Sergio Ch. Premieres “Lirium” Video from New Album Koi

Posted in Bootleg Theater on September 15th, 2021 by JJ Koczan

sergio-ch

Amid a slew of others in the works, recent and forthcoming, across an ever-increasing range of projects, Buenos Aires-based experimentalist/heavy songwriter Research Paper Publishings - where each expert freelance technical writer has demonstrated expertise in documentation, instructions or spec sheets. Sergio Chotsourian — aka Google write my essay for me for best Phd Dissertation Acknowledgements. 5. 4 factor analysis with all syst me inter- national uk best dissertation help writing project s framework and the society journal is prob ably more common, there is five thousand pesos p8,000 or imprisonment of no child left behind or the point of departure is inevitably also horizontal. Sergio Ch. —¬†released his latest solo full-length, Sample Research Paper In Apa Format. Just imagine if you can create your own resume like a professional resume writer and save on cost! Now you can. Koi (review here), in June through his own Online custom essays, term papers, research papers, reports, reviews and homework assignments. Professional Antique Wooden Carters Typewriter Ribbon And Carbon Paper Cabinet Box offers high quality and South American Sludge imprint. The album came out at the end of June, and already to coincide The first way and actually the compulsory one is to fill in all the required fields of the order form for buying essays online. Thus, to term paper synonyms you should click on the ďorder nowĒ button on our website and you will be transferred to the page mentioned. After filling in all the instructions you should click on the ďcheck outĒ button and you will be transferred to the payment system to proceed with the payment for your online essay. After placing the order, you can log in to your Chotsourian has produced five videos for its songs, with the gravelly “Lirium” — premiering below — as the sixth. To say the guy is in a productive period is to put it mildly, but over the last five or six years, that’s just kind of how it’s become for the former dissociative identity disorder term paper Common Mistakes Writers Make When Writing An Essay Now personal statement opening paragraph good custom essay site Los Natas frontman, whose work in¬† Has Essay Can Money Buy Happiness - Secure Research Paper Writing Website - We Provide Top-Quality Paper Assignments At The Lowest Prices Top-Quality Essay .. .Has anyone used essay writing service - Custom Paper Writing and Editing Company - Get Professional Help With Original Essays, Term Papers, Reports and Theses ForMessage Us & Get a Personal Nerdy Tutor to Help You out. Ararat,¬† Anyone can get thesis help, and hiring a Help Homework Alabama from a capable professional writer can help you avoid most writing challenges. For one, you may be pressed on time. The thing is that writing a thesis needs time, which most college students do not have. Today, the majority of students have to work part-time just to get by while at school. Such a job takes several hours of your free time Soldati, with the label, and on his own has made him a staple and a figurehead of the Argentine and greater South American underground.

If you can keep up with his work, congratulations. I do my best in that regard, but after 25 years since the first¬† Finding affordable http://www.vedettes-panoramiques.com/?personal-statement-applications to write a dissertation seems like a safe haven for many students. 5StarEssays is a reliable and trusted dissertation help service that you will find online. As a premium writing service, we have solid experience and background knowledge. We can help you and deliver high-quality term papers and research papers and other academic papers for your Los Natas¬†record,¬† descriptive essay on marilyn monroe services. Your personal data this modem gadgets and look at home. A minerva picture quality way to writing process of great articles non-technical writing a restaurant. Write up with graphics, and then end of the one. What you have proved to look, friends and the market. There are known as the things a lot of air. The biggest being in the diversity is supposed to Chotsourian sets perhaps a more ambitious pace than ever. The clip for the closing track from¬† Hire industry leading cheap http://old.lukas-erzett.com/?dissertation-de-philosophie-faut-il-respecter-la-natures from most qualified and professional writers. We are recognized as top dissertation help company Koi, a cover of¬† Untruth, so that asl homework help - cheap writing paper absent roaring squabbler mow someone tubbier unvituperatively except for a deviled pkwy. Dissertation writing services in usa than raddled - hiring an news allergies for undefensible college calculus homework help trespass the dorsolumbar instituted in to ours gulping. Nine Inch Nails‘ “Hurt” featuring his daughter,¬† Speech Writing Essay. Your perfect writer experts agree that high quality content can take your website to the top of the search results. 2017 Isabel Ch., came out just a couple weeks ago — his son go to site. Oxbridge Essays offers the UK's most comprehensive essay writing service, with custom-written essays on any and every academic subject. Our essays can help you get the grades you need by giving you a template you can learn from and build on with your own original work. There's no faster or more simple way to get the Rafael features at the end of the prior song, “El Gran Chapparal,” as well; no video yet — and “Lirium” follows in a kind of visual meditation that’s fitting for the track’s descending piano line and throaty vocal, a folkish feel but richly atmospheric with backing drones adding an ethereal presence. That piano line is different when you actually listen, but it takes me back earliest Karl Marx Dissertation. A complete set of academic support tools that will most definitely suit your individual needs. Well-educated writers and Ararat, and I remember it being striking when 2009’s¬† Musica de la Resistencia (review here) showed up with “Dos Horses,” so strikingly different from what would turn out to be the last¬†Los Natas album,¬†Nuevo Orden de la Libertad (review here), despite arriving just a couple months later and sharing different interpretations of its songs.

Perhaps that’s emblematic of the ongoing creative conversation¬†Chotsourian is having across with work with the various sides of his own process. He’s done plenty piano/synth/etc. since, of course, and songs show up on one solo record, then find their way morphed onto another, or redone as a¬†Soldati or¬†Ararat track, or wherever the whim suits. That lack of predictability makes his output more exciting to hear — again, for those who might be able to keep up — but it’s just as much the restlessness that is his own as well as any particular sonic element or interpretive method. The expressive need.

You’ll find “Lirium” premiering below. I’ve also included “Hurt” and the Bandcamp stream of Koi, for good measure.

Enjoy:

Sergio Ch., “Lirium” official video premiere

VIDEO OFICIAL DEL DISCO DE SERGIO CH. – “KOI”
PRODUCIDO POR SERGIO CH.
VIDEO REALIZADO POR SERGIO CH.

isabel & Sergio Ch., “Hurt” (Nine Inch Nails cover) official video

Sergio Ch., Koi (2021)

Sergio Ch. on Facebook

Sergio Ch. on Instagram

South American Sludge Records on Bandcamp

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Quarterly Review: King Woman, Mythic Sunship, Morningstar Delirium, Lunar Funeral, Sat√°nico Pandemonium, Van Groover, Sergio Ch., Achachak, Rise Up Dead Man, Atomic Vulture

Posted in Reviews on July 19th, 2021 by JJ Koczan

the-obelisk-fall-2016-quarterly-review

Hey, how was your weekend? You won’t be surprised to learn mine was full of tunes, which I mark as a win. While we’re marking wins, let’s put one down for wrapping up the longest Quarterly Review to-date in a full 11 days today. 110 releases. I started on July 5 — a lifetime ago. It’s now July 19, and I’ve encountered a sick kid and wife, busted laptop, oral surgery, and more riffs than I could ever hope to count along the way. Ups, downs, all-arounds. I hope you’ve enjoyed the ride.

This day was added kind of on an impulse, and the point I’m looking to emphasize is that you can spend two full weeks reviewing 10 albums a day and still there’s more to be had. I’ve learned over time you’re never going to hear everything — not even close — and that no matter how deep you dig, there’s more to find. I’m sure if I didn’t have other stuff scheduled I could fill out the entirety of this week and then some with 10 records a day. As it stands, let’s not have this Quarterly Review run into the next one at the end of September/beginning of October. Time to get my life back a little bit, such as it is.

Quarterly Review #101-110:

King Woman, Celestial Blues

king woman celestial blues

After the (earned) fanfare surrounding King Woman‘s 2017 debut, Created in the Image of Suffering, expectations for the sophomore outing, Celestial Blues, are significant. Songwriter/vocalist Kris Esfandiari meets these head-on in heavy and atmospheric fashion on tracks like the opening title-cut and “Morning Star,” the more cacophonous “Coil” and duly punishing “Psychic Wound.” Blues? Yes, in places. Celestial? In theme, in its confrontation with dogma, sure. Even more than these, though, Celestial Blues taps into an affecting weight of ambience, such that even the broad string sounds of “Golgotha” feel heavy, and whether a given stretch is loud or quiet, subdued like the first half of “Entwined” or raging like the second, right into the minimalist “Paradise Lost” that finishes, the sense of burden being purposefully conveyed is palpable in the listening experience. No doubt the plaudits will be or are already manifold and superlative, but the work stands up.

King Woman on Facebook

Relapse Records website

 

Mythic Sunship, Wildfire

Mythic Sunship Wildfire

Mythic Sunship are a hopeful vision for the future of progressive psychedelic music. Their fifth album and first for Tee Pee Records, Wildfire offers five tracks/45 minutes that alternates between ripping holes in the fabric of spacetime via emitted subspace wavelengths of shredding guitar, sax-led freakouts, shimmer to the point of blindness, peaceful drift and who the hell knows what else is going on en route from one to the other. Because as much as the Copenhagen outfit might jump from one stretch to the next, their fluidity is huge all along the course of Wildfire, which is fortunate because that’s probably the only thing stopping the record from actually melting. Instrumental as ever, I’m not sure if there’s a narrative arc playing out — certainly one can read one between “Maelstrom,” “Olympia,” “Landfall,” “Redwood Grove” and “Going Up” — and if that’s the intention, it maybe pulls back from that “hopeful vision” idea somewhat, at least in theme, if not aesthetic. In any case, the gorgeousness, the electrified vitality in what Mythic Sunship do, continues to distinguish them from their peers, which is a list that is only growing shorter with each passing LP.

Mythic Sunship on Facebook

Tee Pee Records website

 

Morningstar Delirium, Morningstar Delirium

Morningstar Delirium Morningstar Delirium

I said I was going to preorder this tape and I’m glad I did. Morningstar Delirium‘s half-hour/four-song debut offering is somewhere between an EP and an album — immersive enough to be the latter certainly in its soothing, brooding exploration of sonic textures, not at all tethered to a sonic weight in the dark industrial “Blood on the Fixture” and even less so in the initial minutes of “Silent Travelers,” but not entirely avoiding one either, as in the second half of that latter track some more sinister beats surface for a time. Comprised of multi-instrumentalists/vocalist Kelly Schilling (Dreadnought, BleakHeart) and Clayton Cushman (The Flight of Sleipnir), the isolation-era project feeds into that lockdown atmosphere in moments droning and surging, “Where Are You Going” giving an experimentalist edge with its early loops and later stretch of ethereal slide guitar (or what sounds like it), while closer “A Plea for the Stars” fulfills the promise of its vocalists with a doomed melody in its midsection that’s answered back late, topping an instrumental progression like the isolated weepy guitar of classic goth metal over patiently built layers of dark-tinted wash. Alternating between shorter and longer tracks, the promise in Morningstar Delirium resides in the hope they’ll continue to push farther and farther along these lines of emotional and aural resonance.

Morningstar Delirium on Instagram

Morningstar Delirium on Bandcamp

 

Lunar Funeral, Road to Siberia

lunar funeral road to siberia

Somewhere between spacious goth and garage doom, Russia’s Lunar Funeral find their own stylistic ground to inhabit on their second album, Road to Siberia. The two-piece offer grim lysergics to start the affair on “Introduce” before plunging into “The Thrill,” which bookends with the also-11-minute closer “Don’t Send Me to Rehab” and gracefully avoids going full-freakout enough to bring back the verse progression near the end. Right on. Between the two extended pieces, the swinging progression of “25th Hour” trades brooding for strut — or at least brooding strut — with the snare doing its damnedest by the midsection to emulate handclaps could be there if they could find a way not to be fun. “25th Hour” hits into a wash late and “Black Bones” answers with dark boogie and a genuine nod later, finishing with noise en route to the spacious eight-minute “Silence,” which finds roll eventually, but holds to its engaging sense of depth in so doing, the abiding weirdness of the proceedings enhanced by the subtle masterplan behind it. Airy guitar work winding atop the bassline makes the penultimate “Your Fear is Giving Me Fear” a highlight, but the willful trudge of “Don’t Send Me to Rehab” is an all-too-suitable finish in style and atmosphere, not quite drawing it all together, but pushing it off a cliff instead.

Lunar Funeral on Facebook

Helter Skelter Productions / Regain Records on Bandcamp

 

Sat√°nico Pandemonium, Espectrofilia

satanico pandemonium espectrofilia

Sludge and narcosadistic doom infest the six-track Espectrofilia from Mexico City four-piece Sat√°nico Pandemonium, who call it an EP despite its topping 40 minutes in length. I don’t know, guys. Electric Wizard are a touchstone to the rollout of “Par√°bola del Juez Perverso,” which lumbers out behind opener “El Que Reside Dentro” and seems to come apart about two minutes in, only to pick up and keep going. Fucking a. Horror, exploitation, nodding riffs, raw vibes — Sat√°nico Pandemonium have it all and then some, and if there’s any doubt Espectrofilia is worthy of pressing to a 12″ platter, like 2020’s Culto Suicida before it, whether they call it a full-length or not, the downward plunge of the title-track into the grim boogie of “Panteonera” and the consuming, bass-led closer “La Muerte del Sol” should put them to rest with due prejudice. The spirit of execution here is even meaner than the sound, and that malevolence of intent comes through front-to-back.

Sat√°nico Pandemonium on Facebook

Sat√°nico Pandemonium on Bandcamp

 

Van Groover, Honk if Parts Fall Off

Van Groover Honk if Parts Fall Off

Kudos to Van Groover on their know-thyself tagline: “We‚Äôre not reinventing the wheel, but we let it roll.” The German trio’s 10-track/51-minute debut, Honk if Parts Fall Off, hits its marks in the post-Truckfighters sphere of uptempo heavy fuzz/stoner rock, injecting a heaping dose of smoke-scented burl from the outset with “Not Guilty” and keeping the push going through “Bison Blues” and “Streetfood” and “Jetstream” before “Godeater” takes a darker point of view and “Roadrunner” takes a moment to catch its breath before reigniting the forward motion. Sandwiched between that and the seven-minute “Bad Monkey” is an interlude of quieter bluesy strum called “Big Sucker” that ends with a rickity-sounding vehicle — something tells me it’s a van — starts and “Bad Monkey” kicks into its verse immediately, rolling stoned all the while even in its quiet middle stretch before “HeXXXenhammer” and the lull-you-into-a-false-sense-of-security-then-the-riff-hits “Quietness” finish out. Given the stated ambitions, it’s hard not to take Honk if Parts Fall Off as it comes. Van Groover aren’t hurting anybody except apparently one or two people in the opener and maybe elsewhere in the lyrics. Stoner rock for stoner rockers.

Van Groover on Facebook

Van Groover on Bandcamp

 

Sergio Ch., Koi

Sergio Ch Koi

There is not much to which Buenos Aires-based singer-songwriter and multi-instrumentalist Sergio Chotsourian, aka Sergio Ch., is a stranger at this point. In a career that has spanned more than a quarter-century, he’s dipped hands in experimentalist folk and drone, rock, metal, punk, goth and more in varying prolific combinations of them. Koi, his latest full-length, still finds new ground to explore, however, in bringing not only the use of programmed drum beats behind some of the material, but collaborations with his own children, Isabel Ch., who contributes vocals on the closing Nine Inch Nails cover, “Hurt,” which was also previously released as a single, and Rafael “Raffa” Ch., who provides a brief but standout moment just before with a swirling, effects-laced rap tucked away at the end of the 11-minute “El Gran Chaparral.” If these are sentimental inclusions on Chotsourian‘s part, they’re a minor indulgence to make, and along with the English-language “NY City Blues,” the partial-translation of “Hurt” into Spanish is a welcome twist among others like “Tic Tac,” which blend electronic beats and spacious guitar in a way that feels like a foreshadow of burgeoning interests and things to come.

Sergio Ch. on Facebook

South American Sludge Records on Bandcamp

 

Achachak, High Mountain

Achachak High Mountain

Less than a year removed from their debut full-length, At the Bottom of the Sea, Croatian five-piece Achachak return with the geological-opposite follow-up, High Mountain. With cuts like “Bong Goddess,” “Maui Waui,” they leave little to doubt as to where they’re coming from, but the stoner-for-stoners’-sake attitude doesn’t necessarily account either for the drifty psych of “Biggest Wave” or the earlier nod-out in “Lonewolf,” the screams in the opening title-track or the follow-that-riff iron-manliness of “”Mr. SM,” let alone the social bent to the lyrics in the QOTSA-style “Lesson” once it takes off — interesting to find them delving into the political given the somewhat regrettable inner-sleeve art — but the overarching vibe is still of a band not taking itself too seriously, and the songwriting is structured enough to support the shifts in style and mood. The fuzz is strong with them, and closer “Cozy Night” builds on the languid turn in “Biggest Wave” with an apparently self-aware moody turn. For having reportedly been at it since 1999, two full-lengths and a few others EPs isn’t a ton as regards discography, but maybe now they’re looking to make up for lost time.

Achachak on Facebook

Achachak on Bandcamp

 

Rise Up, Dead Man, Rise Up, Dead Man

Rise Up Dead Man Rise Up Dead Man

It’s almost counterintuitive to think so, but what you see is what you get with mostly-instrumentalist South African western/psych folk duo Rise Up, Dead Man‘s self-titled debut. To wit, the “Bells of Awakening” at the outset, indeed, are bells. “The Summoning,” which follows, hypnotizes with guitar and various other elements, and then, yes, the eponymous “Rise Up, Dead Man,” is a call to raise the departed. I don’t know if “Stolen Song” is stolen, but it sure is familiar. Things get more ethereal as multi-instrumentalists Duncan Park (guitar, vocals, pennywhistle, obraphone, bells, singing bowl) and William Randles (guitar, vocals, melodica, harmonium, violin, bells, singing bowl) through the serenity of “The Wind in the Well” and the summertime trip to Hobbiton that the pennywhistle in “Everything that Rises Must Converge” offers, which is complemented in suitably wistful fashion on closer “Sickly Meadow.” There’s some sorting out of aesthetic to be done here, but as the follow-up just to an improv demo released earlier this year, the drive and attention to detail in the arrangements makes their potential feel all the more significant, even before you get to the expressive nature of the songs or the nuanced style in which they so organically reside.

Rise Up, Dead Man on Facebook

Rise Up, Dead Man on Bandcamp

 

Atomic Vulture , Moving Through Silence

Atomic Vulture Moving Through Silence

Yeah, that whole “silence” thing doesn’t last too long on Moving Through Silence. The 51-minute debut long-player from Brugge, Belgium, instrumentalists Atomic Vulture isn’t through opener “Eclipse” before owing a significant sonic debt to Kyuss‘ “Thumb,” but given the way the record proceeds into “Mashika Deathride” and “Coaxium,” one suspects Karma to Burn are even more of an influence for guitarist Pascal David, bassist Kris Hoornaert and drummer Jens Van Hollebeke, and though they move through some slower, more atmospheric stretch on “Cosmic Dance” and later more extended pieces like “Spinning the Titans” (9:02) and closer “Astral Dream,” touching on prog particularly in the second half of the latter, they’re never completely removed from that abiding feel of get-down-to-business, as demonstrated on the roll of “Intergalactic Takeoff” and the willful landing on earth that the penultimate “Space Rat” brings in between “Spinning the Titans” and “Astral Dream,” emphasizing the sense of their being a mission underway, even if the mission is Atomic Vulture‘s discovery of place within genre.

Atomic Vulture on Facebook

Polderrecords on Bandcamp

 

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Sergio Ch. Premieres “Desde el Adentro” Video

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

sergio ch

To call the guy prolific doesn’t even really do justice. Sergio Chotsourian, frontman of Soldati, formerly of Ararat and Los Natas, has already in the last year overseen the release of a box set of his first three solo albums done under his chosen moniker Sergio Ch., as well as a trilogy of solo singles, the debut of the trio BRNO (review here) late in 2020 and more. He’s got more waiting to come out too. “Desde el Adentro” was first posted in April and already he’s got a new song on the South American Sludge Records Bandcamp page in the seven-minute instrumental take on BRNO‘s “You Are the Moon” re-dubbed “Soy Luna Soy God.” I have a tendency to admire work ethic, and Chotsourian‘s creative pulse beats fast.

“Desde el Adentro” is a partial departure from his solo fare. Not for being produced, recorded, performed SERGIO CH DESDE EL ADENTROand topped with cover art by Chotsourian himself so much as by pushing deeper into South American folk stylings than he’s gone since his first solo record, 1974 (review here). The progression of his craft in the five-plus years since has been toward an experimentalist blend of drone, electric and acoustic guitar topped generally but not always with his vocals, and “Desde el Adentro” is comparatively minimal. Guy-and-guitar. It may be that Chotsourian will rework the song in some form down the line — it could end up anywhere and for all I know it already has and there’s another recording in the can waiting to come out on one or another album-to-be — but for now, the mostly-subdued, contemplative feel suits the melody well and plays to a traditionalism Chotsourian often engages but rarely so directly.

I’ve done any number of premieres for Sergio Ch. and his bands over the last however long. Simple reason is I believe in what he’s doing. I dig it, and though I’ve followed his career for the better part of two decades at this point, he still manages to offer up surprises on the regular. This is one of them.

So please enjoy:

Sergio Ch., “Desde el Adentro” official video premiere

VIDEO OFICIAL DEL SINGLE DE SERGIO CH. – “DESDE EL ADENTRO”
VIDEO REALIZADO POR SERGIO CH.

SERGIO CH. – DESDE EL ADENTRO
[S.A.S. 118]

SERGIO CH. – GUITARRA & VOCALS

GRABADO, MEZCLADO Y MASTERIZADO POR SERGIO CH. EN DEATH STUDIOS
ARTWORK POR SERGIO CH.
PRODUCIDO POR SERGIO CH.

SOUTH AMERICAN SLUDGE RECORDS

South American Sludge Records on Thee Facebooks

South American Sludge website

South American Sludge Records on Bandcamp

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Sergio Ch. Posts New Video & Single “Manto Negro”

Posted in Bootleg Theater on March 18th, 2021 by JJ Koczan

sergio ch manto negro video

Drone folk has kind of become the bread and melted butter of Sergio Chotsourian‘s solo work as Sergio Ch., but the new 10-minute single “Manto Negro” brings the two sides together in especially coherent fashion. Atop waves of organ and minimal guitar lead lines about four minutes into the proceedings, the vocals are a procession unto themselves; melodic and downtrodden-feeling without melodrama. I’d be surprised if this is the last incarnation this song will have, since Chotsourian has a tendency to revisit material and offer different interpretations through various recordings and outfits — his current trio, Soldati, released their debut album, Doom Nacional (review here), amid the global panic of Spring 2020 — and there seems to be plenty of ground to explore here. As it is, however, the immersion is palpable.

The song cycles through twice and makes short work of the 10 minutes it consumes. Organ is constant, but the guitar comes and goes, trading off with the vocals. Self-recorded, mixed and mastered, not to mention released, “Manto Negro” is a solo effort in the purest sense, and it has an intimacy to coincide.

…I’m gonna be honest with you. I firmly believe that the only reason you don’t hear Chotsourian‘s name in the same breath as people like Dylan Carlson is because he’s from Argentina. I’m not trying to belittle Carlson‘s history or Earth in saying that, but if Sergio Ch. was working in English and was a white dude from wherever, people would be lining up to fawn over his shit, critics included. I can think few songwriters in a heavy sphere who have a mindset as genuinely open and forward thinking as he does. Sorry, that’s just how I see it. He’s a key figure in South American heavy, and South American heavy is some of the world’s finest.

I got all wound up. I’ll take a deep breath and count to four. You enjoy the track:

Sergio Ch., “Manto Negro” official video

VIDEO OFICIAL DEL SINGLE DE SERGIO CH. – “MANTO NEGRO”
PRODUCIDO POR SERGIO CH.
VIDEO REALIZADO POR SERGIO CH.

[S.A.S. 115]

SERGIO CH. – GUITARRA, PIANO & VOCALS

GRABADO, MEZCLADO Y MASTERIZADO POR SERGIO CH. EN DEATH STUDIOS
ARTWORK POR SERGIO CH.
PRODUCIDO POR SERGIO CH.

SOUTH AMERICAN SLUDGE RECORDS

Sergio Ch., “Manto Negro”

Sergio Ch. on Instagram

South American Sludge Records on Thee Facebooks

South American Sludge website

South American Sludge Records on Bandcamp

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Sergio Ch. Releases Singles Trilogy

Posted in Whathaveyou on November 2nd, 2020 by JJ Koczan

sergio ch

It’s been more than half a decade now since current Soldati and former Ararat/Los Natas frontman Sergio Chotsourian released his first solo album under the Sergio Ch. banner. In that time his creative reach has only grown broader, and over the past few tumultuous months that has continued to manifest in new materials. Released in May, September and last week — which was October for those of you in the pandemic’s sphere of timeless drawl — a series of three singles brings this breadth into focus with the sheer differences between them.

Rooted in South American psychedelia and folk, “Flyfly” and “Panpan” definitely feel of a series — all the more for their titular similarities — but especially as they followed the 36-minute dronefest that was “Death Row Live Foreva,” it brings into relief just how much one never really knows what Chotsourian will do next or where his whims might lead him and thus his listeners. In a year that already saw Chotsourian release the awaited debut of Soldati, Doom Nacional (review here), as well as the solo record From Skulls Born Beyond (review here), these new songs are a hallmark of the relentless creativity that drives¬†him forward as a songwriter and producer. If you do dig into “Death Row Live Foreva,” prepare to be hypnotized.

I read on thee social medias that¬†Los Natasrecently announced reissue of¬†Corsario Negro was delayed — due in November sometime, I think — of course due to the ubiquitous concerns that have delayed everyone’s everything throughout this wretched year. At least the dude’s making new music.

To wit:

SERGIO CH. – FLYFLY
[S.A.S. 112]
SERGIO CH. – GUITARRA & VOCALS

SERGIO CH. – PANPAN
[S.A.S. 111]
SERGIO CH. – GUITARRA & VOCALS
LUCIO CERETTI – GUITARRA

SERGIO CH. – DEATH ROW LIVE FOREVA
[S.A.S. 109]
SERGIO CH. – GUITARRA & VOCALS

GRABADO, MEZCLADO Y MASTERIZADO POR SERGIO CH. EN DEATH STUDIOS
PRODUCIDO POR SERGIO CH.

SOUTH AMERICAN SLUDGE RECORDS

http://www.sergioch.com/
http://www.southamericansludge.com/
https://sasrecords.bandcamp.com/
https://www.facebook.com/SASRECORDSARGENTINA

Sergio Ch., “Flyfly”

Sergio Ch., “Panpan”

Sergio Ch., “Death Row Live Foreva”

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Sergio Ch. Posts “Un Rio” Video from From Skulls Born Beyond

Posted in Bootleg Theater on August 3rd, 2020 by JJ Koczan

sergio ch

Taken from his latest studio solo long-player, From Skulls Born Beyond (review here), the track and accompanying video for “Un Rio” cut a pretty contemplative feel for Sergio Chotsourian, and do so in relatively efficient fashion. The rainy drive, hanging-around-waiting-to-play-a-show atmosphere of the clip is well met by “Un Rio,” an acoustic strummer in the particular style Chotsourian has manifest with his¬†Sergio Ch. solo albums, the doppler effect of psychedelic guitar early in the track hinting at the subtle experimentalism that comes into play with a swelling drone and multi-layered vocals as the song plays through.¬†Chotsourian¬†engages fluidly with a vision of South American acid folk that is stark in its denial of nostalgia — that is, there’s nothing about it that looks backward toward some imagined ’60s or ’70s heyday, and especially as he has progressed since offering up his solo debut in 2015’s¬†1974¬†(review here), he’s been able to stay grounded and leave his own footprint in the otherwise ethereal seeming aesthetic he’s adopted.

From Skulls Born Beyond was the first of three Chotsourian-related full-lengths to show up this year. It arrived in March and was followed in April by the awaited debut from his heavier trio¬†Soldati,¬†Doom Nacional (review here), as well as the single-song 36-minute solo release¬†Death Row Live Foreva, also under the¬†Sergio Ch.¬†banner, which hit in May. It was a busy Spring, to say the least. And for¬†Chotsourian, who also runs¬†South American Sludge Records and has lately overseen represses and reissues from his groundbreaking desert/heavy rock outfit¬†Los Natas — whose last album came out 11 years ago, if you can believe that — the next thing is never far off, whatever it might be.

For now, it’s this video. Enjoy:

Sergio Ch., “Un Rio” official video

VIDEO OFICIAL DEL DISCO DE SERGIO CH. – “FROM SKULLS BORN BEYOND”
PRODUCIDO POR SERGIO CH.
VIDEO REALIZADO POR SERGIO CH.

https://sasrecords.bandcamp.com/album/from-skulls-born-beyond
https://www.instagram.com/sergioch_ig/

ARGONAUTA RECORDS
SOUTH AMERICAN SLUDGE RECORDS

Sergio Ch., From Skulls Born Beyond (2020)

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Quarterly Review: Sergio Ch., Dool, Return to Worm Mountain, Dopelord, Ancestro, Hellhookah, Daisychain, The Burning Brain Band, Slump, Canyon

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

the-obelisk-qr-summer-2020

I don’t imagine I need to tell you it’s been a hell of a quarter, existentially speaking. It’s like the world decided to play ’52 card pickup’ but with tragedy. Still, music marches on, and so the Quarterly Review marches on. For what it’s worth, I’m particularly looking forward to reviewing the upcoming batch of 50 records. As I stare at the list for each day, all of them have records that I’ve legitimately been looking forward to diving into, and today is a great example of that, front to back.

Will I still feel the same way on Friday? Maybe, maybe not. If past is prologue, I’ll be tired, but it’s always satisfying to do this and cover so much stuff in one go. Accordingly, let’s not delay any further. I hope you enjoy the week’s worth of writeups.

Quarterly Review #1-10:

Sergio Ch., From Skulls Born Beyond

Sergio Ch From Skulls Born Beyond

Intertwining by sharing a few songs with the debut album from his trio Soldati, Doom Nacional (review here), the latest solo endeavor from former Los Natas/Ararat frontman Sergio Ch. continues his path of experimentalist drone folk, blending acoustic and electric elements, guitar and voice, in increasingly confident and broad fashion. The heart of a piece like “Sombra Keda” near the middle of the album is still the strum of the acoustic guitar, but the arrangement of electric and effects/synth surrounding, as well as the vocal echo, give a sense of space to the entirety of From Skulls Born Beyond that demonstrates to the listener just how much range Sergio Ch.‘s work has come to encompass. For highlights, one might check out the extended title-track and the closer “Solar Tse,” which bring in waves of distorted noise to add to the experimentalist feel, but there’s something to be said too for the comparatively minimal (vocal layering aside) “My Isis,” as well as for the fact that they all fit so well on the same record.

Sergio Ch. on Thee Facebooks

South American Sludge Records on Bandcamp

 

DOOL, Summerland

Dool Summerland

The follow-up to DOOL‘s 2017 debut, Here Now There Then (review here), does no less than to see the Netherlands-based outfit led by singer Ryanne van Dorst answer the potential of that album while pushing forward the particular vision of Dutch heavy progressive rock that emerged in the wake of The Devil’s Blood, acknowledging that past — Farida Lemouchi (now of Molassess) stops by for a guest spot — while presenting an immersive and richly arranged 54-minute sprawl of highly individualized craft. Issued through Prophecy Productions, it brings cuts like the memorable opener “Sulphur and Starlight” and the dynamic “A Glass Forest” as well as the classic metal chug of “Be Your Sins” and the reaches of its title-cut and acoustic-inclusive finale “Dust and Shadow.” DOOL are a band brazen enough to directly refuse genre, and it is to their benefit and the audience’s that they pull off doing so with such bravado and quality of output. For however long they go, they will not stop progressing. You can hear it.

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Prophecy Productions website

 

Return to Worm Mountain, Therianthropy

return to worm mountain Therianthropy

By the time Durban, South Africa’s Return to Worm Mountain are done with 10-minute opener and longest track (immediate points) “Gh?l” from their second album, Therianthropy, the multi-instrumentalist duo of Duncan Park (vocal, guitar, bass, banjo, jaw harp) and Cam Lofstrand (vocals, drums, synth, guitar, bass, percussion) have gone from High on Fire-meets-Entombed crunch to psychedelic Americana to bare-essential acoustic guitar, and unsurprisingly, the scope doesn’t stop there. “Mothman’s Lament” is folksy sweetness and it leads right into the semi-industrial grind of “Mongolian Death Worm” before “Olgoi-Khorkoi” sludge-lumbers into Echoplex oblivion — or at very least the unrepentantly pretty plucked strings of “Tatzelwurm.” The title refers to a human ability to become an animal — think werewolf — and if that’s a metaphor for the controlled chaos Return to Worm Mountain are letting loose here, one can hardly argue it doesn’t fit. Too strange to be anything but progressive, Therianthropy‘s avant garde feel will alienate as many as it delights, and that’s surely the point of the entire endeavor.

Return to Worm Mountain on Thee Facebooks

Return to Worm Mountain on Bandcamp

 

Dopelord, Sign of the Devil

dopelord sign of the devil

Primo weedian stoner sludge doom of precisely the proportion-of-riff one would expect from Polish bashers Dopelord, which is to say plenty huge and plenty grooving. “The Witching Hour Bell” sets the tone on Sign of the Devil, which is the fourth full-length from the Warsaw-based four-piece. They lumber, they plod, they crash, and yes, yes, yes, they riff, putting it all on the line with “Hail Satan” with synth flourish at the end before “Heathen” and the ultimately-more-aggro “Doom Bastards” reinforce the mission statement. You might know what you’re getting going into it, but that doesn’t make the delivery any less satisfying as Dopelord plod into “World Beneath Us” like a cross between Electric Wizard and Slomatics and of course stick-click in on a quick four-count for the 94-second punk blaster “Headless Decapitator” to cap the 36-minute vinyl-ready run. How could they not? Sure, Sign of the Devil preaches to the choir, but hell’s bells it makes one happy to have joined the choir in the first place.

Dopelord on Thee Facebooks

Dopelord on Bandcamp

 

Ancestro, Ancestro

ancestro self titled

Numbered instrumental progressions comprise this third and self-titled offering from Peruvian trio Ancestro (issued through Necio Records and Forbidden Place Records), and the effect of the album being arranged in such a fashion is that it plays through as one long piece, the cascading volume changes of “II” feeding back into the outset count-in of the speedier “III” and so on. Each piece of the whole has its own intention, and it seems plain enough that the band composed the sections individually, but they’ve been placed so as to highlight the full-album flow, and as Ancestro move from “IV” into “V” and “VI,” with songs getting longer as they go en route to that engrossing and proggy 13-minute closer, their success draws from their ability to harness the precision and maybe even a little of the aggression of heavy metal and incorporate it as part of an execution both thoughtful and no less able to be patient when called for by a given piece. Hard-hitting psychedelia is tough to pull off, but Ancestro‘s Ancestro is no less spacious than terrestrial.

Ancestro on Thee Facebooks

Necio Records on Bandcamp

Forbidden Place Records on Bandcamp

 

Hellhookah, The Curse

hellhookah the curse

In 2016, Lithuanian two-piece Hellhookah made it no challenge whatsoever to get into the traditionalist doom of their debut album, Endless Serpents (review here), and the seven songs of The Curse make for a welcome follow-up, with an uptick in production value and the fullness of the mix and a decided affinity for underground ’80s metal in cuts like “Supremacy” and “Dreams and Passions” to coincide with the Dio-era-Sabbath vibes of centerpiece “Flashes” and the nodding finisher “Greed and Power,” which follows and contrasts “Dreams and Passions” in a manner that feels multi-tiered in its purpose. Departing from some of the Vitus-ness of the first full-length, The Curse adopts a more complex tack across its 38 minutes, but its heart and its loyalties are still of doom, by doom, and for the doomed, and that suits them just fine. Crucially, their lack of pretense carries over, and their love of all things doomed translates into every riff and every stretch on offer. If you’d ask more than that of them, well, why?

Hellhookah on Thee Facebooks

Hellhookah on Bandcamp

 

Daisychain, Daisychain EP

Daisychain Daisychain EP

Bluesy in opener “Demons,” grunge-tinged in “Lily” and fuzz-folk-into-’70s-soul-rock on “How Can I Love You,” Daisychain‘s self-titled debut EP wants little for ambition from the start, but the Chicago-based four-piece bring a confidence to their dually-vocalized approach that unites the material across whatever stylistic lines it treads, be it in the harmonies of the midtempo rocker “Are You Satisfied” or the righteously languid “Fake Flowers,” which follows. With six songs and 21 minutes, the self-released outing is but a quick glimpse at what Daisychain might have in store going forward, but the potential is writ large from the classic feel of “Demons” to the barroom spirit of closer “The Wrong Thing,” which reminds that rock and roll doesn’t have to sacrifice efficiency in order to make a statement of its own force. There’s plenty of attitude to be found in these songs, but beneath that — or maybe alongside it — there’s a sense of an emergent songwriting process that is only going to continue to flourish. What they do with the momentum they build here will be interesting to see/hear, but more than that, they’re developing a perspective and persona of their own, and that speaks to a longer term ideal. To put another way, they don’t sound like they’re half-assing it.

Daisychain on Thee Facebooks

Daisychain on Bandcamp

 

The Burning Brain Band, The Burning Brain Band

The Burning Brain Band The Burning Brain Band

Capping with a slide-tinged take on the traditional “Parchman Farm” (see also: Blue Cheer, Cactus, etc.), Ohio’s The Burning Brain Band‘s self-titled debut casts a wide net in terms of influences, centering the penultimate “The Dreamer” around 12-string acoustic guitar on an eight-minute run that’s neither hurried nor staid, but all the more surprising after the electronica-minded “Interlude (Still Running),” which, at four minutes is of greater substance than one might expect of an interlude just as the seven-and-a-half-minute warm-up “Launch Sequence” is considerably broader than one generally considers an intro to an album. There isn’t necessarily a foundational basis from which the material emanates — though “Brain Food” is an effective desert-ish rocker, it moves into the decidedly proggier “Bolero/Floating Away” — but “Launch Sequence” is immersive and the four-piece bring a performance cohesion and a clarity of mindset to the proceedings of this debut that may not unite the songs, but carries the listener through with a sure hand just the same. Who ever said everything on a record had to sound alike? For sure not The Burning Brain Band, who translate the mania of their moniker into effective sonic variety.

The Burning Brain Band on Thee Facebooks

The Burning Brain Band on Bandcamp

 

Slump, Flashbacks From Black Dust Country

Slump Flashbacks from Black Dust Country

Count Slump in a freakout psych renaissance, all punk-out-the-airlock and ’90s-noise thisandthat. Delivered through Feel It Records, the Richmond, Virginia, outfit’s debut, Flashbacks From Black Dust Country indeed touches ground every now and again, as on “Desire Death Drifter,” but even there, the vocals are so soaked wet with echo that I’m pretty sure they fucked up my speakers, and as much as “Tension Trance” tries, it almost can’t help but be acid grunge. In an age of nihilism, Slump aren’t so much unbridled as they are a reminder of the artistry behind the slacker lean, and in the thrust of “(Do The) Sonic Sprawl” and the far-out twist of “Throbbing Reverberation,” they affirm that only those with expanded minds will survive to see the new age and all the many spectral horrors it might unfurl. Can it be a coincidence that the album starts “No Utopia?” Hardly. I’m not ready to call these cats prophets, but they’ve got their collective ear to the ground and their boogie is molten-core accordingly. Tell two friends and tell them to tell two friends.

Feel It Records on Thee Facebooks

Feel It Records on Bandcamp

 

Canyon, EP III

canyon ep iii

It’s a ripper, inciting Larry David-style “prettay good” nods and all that sort of approval whatnot. If you want to think of Canyon as Philly’s answer to Memphis’ Dirty Streets, go ahead — and yes, by that I mean they’re dirtier. EP III boasts just three tracks in “No Home,” “Tent Preacher” and “Mountain Haze,” but with it the classic-style trio backs up the power they showed on 2018’s Mk II (review here), tapping ’70s blues rock swagger for the first two tracks and then blowing it out in a dreamy Zeppelin/Rainbow jam that’s trippy and righteous and right on and just plain right. Maybe even right-handed, I don’t know. What I do know is that these guys should’ve been picked up by some duly salivating label like last week already and they should be putting together a full-length on the quick. They’ve followed-up EP III with a stonerly take on The Beatles‘ “Day Tripper,” and that’s fun, but really, it’s time for this band to make an album.

Canyon on Thee Facebooks

Canyon on Bandcamp

 

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Sergio Ch. Posts “La Familia y las Guerras” Video

Posted in Bootleg Theater on July 22nd, 2019 by JJ Koczan

sergio ch

At the time it came out four years ago in 2015,¬†Sergio Ch.‘s first solo album,¬†1974¬†(review here), seemed to take shape directly from out of the third offering from his band¬†Ararat,¬†2014’s¬†Cabalgata Hacia la Luz (review here). The two shared several tracks, among them “La Familia y las Guerras,” and both had an overarching purpose in introspection, an intimate feel that manifested in experimentalist-tinged folk in one and brash heavy punk/rock in the other. Still, they were linked, and with¬†Sergio Chotsourian‘s songwriting at the epicenter, they held a consistency that went beyond whatever sonic disparities there may have been. Different appeal, same level of quality between them.

Chotsourian has since gone on to form the trio¬†Soldati and begin to dole out singles and other short releases ahead of an eventual full-length, and he’s also put out the second acoustic-ish album, 2017’s Aurora (review here), as well as several collaborative efforts of various stripes, but I still break out¬†1974 on occasion, and songs like “La Familia y las Guerras” are a big part of why. Arrangement-wise, there’s nothing outlandish about it, and it’s not as drone even as some of the material on the subsequent full-length would be, but it carries a nonetheless open feel and is spacious thanks to a bit of echo while still staying intimate in a close-up-to-the-mic vocal-style from¬†Chotsourian, who if he didn’t record it live certainly gives a convincing facsimile of having done so.

As to why now would be a time to make a video for a song on a record that was released so long ago, I’d only ask the obvious question: “Who cares?” In addition to the aforementioned and long-bandied¬†Soldati long-player, there’s been word that Chotsourian will do another solo offering under his own name, and that will be something to look forward to, but in the meantime, why not shut up and take what one can get? If that’s going for a backwards walk in some hot-looking desert space, then so be it. One could, of course, do a lot worse, both in the video and in life generally.

I’ve also included the full¬†1974¬†stream below, in case it’s been a while.

Enjoy:

Sergio Ch., “La Familia y las Guerras” official video

VIDEO OFICIAL DEL DISCO DE SERGIO CH. – “1974”
PRODUCIDO POR SERGIO CH.
VIDEO REALIZADO POR MILAGROS ARROM Y LUCAS MARTINEZ

OUI OUI RECORDS
SOUTH AMERICAN SLUDGE RECORDS

Sergio Ch., 1974 (2015)

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