Day three. Yesterday had its challenges as regards timing, but ultimately I wound up where I wanted to be, which is finished with the writing. Fingers crossed I’m so lucky today. Last time around I hit into a groove pretty early and the days kind of flew, so I’m due a Quarterly Review where it’s a little more pulling teeth to make sentences happen. I’m doing my best either way. That’s it. That’s the update. Let’s go Wednesday.

Quarterly Review #21-30:

Godzillionaire, Diminishing Returns

Tell you what. Instead of pretending I knew Godzillionaire at all before this record came along or that I had any prior familiarity with frontman Mark Hennessy‘s ’90s-era outfit Paw — unlike everything else I’ve seen written about the band — I’ll admit to going into Diminishing Returns relatively blind. And somehow it’s still nostalgic? With its heart on its sleeve and one foot in we’re-all-definitely-over-all-that-shit-from-our-20s-by-now-right-guys poetic moodiness, the Lawrence, Kansas, four-piece veer between the atmospherics of “Spin Up Spin Down” and more grounded grooves like that of “Boogie Johnson” or “3rd Street Shuffle.” “Unsustainable” dares post-rock textures and an electronic beat, “Astrogarden” has a chug imported from 1994 and the seven-minutes-each capstone pair “Common Board, Magic Nail,” which does a bit of living in its own head, and “Shadow of a Mountain,” which has a build but isn’t a blowout, reward patient listens. I guess if you were there in the ’90s, it’s god-tier heavy underground hype. From where I sit, it’s pretty solid anyhow.

Godzillionaire website

Ripple Music website

—

Time Rift, In Flight

In Flight is the second full-length from Portland, Oregon’s Time Rift, and it brings the revamped trio lineup of vocalist Domino Monet, founding guitarist Justin Kaye and drummer Terrica Catwood to a place between classic heavy rock and classic metal, colliding ’70s groove and declarative ’80s NWOBHM riffing — advance single “The Hunter” strikes with a particularly Mob Rulesian tone, but it’s relatable to a swath of non-sucky metal of the age — such that “Follow Tomorrow” finds a niche that sounds familiar in its obscurity. They’re not ultimately rewriting any playbooks stylistically, but the balance of the production highlights the organic foundation without coming across like a put-on, and the performances thrive in that. Sometimes you want some rock and roll. Time Rift brought plenty for everyone.

Time Rift on Bandcamp

Dying Victims Productions website

—

Heavy Trip, Liquid Planet

Canadian instrumentalist trio Heavy Trip released their sophomore LP, Liquid Planet, in Nov. 2024, following on from 2020’s Burning World-issued self-titled debut (review here). A 13-minute title-track serves as opener and longest inclusion (immediate points), setting a high standrad for scorch that the pulls and shred of “Silversun,” the rush and roll of “Astrononaut” (sic) and capper “Mudd Red Moon” with its maybe-just-wah-all-the-time push and noisy comedown ending, righteously answer. It’s easy enough on its face to cite Earthless as an influence — instrumental band with ace guitarist throwing down a gauntlet for 40 minutes; they’re also touring Europe together — but Heavy Trip follow a trajectory of their own within the four songs and are less likely to dwell in a part, as the movement within “Astrononaut” shows plainly. I won’t be surprised when their next one comes with label backing.

Heavy Trip website

Heavy Trip on Bandcamp

—

Slung, In Ways

An impressive debut from UK four-piece Slung, whose provenance I don’t know but who sound like they’ve been at it for a while and have come into their first album, In Ways, with clarity of what they want in terms of sound and songwriting. “Laughter” opens raucous, and “Class A Cherry” follows with a sleeker slower roll, while “Come Apart” pushes even further into loud/quiet trades for a soaring chorus and “Collider” pays off its early low-end tension with a melodic hook that feels so much bigger than what one might find in a three-minute song. It goes like that: one cut after another, for 11 songs and 37 minutes, with Slung skillfully guiding the listener from the front of the record to the back. The going can be intense, like “Matador” or the crashing “Thinking About It,” more contemplative like “Limassol” and “Heavy Duty,” and there’s even room for a title-track interlude before the somewhat melancholic “Nothing Left” and “Falling Down” close, though that might only be because Slung use their time so well.

Slung website

Slung on Bandcamp

—

Greengoat, Aloft

Madrid-based progressive heavy rockers Greengoat return on a quick turnaround from 2024’s A.I. (review here) to Aloft, which over 33 minutes plays through seven songs each of which has been given a proper name: the album intro is “Zohar,” it moves into the grey-toned tension of “Betty,” “Jim” is moody, “Barney” takes it for a walk, and so on. The big-riffed centerpiece “Travis” is a highlight slog, and “Ariel,” which follows, is thoughtful in its melody and deceptively nuanced in the underlying rhythm. That’s kind of how Greengoat do. They’ve taken their influences — and in the case of closer “Charles,” that includes black metal — and internalized them toward their own methodologies, and as such, Aloft feels all the more individually constructed. Hail Iberia as Western Europe’s most undervalued heavy hotspot.

Greengoat website

Argonauta Records website

—

Author & Punisher, Body Dome Light

If it seems a little on the nose for Author & Punisher, modern industrial music’s most doom-tinged purveyor, to cover Godflesh, who helped set the style in motion in the first place, yeah, it definitely is. That accounts for the reverence with which Tristan Shone treats the track that originally appeared on 1994’s Selfless LP, and maybe is part of why the song’s apparently been sitting for 11 years since it was recorded in 2014. Accordingly, if some of the sounds remind of 2015’s Melk en Honig (discussed here), the era might account for that. In Shone‘s interpretation, though, the defeated vocal of Justin K. Broadrick becomes a more aggressive rasp and the guitar is transposed to synth. One advantage to living in the age of content-creation is stuff like this gets released at all, let alone posted so you can stream or download as you will. Get it now so when it shows up on the off-album-tracks compilation later you can roll your eyes and be extra cool.

Author & Punisher website

Relapse Records website

—

Children of the Sün, Leaving Ground, Greet the End

It’s gotta be a trap, right? The third full-length from Arvika, Sweden, heavy-hippie folk-informed psychedelic rockers Children of the Sün can’t really be this sweet, right? The soaring “Lilium?” The mellow, lap-steel-included motion in “Come With Us?” The fact that they stonerfy “Whole Lotta Love?” Yeah, no way. I know how this goes. You show up and the band are like, “Hey everything’s cool, check out this better universe we just made” and then the next thing you know the floor drops out and you’re doing manual labor on some Swedish farm to align yourself with some purported oneness. I hear you, “Starlighter.” You’re gorgeous and one of many vivid temptations on Leaving Ground, Greet the End, but you’ll not take my soul on your outbound journey through the melodic cosmos. I’m just gonna stay here and be miserable and there’s nothing you or that shiver-down-the-spine backing vocal in “Lovely Eyes” can do about it. So there.

Children of the Sün on Instagram

Children of the Sün on Bandcamp

—

Pothamus, Abur

While the core math at work in Pothamus‘ craft in terms of bringing together crushing, claustrophobic tonality, aggressive purposes and expansive atmospherics isn’t necessarily new for a post-metallic playbook, but the melodies that the Belgian trio keep in their pocket for an occasion like “De-Varium” or the drone-folk “Ykavus” before they find another layer of breadth in the 15-minute closing title-track are no less engrossing across the subdued stretches within the six songs of Abur than the band are consuming at their heaviest, and the percussion in the early build of the finale says it better than I could, calling back to the ritualism of opener “Zhikarta” and the way it seems to unfold another layer of payoff with each measure as it crosses the halfway point, only to end up squeezing itself through a tiny tube of low end and finding freedom on the other side in a flood of drone, the entire album playing out its 46 minutes not like parts of a single song, but vivid in the intention of creating a wholeness that is very much manifest in its catharsis.

Pothamus on Bandcamp

Pelagic Records website

—

Gentle Beast, Vampire Witch Reptilian Super Soldier (…From Outer Space)

Gentle Beast are making stoner rock for stoner rockers, if the cumbersome title Vampire Witch Reptilian Super Soldier (…From Outer Space) of the Swiss five-piece’s sophomore LP didn’t already let you know, and from the desert-careening of “Planet Drifter” through the Om-style meditation of “Riding Waves of Karma” (bonus points for digeridoo) ahead of the janga-janga verse and killer chorus of “Revenge of the Buffalo,” they’re not shy about highlighting the point. There’s a spoken part in the early going of “Voodoo Hoodoo Space Machine” that seems to be setting up a narrative, and the organ-laced ending of “Witch of the Mountain” certainly could be seen as a chapter of that unfolding story, but I can’t help but feel like I’m thinking too hard. Go with the riffs, because for sure the riffs are going. Gentle Beast hit pretty hard, counter to the name, and that gives Vampire Witch etc. etc. an outwardly aggressive face, but nobody’s actually getting punched here, they’re just loud having a good time. You can too.

Gentle Beast website

Sixteentimes Music website

—

Acid Magus, Scatterling Empire

Metal and psychedelia rarely interact with such fluidity, but South Africa’s Acid Magus have found a sweet spot where they can lead a record off with a seven-minute onslaught like “War” and still prog out four minutes later on “Incantations” just because both sound so much in their wheelhouse. In addition, the fullness of their tones and modern production style, the way post-hardcore underlines both the nod later in “Wytch” and the shoving apex of “Emperor” is a unifying factor, while the bright-guitar interludes “Ascendancy” and “Absolution” broaden the palette further and contrast the darker exploration of “Citadel” and the finale “Haven,” which provides a fittingly huge and ceremonious culmination to Scatterling Empire‘s sense of space. It’s almost too perfect in terms of the mix and the balance of the arrangements, but when it hits into a more aggressive moment, they sound organic in holding it together. Acid Magus have actively worked to develop their approach. It’s hard to see the quality of these songs as anything other than reward for that effort.

Acid Magus on Bandcamp

Mongrel Records website

—

Filthy Hippies released their new single “Wilt” this past Friday on the usual internetty smattering of streaming services. Lots of big names and no paychecks, you know the type. The South African heavygazer outfit say farewell to their now-former drummer, Mark Van Zyl, with their upcoming full-length, A Colourful Trip Through Melancholy — a title to which the music absolutely does live up — which lands April 4 with the backing of Mongrel Records. The new LP is coming on a quick turnaround from 2024’s Share the Pill (review here), but perhaps the fact that their drummer was moving to New Zealand — not gonna say I don’t get it — lit a fire under the process; I honestly don’t know. In any case, there are far worse things for a band to be than prolific.

The album is keyed for immediate immersion as “Get Out of My Way” begins. The vocals of guitarist/keyboardist Andrew Paine sit mellow and breathy deep within the fliud mix, the guitars of Ca’lee Tucker and Tim Ball create an engrossing backdrop of effects and noise, bassist Mandy Backstrom (also vocals) locked in on bass while what may or may not be a drum machine holds a subtle intensity beneath all the slow swirl. “Wilt” follows immediately and brings a clearer acoustic strum, but hey, big shocker, the album they decided to call A Colourful Trip Through Melancholy has a pretty vital focus on mood. Further to that, the sound isn’t monolithic. As with Share the Pill, Filthy Hippies dare to lean into indie and pop-psych — the latter in the second-half lead guitar of “Miserable,” for example — but the megafuzz blowout “Sad Things Write Themselves,” the psychedelic trip-hop of “Mind Pollution” and the comparatively minimalist guitar contemplation “Flashbacks” are also accounted for in their scope, so in addition to a world being made, it’s one that is full of life.

But of course, evolution is slow and so for the most part are Filthy Hippies. A transcendental hum in “Throw Away” feeding into “Flashbacks” gives the middle of the record a particularly entrancing bent, but “Smells Like Rehab” grounds with a straightforward folkish acoustic guitar and leaves it to the vocals and backing keys to get weird with just a hint of twang, subsequently shoved cosmic by “Sad Things Write Themselves.” The story of the back half of A Colourful Trip Through Melancholy gets more complex with the combined vocals and ambient layering of “Colours Fade Away,” which creates a space and threatens to fill it but recedes calmly into an ethereal drift. All of this is headed toward the druggy ’90s experimentalism of “Stargazer” (more fun with pop malleability here) and “Absolution,” but before the closing duo, “Into a Dream” gives one last space-rocking push, tambourine included for extra movement. That divergence into the relatively straightforward does a lot to realign the listener before side B wraps up as weirdo-celebrant as it does. They say in space no one can hear you scream. I’m pretty sure that means no one can hear you chill the fuck out either.

Considering the ephemeral nature of the band’s lineup as presented here, the adieu being bid to the five-piece they were presumably in the name of being able to get on stage and do the thing, A Colourful Trip Through Melancholy covers a lot of ground and finds the band getting more expansive in terms of style. I don’t know the actual circumstances under which it was made — that is, if it was recorded at the same time as the last album, or if the fact that they do it all themselves lets them jam and explore and they like to get the stuff on tape while it’s fresh, or whatever else in this universe of infinite possibility — but it feels less about impact than its predecessor and that comes across like an organic progression of craft in this material. Quick turnaround or not, it’s a dynamic worth preserving.

Enjoy the premiere of “Wilt” below, followed by more from the PR wire:

Filthy Hippies, “Wilt” video premiere

ADD ➤ https://orcd.co/-wilt

Cape Town-based alternative-psychedelic band Filthy Hippies have made a name for themselves in the South African music scene with their signature shoegaze-infused sound. Since their formation in 2018, they have cemented their reputation as a standout act in the country’s thriving psych scene, sharing stages with notable bands such as Dangerfield and delivering an unforgettable performance at the 2019 Endless Daze Festival.

After a period of evolution and lineup changes, Filthy Hippies are thrilled to announce their latest album, ‘A Colourful Trip Through Melancholy’. This release marks a significant chapter for the band as they bid farewell to longtime collaborator Mark Van Zyl, who was instrumental in shaping the record before his upcoming move to New Zealand.

“His intense creativity will be sorely missed,” shares frontman Andrew Paine. “But it was awesome to get to go down the rabbit hole one last time with him before he goes.”

‘A Colourful Trip Through Melancholy’ is exactly that—a vibrant yet introspective journey through the highs and lows of life. “It’s just reflections on everyday experiences and emotions,” Paine explains. “A
journey through a slightly jaded mind.” The album embraces a message of presence and acceptance, reminding listeners to cherish fleeting moments. “Enjoy every moment as it happens,” says Paine. “Things fade away far too quickly, and life moves in very definite cycles.”

The recording process was an immersive and intensive experience, with the band diving deep into latenight brainstorming sessions and extended tracking marathons. “Everything was recorded at our home
studio, The Sanctuary. Lots of late-night brainstorming and intensely long sessions—it was a lot of fun.”

With a Phil Spector-esque wall of sound blending rich textures, layered harmonies, and deep-rooted pop sensibilities, ‘A Colourful Trip Through Melancholy’ stands as a defining statement from Filthy Hippies.

Track Listing:
1. Get Out Of My Way
2. Wilt
3. Miserable
4. Fuzzbox
5. Mind Pollution
6. Throw Away
7. Flashbacks
8. Smells Like Rehab
9. Sad Things Write Themselves
10. Colours Fade Away
11. Into A Dream
12. Stargazer
13. Absolution

Video filmed by Meg Davidson
Edited by Filthy Hippies with Mark Van Zyl.
2025 Mongrel Records

Line Up:
Andrew Paine – Vox/Guitars/Keys
Mandy Backstrom – Bass/Vox
Tim Ball – Guitars
Ca’lee Tucker – Guitars
with Mark Van Zyl

Filthy Hippies on Instagram

Filthy Hippies on Facebook

Mongrel Records website

Mongrel Records on Facebook

Mongrel Records on Instagram

There’s not exactly a mountain of information to go on, but there is a mountain’s worth of volume packed into Acid Magus‘ new single — see what I did there? — “Emperor,” which is a herald of their third full-length to come. Though it is particularly satisfying in its largesse and melodic reach, progressivism and raw, heavy impact aligning comfortably side-by-side in their sound, “Emperor” follows behind “Wytch” (posted here), which came out this past August. There’s one more track to be unveiled from the apparently-not-that-impending long-player, which will be the follow-up to 2023’s Hope is Heavy (review here), but to keep centered in the moment, “Emperor” offers plenty to chew on in the meantime.

Even more than “Wytch,” it speaks to the growth of the band’s songwriting and aspirations toward spaciousness in the production. They float and crush in kind. I don’t know the release date for the album — next single early 2025, LP sometime thereafter, preferably sooner than later? — or even when the last song to advance it will drop, but “Emperor” is a reminder of why I look forward to hearing both.

To the PR wire, then:

Acid Magus Drops Explosive New Single Emperor from Upcoming Album

Emerging from the shadows of Pretoria’s rock scene, Acid Magus unleash Emperor, the fiery second single from their upcoming album. Known for their intoxicating blend of doom, stoner, punk, and psych rock, Acid Magus has crafted a track that is both an intense journey into sound and a searing exploration of power’s dark allure.

In a swirl of distorted guitars, heavy riffs, and hypnotic rhythms, Emperor introduces the album’s central antagonist—a power-hungry overlord who thrives on destruction. As a metaphor for colonialism and the erasure of culture, the Emperor embodies raw, destructive ambition. The track invites listeners to confront the brutality of conquest, with haunting lyrics that echo the relentless drive for control. Acid Magus’s characteristic musical grit and psychedelic edge deliver a visceral experience, drawing inspiration from the likes of Mastodon, Kylesa, and Baroness, all while infusing their signature South African flair.

Buy / Stream Emperor: https://orcd.co/_emperor

Emperor is also the shortest track on the upcoming album, offering a potent glimpse into the broader narrative Acid Magus has woven. With epic vocal cries and spine-chilling drops into sonic oblivion, the song encapsulates the wild thoughts of the loathsome Emperor himself, pulling listeners deeper into his tortured psyche. Acid Magus’s commitment to a raw, DIY approach comes through in every heavy beat and spiraling riff, creating a sound that’s both timeless and immediately captivating.

“We wanted to capture the Emperor’s madness and the absolute corruption of power,” the band shares. “This song channels the darkness in humanity that few dare to confront. Psychosis never sounded this good.”

Fans of Zeppelin, Sabbath, and the heavy psychedelia of modern bands like Slift will recognize Acid Magus’s reverence for rock’s legends, while newcomers to the genre will find themselves immersed in a hypnotic mix of styles, from 60s psych to alt-rock intensity.

https://www.facebook.com/acidmagus
https://www.instagram.com/acidmagus/
https://acidmagus.bandcamp.com/

Acid Magus, “Emperor”

Welcome back to the Fall 2024 Quarterly Review, which started yesterday and will continue through next Friday. This week and next week, my life is pretty much cutting up pizza for the kid, Hungarian homework, and this. I could do worse.

There’s good stuff in this one though, and a lot of it, today and really throughout. I hope you find something you think is cool, tomorrow or the next day if not today.

Quarterly Review #11-20:

—

Pia Isa, Dissolve

Pia Isaksen, also of Superlynx, offers a follow-up to 2022’s solo debut as Pia Isa, Distorted Chants (review here), and with songs like “Into the Fire” and “Dissolve,” a heavy-meditative take on grunge is imagined, with Isaksen‘s lumbering bass leading the way with a low rumble behind often quietly delivered vocals, and Ole Teigen‘s drums placed deep in a three-dimensional mix, and spaciousness added to the bulk of the proceedings through Gary Arce‘s signature floating guitar tone; the Yawning Man founder guests on guitar for six of the eight tracks, and is a not insignificant presence in complement and contrast to some of the more morose elements and rhythmic churning, as in “New Light.” But Isaksen is no stranger to crafting material heavy in ambience and mood as much as tone, and Dissolve feels like a deep-dive into experimentalism that pays off in the songs themselves. As Isaksen and Arce get ready to unveil their new collaborative project SoftSun, nothing here makes me look forward to that less.

Pia Isa on Facebook

Argonauta Records website

—

Sun and Sail Club, Shipwrecked

I don’t know where the lines between genres are supposed to be anymore and I’m done pretending to care. If Sun and Sail Club had Barney from Napalm Death singing lead, you’d call them grindcore. It’s Tony Adolescents, making his second appearance with Sun and Sail Club after 2015’s The Great White Dope (review here), alongside founding guitarist Bob Balch (also Fu Manchu, Big Scenic Nowhere, etc.), bassist Scott Reeder (ex-Kyuss, Goatsnake, The Obsessed, etc.) and drummer Scott Reeder (Fu Manchu) for another mostly-blistering round of heavy punk, full in its charge and crossover punk-metal defiance, in “The Color of War” and the early-C.O.C.-esque “Drag the River,” which follows. Oh, and Balch gets a little surf in there too in “Tastes Like Blood” and the wistful bookending intro and outro. Borders on goth for a moment there, but it works. In the Balchian oeuvre — somewhere on the opposite side of the spectrum from where Slower now reside — Sun and Sail Club found itself as a project with The Great White Dope. Shipwrecked is correspondingly more aware of what the band wants their music to do as a result, and so able to hit more directly.

Sun and Sail Club on Facebook

Heavy Psych Sounds website

—

Vitskär Süden, Vessel

The third album from Los Angeles-based heavy progressive rockers Vitskär Süden, Vessel is quick to establish ambition as a central element. That is to say, in the depth of their arrangements vocally and instrumentally, in their ability to set and vary a mood, and in being able to convey a sense of experimentalism in a four-minute track with a hook like “R’lyeh,” Vitskär Süden come across as cognizant of trying new ideas in their material and bringing these to fruition in the finished products of the songs. The material feels built around specific parts, some rhythmic, some melodic, in “Through Tunnels They Move” it might be Inxs, maybe the piano and strings in “Hidden by the Day,” and so on, and that it isn’t always the same thing adds to the character brought by guitarist/synthesist Julian Goldberger, bassist/vocalist Martin Garner, guitarist TJ Webber and drummer Christopher Martin as the songs coalesce and challenge the band’s own conceptions of their work as much as the listener’s. It is cinematic in both its sprawl and dramatic intent, and I won’t spoil the ending but yes of course it goes gospel.

Vitskär Süden on Facebook

Ripple Music website

—

Daevar, Amber Eyes

German murk-doomers Daevar keep affairs dark on their second long-player, Amber Eyes, as the trio of bassist/vocalist Pardis Latifi, guitarist Caspar Orfgren and drummer Moritz Ermen Bausch explore nodding patience and grim atmospherics across the six included cuts, and Windhand are still an influence, but “Pay to Pray” has a rolling, Acid King-style fluidity and the guitar takes to someplace more decisively evil, and Electric Wizardly, so you figure it out, because what it sounds like to me is Daevar beginning to step out from any single influence and to more comfortably find their own, often hypnotic niche, meeting the post-metallic feel of “Caliban and the Witch” with layered vocal harmonies before the megaplod finish. The title-track is faster and represents the grungier intentions, and if that’s the start of side B, then “Lizards” and “Grey in Grey” could only be called a plunge from there. The finale in particular is consuming in a way that reminds of Undersmile, which isn’t a complement I would lightly give.

Daevar on Facebook

The Lasting Dose Records on Bandcamp

—

Endless Floods, Rites Futurs

Have you ever heard Endless Floods and not wanted more? Me neither. The French art-doom four-piece made a single out of the eight-minute “Décennie” from their fourth full-length, Rites Futurs, and as that song works its way into a minimalist drone progression worthy of Earth before offering stark reassurance in intertwining human voices before exploding, gloriously, into a guitar solo the size of any number of partially undersea volcanoes, there is little that feels beyond the band’s creative reach. Volume is a part of what makes the material so affecting, with a progressive metal-style fullness of tone and voices treated to become part of what’s creating the sense of space. In its quiet reaches and surges of worshipful sounds — the choir on “Forge,” for example — Rites Futurs is somehow dystopian, but it’s not an empty world “after” humans. There’s life in these songs, in the way the title-track builds into its post-punk shove and then just into this undulation of noise is twice as universe-devouring for the acoustic guitar that emerges by itself on the other side. Underrated band.

Endless Floods on Facebook

Breathe Plastic store

—

Black on High, Echoes Through Time

Dark heavy rock with a metallic underpinning that seems to come forward in “She Was a Witch” more than, say, opener “Alleyway Ecstasy,” from Black on High‘s debut, Echoes Through Time, notably brings elements from the likes of Mastodon and Alice in Chains together with songs that don’t just retain their immediacy but build upward from the leadoff, so that “Take These Pills” in the penultimate spot of the tracklisting becomes a punk rock apex for a trajectory the Dallas-based four-piece with members of Gypsy Sun Revival and Turbid North set forth on “I Feel Lethal,” and the drop into lower gears for the closing title-track seems to hit that much harder as a return. It’s like the meme where the riff comes back but heavier and Vince McMahon or whoever is laser-eye stoked, except it’s set up across the whole album and not actually so simple as that, and Echoes Through Time ends up being more about the journey than the destination. Fine. It’s a high level of craft for being a first record, and it feels like the beginning of an evolution for a longer term.

Black on High on Facebook

Black on High on Bandcamp

—

Anomalos Kosmos, Live at 102 FM

Greek experimentalist two-piece Anomalos Kosmos may or may not evoke a Grails-y impression with their ’70s-prog-informed soundtrack-style instrumentals, but the thing is, with Live at 102 FM, they seem at least to be making it up as they go along. Sure, looping this or that layer to fill out the sound helps, as “Flow + Improv 1” proves readily in its first half, then again in its second, but what makes it jazz is that the exploration is happening for the creator and the consumer at the same time. It gets weird, and weirder, and “The + Improv 2” throws down a swinging groove for a bit after that vocal sample in the last couple minutes, but even if part of “Me Orizeis” is plotted as opposed to being 100 percent made up like they just walked into the room and that noise happened, it represents a vibrant and encompassing process that can’t help but feel organic as it’s recorded live. The band’s 2022 debut, Mornin Loopaz (review here) was both more restless and more concept-based. I like that I have no idea how Anomalos Kosmos might follow this.

Anomalos Kosmos on Facebook

Anomalos Kosmos on Bandcamp

—

Mountainwolf, Dust on a New Moon

Maybe it won’t come as a shocker that a live record with takes on the band’s songs that are upwards of 14, 17, 19, 23 minutes long is expansive? Maryland’s Mountainwolf offer seven tracks across Dust on a New Moon, which were recorded live at some point, somewhere, ever, maybe at New Year’s? I don’t want to speculate. In any case, what happens over the course of the ‘evening with’ is Mountainwolf plunge into an Appalachian vision of Earthless-style instrumental epicness. East Coast groove set to a more Pacific ideology; I guess at a certain point jams is jams. Mountainwolf have plenty of those, and while it’s not at all their first live release, Dust on a New Moon unfolds the sludgy crash of “Edging” and the bassy jabs of “Heroin x 1991” with purpose in each twist of turn captured. I assume the show is a little different every night as a given song might go here or there, but it sounds like a show worth seeing, to say the very least of it.

Mountainwolf on Facebook

Mountainwolf on Bandcamp

—

The Giraffes, Cigarette

The Giraffes don’t have to be out there burnin’ barns, but Cigarette is indeed incendiary in “Pipes” and “Limping Horse,” and that’s barely a fraction of the business the long-running New York outfit get done in short order across their eighth album’s 34 minutes. NYC has had its share of underheralded heavy rock bands and so fair enough for The Giraffes being part of a longstanding tradition, but the moody vibe in “Lazarus,” the eerie modernity cast in “Baby Pictures,” and the citified twang in “Dead Bird” — which is fair enough to consider Americana since it’s about drug addiction — or the way “The Shot” has a kind of punctuated strut that is so much the band’s own, it’s worth reiterating that The Giraffes have earned far more plaudits than they’ve ever received for their recorded work, and as “Pipes” and “Million Year Old Song” bring a bluesy tinge to the madcap groove, I don’t know Cigarette will change that or if the band would even want it to if it did, but they’re an institution in New York’s underground and LPs like this are why.

The Giraffes on Facebook

The Giraffes on Bandcamp

—

Filthy Hippies, Share the Pill

While the drift of psychedelia ranges further back, there’s something about even the most shimmering of moments on Filthy Hippies‘ Share the Pill that’s much more ’97 than ’67, more Sonic Youth and My Bloody Valentine adding a current of noise to the mellow-heavy groove, maybe. That’s all well and good but doesn’t account for the universe-tearing “Good Time” or the spacey post-punk of “Catatonic” (though maybe it does, in the case of the latter) or the dub-psych roll “Stolen From Heaven” that bridges the two halves of the record, so take it for what it is. The stylistic truth of Filthy Hippies is more complex than the superficial trappings of drug rock might lead one to believe, and it’s not without its challenging aspects, even though the material in pieces like “Candy Floss” or the tambourine-insistent “Dreaming of Water” veers readily into poppish frequencies. There doesn’t seem to be a ton that’s off limits, but it feels rooted in heavy groove just the same and that sits well next to the flashes of the brighter contrast.

Filthy Hippies on Facebook

Mongrel Records website

—

[Press play above to stream Ruff Majik’s Moth Eater in its entirety. Album is out tomorrow, Oct. 4, through SOL Records. The band are currently on tour in Europe with Gnome. Dates are here.]

Hail narrative, and double-hail the wielding of it. Ruff Majik‘s fifth album in six years, Moth Eater is also their first for the Sound of Liberation label arm SOL Records and it finds the South African four-piece — vocalist/guitarist Johni Holiday, guitarist/vocalist Cowboy Bez, bassist Jimmy Glass and drummer Steven “Boz Moon” Bosman — with grueling tales of underground debauchery, trials and triumphs, set to dizzying instrumentalist turns and full-rush party-vibe conjurations. To aid in the telling are guests like South Africa’s Reegan Du Buisson (Evergloom, Facing the Gallows) on opener “What a Time to Be a Knife,” and Lerato, who appears on the side B funk-fortified groover “Ingozi” (the Zulu word for “danger” as the lyric sheet notes), and Sweden’s Arvid Hällagård (Greenleaf, Young Acid, Pools), and an overarching structure that brings the sometimes disparate tracks together with transitional recordings of voicemails that are mostly funny and no doubt have their foundations in stories too.

Because make no mistake, even though the songs are short, shove-prone, and fun, what’s happening on Moth Eater — which is not-coincidentally subtitled ‘The Lorekeeper’s Bible’ — is nothing less than Ruff Majik realizing the power of and taking control of their narrative. “Dirt and Deer Blood?” Oh that’s a story. The angry voicemail before the drums start opener “What a Time to Be a Knife” that ends with the threat, “I’ll make sure you never play another show in this town, bru!” as if the band’s intentions were so limited to a single city? That’s a story too. “Wasted Youth?” Come on. That’s a drinking song. Of course it’s a story.

You get the idea. The story is story. This is consistent in some ways with the last two, also stellar, Ruff Majik full-lengths, 2020’s The Devil’s Cattle (review here), where they learned genre was a tool to be manipulated, and more especially 2023’s Elektrik Ram (review here), with which much of Moth Eater is in conversation, sometimes directly, as in the voicemail from the CEO of Riffcom as played by Paul Gioia (All This for Nothing), who congratulates ‘Wilkinson’ on a job well done after the brainmelting percussive thrust of early cut “By the Hammer,” following up on a similarly charming gag from the last record, and sometimes indirectly, as in the way “What a Time to Be a Knife” middle-fingers-up rages in the spirit of Elektrik Ram‘s opener “Hillbilly Fight Song” or “All You Need is Speed” from The Devil’s Cattle, or even the fact that the last line of the closing title-track on Moth Eater is “I feel fine,” where Elektrik Ram wrapped with, “I wish I was dead.”

That that choice feels purposeful at all — and it does — is emblematic of Ruff Majik‘s attention to detail, but one doesn’t have to dig even so far to find that. It’s audible in the multi-layered vocal arrangements throughout, with Holiday‘s voice pushed low on “We’re Not Out of the Swamp Yet” and at its most Axl Rose-esque in “Wasted Youth,” or instrumentally, in the way Glass‘ bassline matches the vocal thoughtfully in the otherwise frenetic “By the Hammer” — which is so much of a story it’s mythology — for the lines, “Oh, and the blood it would stain her pretty white dress/Oh, if Odin wills, she’ll have their heads,” or the manner in which “Cult Eyes” finds itself in a mid-tempo bluesy swagger so suited to the Holiday/Hällagård duet that tops it, or how “Baby’s First Guillotine” moves from its perhaps ill-advised opening voicemail — a German-accented guy talking in a lisped voice about the band shaking their asses resolving in the punchline, “that’s what’s fappening”; I’m sure there’s a story there, too, but it could be taken as a little ha-ha-queerness-is-funny-because-it’s-different-from-me in a way that’s probably more sixth-grade than the band intended — into self-titled-era Alice in Chains-style pulls of guitar in its tension-releasing chorus.

Such persistent self-awareness and generally intelligent structured craft and lyrics are not anchors holding the band back. Instead, as much as it’s a party on the surface, depth abounds in a lyrical reference like “I’m killing snakes/Call me Patrick” in “What a Time to Be a Knife” — subtly namedropping the patron saint of Ireland — and the last lyrics, “Oh Mary, you should’ve seen me in my prime/I could’ve made it, I just didn’t have the time” from the maddeningly catchy “Battering Lamb,” which is a highlight examining the life of a band trying to exist in the current underground sphere, its own chorus, “And I’ve won some/But I’ve lost some too/I’ve been told it’s all part of the game/And I’ve burned through/A stack or two/I’ve been told money ain’t no thang,” encapsulating the experience from inside a nebulous idea of what ‘making it’ means in the first place when the rewards are often intangible at best. That the voicemail accompanying “Battering Lam” at the start and finish is a desperate fan who “needs the fuzz in my life” and “needs some Majik” as though addicted to it should not be taken as a coincidence. Clearly among the things Ruff Majik know about themselves is they know when they’re on fire.

Much of Moth Eater is spent in that very state. To wit, as “Dirt and Deer Blood” shifts from its opening sample of a longwinded tour manager/driver into its verse, Ruff Majik have by then amassed enough capital in attitude to sell the bridge lines, “Y’all don’t even know who the fuck I think I am,” and “Y’all keep playing preacher and I’ll keep getting lit,” without sounding ridiculous. No minor accomplishment, and the song itself is likewise a burner. Sound of Liberation‘s Matte Vandeven (also My Sleeping Karma and The Great Escape) offers some noncommittal compliments after “Baby’s First Guillotine,” and the joke is that the band are killing it. Broadly speaking, the songs don’t make efficiency the top priority in a way that Elektrik Ram often did, and that’s something you can hear even when “What a Time to Be a Knife” kicks back in after a stop that, on the record before, would’ve just been its cold ending. The tradeoff for that immediacy is the material here does more. In that song, for example, the final section rides a more open groove and turns well-timed repetitions of “Get fucked!” into a memorable impression that defines in part the point of view of everything that follows. It enhances the story Ruff Majik are telling, and story is the priority.

A singalong finish for “Wasted Youth” — “Now all I’ve got left is wasted youth/And all I have is half of the truth/I said I never felt lonely/Until I met you/Until I met you…” — gives over (without a sample between) to the title-track, which establishes acoustic guitar early and trades off into a fervent push echoing “By the Hammer” as much as the quieter parts and lyrics complement Elektrik Ram‘s previously-alluded-to “Chemically Humanized.” Decidedly, willfully more lighthearted, “Moth Eater” caps the LP that shares its name with the punchline for all the voicemails spread across its span with a simple deleting of messages. It’s a little awkward after the very-much-an-ending way “Moth Eater” rounds out, but if they were going to conclude that thread at all — and they were, because storytelling — that’s a fair enough way to do it, reinforcing the attitude underlying the songs front-to-back and underscoring the band’s intention to do their own thing in their own way, even if it means they’ll never get another show in this town again, whatever town this may be.

There is a particular element of glee as Ruff Majik dash from part to part, righteous in their us-against-reality cause and assured by a strength of songwriting that makes the song likewise casual-cool and roilingly infectious, and if Elektrik Ram was staring into the abyss, Moth Eater is perhaps throwing the abyss in the van and hitting the road alongside it in buddy-comedy fashion. It is undeniably Ruff Majik‘s own in persona and execution, and even if the trilogy that began in The Devil’s Cattle is done — which it may or may not be — the band thankfully show no signs of letting up anytime soon. May their next round of adventures also result in such a broad swath of stories recounted.

Ruff Majik, “Wasted Youth” lyric video

Ruff Majik, “Cult Eyes” official video

Ruff Majik website

Ruff Majik on Facebook

Ruff Majik on Instagram

Ruff Majik on TikTok

Sound of Liberation on Facebook

Sound of Liberation on Instagram

Sound of Liberation website

Sound of Liberation store

South African four-piece Ruff Maijk will return to Europe for a fest-anchored run of mostly German dates starting Oct. 1. Their new album, Moth Eater, is out three days later through the booking agency Sound of Liberation‘s label wing, SOL Records. That Aschaffenburg show is sure to be a party, though I suppose you could say that for the rest as well. At the end of last week, the band put up the new single “Wasted Youth” showing off some of the more complex melody and emotionalism present throughout the album while reassuring that the hooks, the groove and the fun are maintained. I’m not surprised that I dig the record, but it’s a different animal than the genre-crossing mania of last year’s Elektrik Ram (review here), which seemed to thrive balanced on a tightrope of craft. Moth Eater digs a little deeper into each song, pushing forward in terms of style without wanting to convey the same kind of urgency, panic, call it what you will.

I was lucky to see Ruff Majik play live for Elektrik Ram. I don’t think an invite to Desertfest Belgium or any of the other fests listed below is coming, so I’ll likely not catch them on this run, but I do await the day they announce a US incursion. In years past, I’d have speculated Psycho Las Vegas to host such a thing, and certainly Planet Desert Rock Weekend in the same city (at a much different scale) has its ethic of importing quality bands as well, but if it were to happen at Desertfest New York next year, I most certainly wouldn’t complain about that. I’ll keep my fingers crossed, which, yes, will make it harder to type.

As regards Moth Eater, mark your calendar for Oct. 3 as I’ll be streaming the record in full with a review a day ahead of its proper release. Get stoked. I am.

Tour dates follow, as posted by Sound of Liberation on the old social medias:

Europe, your boys are coming back ❤️

This October, @soundofliberation and @soundofliberationrecords presents @ruffmajik 7th European tour, which will include sets at @desertfest_belgium @up_in_smoke_festival @keep_it_low_festival , Lazy Bones festival and many more!

In support of the new album “Moth Eater”, the boys will also be joining @gnomeverse and @templefang on the road for select dates.

More dates are also being actively added, so if you don’t see your town on the list, get in touch.

RUFF MAJIK – Moth Eater European Tour:
01.10 Pitcher Düsseldorf DE
02.10 Schön Mainz DE
04.10 Colos Saal Aschaffenburg DE
06.10 Up in Smoke Festival Pratteln CH
07.10 Cassiopeia Berlin DE
10.10 Faust Hannover DE
11.10 Beatpol Dresden DE
12.10 Keep it Low Festival Munich DE
13.10 Werk 2 Leipzig DE
18.10 Kuba Jena DE
19.10 B58 Braunschweig DE
20.20 Desertfest Antwerp BE
21.10 Feierwerk Munich DE
22.10 Roxy Ulm DE
23.10 Arena Wien AT
24.10 Zauberberg Passau DE
25.10 Juze Hürth DE
26.10 Lazy Bones Festival Hamburg DE

Visit the SOL Records Shop here: https://shop.soundofliberation.com

Ruff Majik are:
Johni Holiday (vocals & guitar)
Cowboy Bez (guitar & vocals)
Jimmy Glass (bass)
Steven Bosman (drums)

http://www.ruffmajik.com
https://www.facebook.com/profile.php?id=100089579216305&mibextid=ZbWKwL
http://www.instagram.com/ruffmajik
https://www.tiktok.com/@ruffmajik

https://www.facebook.com/Soundofliberation/
https://www.instagram.com/soundofliberation/
https://www.soundofliberation.com/
https://shop.soundofliberation.com/

Ruff Majik, Moth Eater (2024)

Ruff Majik, “Wasted Youth” lyric video

Ruff Majik, “Cult Eyes” official video

I think maybe Acid Magus are just going to be one of those bands where every record does something different. That’s nothing to complain about, of course, but as they look to follow 2023’s Hope is Heavy (review here) with an impending third full-length, the conversation once again changes in terms of where they’re coming from. They’re not doing black metal like all of a sudden the psychedelia is gone and they’re playing Satyricon tunes or some such, but there is an extreme element to the atmosphere, if one accompanied by a rampant, growing melodic reach.

The underlying point there is that Acid Magus are getting harder, not easier, to predict with time, and that seems to be a purposeful thing. That their songwriting remains engaging while they consistently explore various sides of their persona in sound is, well, it’s fortunate for the listener taking them on, for sure, but it’s emblematic of the band’s priority on craft, which to-date has been a unifying factor. In the case of “Wytch,” vibe is a big part of it over that solid foundation, and it further marks the debut in the band of new drummer Jethro Vlag, who wins names to a degree that is likewise rare and admirable.

No release date or title or other details yet, so for all I know the record isn’t done yet, but here’s the announcement for the single, fresh off the PR wire:

ACID MAGUS UNVEILS “WYTCH” – FIRST SINGLE FROM UPCOMING THIRD STUDIO ALBUM

Prepare to descend into the depths of sonic chaos and transcendence as Pretoria’s very own Acid Magus releases their latest single, Wytch, from their eagerly anticipated third studio album out via Mongrel Records. Known for their self-proclaimed “garage doom on shrooms” sound, the band takes listeners on an intense journey that blends the psychedelic energy of psych rock with the crushing weight of doom metal.

Wytch marks the introduction of the protagonist in what promises to be a compelling concept album. This track sets the stage for a narrative steeped in corruption, loss, and the indomitable strength of community. The rise of an empire and the birth of an unlikely people’s champion are explored through haunting melodies, frenetic rhythms, and the band’s signature doom-laden riffs.

For the first time in their discography, Acid Magus delves into the dark, abrasive world of black metal, adding a new layer of intensity to their already formidable sound. The inclusion of new drummer Jethro Vlag has brought a fresh dynamic to the band, with his prowess behind the kit elevating the music to new heights. Vlag’s contributions shine throughout Wytch, capturing a sound that oscillates between frenetic energy, simple beauty, and bone-crushing weight.

Buy / Stream Wytch: https://orcd.co/wytch

Acid Magus’ upcoming album is shaping up to be their most ambitious project yet. While details of the full album remain under wraps, Wytch offers a tantalizing glimpse into what fans can expect— an aural exploration of epic proportions that pushes the boundaries of what doom metal can be.

https://www.facebook.com/acidmagus
https://www.instagram.com/acidmagus/
https://acidmagus.bandcamp.com/

http://mongrelrecords.com
http://www.facebook.com/mongrelrecords
http://www.instagram.com/mongrel_records
https://mongrelrecords1.bandcamp.com/

Acid Magus, “Wytch”

Acid Magus, Hope is Heavy (2023)

Behold the third single from the upcoming Ruff Majik LP, Moth Eater. “Cult Eyes” is notable both for its divergence from the band’s stare-into-the-mania-and-the-mania-stands-back methodology and the guest vocal spot from Greenleaf‘s Arvid Hällagård (also Young Acid, Sleep Moscow, Pools, etc.), but the twist is well-placed amid the many voicemails and turns throughout Moth Eater, and it’s all part of the narrative assertion being made across the record — that is, Ruff Majik taking control of their own story and how it’s presented — and so consistent in making its own kind of sense.

Indeed, a big part of that the South African four-piece are doing with Moth Eater is storytelling, and you can get a sliver of that through the quote below, but that’s just a sample for one song. The whole album has tales for context and even as they seem to advocate turning away from a social-algorith-driven content-provider ethic, they’ve got more to say to their audience than ever. I’m still getting to know the album and still doing some mental ironing on these ideas, so expect more to come as we get closer to the Oct. 4 (originally listed as Sept. 27) release. I haven’t put in a request to stream the album yet, but I should probably get on that.

While I do, here’s PR wire info and the clip for “Cult Eyes.” As always, I hope you enjoy:

South African Fuzz Rockers RUFF MAJIK Release New Video Single “Cult Eyes”, Feat. Arvid Hällagård Of GREENLEAF, Taken From Upcoming Studio Album “Moth Eater”!

October 4, 2024 will see South Africa’s megalithic Ruff Majik release their brand new studio offering, entitled Moth Eater via SOL Records, the label imprint run by Sound Of Liberation (Desertfest Berlin, Keep It Low, Up In Smoke etc. and booking agency for numerous, high-class artists of the stoner, psych, rock and doom metal / sludge scene). Visit the SOL Records Shop at: https://shop.soundofliberation.com

Following previously-released singles such as “What A Time To Be A Knife”, today, Ruff Majik have unleashed a video clip for the song “Cult Eyes”, featuring a guest vocal performance of GREENLEAF frontman Arvid Hällagård! Get the song, out now on all digital streaming providers, at: https://orcd.co/culteyes

“The lyrics for Cult Eyes came about when we became aware of the fact that we had inadvertently started an actual cult based around our music (Yes, the cult is VERY real. No, we won’t tell you where it is or how it started).” The band comments.

“It’s mostly about nonchalantly accepting the role as a cult figure, and then realizing the weight and impact your actions have on your followers, and specifically having to be accountable for those actions. Of course the protagonist in the song doesn’t want to accept any of his own mistakes or take control of anything, just like cult leaders usually don’t, and this selfishness results in death and ruin. It can also be interpreted as an allegory for the modern state of politics and social media influence, where cult leaders spew out nonsense with no accountability.

Arvid Hällagård of Greenleaf tracked vocal harmonies for the song back in 2021, but due to an unfortunate sabotage, the original track was lost to the ether. When Greenleaf and Ruff Majik played together in 2023, the bands got to talking, and Tommi Holappa brought up the fact that Greenleaf listens to a lot of Ruff Majik in the tour van. Arvid and Johni spoke about the sadly lost song, and the decision was made to redo it. It’s a bit of a “what the fuck?” moment for us, since we’ve idolized Greenleaf for years – and Johni even tried to hoodwink them into touring with us before anyone ever heard about us. So, a full circle moment indeed.”

Kicking the vibe back to a sepia-toned era where bell-bottoms and fuzzed-out bass were de rigueur, the ‘Majik lads take a well-known template and drench it with their unique attitude and stoner-esque sensibilities. The horned infant known as Ruff Majik emerged from the primordial ooze when the band moved from the historical town of Lydenburg in 2012 to the capital city of Pretoria, where they honed their craft for a few years before finally entering the studio to record for the first time. In 2024 and while they are currently gearing up for the October-release of their Moth Eater on Sound Of Liberation Records, Ruff Majik released a number of EP’s and three lauded albums to date, not to mention the megaton of local and international touring (watch out for new tour dates, to be announced for October 2024 soon)!

All the requisite ‘Majik trope boxes are ticked in thick, bold permanent marker – sludgy, distorted riffs, vast landscapes of sonic abandon, dark imagery that perfectly complements the delicious cacophony, and tasty sound bites that add infinite swathes of colour. This is what is expected from the band, their signature sound and one that never fails.

Album Tracklist:
01. What A Time To Be A Knife
02. Dirt And Deer Blood
03. By The Hammer
04. We’re Not Out Of The Swamp Yet
05. Battering Lamb
06. Cult Eyes
07. Baby’s First Guillotine
08. Ingozi
09. Wasted Youth
10. Moth Eater

Ruff Majik are:
Johni Holiday (vocals & guitar)
Cowboy Bez (guitar & vocals)
Jimmy Glass (bass)
Steven Bosman (drums)

http://www.ruffmajik.com
https://www.facebook.com/profile.php?id=100089579216305&mibextid=ZbWKwL
http://www.instagram.com/ruffmajik
https://www.tiktok.com/@ruffmajik

https://www.facebook.com/Soundofliberation/
https://www.instagram.com/soundofliberation/
https://www.soundofliberation.com/
https://shop.soundofliberation.com/

Ruff Majik, “Cult Eyes” official video