Heron and Seven Nines and Tens Split Tape Available Now

Posted in Whathaveyou on January 4th, 2019 by JJ Koczan

Tonight in Vancouver, Seven Nines and Tens and Heron will play the release show for a new split tape on Coup Sur Coup Records that’s been given the title, Passages of the Pacific Northwest. The label’s Bandcamp page has 10 handmade copies available, at least one of which was gone before this morning. The bands will each also have 10 copies for sale at the show, which is to be held at Astoria Hastings, and that seems to be it for the pressing. Well, you know I’m a sucker for a ultra-limited tape, so here we are. 30 copies definitely hits that standard.

Fortunately, even if you’re not the Walkman type, the label — which also released a varied noise/ambient comp called Feedback Through a Magnifying Glass Volume I that boasted a few familiar names — is streaming the release in full, and you can make your own passage at the bottom of this post.

The show is put on by The Collective Agency. Info follows:

heron seven nines and tens split

Vancouver Avantgarde-Jazz-Stoner Metal Masters Seven Nines and Tens return to Astoria Hastings on January 4th with HERON, Lucia, and The Ship Of.

Doors @ 8pm
Bands @ 9pm
$10 in ADV at Red Cat Records or from the bands
$13 at the Door

Split is: High-bias cassette tape, of random colours, dubbed one by one in Castlegar, BC. Includes unreleased material and songs never released on physical format. Only 10 copies available here, and both bands will have 10 copies at their joint show January 4th 2019!

1. Heron – Tears of the Sun 05:57
2. Heron – Parallels of a Knife 07:03
3. Heron – Uncomfortable Silences 07:38
4. Seven Nines And Tens – Castles on St-Clair’s Beach ( Unreleased song ) 05:06
5. Seven Nines And Tens – Rave Up (Live) 06:11
6. Seven Nines And Tens – Kemptville (Live) 02:55

Coup Sur Coup also recently issued the compilation “Feedback Through A Magnifying Glass Volume I” featuring Kevin Hugnagel, J.D. Pinkus, Vision Eternel and others. Available here.

http://www.sevenninesandtens.com/
sevenninesandtens.bandcamp.com

https://www.facebook.com/herondoom
https://heronvan.bandcamp.com/

https://www.facebook.com/coupsurcouprecords
http://www.instagram.com/coup_sur_coup_records
https://coupsurcoup.bandcamp.com

Heron & Seven Nines and Tens, Passages of the Pacific Northwest

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Seven Nines and Tens to Release Satisfy the Faction 2008-2018 Cassette Box Set

Posted in Whathaveyou on August 10th, 2018 by JJ Koczan

seven nines and tens

I don’t have the stats on the average lifespan of the average band, so I don’t can’t give you facts and figures — and something in writing about Seven Nines and Tens makes me want to quote statistics; can’t explain it — but I know that if you’ve lasted a decade without pummeling each other or, more simply, breaking up, you’re probably doing something right, and that’s worth celebrating. In the case of the aforementioned Vancouver four-piece, they’re marking the occasion with a tape box set through Coup Sur Coup Records titled Satisfy the Faction 2008-2018, which brings together the four albums the band has produced in that time under the guidance of founding guitarist Dave Cotton onto two cassettes in limited, hand-dubbed edition. The colors are random — I guess whichever blanks are picked up out of the pile — and the tracks sound huge and will come with a download for even more short-release-type stuff, singles and all that. Kind of a cool niche thing to note the passing of an important milestone for the band.

And pretty noteworthy as well that it’s the first release Coup Sur Coup is doing for them. You know your label means it when they not only pick up your band, but decide to do a career-spanning compilation as the first outing and hand-press the tapes. That’s love, pure and simple.

Coup Sur Coup has the release out Oct. 10 with preorders up as of today. Label honcho Max Cayer posted the following at their Bandcamp, where the orders can be placed:

seven nines and tens satisfy the faction 2008-2018

Seven Nines & Tens “Satisfy the Faction 2008-2018”

Here are the first 10 years of recorded output from seminal Vancouver band Seven Nines and Tens all under one umbrella, in digital and a very well assembled double cassette box set, dubbed, packaged, designed and hand numbered with heart and passion directly at Coup Sur Coup’s HQ, in Castlegar, British Columbia, Canada.

The band, started out life as a wholly instrumental act which combined elements of post-rock, post-metal and math rock into a complex sonic chimera.

Their evolution, over time and with line up changes, showed a band scaling back the guitar acrobatics in favor of huge shoegaze-inspired, post-rock walls of sound.

“We started off really progressive,” Dave Cotton, the only constant member of the band, founder, and songwriter, says. “I got really into Post-Metal for a while, and now it’s like psych-shoegaze post-metal, post-hardcore, and a little bit of classic rock; a little bit of Pink Floyd in there.”

It’s a heavier-than-heaven groove that balances a daydream shimmer with a mammoth rhythm section, a gorgeous collision between cascading atmospheres and alternative rock riffage.

This is a huge release for Coup Sur Coup, with a lot of special meanings.

It’s CSC first release to be made from the new office location in the Selkirk mountains of British Columbia, and fittingly so, with a band from the Province. It’s also our first attempt at documenting the entire career of one band up to this moment in time, and are extremely honored that said band is 7,9’s & 10’s.

A perennial favorite of mine and arguably one of the best and interesting band in Canada right now. Let alone the world. I intend on trying my best to shine a light on a vital group of musician making one hell of an interesting racket, for anyone willing to think outside the box, or look in odd places for something new.

This is, I hope, the beginning of a long and fruitful collaboration, this collection of the first 10 years of recorded input being the first pillar in that relationship.

This very special deluxe double cassette box set will include:

-All four albums on two randomly selected coloured cassettes, totalling 120 minutes of music. (Singles releases are not included on the box set, but will be included in the massive download link provided with the box set)

-Dubbed 2 at a time, with great patience and care, at our HQ in B.C.

releases October 10, 2018

http://www.facebook.com/sevenninesandtens
http://www.sevenninesandtens.com/
https://sevenninesandtens.bandcamp.com/
https://sevenninesandtens.com/
https://www.facebook.com/coupsurcouprecords
http://www.instagram.com/coup_sur_coup_records
https://twitter.com/coup_sur
https://coupsurcoup.bandcamp.com/album/satisfy-the-faction

Seven Nines & Tens, Satisfy the Faction teaser

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Quarterly Review: Alcest, Galley Beggar, Pontiak, White Light Cemetery, Fever Dog, Duel, Seven Nines and Tens, Automatic Sam, The Next Appointed Hour, Blown Out

Posted in Reviews on March 29th, 2017 by JJ Koczan

cropped-Charles-Meryon-Labside-Notre-Dame-1854

Always a special moment in the Quarterly Review when we pass the halfway mark. That’s where today’s batch brings us, and in rocking style as well. You might say I’ve been taking it easy on myself with the selections this time out — albums there’s plenty to say on and generally good stuff — but the basic fact of the matter is even with 50 reviews in a week, this is still just a fraction of what’s out there and still just a fraction of what I’d cover if I had the time. I couldn’t in terms of my own sanity, but one could probably do 10 reviews a day every day of the year and still have room for more. I do the best I can. Picking and choosing is a part of that process. Let’s get to it.

Quarterly Review #21-30:

Alcest, Kodama

alcest kodama

After the bold departure presented in 2014’s Shelter (review here) toward even-airier, more indie-hued fare, French post-black metal innovators Alcest make a no-less-bold return to their core sound – screams included, as they’re quick to show on “Eclosion” – with 2016’s Kodama (on Prophecy Productions). It’s a less progressive move, and for that distinct in Alcest’s discography, but one can’t argue with their execution of a track like “Je Suis d’Ailleurs” and the immediately recognizable melodic wash they craft, as resonant emotionally as it is heavy in its tone. Most of the six cuts seem contented to have (re-)found their place, but “Onyx” finishes out with just under four minutes of layered guitar droning, and so Alcest seem to tease that perhaps they’re not completely ready to settle the issue of their aesthetic just yet. One hopes that’s the case, and in the meantime, the reorientation that Kodama brings with it should no doubt please those longtime fans who bristled at the turn they made their last time out.

Alcest on Thee Facebooks

Prophecy Productions on Bandcamp

 

Galley Beggar, Heathen Hymns

galley-beggar-heathen-hymns

Galley Beggar’s fourth offering and second for Rise Above, Heathen Hymns, brings 42-minutes of the traditional acid folk one has come to expect from them over the last half-decade plus, no less graceful in its melodies, harmonies and weaving into and out of psychedelia, Eastern inflections on the sitar-laced “The Lake” and cleverly rhythmic in the post-rocking electric flourish of “Let No Man Steal Your Thyme.” Knowing what to expect, however, does nothing to diminish the joy of the listening experience. Rather, the return of Galley Beggar’s fluid string and/or more rock-based arrangements, memorable songcraft and gorgeous vocal treatments is welcome, and perhaps most of all on closer “My Return,” which draws their multiple sides together in a cohesive vision of futures past that only benefits from the maturity they’ve grown into. With poise as a defining feature as much as their British folk stylistic lineage, Galley Beggar remain a special outfit doing deeply individualized and satisfying work.

Galley Beggar on Thee Facebooks

Rise Above Records website

 

Pontiak, Dialectic of Ignorance

pontiak-dialectic-of-ignorance

A steady foundation of low-end drone underpins songs like “Ignorance Makes Me High” and “Hidden Prettiness” on Pontiak’s Dialectic of Ignorance (released via Thrill Jockey), and though they move away from it somewhat in the more active freakout “Dirtbags,” the patience shown by the Virginian trio forms a key part of the album’s personality. To wit, they open with “Easy Does It,” essentially telling their listener their intention for what will ensue throughout the eight-track/46-minute offering. Brothers Jennings, Van and Lain Carney bring forth willful drift in that opener and across the percussive-but-still-shoegazing “Tomorrow is Forgetting,” finding an organ-laced folkadelic middle ground later in “Youth and Age” and punctuating the dreamy harmonized gorgeousness of “Herb is My Next Door Neighbor” with fervent tom runs and ping ride before closer “We’ve Fucked this Up” starts out amid blistering chaos only to smooth itself as it goes. Serene and somewhat moody to the same degree their last outing, 2014’s Innocence, was raw, Dialectic of Ignorance carries the feel of a personal journey undertaken, but is ultimately too warm in tone and melody not to welcome its audience to be a part of that as well.

Pontiak on Thee Facebooks

Pontiak at Thrill Jockey Records

 

White Light Cemetery, Careful What You Wish For

white-light-cemetery-careful-what-you-wish-for

Nearing the mark of their first decade together, Louisiana Southern heavy four-piece White Light Cemetery issue their second full-length, Careful What You Wish For, through Ripple Music and keep a steady focus on songcraft throughout. Heavy riffs, a bit of boogie on “Sky River” and the stomping “Better Days,” boozy Southern-isms on the directly countrified “On a Dime” and a cowbell-infused finish with “Bullet to Erase” – it’s only fair to say White Light Cemetery hit all the marks. The beery post-Deliverance execution of “Looking Out (For Number One)” will likely ring familiar to many who take it on, but that’s the idea, as vocalist/guitarist Shea Bearden, guitarist Ryan Robin, bassist Tara Miller and drummer Thomas Colley are clearly less concerned with reinventing rock in their own image than honoring the pantheon of those who’ve come before them in the style. Hard to argue with the ethic preached or the dual-guitar harmonies of “Quit Work, Make Music,” though the record as a whole seems awfully “workingman’s rock” for any such bohemian aspirations.

White Light Cemetery on Thee Facebooks

Ripple Music on Bandcamp

 

Fever Dog, Mainframe

fever dog mainframe

It’s been three years since next-gen Californian desert trio Fever Dog released their last album, Second Wind (review here), which was long on potential, big on songwriting and resonant in vibe. I’d been hoping for a third long-player in 2017, but even the arrival of new single Mainframe – which of course doesn’t preclude a subsequent album release – is fine by me, the three-piece of guitarist/vocalist Danny Graham, bassist Nathan Wood and drummer/organist/synthesist/vocalist Joshua Adams digging into progressive vibes on the title-track and the subsequent, talkbox-inclusive “Let Me Out.” I don’t know if they’re planning to press a 7” – somebody call H42 Records! – but the cover art certainly justifies one if the songs themselves don’t (and they do), and the name-your-price download comes with the raw 19-minute classic heavy rock jam “Alpha Waves Medley Live at Club 5,” which emits buzz like it’s a bootleg from 1973. If Mainframe is the process of Fever Dog getting weirder, it bodes well. All the more reason one might keep their fingers crossed for a new full-length.

Fever Dog on Thee Facebooks

Fever Dog on Bandcamp

 

Duel, Witchbanger

duel witchbanger

“If you see him it’s much too late/Close your eyes, girl, accept your fate.” So goes the title-track hook of Duel’s Witchbanger, the Austin-based rockers’ second album for Heavy Psych Sounds. Released on a quick turnaround from last year’s debut, Fears of the Dead (review here), the eight-track/34-minute swaggerfest delves into fantasy themes drawn from classic metal – hard not to look at six-minute closer “Tigers and Rainbows” and not think of Dio, at least thematically – but cuts like “Astro Gypsy” and “Heart of the Sun” in the record’s midsection build on the ‘70s loyalism of the first outing and find guitarist/vocalist Tom Frank, guitarist Jeff Henson, bassist/vocalist Shaun Avants and drummer JD Shadowz clear in their intentions in that regard. Though it takes a sizable grain of salt to get over that title, Duel’s heavy rock traditionalism comes complemented by efficient songwriting and a natural-sounding recording that’s neither completely retro nor totally modern but draws strength and fullness from both sides. A worthy and rousing follow-up.

Duel on Thee Facebooks

Heavy Psych Sounds website

 

Seven Nines and Tens, Set the Controls for the Heart of the Slums

seven-nines-and-tens-set-the-controls-for-the-heart-of-the-slums

If the dates are to be believed, the second full-length from Vancouver’s Seven Nines and Tens, cleverly-titled Set the Controls for the Heart of the Slums, has roots going back to 2014, when basic live tracks were recorded and subsequently built on for about two years. Indeed, the four-song offering – whose tracks “I Come from Downtown,” “Metropolis Noir / Rigs” and closer “Rave Up” have been presented in the meantime as singles and/or on early 2017’s Live at the Smilin’ Buddha Cabaret – has plenty of layers in its heavy post-rock wash, and it’s with depth and heft that guitarist/bassist/vocalist David Cotton and drummer Mario Nieva (the current incarnation of the band has a different lineup), make their prevailing impression, be it in the roll of 13-minute “Metropolis Noir / Rigs” or the loud/quiet trades of “Dope Simple,” which follows. With a focus on atmosphere over structure, Seven Nines and Tens offer a quick 32-minute immersion that feels less pretentious than purposeful and would seem to have been worth the time it took to construct.

Seven Nines and Tens on Thee Facebooks

Seven Nines and Tens website

 

Automatic Sam, Arcs

automatic sam arcs

With their third album, Nijmegen’s Automatic Sam bring together a straightforward and coherent collection of well-intentioned semi-psychedelic heavy rock. Their past works, 2011’s Texino and 2013’s Sonic Whip, have been conceptual or at least thematic pieces, and it may be that the 13-track/38-minute Arcs (on Goomah Music) is as well, but if so, it would seem to find that theme in a vision of post-grunge ‘90s alt rock, cleanly and clearly executed and vibrant in the performance of vocalist/guitarist Pieter Holkenborg, guitarist/vocalist Rense Slings, bassist/vocalist Erik Harbers and drummer/vocalist Lars Spijkervet, who open with the five-minute “Ukiyo” (their longest inclusion; immediate points) and then run through a varied swath of shorter pieces from the attitude-laden “City Lights” through the uptempo post-punk of “This is Not a Holiday” and the fuller push of “Parnassia.” Side B seems more flowing, with that song, “Tarantula,” a complementary reprise, the title-track and drifting acoustic closer “So Long in E Minor,” but Automatic Sam manage to hone a diverse approach across Arcs’ span while skillfully directing themselves around choppier waters.

Automatic Sam on Thee Facebooks

Automatic Sam at Goomah Music

 

The Next Appointed Hour, Not the End of the World

the-next-appointed-hour-not-the-end-of-the-world

Ambition may be the defining aspect of Not the End of the World. The 2016 self-released debut from Birmingham, Alabama’s The Next Appointed Hour willfully refuses easy categorization, basking in bright psychedelic space rock harmonies one minute and digging into folkish melancholia the next in a way that one is left with no other option but to call “progressive.” What ultimately makes songs like “Keeper’s Heart” and the ethereal pop of “Back to You back to Me” work is an underlying cure of songcraft, and whatever ground the six-piece cover on the 10-track outing, from the fuzzy rush of “Drone Riot” to the trippy shimmer of the penultimate “Red Flame,” that core is maintained, uniting the material and making Not the End of the World a work of scope rather than haphazard. It requires an open mind, but rewards open-mindedness with moments like the accordion on “Valley,” or the rhythmic drift of “Any Who but Here,” the nuance of which is no less gracefully held together than the overarching flow of the album as a whole.

The Next Appointed Hour on Thee Facebooks

The Next Appointed Hour on Bandcamp

 

Blown Out, Superior Venus

blown out superior venus

Already sold out on preorders, the vinyl edition of Superior Venus from UK cosmic jammers Blown Out features two tracks – one per side – of space-wash heavy righteousness. “Impious Oppressor” and “Superior Venus” both top 15 minutes (and are accompanied by demo versions if you get the download), and proffer the kind of progressive improvisation-based flow that, indeed, might make one inclined to get an order in while the getting’s good. Blown Out, with members of Bong and Pigs Pigs Pigs Pigs Pigs Pigs Pigs, have put out a slew of live and studio releases over the last three years, but as planets invariably revolve in cyclical patterns, so too does the regular frequency of their work become part of the expression itself. If you’re going to jam, do it all the time. On Superior Venus, Blown Out once more bring this ethic to life, and the resulting material spreads itself wide over its still relatively brief span. A short trip to orbit, perhaps, but well worth the undertaking.

Blown Out on Thee Facebooks

Riot Season Records on Bandcamp

 

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