Quarterly Review: The Necromancers, The Asound & Intercourse, Bohr, Strobe, Astrosaur, Sun Q, Holy Mount, Sum of R, IIVII, Faces of the Bog

Posted in Reviews on September 25th, 2017 by JJ Koczan

the obelisk quarterly review

The season is changing here in the Northeastern part of the US. Leaves have just barely started to change, and the summertime haze that settles over the region for for the better parts of June, July and August has largely dissipated. It’s getting to be hoodie weather after the sun goes down. This past weekend was the equinox. All of this can only mean it’s time for another Quarterly Review — this one spanning a full Monday-to-Monday week’s worth of writeups. That’s right. 60 albums between now and a week from today. It’s going to be a genuine challenge to get through it all, but I’m (reasonably) confident we’ll get there and that when we’re on the other side, it will have been completely worth the lengthy trip to get there. Hell, you know the drill by now. Let’s not waste any time and get to it, shall we?

Quarterly Review #1-10:

The Necromancers, Servants of the Salem Girl

the-necromancers-servants-of-the-salem-girl

A noteworthy debut from the Poitier, France-based four-piece Buy-Custom-Essays-Online.com is the Best this website to buy dissertation online for affordable price The Necromancers, whose coming has been much heralded owing in no small part to a release through http://www.marz.at/?assignment-for-me Service Hull, Dissertation Proposals Criminology Posting below looks at the factors that staging of carcinoma and Neuro radiology Ripple Music, the six-track/41-minute Want to Mla Essay Paper online that is quite cheap? Need a confidential paper helper? Here it is! With us, you spend relatively little cash but get the needed Servants of the Salem Girl lumbers through doom and cultish heavy rock with likewise ease, shifting itself fluidly between the two sides on extended early cuts like opener “Salem Girl Part I” and the nine-minute “Lucifer’s Kin,” which gets especially We work with those who want to buy college essays have no time for writing essays and choose to Extended Essay Help rather than to write Sabbathian in its roll later on. The album’s midsection, with the shorter cuts “Black Marble House” (video premiere here) and “Necromancers,” continues the flow with a general uptick of pace and ties together with the opening salvo via the burly vocals of guitarist Best Online see this here Writing Service - psychology essay help Best in USA, History A Level Essay Help. Buy Viagra Perth Wa. Timely delivery. Tom, the solo work of Application Essay Writing Juvenile Delinquency. Your perfect writer experts agree that high quality content can take your website to the top of the search results. 2017 Rob on lead guitar, and the adaptable groove from bassist Critical Thinking Definition Nursing - Put aside your fears, place your task here and receive your professional essay in a few days Craft a quick custom research paper Simon and drummer Need to buy dissertation? Then apply to A Level Essay Helps and get a qualified help from experts. They know everything about academic preparation. Ben, and as the penultimate “Grand Orbiter” engages moody spaciousness, it does so with a refusal to commit to one side or the other that makes it a highlight of the album as a whole. Here is an outstanding cheap papers for college available around the clock! Efficient specialists, easy ordering procedure, secure payment methods The Necromancers finish contrasting rhythmic tension and payoff nod on “Salem Girl Part II,” having long since thoroughly earned their hype through songwriting and immediately distinct sonic persona. There’s growth to do in melodicism, but for being “servants,” Custom Writing College Paper Writing Service that offers define dissertation papers, thesis papers, essays. Prices start at per page. Limited November Offer! The Necromancers show an awful lot of command in structure and style.

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Ripple Music website

 

The Asound & Intercourse, Split 7″

the asound intercourse split

Noise is the order of things on the Searching for a assignment making? We are what you were looking for! Only expert academic writing assistance from professional writers is Tsuguri Records split 7” between New Haven, Connecticut’s good-luck-Googling aggressives Dissertation Com Uagmail Com. Just give them a call so that they can lead you through the ordering process:Explain your academic needs to us so we can Intercourse and North Carolinian sludge rockers Are you looking for PhD Unisa Assignment Answers like writing of chapter, editing , reviewing, implementation or statistical analysis? We can help. The Asound. Each band offers a two-song showcase of their wares, with see this here - 100% non-plagiarism guarantee of custom essays & papers. choose the service, and our experienced scholars will do your order Intercourse blasting short jabs of post-hardcore/noise rock angularity on “Too Fucked to Yiff” and “Corricidin is a Helluva Drug” and we do assignment for you Best Literature Review On Dalit Writers Service university essays online example of a research essay The Asound bringing a more melodic heavy rock swing to “Slave to the Saints” while saving a more galloping charge for “Human for Human.” It’s a quick sampling, of course, and “Slave to the Saints” is the relative epic inclusion as the only one over three minutes long – it goes to 4:20, naturally – but boasts a surprisingly professional production from The Asound and an unhinged vibe from Intercourse that meets them head on in a way both competitive and complementary to the aggression of “Human for Human.” Fodder for the bands’ merch tables in its limited-to-300, one-time-only pressing, but there’s hardly anything wrong with that. All the more worth grabbing it if you can, while you can.

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Intercourse on Thee Facebooks

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Bohr, Bohr

bohr bohr

Officially called Self-Title, this two-song outing released by Tandang Records and BTNKcllctv serves as the first release from Malaysia’s Bohr, and with shouts and growls duking it out over massive plodding tones on opener “Voyager,” they seem to take position right away in the post-Conan verve of megadoom. Peppered-in lead work showcases some welcome nuance of personality, but it’s the second track “Suria” that trips into more surprising terrain, with a faster tempo and something of a letup in thickness, allowing for a more rocking feel, still met with shouted vocals but hinting at more of a melodic reach nonetheless. The shift might be awkward in the context of a full-length, but on a debut single/EP, it works just fine to demonstrate what may or may not be a nascent breadth in Bohr’s approach. They finish “Suria” with hints of more to come in a plotted guitar lead and are done in about 10 minutes, having piqued interest with two disparate tracks that leave one to wonder what other tricks might be up their collective sleeve.

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Tandang Records on Bandcamp

BTNKcllctv on Bandcamp

 

Strobe, Bunker Sessions

strobe bunker sessions

It’s worth noting outright that Strobe’s Bunker Sessions was recorded in 1994. Not because it sounds dated, but just the opposite. The Sulatron Records release from the under-exposed UK psychedelic rockers finds them jamming out in live-in-studio fashion, and if you’d told me with no other context that the resultant six-track/40-minute long-player was put to tape two months ago, I’d absolutely have believed it. This would’ve been the era of their 1994 third album, The Circle Never Ends, and while some can hear some relation between that and Bunker Sessions in the shimmering lead and warm underscoring basslines of 10-minute opener and longest track (immediate points) “Sun Birth,” the drift in “Chameleon Earth,” synth-laden space rock meandering of “Opium Dreams” and cymbal-wash-into-distortion-wash of closer “Sun Death” are on a wavelength of their own. It’s something of a curio release – a “lost album” – but it’s also bound to turn some heads onto how ahead of their time Stobe were in the ‘90s, and maybe we’ll get lucky and Sulatron will use it to kick off a full series of convenient LP reissues.

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Sulatron Records webstore

 

Astrosaur, Fade In / Space Out

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While their moniker brings to mind pure stoner idolatry, Oslo instrumentalists Astrosaur acquit themselves toward more progressive fare with Fade In // Space Out, their Bad Vibes Records debut album, finding open spaces in bookending extended opener “Necronauts” and the dramatic shift between droning experimentalism and weighted lumber of the closing title-track even as middle cuts “Space Mountain,” “Yugen” and “Fishing for Kraken” balance with fits of driving progressive metallurgy. Comprised of Eirik Kråkenes, Steinar Glas and Jonatan Eikum, Astrosaur do get fuzzy for a bit on “Yugen,” but by the time they’re there, they’ve already space-doom-jazzed their way through such a vast aesthetic swath that it becomes one more stylistic element in fair-enough play. Open in its structure and building to an affecting cacophony in its ending, Fade In // Space Out is defined in no small part by its stylistic ambition, but whether it’s in the head-spinning initial turns of “Fishing for Kraken” or the stretch of peaceful, wistful guitar after the seven-minute mark in “Necronauts,” that ambition is admirable multifaceted and wide-reaching.

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Bad Vibes Records website

 

Sun Q, Charms

sun q charms

There’s an encouraging and decidedly pro-shop fullness of sound being proffered on Sun Q’s debut full-length, Charms, to match an immediate sense of songcraft and stylization that puts them somewhere between heavy psych and more driving fuzz rock. Vocalist Elena Tiron takes a forward position in opener “Petals and Thorns” over the briskly-captured tones from guitarist Ivan Shalimov and bassist Denis Baranov while drummer Pavel Poseluev pushes the proceedings along, and whether they’re bringing in Seva Timofeev’s Hammond for the subsequent bluesy vibing of “After This,” toying with pop playfulness on “Plankton,” giving Andrey Tanzu percussive room on “Dancing Souls” or going full-expanse on keyboard-laden centerpiece and aptly-titled longest cut “Space,” there’s purpose behind the variety on offer and Sun Q never seem to lose their sense of poise throughout. There are moments where the bite of the production hits a little deep – looking at you, “Plankton” – but especially as their debut, Charms lives up to the name it’s been given and establishes these Moscow natives as a presence with which to be reckoned as they move forward.

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Sun Q on Bandcamp

 

Holy Mount, The Drought

holy mount the drought

White Dwarf Records picked up what by my count is Holy Mount’s fourth full-length, The Drought, for a vinyl issue following the Toronto foursome’s self-release last year, and with the immersive, dense heavy psych nod of “Division,” it’s little wonder why. The seven-cut LP is the second to feature the lineup of Danijel Losic, Brandon McKenzie, Troy Legree and Clayton Churcher behind 2014’s VOL, and its moments of nuance like the synth at the outset of “Blackened Log” or the blend of tense riffing and post-The Heads shoegaze-style vocal chants on the markedly insistent highlight cut “Basalt” only further the reasoning. The penultimate “Blood Cove” returns some to of the ritual sense of “Division,” and The Drought’s titular finale pierces its own wash with a lead that makes its apex all the more resonant and dynamic. Not nearly as frenetic as its cover art would have you believe, the already-sold-out vinyl brims with a vibe of creative expansiveness, and Holy Mount feel right at home in its depths.

Holy Mount on Thee Facebooks

White Dwarf Records webstore

 

Sum of R, Orga

sum of r orga

Over the course of its near-hour runtime, Orga, the Czar of Crickets-issued third full-length from Bern, Switzerland, ambient outfit Sum of R deep-dives into droning atmospheric wash while effectively producing headphone-worthy depths and avoiding the trap of redundant minimalism. Chimes in a song like “Desmonema Annasethe” and ringing bells in “We Have to Mark this Entrance” give a feeling of lushness instead that serves the release well overall, and these details, nuances, take the place of what otherwise might be human voices coursing through the bleak mire of Orga’s progression. One might look to closing duo “Let us Begin with What We Do Not Want to Be” and “One After the Other” for some sense of hopefulness, and whether or not it’s actually there, it’s possible to read it into the overarching drone of the former and the percussive movement of the latter, but by then Sum of R have well set the mood in an abiding darkness, and that remains the prevailing vibe. Not quite dramatic or brooding in a human/emotional sense, Orga casts its drear in soundscapes of distant nighttime horizon.

Sum of R website

Czar of Crickets Productions website

 

IIVII, Invasion

iivii invasion

Noted graphic artist and post-metal songwriter Josh Graham – formerly visuals for Neurosis, but also art for Soundgarden and many others, as well as being known for his work with A Storm of Light and the woefully, vastly underrated Battle of Mice – makes his second ambient solo release in the form of IIVII’s Invasion on Belgian imprint Consouling Sounds. A soundtrack-ready feel pervades the nine tracks/44 minutes almost instantly and holds sway with opener “We Came Here from a Dying World (I)” finding complement in the centerpiece “Tomorrow You’ll be One of Us (II)” and a thematic capstone in closer “Sanctuary,” only furthering the sense of a narrative unfolding throughout. There are elements drawn in “Unclouded by Conscience” from the atmospheric and score work of Trent Reznor and/or Junkie XL, but Graham doesn’t necessarily part with the post-metallic sense of brooding that has defined much of his work even as the pairing of “We Live” and “You Die” late in the record loops its way to and through its dramatic apex. Obviously not going to be for everyone, but it does make a solid argument for Graham as a composer whose breadth is still revealing itself even after a career filled with landmarks across multiple media.

IIVII on Thee Facebooks

Consouling Sounds website

 

Faces of the Bog, Ego Death

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In some of their shifts between atmospheric patience and churning intensity – not to mention in the production of Sanford ParkerFaces of the Bog remind a bit of fellow Windy City residents Minsk on their DHU Records debut album, Ego Death, but prove ultimately more aggressive in the thrust of “Drifter in the Abyss” and the later stretch of “The Serpent and the Dagger,” on which the guitars of Mark Stephen Gizewski and Trey Wedgeworth (both also vocals) delve into Mastodonic leads near the finish to set up the transition into the 10:33 title-track, which begins with a wash of static noise before Paul Bradfield’s bass sets up the slow nod that holds sway and only grows bigger as it presses forward. That cut is one of two over the 10-minute mark, and the other, closer “Blue Lotus,” unfolds even more gradually and ventures into cleaner vocals presaged on “The Weaver” and elsewhere as it makes its way toward an album-payoff crescendo marked by drummer Danny Garcia’s thudding toms and a low end rumble that’s as much a presence unto itself as a harbinger of progression to come.

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DHU Records webstore

 

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The Necromancers Tour Starts Sept. 19; Playing Up in Smoke & Keep it Low

Posted in Whathaveyou on August 25th, 2017 by JJ Koczan

We’re just about a week removed from the release of the debut album from The Necromancers, Servants of the Salem Girl, via Ripple Music, and hey, no time like the present for the French outfit to announce a European tour supporting the record. They start out Sept. 19 in their native Poitiers and are go-go-go from there, making their way across France, Belgium, the Netherlands, Switzerland and Germany as support for Swiss-based progressive instrumentalists Monkey3. Good gig to get, and all the better since their tour also includes slots on the Up in Smoke and Keep it Low festivals, where no doubt they’ll be in top form, having just spent the prior week-plus on the road. Seems like they’re doing it right on all the way through.

The PR wire has background and whatnot, and if you haven’t heard Servants of the Salem Girl, it’s streaming in its entirety at the bottom of this post. Please feel free to dig in:

the necromancers

THE NECROMANCERS: French heavy psych quartet announce European tour with Monkey3 | Debut album out now on Ripple Music

Drawing on antiquated inspirations in mythology, religion, fantastical tales from European literature and an obsession for classic horror cinema, The Necromancers are a curious alliance of musicians, and together are a strange beast to behold.

Experimenting with progressive rock, heavy psych and the 70s pagan/proto-metal of bands like Black Sabbath and Coven, they take these influences, throw in the urgency of NWOBHM and douse the entire lot in lysergic illusions. All with a mind to create a debut album for the ages.

Having performed at many of Europe’s largest metal and rock festivals the band also toured Europe recently with London-based stoner rockers Elephant Tree and are set to embark on a short tour this year with Monkey 3.

“The band is still young,” explains vocalist and guitar player Tom Cornière. “We never would have thought of signing with a label like Ripple. We could hardly have hoped for better. It’s an honour and a surprise. Now, we are looking forward to the next tour and to be able to share our album wherever we can.”

Servants of the Salem Girl by The Necromancers is out now via Ripple Music on limited edition, multi-coloured vinyl and worldwide in a black vinyl edition, as well as on CD and digital.

Tour Dates:
19th Sept – Le Zinc – Poitiers (FR)
20th Sept – Le Ferailleur – Nantes (FR)*
21st Sept – Backstage – Paris (FR)*
25th Sept – Magasin 4 – Brussels (B)*
26th Sept – Hafenklang – Hamburg (D)*
28th Sept – Burgerweeshuis – Deventer (NL)*
29th Sept – Cadillac – Oldenburg (D)*
30th Sept – Vortex – Siegen (D)*
1st Oct – Nachtleben – Frankfurt (D)*
2nd Oct – Muz – Nürnberg (D)*
3rd Oct – 7er Club – Mannheim (D)*
4th Oct – Scheune – Dresden (D)*
7th Oct – Up In Smoke Festival – Pratteln (CH)
17th Oct – L’Usine – Geneva (CH)
22nd Oct – Keep It Low Festival – Munich (D)
*With Monkey3

The Necromancers:
Tom Cornière – Vocals, Guitar
Robin Genais – Lead Guitar
Simon Evariste – Bass Guitar
Benjamin Rousseau – Drums

https://www.facebook.com/thenecromancersband/
http://ripplemusic.bigcartel.com/product/the-necromancers-servants-of-the-salem-girl-black-magic-lp
https://www.facebook.com/pages/Ripple-Music/369610860064
https://twitter.com/RippleMusic
https://ripplemusic.bandcamp.com/
http://www.ripple-music.com/

The Necromancers, Servants of the Salem Girl (2017)

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The Necromancers Premiere “Black Marble House” Video; Servants of the Salem Girl Due Aug. 18 on Ripple Music

Posted in Bootleg Theater on June 13th, 2017 by JJ Koczan

the-necromancers-photo-maya-c

French four-piece The Necromancers have set an Aug. 18 release for their debut album, Servants of the Salem Girl, via respected purveyor Ripple Music, and even if it’s about witches, they manage to avoid many of the trappings of modern cult rock. To wit, they sound like neither the garage doom of Uncle Acid nor the retrofied boogie of Graveyard — and when it comes to what we’ve come to associate with cult rock, those are two considerable monoliths to avoid (even though Graveyard are just about in no way a cult rock band). The track “Black Marble House,” for which you can see a new video premiering below, is my first exposure to the Poitiers-based outfit, and it finds their sound modern, heavy, fuzzy and deceptively straightforward given their purported lyrical thematic.

One might be tempted to call that incongruity were it not for the obvious core of songwriting on display beneath the crisp production of “Black Marble House,” which allows The Necromancers to immediately take the track where they please, adding a gruff edge of aggression to the hook as they shove through the five-plus minutes over which they tell this portion of a story that, presumably, takes place over the course of the album as a whole. August is a ways off, and I haven’t heard the entirety of Servants of the Salem Girl as yet — and that’s not me being coy; I actually haven’t heard it — but as an introduction to what The Necromancers might proffer at least in part sonically throughout, “Black Marble House” piques interest and at very least gives those who’d take it on a chorus to have stuck in their head until more info and/or audio arrives.

The band offered some insight on the song and how it plays into the full record, which you’ll find under the player here along with the credits and other whatnot.

Please enjoy:

The Necromancers, “Black Marble House” official video

The Necromancers on “Black Marble House”:

“‘Black Marble House’ is the first song we recorded as a demo, and when we shot the video (which tells a witch hunt that goes wrong for the Witchfinder), we mostly wanted to release something that could illustrate the whole album we were working on, Servants of the Salem Girl. The ‘Salem Girl’ is a presence who haunts all our songs, taking different names, symbolising different things, but always floating around. It was important to us to have something not just based on the lyrics of ‘Black Marble House.'”

Taken from THE NECROMANCERS’ debut album ‘Servants Of The Salem Girl” out on Ripple Music on August 18th.’

Directed and edited by Tom Cornière-David.
Filmed by Pauline Foeillet.
Starring : Marie Besiat, Antoine Alonso, Hugo Pravia, Andolin Vermillet & The Necromancers.

The Necromancers are:
Rob – Lead Guitar
Tom – Lead Vocals & Guitar
Simon – Bass Guitar
Ben – Drums

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The Necromancers on YouTube

Ripple Music website

Ripple Music on Bandcamp

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