Funeral for Two fall into neither category, and that’s only to be considered a strength. Instead, they indulge in the kind of massive rolling riffs that show influence particularly from Monolord‘s earlier work, though their melodies are perhaps even more prevalent on “Sculpture of a Demon,” the seven-minute single that is serving as a harbinger of their upcoming self-titled debut EP. That release has been picked up by countryman imprint Inverse Records — no small expert in Finnish doom of all stripes — and will see release on Aug. 20, and while I don’t have too many more details about it than that, I do have a video they’ve put together, and that’s not nothing.

Very much not nothing, in fact. The clip is rehearsal-room footage, but it turns out I’m so starved for live music even seeing dudes jamming in their own space is thrilling at this point. Recorded by Jiri Mustajärvi of Malamujér, it is a full-toned celebration of riff worship and offers no pretense of shooting for anything other than an approving nod from its audience, which it well earns. However much more might comprise the EP, it’ll be worth finding out, whether it’s one or two tracks or if Funeral for Two‘s EP runs up against being a debut album. The single’s been on Bandcamp since April but the video just went up, so there you go, and from what guitarist/vocalist Mikke Sillanpää says below, it may be that all the songs were out there at one point and I just missed it — I suck at this; I’ve said that all along — but either way, they’ll be out in good time with Inverse‘s backing. Good doom requires patience, so be patient.

And please enjoy:

Funeral for Two, “Sculpture of a Demon” official video

Finnish Seinäjoki-based doom metal band Funeral for Two is set to release their same titled debut EP on August 20th 2020 by Inverse Records.

The band released a single and music video Sculpture of a Demon. Music video is made by Tuomas Ojajärvi and shot by Tihu The Wolf.

Vocalist/Guitarist Mikke Sillanpää comments:
I started this band as a personal project just to play the kind of music I’ve been dreaming of. Slow, Low and Fuzz. Three words you can’t go wrong!

After a while I realized that this music must be played live as a band. I asked two of my really good friends to jam with me. Soon we discovered this is the way it should be. At the beginning it was just jamming around different riffs, drinking beer and stuff like that… But recording songs was my goal from the beginning. I talked to my friend Jiri Mustajärvi, he has a homerecording studio. I had two songs to put on tape. Jiri did all the work with recording and mixing. He also played drums (because of Covid-19).

After ready with these songs they were released on bandcamp. A few days later Inverse Records wanted to work with us. We also made a video from “Sculpture of a demon”.

It’s just a simple rehearsal room video just like we wanted it to be. Our plan is to do couple of more new songs to have a full setlist.. And then it’s time for liveshows. Stay doomed!”

Funeral for Two on Thee Facebooks

Funeral for Two on Bandcamp

Inverse Records on Thee Facebooks

Inverse Records on Thee Facebooks

Inverse Records website

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Days of Rona: Lauri Kivelä of PH (aka Mr. Peter Hayden)

Posted in Features on April 20th, 2020 by JJ Koczan

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

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

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

ph rehearsal space

Days of Rona: Lauri Kivelä of PH (aka Mr. Peter Hayden) (Seinäjoki, Finland)

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

Everybody is well, all good. As a band we adapt very well to situations and are rather well trained with adversities and obstacles. We had a European tour coming up, but obviously it got canceled. As most of the summer festival might be canceled as well, we now have plenty of time to work in studio.

What are the quarantine/isolation rules where you are?

All traveling must be avoided, bars and restaurants are closed until June, meetings of more than 10 people are banned and those who can are advised to work from home. The biggest thing is that the Uusimaa region is isolated from rest of the Finland for at least three weeks. That one is affecting our work a bit also as one of us is now stuck there.

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

Well, there are less people in the city and more in the forests. When modern activities are either closed or you avoid them for your safety people get back to basics. Seems like nature has become a big thing.

I hope this little forced retreat is taken advance of. What a possibility to concentrate on your art and dive deeper than ever before. On the business side I hope things will get back to normal as soon as it is possible.

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

We keep working on our next album, exploring the unknown and reaching the unimaginable. Most of the basic tracks are already recorded and the dive continues. It might just be that we have once again seen the future. And for Europe: We are sorry to cancel once again but we promise to be back next year, in very good company!

www.mrph.net
www.facebook.com/mrpeterhayden
www.instagram.com/mrpeterhayden
http://mrph.bandcamp.com/
www.svartrecords.com
www.facebook.com/svartrecords
www.youtube.com/svartrecords

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Domovoyd Stream “Mystagogue” from Self-Titled LP out May 8

Posted in audiObelisk on April 29th, 2015 by JJ Koczan

domovoyd (Photo by Rainer Paananen)

Is there such a thing as psychedelic extremity? Finnish four-piece Domovoyd aren’t through the opener of their self-titled sophomore LP before they make a case for it. Granted, “Domovoyage” is 17 minutes long in leading off Domovoyd‘s Domovoyd, which is out May 8 on respected purveyor Svart Records, but I think the point holds despite the substantial runtime. And “Domovoyage” is hardly a completely summary of what the double-vinyl has to offer, the subsequent “Ambrosian Perfume” reinventing pre-New Wave proclamations atop repetitive wah and far-back strumming before shifting into grunge riffing and echoing shouts, a solo taking hold at 6:15 that carries through the remainder of the track’s 9:41. The rules of songwriting are flung open across Domovoyd‘s freaked-out 59-minute span, and whether it’s a perversely weird turn, as in “Ambrosian Perfume,” or a sprawling exploration like the bookending 17-minute closer “Vivid Insanity” — otherwise known as “side D” — the returning lineup of guitarist/vocalist Oskar Tunderberg, guitarist Niko Lehdontie, bassist Dmitry Melet and Axel Solimeis offer a resonant progression from the debut, their penchant for weirdness matched by their command of sound.

“Caustic Afterglow” mounts tense spoken word drama over pervasive, swirling drone, but at four minutes long and providing a severe end to side B, it’s more than an interlude. On the CD and digital versions of the album, “Caustic Afterglow” leads into “Mystagogue,” a buzzing and exploding jam that, like that riff that took over “Ambrosian Perfume,” has some basis in grunge to go with its weighted tonality. More than the earlier cut, however, “Mystagogue” builds to and hits an apex within its 4:38 pays off the prior trades between restraint and release, Tunderberg‘s vocals shifting between semi-spoken parts and rougher shouting, Domovoyd never quite allowing themselves to give completely over to space domovoyd-domovoydrock impulses, but always seeming to be way up in the atmosphere anyhow. “Mystagogue” makes a fitting summary of some of the noisy psych the opener also has on offer, but there isn’t really one single track that encapsulates the scope of the record, as “Amor Fati” proves almost immediately with a darker, thicker roll, choice snare work from Solimeis and a break into off-kilter strumming from Ledontie and Tunderberg, who’s backed in the verse by a high falsetto so deep in the mix as to make you wonder if it’s really there. I’d give you a definitive answer on that if I had one.

Sub-screaming and noise wash caps “Amor Fati,” but there’s a final spoken line from Tunderberg as well that I won’t spoil here, and “Vivid Insanity” takes hold following a few seconds’ silence with a quiet guitar figure that develops peacefully over the first seven minutes, drums coming in, effects lightly swirling around, but a stop at 8:40 brings the full-toned chaos of a verse, and the heft and madness continues to churn its way forward in leads and shouts and rumble and thud as Domovoyd push toward the 14th minute and a gradual comedown in intensity, finally ending with a stretch of brighter droning and other noise, not abrasive, but humming out a waveform on a long fade to close out. The title of the closer is perhaps a fitting descriptor for Domovoyd‘s overarching perspective throughout the album, but both words in it are worth emphasizing, and by that I mean that the foursome not only craft this strange, varied, at-times-bludgeoning, at-times-intricate brew, but do so with an underlying sense of purpose to their work and consciousness unrelenting, making the album both a fascinating listen and at times utterly terrifying. For what it’s worth, Domovoyd seem to be perfectly comfortable in that alternate-dimension morass, and the more one hears the record, the more it makes sense they’d put it out as a self-titled. Speaking sonically, that psychedelic extremity is their home.

Today I have the pleasure of hosting the premiere “Mystagogue” from Domovoyd‘s Domovoyd for streaming. Please find it below, followed by more info on the album, and enjoy:

The young psychonauts of Domovoyd are onto their sixth year of existence in this dimension, and, having taken many acid heads by surprise with their debut album Oh Sensibility (2013), are ready to deliver a second transmission from worlds beyond and within. Scheduled to appear on the planet on May 8th, the album is self titled and it will be available on CD, double vinyl and digital.

Domovoyd’s eponymous 60-minute behemoth pays tribute to progressive rock masterpieces of yesteryear in the sense that it is, for lack of a better word, a concept album. Storytelling and mythmaking in the works, if you will, but distilled through an overdriven stack of amplifiers.

The album’s six tracks deal with inner discovery of the psychedelic kind and ultimately with the loss and destruction of all conceptions of self and the world. Old ego is a too much thing, as Charlie Manson once said.

Domovoyd on Thee Facebooks

Domovoyd on Bandcamp

Domovoyd’s website

Domovoyd at Svart Records

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Domovoyd to Release Self-Titled LP May 8 on Svart

Posted in Whathaveyou on March 19th, 2015 by JJ Koczan

domovoyd

Two things I immediately like about Domovoyd‘s self-titled album opener, “Domovoyage,” which you can hear below: First, it’s trippy as fuck and then some. Second, even the “shorter version” of the song is 13 minutes long. Hell yes. The Finnish outfit k-i-l-l-e-d it on their 2013 Svart Records debut, Oh Sensibility (review here), and they seem primed to push the ritual even farther out with Domovoyd, which is due out May 8, also on Svart. Expect a layered, effects-driven freakout and don’t be surprised when those expectations are exceeded.

Raw vibe, anything goes, psychedelic fuckall. Hard to beat. PR wire brings news of doom from space:

domovoyd domovoyd

DOMOVOYD set release date for new SVART album, premiere first track

The young psychonauts of Domovoyd are onto their sixth year of existence in this dimension, and having taken many acid heads by surprise with their Svart debut album, Oh Sensibility (2013), the band are ready to deliver a second transmission from worlds beyond and within. Scheduled to appear on the planet on May 8th, once again via Svart Records, the album is self-titled and it will be available on CD, double-vinyl, and digital.

Domovoyd’s eponymous 60-minute behemoth pays tribute to progressive rock masterpieces of yesteryear in the sense that it is, for lack of a better word, a concept album: storytelling and mythmaking in the works, if you will, but distilled through an overdriven stack of amplifiers. The album’s six tracks deal with inner discovery of the psychedelic kind and, ultimately, with the loss and destruction of all conceptions of self and the world; old ego is a too-much thing, as Charlie Manson once said. For those who are looking for a quick fix while waiting for the album to hit, Domovoyd have prepared a shorter version of the album’s opening track “Domovoyage” HERE. Ease on out of your mind with Domovoyd! Cover and tracklisting are as follows:

Tracklisting for Kesä’s Kesä
1. Domovoyage
2. Ambrosian Perfume
3. Caustic Afterglow
4. Mystagogue
5. Amor Fati
6. Vivid Insanity

MORE INFO:
www.facebook.com/domovoyd
www.svartrecords.com
www.facebook.com/svartrecords
www.youtube.com/svartrecords
www.twitter.com/svartrecords

Domovoyd, “Domovoyage”

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Domovoyd Debut Album Oh Sensibility Now Streaming in Full

Posted in audiObelisk on October 11th, 2013 by JJ Koczan

Today, Oct. 11, marks the Svart Records release of the debut Domovoyd full-length, Oh Sensibility. It is a work of vast-ranging psychedelic cacophony, shield-your-eyes bright tonality underscored by devastating heft. They might as well have called it, “Oh Sensibility, I Can’t Believe We Just Melted You With Psychedelic Guitars.” Songs are given to lumber as much as rolling, nodding heavy grooves, but there are points — set up by the fittingly-titled introductory opening track — when the wash of noise comes to a head and Domovoyd seem to be swallowed whole in the swirling torrent they’ve crafted. There are touches of neu-er Electric Wizard in some of their stretches of riffy triumph, both early on in shorter cuts like “Lamia” and later in the sprawling 16-minute closer “Argenteum Astrum,” but by and large, Domovoyd are on a totally different trip.

Primarily, what makes Oh Sensibility such a rich listen over the course of its 52 minutes is the tones and the interaction between guitarists Oskar Tunderberg and Niko Lehdontie. The former manages to hold together already-liquified riffing in kind with bassist Dmitry Melet — whose own tone is not to be underappreciated — and the dynamic drumming of Axel Solimeis, and this allows Lehdontie the space to add a barrage of effects to the fray. He’s not shy about it. Each crescendo throughout the album and each moment of atmospheric cosmos-worship is brought to a fuller breadth through the chaos, and there are stretches as on “Incarnation” when it seems like Tunderberg‘s vocals have already been consumed by the tide. Following the abrasive rise of “Introduction,” “Incarnation” takes hold with equally vicious feedback and riffing, leading to the more languid druggery of “Lamia” en route to the epic trio of “By Taking a Breath” (9:33), “Effluvial Condenser” (13:38) and the aforementioned “Argenteum Astrum” (16:13), but though Domovoyd veer into abrasion when they so choose, Oh Sensibility never loses its psychedelic vibe, resulting in a creative blend that pulls you in from the very start.

And yeah, there are times where it just sounds fucked up, like “Lamia”‘s Godflesh-gone-stoner cacophony, and the Nirvana reference that shows up halfway into “By Taking a Breath,” but that only adds intrigue to the proceedings, which stand as a remarkable accomplishment particularly for the Seinäjoki foursome’s first album. Perhaps the most telling moment of all on the record is early into “Effluvial Condenser” when the words “electric charge” are repeated in whispers that cut through the space-rock din surrounding. If that’s what’s doing it for Domovoyd, who of course then embark on a massive album-unto-themselves push with that song and the fittingly oppressive apex-fuzz provided by “Argenteum Astrum,” sign me up. Tune down, plug in, crash galaxies.

Do your frontal lobe some damage by checking out the entirety of Oh Sensibility on the player below:

Domovoyd‘s Oh Sensibility is available now on Svart Records. The band have a couple gigs lined up in November to support the LP:

Nov. 20th – Nuclear Nightclub (OUL) w/ Oranssi pazuzu
Nov. 21st – Rytmikorjaamo (SJK) w/ Oranssi pazuzu
Nov. 30th – Secret party (secret location)

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Svart Records

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