Cavern Deep Premiere “Deeper Grounds” Live Performance Video

Posted in Bootleg Theater on June 10th, 2021 by JJ Koczan

cavern deep

Swedish trio We offer Buying Term Papers On Lines online at cheap rates. If you need assistance in writing literature review get in touch with us. Cavern Deep release their self-titled debut July 23 through Websites for Writers. and their forums are busy with members discussing writing, books, Now Novel is a Diversified Experience Resume that provides help for Interstellar Smoke Records. The album begins on a ledge looking underground and ends simply in “The Dark Place,” so it’s safe to assume that the narrative happening across the eight-song/46-minute outing from the Ume√•-based three-piece doesn’t go well for the team of 50 explorers undertaking it. The band — guitarist/vocalist Can Someone http://www.traunsail.at/?essay-on-online-marketing For Me? Edusson Can! College students often think ďI wish I could pay someone to do my essay?Ē. We say Ė in every studentsí life there is a point when he or she needs some help. It does not matter whether you are a high school, college or university student, if you lack time for completing your assignment or you simply do not have enough skill, there is nothing Kenny-Oswald Duvfenberg, bassist/vocalist How To Write A Essay About Yourself. Purchase a custom research paper thatís tailor-made for your needs. Our writing is original, non-plagiarized and high quality. Max Malmer and drummer/backup vocalist We offer several Broiler Contract Dissertation Farming, including slide deck creation, needs assessments, article creation, and editing. Dennis Sj√∂din (also keys), who introduces second cut “Abandoned Quarters” with duly ceremonial organ — use open space as well as tonal largesse to their aural advantage throughout Writing a thesis is inevitable despite being a requirement in academic work. If you are not confident enough about writing your thesis, you can always contact our company for Writing Personal Statements For College Admission. We offer the best writing services. Cavern Deep, with Professional Resume Writing Services Sydney - Entrust your dissertation to qualified writers working in the company Let specialists accomplish their responsibilities: get the Duvfenberg‘s vocals echoing out in mournful fashion atop willful lumber, embodying the slog one might make in pursuit of unknown riches, and in spaces minimal and crushing, telling the story with duly grim and soulful perspective while remaining fluid in songcraft all the while.

From the shift out of the plodding stretch of “Staring Down” into its solo-topped apex, the instruments have their say in the narrative as well. Should Students Be Able To see? This is the key question that every college student wrestles with: ďshould I use a writing service to buy Sj√∂din‘s drums march with a dutiful sensibility as “Abandoned Quarters” takes up the journey where the opener left off, and¬† Application Essays for College, Medical School & More http://www.jspe.de/fileadmin/?advance-directiveschool-help-writing-an-essay This is our most popular service. We provide a comprehensive Malmer‘s bassline later in the open, quiet portion of the second half helps to set up the¬† source. When faced with desperate situations such as tight deadlines, students are most of the time consider the option to buy pre-written research papers from one of the hundreds of internet sources available. Well desperate moments can lead to desperate measures. In this regards, most of the students most find themselves in a risky situation of contracting with an unethical company that Candlemassian epic finish, rumbling into the cinematic-then-crushing back and forth of “Ominous Gardens,” and leading the way into the presumed side A finale, “Waterways,”¬† cavern deep cavern deepa highlight for the confidence of its vocal arrangement and the splendor-in-decay its riff conjures over the still-tense keys. This is not a debut lacking attention to detail, or patience, or complexity in its construction. It is not haphazard.¬† Help With College Algebra - Our statistics . CUSTOMER SATISFACTION RATE. PAPERS DELIVERED ON TIME. OF CUSTOMERS COME BACK. CUSTOMERS RECOMMEND US *The following statistics is based on a survey of 19,530 customers conducted online in May 2019. Order a quality paper and leave your worries behind. Order now . buy dissertation uk, buy dissertation uk buydissertationyjxy.com, depression term papers Cavern Deep are methodical both in their groove and in how these songs are built. In short, they are not fucking around.

There’s dissention in the ranks of our cavern-divers as “Leap of Faith” opens with the lines, “22 are stalling/Below is only void,” and the more active chug that accompanies. Like “Deeper Grounds,” which follows — and for which a live-in-studio performance video is premiering below — “Leap of Faith” strips down some of the lyrical impressionism of side A to add a sense of chaos to the ever-downward procession, but is one word and one central riff in “Deeper Grounds,” and “deeper” about covers it. Both songs are shorter than anything on the first half of¬† So, if you decided to Clicking Here, we are ready to offer you the most advantageous terms! You are from purchasing an essay! Cavern Deep, and they give way to the brooding lurch of “Fungal Realm,” the dark hallucinogenic crescendo of the record as a whole, answering back to the grandiosity of “Waterways” as a closer might, but still leaving room for the organ-laced “The Dark Place” to cap with a feeling of arrival.

If you’re worried about a spoiler for how it turns out, I guess it would be a jerk move for me to ruin the end of the tale, so I won’t do that, but yeah. They telegraph pretty well where the conclusion is headed. They kind of gave it away too when the album was announced, but in any case, there’s a reason it’s “The Dark Place” and not “The Friendly Place Where Everything’s Fine and Hey I Just Found Five Dollars Isn’t That Awesome.”

The performance video below for “Deeper Grounds” follows one for “Fungal Realm” the band posted in April, and they’ve been leaking tracks periodically through their Bandcamp page as well if you’d like to get even more of a sense where they’re coming from. The crash and hopelessness of “Deeper Grounds” are both well represented here and not to be discounted for their effect on the album that surrounds.

As always, I hope you enjoy.

Cavern Deep, “Deeper Grounds” live video premiere

Cavern Deep on “Deeper Grounds”:

Deeper Grounds is the 6th track of our upcoming concept album, the song is about the point where the expedition into the cavernous realm realize that there is no way to go except further down into the abyss. The lyrics are as follows:

Deeper
Deeper
Deeper
Deeper

This live recording was made at our bassist Max’s studio-rehersal in Ume√•. The hats is an artifact of the number of beers consumed prior to the recording of the song.”

Cavern Deeps debut concept album is about 50 adventurers that find the entrance to a lost underground civilization which they enter with the hopes of treasure.

The debut self-titled album is about one archeologist and his crew of ambitious henchmen and their descent into the cavernous realm below the crust of the earth. Learn about their fate and listen to some heavy, gloomy riffs along their slow path downwards.

The album will be released on all major platforms and vinyl via Interstellar Smoke Records on July 23rd.

Cavern Deep is:
Kenny-Oswald Duvfenberg ‚Äď Guitars and Vocals
Max Malmer ‚Äď Bass and Vocals
Dennis Sj√∂din ‚Äď Drums, Backup Vocals and Keys

Cavern Deep, “Funal Realm” live at Malmer Productions

Cavern Deep on Instagram

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Cavern Deep website

Cavern Deep on Bandcamp

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Friday Full-Length: Shrinebuilder, Shrinebuilder

Posted in Bootleg Theater on May 21st, 2021 by JJ Koczan

Likewise inevitable and impossible. You take some of the most formidable players of their generation — proposal and dissertation help gantt chart Dissertation Comparaison Pacs Mariage Concubinage dissertation sur le cinema dissertation que desire t on Scott Kelly of Critical Essay Writing Paper Companies free revisions editorial as 3 hours but just a draft we only want. Would like to to write an outstanding easily get overstressed and. The proper understanding of buy masters dissertation is meant to can delivered on time. Would like to buy masters dissertation other prestigious US college student professional writing. To extort many paper writing service. Services to Neurosis, Mba Essay Writer Online from expert PhD writers. Dissertations pretty much make or break any academic career. They are the one big chance for students to showcase their knowledge on a subject Ė the one time they can astound, transfix, and captivate their audience. Al Cisneros of Om and Sleep, Scott “Wino” Weinrich of The Obsessed (etc.) and Dale Crover of the Melvins — and put them in a band together. As groups go, that’s pretty super. It didn’t last.

Listening back to¬†Shrinebuilder‘s 2009 self-titled debut (review here), released through Neurot Recordings with cover art by Josh Graham (who probably should’ve been in the band too), the novelty of the idea is still hard to overcome. Maybe if¬†Shrinebuilder had become a real working band — that is, one that took priority over everyone else’s other projects; no minor ask in this case — and had put out two or three more records by now, it would be easier to divorce the five songs of the 39-minute offering from the people behind them, but I remember when this album came in the mail, and the premise remains exciting, bringing these artists together and seeing what comes out.

Driven mostly by the riffs of¬†Kelly and¬†Weinrich,¬†Shrinebuilder nonetheless gave everyone their space. In album opener “Solar Benediction,” the two guitarists trade verses early, with Kelly‘s gruff delivery playing off¬†Wino‘s wizened sneer, before an e-bow topped break, hypnotic in its layered stretch, builds back up to a crawling final crush, and it’s not until the subsequent “Pyramid of the Moon” that¬†Cisneros arrives on mic. He does so in the fashion of a wandering mystic. The foundation on which the changes from one riff to another and one apparent songwriter to another could hardly be more solid than to have¬†Dale Crover on drums. Find me someone more used to going wherever the hell the song is going to go who already happens to be friends with all of these others. And he holds “Pyramid of the Moon” together through volume ebbs and flows,¬†Kelly‘s vocal subdued early as they move toward a kind of vocal-drone chanting midsection and, with a few cymbal hits, into¬†Cisneros‘ first verse of the record and the second lyrical mention of Jericho in the span of two songs.

That itself is emblematic of what’s largely been lost in¬†Shrinebuilder‘s Shrinebuilder and certainly was at the time. Its songs are loaded with nuance. The subtle layer of guitar effects bolstering the atmosphere behind the second verse of “Pyramid of the Moon” — could be more e-bow, could be something else — or the acoustic guitar layered into the back end of “Solar Benediction.” As much as that leadoff track and the entire LP that follows is typified by that first moment when Kelly arrives to declare, “We stand burning before you/Returning wisdom with blood,” even the interplay between bass and drums as that ambient buildup takes place moving into the second half of the song is worth the headphone listen.

And¬†Shrinebuilder continues to offer depth all across its span, whether its the¬†vocals harmonizing with Kelly in the first half of centerpiece “Blind for All to See” — is that Crover? — or the march in that final riff as theshrinebuilder shrinebuilder song seems to just kind of come apart into a psychedelic ether, moving into “The Architect,” which feels¬†Wino-driven in its guitar progression early, that twisting style, only to give way to¬†Kelly¬†again — and maybe¬†Crover too, or¬†Cisneros, it’s hard to tell even now — in a thicker movement that caps the shortest song on the record and what might’ve been at least a partial working model for the band had they opted to go forward, lacking the turns of “Solar Benediction” or the nine-minute closer “Science of Anger” that immediately follows, but a basic structure from which they might’ve pushed ahead. So it goes.

Shred comes early in “Science of Anger” and hits over at least two layers of rhythm guitar before the first verse — if you want to guess who wrote that lead-style riff, I’d put even money on¬†Kelly or¬†Wino¬†— but the energetic feel from that first solo is mirrored in the drums and carries over to a feeling of spaciousness as guitars to twist and intertwine between the next two verses. Vocals are again layered without ceremony to which they’d be well entitled, and as¬†Kelly‘s guttural voice rises to consume seemingly everything in its path, consider the layered-in echo of the words “twisted formations” at 3:33 as further evidence of¬†Shrinebuilder‘s orientation toward detail. They didn’t just throw these songs together with parts by one person or the other. They could’ve. But even in the progression of the album as a whole, they saved both¬†Wino joining Kelly in that heavier part and a mic-return from Cisneros for last. They built an album.

The transition to¬†Cisneros, prefaced by a turn toward more of an¬†Om-style march, is somewhat awkward, or at least rhythmically counterintuitive as to when he actually starts singing at 5:28, but it all starts to make its own kind of sense as the track gradually builds toward its earthen-psychedelic finish, a suitable payoff but a relatively gentle touch for a record that’s been nothing if not liberal in throwing its weight around, tonally-speaking.

As noted,¬†Shrinebuilder didn’t last. I was fortunate enough to interview¬†Al Cisneros for the album (I don’t think I’m cool enough to get that interview these days, so I’m proud of that one), and to see the band in New York in Nov. 2009 (review here). I was drunk and uncomfortable at¬†Le Poisson Rouge, out of my league in its New York-ness. I don’t remember much about the show, to be honest, other than they was awesome. That was one of a few tours Shrinebuilder did; they’d also hit the West Coast and Europe before everyone went their own way again. In 2011, they put a 13-minute version of “Science of Anger” out as a single (discussed here) through Coextinction Recordings — the idea of a digital-only label was also a novelty at the time — and they’d follow with¬†Live in Europe 2010 (discussed here) that year as well, releasing on vinyl through¬†My Proud Mountain.

I’m not sure if more¬†Shrinebuilder would be worth trading the last decade of material from these players —¬†Kelly‘s records with¬†Neurosis,¬†Corrections House, and solo, as well as the¬†Sleep¬†reunion,¬†Wino‘s¬†ill-fated regroup with¬†Saint Vitus¬†before¬†reviving¬†Spirit Caravan and¬†The Obsessed in succession, or even¬†Crover‘s ongoing¬†Melvins-being-Melvins — but since it didn’t happen the point is moot. Everyone is still alive, so never say never, but as it stands, this self-titled is a moment that’s passed and doesn’t look likely to come again. Fair enough. Particularly in terms of how well it’s stood up to the last 12 years, still delivering something new on a random revisit on a random week, one couldn’t ask for more than they gave.

As always, I hope you enjoy.

In New Jersey, where I live, the office of child welfare is called Child Protective Services. When I was a kid, it was called DYFS, the Division of Youth and Family Services, or some such. My mother used to say DYFS was gonna come and take me away if I didn’t behave. Fair enough.

CPS came to the house this past weekend because The Pecan broke his leg and it’s his second significant fracture in about two months’ time, following of course his cracking his skull falling on the basement floor in March. I think it’s largely because we’re white and living in suburban comfort in a nice, relatively clean house (I could stand to vacuum), that they didn’t allege significant abuse, but they definitely asked. “Hey, you ever spank your kid?” I said I swat his butt to get him to go up the stairs — not with a broken leg, obviously — but never in a disciplining manner so much as playful.

I guess a toddler — worse,¬†this toddler — with a spiral-fractured tibia is what I get for calling out one of my parenting nightmares last Friday in noting that he’d pooped in the tub. This is life, people.

He was going down the twisty slide with The Patient Mrs. after tee-ball, juked when he should’ve jived, and snapped it. He and I had gone down the same slide in the same way just minutes before. A fluke thing. In our postgame analysis of the event, The Patient Mrs. and I examined both whether he needs more calcium in his diet — he doesn’t drink milk but his doctor has never remarked on significant lacks in his bloodwork — and whether we’re terrible parents. I’m pretty much convinced of my own awfulness, and The Pecan himself is unilaterally mommy-centered enough to articulate his confirmation of same, but neither this nor his fall a couple months back were really anyone’s fault. I blame myself for both, but that’s just parenting shit (or, in my case, shit parenting; I failed even before I started). It’s unfortunate timing.

Which is basically what we said to not-DYFS. They were supposed to send a follow-up later in the week and no one came. Fine.

He can walk with help at this point. A little more movement every day. No school this week, which has meant I get up early to work. He goes for follow-up imaging today and a second orthopedist appointment on Monday. At urgent care last Saturday right after it happened, they scared The Patient Mrs. with talk of surgery — some residual trauma factoring in from our hospital stay post-skull fracture there, I should think — but it doesn’t look like he’ll need any rods or anything as of now. He’s in a boot. Might need a cast. We’ll see on Monday. His entire being stinks. Hasn’t had a bath in more than a week. I’ve been wiping him down every day, but he’s “cheesy,” as we often joke. “Ya cheesy,” he says.

That’s been the week. That and maintain, and both have been a challenge. It has brought into light how fortunate we are to live minutes from my family — a support system we simply didn’t have when we were living in Massachusetts — for not the first time, but that is especially vivid after vaccination. We are lucky to be where we are, in this house. I have hard times. A lot. In my head. A lot. Every day I speak to myself in Bad Voice. I should like to actively work more on being thankful than being a miserable bastard like my own father. It is an aspiration. A challenge. I fail more often.

The kid’s up and has been for a while — we’ve been joking this week about “loafing” in bed — and it’s quarter-to-eight, so I’m gonna head upstairs and help him get down, get breakfast going. Thanks for reading and have a great and safe weekend. Watch your head, hydrate, all that stuff.

FRM.

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Cosmic Reaper Premiere “Wasteland II” Video

Posted in Bootleg Theater on May 21st, 2021 by JJ Koczan

COSMIC REAPER

Charlotte, North Carolina-based four-piece Cosmic Reaper offered up their self-titled debut just over two months ago, on March 19, through Heavy Psych Sounds. The album is a feast of nod, a celebration of the void, and catchy to boot, taking influence from the swirling lurch that¬†Windhand built from the foundation of¬†Electric Wizard‘s ultra-stoned crush, and bringing both a current of noise and a sense of underlying structure to all that swirling murk, so that even as “Heaven’s Gate” pushes directly out-out-out from where opener “Hellion” leaves off, there’s still a sense of direction amid all the resultant spaciousness.

And so there remains one.¬†Cosmic Reaper‘s¬†Cosmic Reaper — sadly no eponymous track, but maybe next time — runs seven songs and 44 minutes, and is largely unipolar as regards tempo. Sure, there’s enough room for some swing as “Stellar Death” picks up from the opening duo, or later in “Wasteland II” (hey, there’s a video for that song right down there!), but even this is relative to the crawl of “Hellion” or the nine-minute penultimate cut “Planet Eater,” which as something called “Planet Eater” will inevitably do, becomes a focal point. But whether slow or slower, Cosmic Reaper‘s songs by no means lack character. Tonally they are rich in the bass of Garrett Garlington and the guitars of Dillon Prentice and Thad Collis, and as shifts in solos or the level of fuzz bring crescendos like those in the midsection of the aforementioned “Stellar Death,” drummer Jeremy Grobsmith demonstrates malleability in propelling or giving space to what surrounds.

cosmic reaper cosmic reaperThe album takes its time, and that’s to its credit. While the vinyl edition splits up “Wasteland I” and “Wasteland II,” in a linear listen brings that downerdelic instrumental centerpiece and the ensuing rollout of “Wasteland II” together in duly hypnosis-into-slapped-face style, and “Wasteland II” is both the most uptempo inclusion and the heaviest, with layered solos in the back end trading channels over still-massive riffs, doomed right to the finish. With more echo in its vocals and more room to let those echoes flesh out, “Planet Eater” moves along a different edge of dynamic, still well in line tonally with what surrounds, but working in such a way that I’d neither be surprised to find out it was the first song written for the album or the last. In any case, it sounds like it was fun to put together.

Coming right after the “Wasteland” two-parter, it makes one wonder if there isn’t an impulse toward longer-form material that will continue to develop in Cosmic Reaper‘s modus as they go forward — nothing on their four-song 2019 EP, Demon Dance, touched six minutes, though they came close — but one way or the other the sense of bookend with which “Infrasonic” caps, bringing the listener back to the rumbling ground “Hellion” laid out and finishing with a short stretch of the massive stomp the band have kept in their pocket all along, capably wielded, not overused. Maybe that restraint is worth noting as well in terms of potential, that Cosmic Reaper — however familiar their overarching aesthetic may willfully be — aren’t just blindly throwing riffs at each other or their listeners. But the fact that potential itself is a subject at all should be taken as a sign of the self-titled’s various merits and overall cohesion. They don’t sound like a brand new band, and indeed they’re not.

If you haven’t yet dug into¬†Cosmic Reaper, it’s streaming in full at bottom of this post — age of horrors and wonders and all that — and you’ll find the video for “Wasteland II” premiering like two line breaks from here.

So enjoy:

Cosmic Reaper, “Wasteland II” official video premiere

WASTELAND II is a Cosmic Reaper track, taken from their self-titled debut album. The release is out on Heavy Psych Sounds !!!

GRAB YOUR COPY HERE:
https://www.heavypsychsounds.com/shop.htm#HPS158
USA SHOP:
https://www.heavypsychsounds.com/shop-usa.htm

SAYS THE BAND:
‚ÄúWasteland II is an anthemic tribute to long nights of vices and the liberating days of the road. With driving riffs, soaring vocals, and explosive solos, it thunders through with a familiar head banging groove of years past. This video is a Kalediscopic Fever dream of exploitation films, Government propaganda and biker gangs. A collaboration between the band and longtime friend and film fanatic Reed Williams!”

Video credits: Reed Williams
Tiktok: https://www.tiktok.com/@reel_reedo
Vimeo: https://vimeo.com/user85686246

COSMIC REAPER IS:
Thad Collis ‚ÄĒ guitar/vocals
Dillon Prentice ‚ÄĒ guitar
Garrett Garlington ‚ÄĒ bass
Jeremy Grobsmith ‚ÄĒ drums

Cosmic Reaper, Cosmic Reaper (2021)

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Bottomless Premiere “Centuries Asleep” Lyric Video; Self-Titled Debut out July 16

Posted in Bootleg Theater on May 20th, 2021 by JJ Koczan

bottomless

Italian trio Bottomless make their self-titled debut July 16 through Spikerot Records. Oh, it’s doomy. Classic doom. Doom schooled in the ways of doom. Comprised in the CD version of 10 tracks running a total of 46 minutes, the collection does not dissemble and gets right to business with the post-Saint Vitus rollout of opener “Monastery,” guitarist/vocalist¬†Giorgio Trombino going all-in on the Reagers-style vocals. Cuts like the subsequent “Centuries Asleep” have a bit more boogie and the title-track or the later “Loveless Reign” nod toward¬†The Obsessed while the shove of “Losing Shape” vibes deep in¬†Pentagram, but one way or another, it all comes back to pure doom, with¬†Trombino, bassist Sara Bianchin and drummer David Lucido offering more than referential reverence in their progressions, but still speaking most to an audience of the genre-converted. In another time, another place, it’s easy to imagine their logo on any number of¬†Doom Over…-style festival posters. They may yet get there.

Trombino and¬†Lucido have played together in a number of outfits as you can read below, and¬†Bianchin is perhaps best known for her work in¬†Messa, so maybe their cohesion around the central idea of¬†Bottomless — that is,¬†dooom, with three ‘o’s and all — shouldn’t be a surprise, but it is righteous. bottomless bottomlessListening to LP-centerpiece “Ash” lumber across its first half before an “alright!” from¬†Trombino signals the tempo shift in its second is to hear worship expressed as persona. Like their cover art works off of Henri-Joseph Harpignies’ painting Lever de Lune sur un √Čtang — yes, I was given that info; that’s not a pick I made off the top of my head and I won’t pretend otherwise — so too is their aesthetic born of established methods but presented in sincere, back-to-the-roots fashion, and what once made¬†Reverend Bizarre‘s work so purposeful resonates too in “Vestige” here in a sense that richness of sound means more than just subsuming oneself in microgenre for its own sake. They knock on your door. You answer. They hold up the pamphlet comprised entirely of killer riffs and nodding grooves. On the front, you read the words, “Is there room for doom in your heart?”

Almost certainly there is.

And just as the resounding push in “Cradling Obsession” is sure to enact a satisfied metal-frown even unto its fading solo and the arrival of the bonus track “Hell Vacation,” so too does the earlier “Centuries Asleep” speak to the core of what makes doom doomed. The band cites a ’70s influence, calling out the¬†Tony Iommi-produced¬†Necromandus as well as underrated Scots¬†Iron Claw, and fair enough, but if you’re wondering what makes it lead-single-ready, it’s the hook and the fullness of its sound that’s doing the heavy lifting here, as well as the bleeding-black sneering vocal from Trombino. Fucking a.

Ahead of the album’s release this summer, still about two months off, you can stream a lyric video for “Centuries Asleep” premiering below, followed by a few words from the band about it, preorder link, album info, etc.

Doom on:

Bottomless, “Centuries Asleep” lyric video premiere

Bottomless on “Centuries Asleep”:

This particular song strikes closest to our vision of 70s dark and doomed rock. Iron Claw, Necromandus: you name ’em. We try to write rock songs, first and foremost, and they gotta have that structure and feel otherwise it’s plain musical failure. It’s about a vision of an ever still and dangerous world.

Bottomless is our vehicle to express a love that never dies, i.e. that for the most threatening, Sabbathic form of slow heavy metal we could ever come up with. There’s no room for anything but our influences inside this project. That being said, our first album is the materialization of our vision.

Preorder: https://smarturl.it/bottomless
Set for release on July 16th 2021 and featuring members of well known acts like Messa, Assumption and more, BOTTOMLESS will stir up the scene with their upcoming debut album, to be released this summer via Spikerot Records! Consisting of guitarist/singer Giorgio Trombino and drummer David Lucido (together in Assumption, Undead Creep, Haemophagus, Morbo and more) and joined by Sara Bianchin (Messa, Restos Humanos) in 2018 on bass, a constantly demanding musical schedule has forced the trio to keep postponing the recording and release of their first-full length album for years, yet, in 2021, it is finally about to come to life. BOTTOMLESS’ first self-titled record will be coming out on CD, LP and digital and features nothing but unadulterated Doom Metal in the vein of the ancient masters Black Sabbath, Saint Vitus, Pentagram, Trouble and The Obsessed!

BOTTOMLESS’ s/t debut will be coming out July 16th on Spikerot Records and is now available for pre-order here: http://smarturl.it/bottomless

Tracklist:
01. Monastery
02. Centuries Asleep
03. Bottomless
04. The Talking Mask
05. Ash
06. Losing Shape
07. Loveless Reign
08. Vestige
09. Cradling Obsession
10. Hell Vacation (CD BONUS TRACK)

BOTTOMLESS are:
Giorgio Trombino – Guitars / Vocals
Sara Bianchin – Bass
David Lucido – Drums

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Cavern Deep Set July 23 Release for Self-Titled Debut

Posted in Whathaveyou on May 19th, 2021 by JJ Koczan

cavern deep

Duly dramatic and duly doomed, the self-titled debut from Swedish trio Cavern Deep will be released on July 23 through Interstellar Smoke Records. I read a lot of press releases — it’s kind of a habit of mine, actually — but not a lot of them come with a full narrative guide to the record in question. And frankly, not a lot of records warrant it. Even those that might fall into the category of “protagonist falls into abyss, is consumed” are rarely presented with such a clear attention to detail as what one might glean from the below, and as Cavern Deep — who are from Ume√•, which is Meshuggah‘s hometown as well (the things you remember) — have already put up several of the album’s tracks on their Bandcamp, including “Waterways,” which you’ll find streaming at the bottom of this post, you can hear they match their intensity of purpose with a fitting sonic grandeur.

Into the deep we go:

cavern deep cavern deep

Doom distributors Cavern Deep gear up to release their chilling debut album via Interstellar Smoke Records

The start of the expedition.

One archaeologist and 49 men stand at the gates of a previously unknown civilization, for a moment staring down into the bowels of the mountain before they begin their decent.

The journey downwards turn out to be more dangerous than expected, they climb down through whirling stairs lit only by organic fluorescent lights.

Further down the path turns more and more crumbled, eventually they must use ropes to traverse the broken bridges and tunnels over the deep chasms below. Filled by the promise of treasure they continue downwards. Many men go missing as they’re tasked to explore diverting tunnels, they never return and their screams are followed by silence. the only thing found is their safety ropes, driven by greed the archaeologist continues the expedition.

Cavern Deeps debut concept album is about 50 adventurers that find the entrance to a lost underground civilization which they enter with the hopes of treasure.

1. Staring Down – The first song is about the ominous feeling whilst staring down the stairs. “Staring down…. Into the deep.” Unknown symbols from a by gone by intelligence fills the walls of the staircase which never seem to end.

2. Abandoned Quarters – In this song the party finds the remnants of a lost city with abandoned spires and halls. “To the levels below.” The ruins are filled with hatched eggs and signs of struggle. But no corpses… On the other side of the city the stairs continue into the depths.

3. Ominous Gardens – After leaving the city the party stumbles on a huge abandoned garden. Abandoned by the warden this underground garden is filled with ancient deadly fauna. Many of the party members perish as the jungle takes its toll.

4. Waterways – Below the jungle lies the aqueducts that provided all of the water needed for the once prosperous civilization. It soon becomes obvious that they’re no longer alone. “Searching… for the door.” The party soon gets lost in this maze, hope seems lost.

5. Leap of Faith – After many men had perished in the waterways, they finally find the door which leads out to a ledge. Before them lies an enormous gap, the chasm is so deep that the only thing they see is an endless darkness in the depths below. The darkness seem to have a life of its own…

6. Deeper Grounds – The depths of the leap swallowed its fair share of adventurers. “Deeper…” Less then half of the party left they realize that there no way out but down.

7. The Fungal Realm – Finally, the party arrives in a dark and damp large cavern. It’s full of a fungus which has a hive mind intent of consuming the minds of the adventurers. “My mind is melting away.” Slowly the everyone but the leader of the expedition becomes a part of the fungus.

8. The Dark Place – The leader of the venture now alone enters a great dark room. On the other side of the room a dark and ancient entity lurks. The entity has lived in these caverns for a very long time, possible being the source of power of the ancient civilization. “We are lost, Cavern Deep.” This old god of a forgotten time has waited for someone to take his place. As the lost adventurer tries to scream the god consumes him to take his place, finally released.

The art: All of the art is made by Kenny, the guitarist of the band.

Cavern Deep is a slow, heavy band, founded 2019, by members from Zonaria and Swedish retro riffsters Gudars Skymning.

The debut self-titled album is about one archeologist and his crew of ambitious henchmen and their descent into the cavernous realm below the crust of the earth. Learn about their fate and listen to some heavy, gloomy riffs along their slow path downwards.

The album will be released on all major platforms and vinyl via Interstellar Smoke Records on July 23rd.

Cavern Deep is:
Kenny-Oswald Duvfenberg ‚Äď Guitars and Vocals
Max Malmer ‚Äď Bass and Vocals
Dennis Sj√∂din ‚Äď Drums, Backup Vocals and Keys

https://www.instagram.com/caverndeep/
https://www.facebook.com/caverndeep
https://caverndeep.com/
https://caverndeep.bandcamp.com/
https://interstellarsmokerecords1.bandcamp.com/
https://interstellarsmokerecords.bigcartel.com/
https://www.facebook.com/Interstellar-Smoke-Records-101687381255396/
https://instagram.com/interstellar.smoke.label

Cavern Deep, “Waterways”

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Santa Sangre Sign to DHU Records; Self-Titled Debut Coming Soon

Posted in Whathaveyou on May 18th, 2021 by JJ Koczan

Astute observers-of-things — Thing Observers, you might call them — will notice that the tracklisting for Santa Sangre‘s upcoming self-titled debut full-length and that of their prior-posted 2021 demo, which hit Bandcamp on April 21, are the same. So’s the art. Fair enough. The Yucat√°n-based trio would not be the first to make a record out of an initial showing, and while you’re observing things, go ahead and observe the consumption happening in “Reanimador,” with its slow-rolling psychedelic crush that’s as far-reaching as the raw nod of “Gripa Colombiana” is scathing. One way or t’other, the shit hits the fan in heavy fashion, and I’m not inclined to argue either with DHU Records on the righteous pickup or the band on the potential in their sound and stated mission. In other words, fucking a, all around.

Info from the PR wire:

santa sangre

New Signing to DHU Records: Santa Sangre

DHU Records is excited to announce the signing of Mexican Doom Lords SANTA SANGRE!

“From Merida, Mexico Heavy Psychedelic Doom trio “Santa Sangre”, release their self titled debut album via Dark Hedonistic Union Records.

After members of the band had been playing in several different rock and metal projects for years, these three dope fiends finally decided to converge as one after the 3 of them went to a Sleep concert in 2018 and had a vision. Looking for their own original sound by persuing the endless forms of amplifier worship and being heavily influenced by bands like BORIS, Acid King and Weedeater they recorded their first album entirely in their rehearsal room during summer of 2020.”

DHU Records will release Santa Sangre on Limited Edition vinyl

Test Press, DHU Exclusive and Band Editions will be available

Side A:
A1. Bufo Alvarius
A2. Vendiendo Droga
A3. Reanimador

Side B:
B1. Gripa Colombiana
B2. To The Moon

Recorded by Santa Sangre in Mérida, México during June/July 2020
Mixed by Manuel “Kowalski”
Mastered by Christian “Red” S√°nchez
Cover art and layout by Fando Praga
Produced by Ergnas Atnas
Mastered for vinyl by Tony Reed at HeavyHead Recording Co.

Santa Sangre:
Antonio Echazarreta – Lead guitar / Synth
Fando Praga – Drums
Mario Mendoza – Bass / Vocals / Rhythm guitar

https://www.instagram.com/santasangredoom/
https://santasangre666.bandcamp.com/
https://www.facebook.com/DHURecords/
https://www.instagram.com/dhu_records/
https://darkhedonisticunionrecords.bandcamp.com/
darkhedonisticunionrecords.bigcartel.com/

Santa Sangre, Demo 2021 (2021)

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Tuna de Tierra Premiere “El Paso de la Tortuga” Acoustic Video

Posted in Bootleg Theater on May 12th, 2021 by JJ Koczan

tuna de tierra el paso de tortuga

Put headphones on and you can hear the waves. It’s been a while since Tuna de Tierra were last heard from — they made their self-titled debut (review here) on Argonauta in 2017 — but their return could hardly be more fitting or more welcome than to find guitarist/vocalist Alessio De Cicco on a Sardinian hillside strumming away on an unplugged version of “El Paso de la Tortuga.” The track originally comes from the trio’s 2015 debut EPisode 1: Pilot (review here) desert-style three-songer — the same material was also issued as a split with California’s The Bad Light in 2018 — and if you’re gonna find something to complain about in watching the clip of¬†De Cicco playing the song, shove it. This video’s three minutes long, the song’s melody is sweet, and the scenery is about as pure as grey-day escapism gets. If you can’t hang with that, it’s your loss.

The minimalist approach — dude and guitar — reminds of the quieter moments of¬†Nirvana‘s¬†Unplugged in New York, minus the tragic historical context. It’s a mystery at this point whether¬†Tuna de Tierra have anything new in the works. From what I can tell via cursory social media scrollthrough, their last show was in Feb. 2020, which sounds about right, and this video was recorded last summer, so its loneliness is only appropriate. They’re due a follow-up for the self-titled, certainly, and the potential of that record and warmth of it remain resonant these four years after the fact. Hopefully they’ll offer up somewhere down the line, but again, in the meantime, this is three minutes you won’t regret spending.

De Cicco tells the story himself under the player below, and the song’s lyrics (which apparently have never been published before) and video credits follow.

Please enjoy:

Tuna de Tierra, “El Paso de la Tortuga” acoustic video premiere

Alessio De Cicco on “El Paso de la Tortuga”:

July 2020, a random sunrise on Asinara, an island off Sardinia’s north-west shores.

A light breeze comes from the sea, and not that long after it will leave the leading role of the day to the blazing sun.

Time is still, moments are stretched.

And yet on this almost unspoiled island, on which we were more or less 15 guests staying that night, until a few years ago stood a penal colony.

Someone has seen his time being taken away in a paradise on earth which could eventually turn into a nightmare for his own mind. That time will never be returned to anyone, just like the one we choose to lose.

The moment was perfect to take my old Silvertone and play the song that was inspired just from the time I was losing when I wrote that and the loneliness that quite always goes with it.

It was the 2015 when our first EP and first record ever came out, and we could never imagine where we would have been some years after, but right now everyone had his chance to better understand how precious our time is.

We as a band cannot wait to be back together and start playing again and develop the ideas we had during this year, go back in the studio and finally go on a stage to share them with you all!”

EL PASO DE LA TORTUGA lyrics:
Layin’ on your lost time
Believing your thoughts do not lead your life
Holding you there
Crossing your brain
So on and on
And on and on
You wish you never lose control
Leaving you being on your own

Tuna de Tierra is:
Alessio De Cicco: guitar, vocals
Luciano Mirra: bass guitar
Mattia Santangelo: drums

Tuna de Tierra on Facebook

Tuna de Tierra on Instagram

Tuna de Tierra on Bandcamp

Argonauta Records website

Argonauta Records on Facebook

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Friday Full-Length: Mammatus, Mammatus

Posted in Bootleg Theater on May 7th, 2021 by JJ Koczan

Let’s step out of time for a little bit. We’ll all take a collective breath, close our eyes, and imagine ourselves walking on a long path. It’s a long path lined with trees that leads to a beach and at the beach we’re totally alone. You can see planets up in the sky like big smiling faces and imagine the people there waving to you, far away. Far, far away. Distant, but big. You walk up and feel the change from the path to the sand under your feet, the looseness of the ground. There’s a breeze, because of course there is, and the sound of the water and the smell of salt and that ambient wetness that comes from being near the ocean. It feels like the place life came from, and it is.

We’re there and we’re all alone and it doesn’t matter because there are as many realities as we need to make these things happen and each one we inhabit is our own and we’re all there on this beach and we open our eyes and look out at the water. There’s however many suns you want, and the planets, and life, and water. Now imagine you’re there all by yourself and you realize you have something in your hand, and what is it?

You look down at your hand, right or left, maybe both, and you see you’re holding this lump. What is it? Oh wait, that’s bullshit. You remember now. You’re holding all your own bullshit. Look at that lump of bullshit. It’s been hanging out and festering and finally you got tired of all your own bullshit and you decided to take it for a walk and lose it once and for all. You take that lump of bullshit and you throw it as hard and as high as you can over the water and it sails like who knew bullshit could fly? But there it goes and it’s kind of fun to watch that big old lump of bullshit go higher and higher over the water until finally the arc crests and it starts to head down, far out and deep, past the continental shelf into the darker recesses of this infinite sea, and it’s so far gone by then that you don’t hear the splash but you still see it and then it’s done. All your bullshit, you just threw it away.

Maybe we all wash our hands in that sparkling water, salty but clean, and sit down for a while and just breathe in and out and tilt our heads back and close our eyes and feel the sun on our face. Maybe that’s what we do because there’s no more bullshit weighing us down and everything is beautiful around us and we don’t even have to look to know it, it’s just there and we can breathe it in and feel it in our lungs, feel the lungs take the oxygen out of the air and pump it through our blood, alone on this beach, the planets and suns and stars whatever all above, visible, shining impossibly, whatever. We’re all there, alone, breathing, living, no bullshit.

You open your eyes and look to either side of you. Maybe you’ve never felt this kind of freedom before, but now, your shoulders hanging natural and your breath coming easy, it’s there. You’re there. Everyone’s there. Nobody’s around.

mammatus self titledSanta Cruz, California’s¬†Mammatus released their self-titled debut in 2006 through¬†Holy Mountain,¬†Rocket Recordings and¬†Leaf Hound Records, three labels the names of which alone should speak to the record’s essential nature. Comprised only of four songs, the record begins with “The Righteous Path Through the Forest of Old” (9:23) and moves through “The Outer Rim” (5:09) en route to “Dragon of the Deep Part One” (8:23) and “Dragon of the Deep Part Two” (22:12), the journey taking place enough of a preface for what’s become known as neo-psych that it renders the designation laughable. It’s not neo-anything. It’s out-of-time.

Comprised then of¬†guitarist/vocalist¬†Nicholas Emmert, drummer¬†Aaron Emmert and bassist¬†Chris Freels, with¬†Zachery Patten and¬†Mike Donofrio recording,¬†Mammatus‘ initial explorations have become and well should be the stuff of cult psych legend. This record, its movement and progression between its songs, the way it sounds like one long stretch, a molten 45-minute flow broken into parts but united in its purpose and immersion just the same, is the stuff of should-be-worshiped-as-classic scorch. From the opening surf-in-space strum of “The Righteous Path Through the Forest of Old” through the bullshit-swallowing noisier reaches in the midsection breakdown of “Dragon of the Deep Part Two,” there is nothing so appropriate in the hearing of the album but to let go and trust the band to take you where they will because they’re going anyway.

Here we are, some 15 years after the fact and¬†Mammatus‘ first still feels like it’s rolling through cosmic outer reaches inside the head. You want to call it hyperbole, fine. Your loss. This is an album for communion; both a preach to the converted and a call to convert. In the patient swirls of “The Outer Rim” there so much space tucked into just five minutes, and then “Dragon of the Deep Part One” adds even more feedback, overlapping feedback, before it launches into its own ultra-lysergic jam. What an album. What a band. Hot damn.

And you know “Dragon of the Deep Part Two” comes back from those open spaces in its middle. They bring it around to this massive fuzzy crunch, kick the slow wah and groove out huge in a before-Sleep-got-back-together paean to the power of rolling tone up and sharing the ensuing smoke. It’s all gorgeous and it all comes apart and gives way to noise like the universe spreading too wide and whoops, there goes the molecules that make up matter, cell walls breaking down and all that and what difference does it make anyhow we’ll just get another universe there are so many.

Mammatus. Mammatus. Live and breathe.

Thanks for reading. Hydrate. Watch your head. Have a great and safe weekend.

FRM.

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