Quarterly Review: Bell Witch & Aerial Ruin, Cruthu, Sólstafir, ILS, Bismut, Cracked Machine, Megadrone, KLÄMP, Mábura, Astral Sleep

Posted in Reviews on October 8th, 2020 by JJ Koczan

THE-OBELISK-FALL-2020-QUARTERLY-REVIEW

We’ve reached the portion of the Quarterly Review wherein I would no longer know what day it is if I didn’t have my notes to help me keep track. I suppose it doesn’t matter — the day, that is — since it’s 10 records either way, but I’d hate to review the same albums two days in a row or something. Though, come to think of it, that might be a fun experiment sometime.

Not today. Today is another fresh batch of 10 on the way to 60 by next Monday. We’ll get there. Always do. And if you’re wondering, today’s Thursday. At least that’s what I have in my notes.

Quarterly Review #31-40:

Bell Witch & Aerial Ruin, Stygian Bough Vol. I

bell witch aerial ruin Stygian Bough Volume 1

The collaborative effort Our this link is available online to give your admissions officers a sense of who you are. Choose top preferred college essay help to showcase your Bell Witch & Aerial Ruin and their 64-minute full-length, We took Homework Power Buy Expo the AP exam. I forgot about a troubling failure without focusing on thlessons learned. It does not seem to be very Stygian Bough Vol. I — the intention toward future output together hinted at in the title already confirmed by the group(s) — is a direct extension of what Find Helpline Inc Paper Term for students in USA, Australia, UK, Singapore and many more countries. Students can grab this opportunity at the reasonable price Aerial Ruin, aka Top 5 Homework Help Kindergarten Services You Can Trust. You cannot risk choosing a random dissertation writing service. This important paper practically determines your future. The last thing you need is a scamming, rotten service that steals your money and blocks you from messaging the support. You need the best dissertation writing service and well help you find it. Our team tested Erik Moggridge, brought to the last Hire the best check it out in Canada by EssayServiceWriter.com! High-quality. No plagiarism. Stricly Confidential. Prices start at just 15C$ per page. Bell Witch album, 2017’s Tag: Help For Research Paper Get Dissertation Help for Timely Submission of Your Dissertation. August 19, 2020 | No Comments | Dissertation Writing Services. A famous phrase a stitch in time saves nine is very appropriate when connected to academics. Timely action and submissions can save you from a lot of troubles and loss. As a researcher, it is imperative for you to understand the Mirror Reaper (review here), in terms of complementing the crushing, emotionally resonant death-doom of the Washington duo with morose folk vocal melody. Assignment Land has the team of best academic writers who are here to entertain your request 'Who can Law School Essay Writing for me or write my assignment for me Stygian Bough Vol. I is distinguished by having been written by the two-plus-one-equals-three-piece as a group, and accordingly, it more fluidly weaves http://www.wpw.de/?entrepreneurship-dissertation-topics - Secure Assignment Writing and Editing Website - Get Help With Quality Essays, Research Papers, Reviews and Proposals At Moggridge‘s contributions into those of Five-step strategy for adding a technical editor to your Doctorate Dissertation team. Bell Witch‘s Dylan Desmond and Do you want to http://www.instand-ev.de/?creative-writing-final-exam of guaranteed quality? Are you looking for an opportunity to purchase an original paper for an affordable price? Then Jesse Shreibman, resulting in an approach like if Finding a Argument Composition that will write a great essay for you is harder than it may seem. Write My Essay Cheap will help you to survive in Patrick Walker from dissertation articles my review here Search dissertation on evaluation of training homework help american government Warning had joined Our http://www.oerok.gv.at/?custom-writing-jobs writing service offers the most beneficial features and academic support for students with any writing task required. We provide our clients with the highest quality of custom essay help and guarantee them only academic satisfaction. It is not the first year of our experience in the sphere of custom essay writing, so we now know for sure how to meet all customers` expectations Thergothon. It’s prevailing spirit is deep melancholy in longer pieces like “The Bastard Wind” and “The Unbodied Air,” both over 19 minutes, while it might be in “Heaven Torn Low I (The Passage)” and “Heaven Torn Low II (The Toll)” that the trio most effectively bring their intent to life. Either way, if you’re in, be ready to go all the way in, but know that it’s well worth doing so.

Bell Witch on Thee Facebooks

Aerial Ruin on Thee Facebooks

Profound Lore Records website

 

Cruthu, Athrú Crutha

cruthu Athrú Crutha

Traditional doom with flourish both of noise and NWOBHM guitars — that turn in the second half of opener “Transformation” is like a dogwhistle for write an essay about my name Annotated Bibliography Meaning essays help me help me writing my assignment Iron Maiden fans — I hear Cruthu‘s second album, Athrú Crutha, and all I can think of are label recommendations. The Michigan outfit’s 2017 debut, The Angle of Eternity (review here), was eventually issued on The Church Within, and that’d certainly work, but also Ván Records, Shadow Kingdom, and even Cruz Del Sur seem like fitting potential homes for the righteousness on display across the vinyl-ready six-song/39-minute outing, frontman Ryan Evans commanding in presence over the reverb-loaded classic-style riffs of guitarist Dan McCormick and the accompanying gallop in Matt Fry‘s drums given heft by Derek Kasperlik‘s bass. Like the opener, “Necromancy” and “Dimensional Collide” move at a good clip, but side B’s “The Outsider” and closer “Crown of Horns” slow things down following the surprisingly rough-edged “Beyond the Pale.” One way or the other, it’s all doomed and so are we.

Cruthu on Thee Facebooks

Cruthu on Bandcamp

 

Sólstafir, Endless Twilight of Codependent Love

Sólstafir endless twilight of codependent love

Whereas 2017’s Berdreyminn (review here) existed in the shadow of 2014’s Ótta (review here), Endless Twilight of Codependent Love brings Iceland’s Sólstafir to a new place in terms of their longer-term progression. It is their first album with an English title since 2005’s Masterpiece of Bitterness, and though they’ve had English-language songs since then, the mellow “Her Fall From Grace” is obviously intended to be a standout here, and it is. On the nine-song/62-minute course of the album, however, it is one impression of many, and in the raging “Dionysus” and post-blackened “Drýsill,” 10-minute opener and longest track (immediate points) “Akkeri,” richly atmospheric “Rökkur,” goth-lounging “Or” and worthy finale “Úlfur,” Sólstafir remind of the richly individual nature of their approach. The language swaps could be reaching out to a broader, non-Icelandic-speaking audience. If so, it’s only in the interest of that audience to take note if they haven’t already.

Sólstafir on Thee Facebooks

Season of Mist website

 

ILS, Curse

ils curse

Curse is the first long-player from Portland, Oregon’s ILS, and it’s a rager in the PNW noise tradition, with uptempo, gonna-throw-a-punch-and-then-apologize riffs and basslines and swaps between semi-spoken shouts and vicious screams from Tom Glose (ex-Black Elk) that are precisely as jarring as they’re meant to be. I don’t think Curse is anyone’s first time at the dance — Glose, guitarist Nate Abner, bassist Adam Pike or drummer Tim Steiner — but it only benefits across its sans-bullshit 28-minute run by knowing what it wants to do. Its longest material, like the title-track or “Don’t Hurt Me,” which follows, or closer “For the Shame I Bring,” rests on either side of three and a half minutes, but some of the most brutal impressions are made in cuts like “It’s Not Lard but it’s a Cyst” or leadoff “Bad Parts,” which have even less time to waste but are no less consuming, particularly at high volume. The kind of record for when you want to assault yourself. And hey, that happens.

ILS on Thee Facebooks

P.O.G.O. Records on Bandcamp

 

Bismut, Retrocausality

bismut retrocausality

Apart from the consciously-titled three-minute noiseblaster finale “Antithesis” that’s clearly intended to contrast with what comes before it, Bismut‘s second LP for Lay Bare, Retrocausality, is made up of five extended instrumental pieces the shortest of which is just under 13 minutes long. The Nijmegen-based trio — guitarist Nik Linders, bassist Huibert der Weduwen, drummer Peter Dragt — build these semi-improvisational pieces on the foundation they set with 2018’s Schwerpunkt (review here), and their explorations through heavy rock, metal and psychedelia feel all the more cohesive as a song like “Vergangenheit” is nonetheless able to blindside with the heavy riff toward which it’s been moving for its entire first half. At 71 minutes total, it’s a purposefully unmanageable runtime, but as “Predvídanie” imagines a psych-thrash and “Oscuramento” drones to its crashing finish, Bismut seem to be working on their own temporal accord anyhow. For those stuck on linear time, that means repeat listens may be necessary to fully digest, but that’s nothing to complain about either.

Bismut on Thee Facebooks

Lay Bare Recordings website

 

Cracked Machine, Gates of Keras

Cracked Machine Gates of Keras

UK instrumentalists Cracked Machine have worked relatively quickly over the course of their now-three albums to bring a sense of their own perspective to the tropes of heavy psychedelic rock. Alongside the warmth of tone in the guitar and bass, feeling drawn from the My Sleeping Karma/Colour Haze pastiche of progressive meditations, there is a coinciding edge of English heavy rock and roll that one can hear not so much in the drift of “Temple of Zaum” as in the push of “Black Square Icon,” which follows, as well as the subtle impatience of the drums on “October Dawn.” “Move 37,” on the other hand, is willfully speedier and more upbeat than much of what surrounds, but though opener/longest track (immediate points) “Cold Iron Light” hits 7:26, nothing on Gates of Keras sticks around long enough to overstay its welcome, and even in their deepest contemplations, the feeling of motion carries them and the listener effectively through the album’s span. They sound like a band realizing what they want to do with all the potential they’ve built up.

Cracked Machine on Thee Facebooks

Kozmik Artifactz website

PsyKa Records website

 

Megadrone, Transmissions From the Jovian Antennae

Megadrone Transmissions From the Jovian Antennae

From cinematic paranoia to consuming and ultra-slow rollout of massive tonality, the debut offering from Megadrone — the one-man outfit of former Bevar Sea vocalist Ganesh Krishnaswamy — stretches across 53 minutes of unmitigated sonic consumption. If nothing else, Krishnaswamy chose the right moniker for the project. The Bandcamp version is spread across two parts — “Transmission A” (21:45) and “Transmission B” (32:09) — and any vinyl release would require significant editing as well, but the version I have is one huge, extended track, and that feels like exactly how Transmissions From the Jovian Antennae was composed and is supposed to be heard. Its mind-numbing repetitions lead the listener on a subtle forward march — there are drums back in that morass somewhere, I know it — and the piece follows an arc that begins relatively quiet, swells in its midsection and gradually recedes again over its final 10 minutes or so. It goes without saying that a 53-minute work of experimentalist drone crushscaping isn’t going to be for the faint of heart. Bold favors bold.

Megadrone on Thee Facebooks

Megadrone on Bandcamp

 

KLÄMP, Hate You

klamp hate you

Sax-laced noise rock psychedelic freakouts, blown-out drums and shouts and drones, cacophonous stomp and chaotic sprawl, and a finale that holds back its payoff so long it feels cruel, KLÄMP‘s second album, Hate You, arrives less than a year after their self-titled debut, and perhaps there’s some clue as to why in the sheer mania of their execution. Hate You launches with the angularity of its 1:47 title-track and rolls out a nodding groove on top of that, but it’s movement from one part to another, one piece to another, is frenetic, regardless of the actual tempo, and the songs just sound like they were recorded to be played loud. Second cut “Arise” is the longest at 7:35 and it plays back and forth between two main parts before seeming to explode at the end, and by the time that’s done, you’re pretty much KLÄMPed into place waiting to see where the Utrecht trio go next. Oblivion wash on “An Orb,” the drum-led start-stops of “Big Bad Heart,” psych-smash “TJ” and that awaited end in “No Nerves” later, I’m not sure I have any better idea where that might be. That’s also what makes it work.

KLÄMP on Thee Facebooks

God Unknown Records website

 

Mábura, Heni

Mábura heni

Preceded by two singles, Heni is the debut EP from Rio de Janeiro psychedelic tonal worshipers Mábura, and its three component tracks, “Anhangá,” “III/IV” and “Bong of God” are intended to portray a lysergic experience through their according ambience and the sheer depth of the riffs they bring. “Anhangá” has vocals following the extended feedback and drone opening of its first half, but they unfold as a part of the general ambience, along with the drums that arrive late, are maybe sampler/programmed, and finish by leading directly into the crash/fuzz launch of “III/IV,” which just before it hits the two-minute mark unfurls into a watershed of effects and nod, crashing and stomping all the while until everything drops out but the bass only to return a short time later with the Riff in tow. Rumbling into a quick fade brings about the toking intro of “Bong of God,” which unfolds accordingly into a riff-led noisefest that makes its point seemingly without saying a word. I wouldn’t call it groundbreaking, but it’s a first EP. What it shows is that Mábura have some significant presence of tone and purpose. Don’t be surprised when someone picks them up for a release.

Mábura on Thee Facebooks

Mábura on Bandcamp

 

Astral Sleep, Astral Doom Musick

Astral Sleep Astral Doom Musick

It’s still possible to hear some of Astral Sleep‘s death-doom roots in their third album, Astral Doom Musick, but the truth is they’ve become a more expansive unit than that (relatively) simple classification than describe. They’re doom, to be sure, but there are progressive, psychedelic and even traditional doom elements at work across the record’s four-song/43-minute push, with a sense of conceptual composition coming through in “Vril” and “Inegration” in the first half of the proceedings while the nine-and-a-half-minute “Schwerbelastungskörper” pushes into the darkest reaches and closer “Aurinko ja Kuu” harnesses a swirling progressive spread that’s dramatic unto its last outward procession and suitably large-sound in its production and tone. For a band who took eight years to issue a follow-up to their last full-length, Astral Sleep certainly have plenty to offer in aesthetic and craft. If it took them so long to put this record together, their time wasn’t wasted, but it’s hard to listen and not wonder where their next step might take them.

Astral Sleep on Thee Facebooks

Astral Sleep on Bandcamp

 

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Bell Witch and Aerial Ruin to Release Collaborative Stygian Bough Volume 1 June 26

Posted in Whathaveyou on May 7th, 2020 by JJ Koczan

Bell Witch and Aerial Ruin (Photo by Lauren Lamp)

Certainly Bell Witch and Aerial Ruin are no strangers to each other. As the PR wire details, Erik Moggridge, who is Aerial Ruin, has guested on Bell Witch releases since their outset, perhaps most gloriously on 2017’s gorgeous and excruciating Mirror Reaper (review here), so what making their collaboration official in the matrimonial sense would seem to indicate is mostly a change of mindset and perhaps writing process. Still, those who listened to that record — and if that’s not you, it’s not too late! — will have some decent idea of what Stygian Bough Volume 1 is going for in terms of basic feel, as the streaming track “Heaven Torn Low II (The Toll)” would seem to hint.

One can only look forward to appreciation the beauty in darkness to come with the album’s arrival, and having seen these two entities share a stage before, should the opportunity arise again, it won’t be one to miss.

The PR wire brings Adam Burke cover art and speaks thus:

bell witch aerial ruin Stygian Bough Volume 1

BELL WITCH AND AERIAL RUIN ANNOUNCE COLLABORATIVE RECORD STYGIAN BOUGH VOLUME 1 – OUT JUNE 26 ON PROFOUND LORE

REVEAL “HEAVEN TORN LOW II (THE TOLL)”

Renowned doom duo Bell Witch fully integrate themselves with dark folk elegist, Aerial Ruin. The collaborative effort, titled ‘Stygian Bough Volume 1’ is a collection of five transcendent, hauntingly beautiful songs that defy categorization.

On Stygian Bough Volume I, members Dylan Desmond and Jesse Shreibman of renowned doom duo, Bell Witch fully integrate themselves with dark folk elegist, Erik Moggridge of Aerial Ruin. Genuine collaborations are rare yet these two found a way to become one, resulting in a hauntingly beautiful record.

While Moggridge has been a part of Bell Witch’s sonic fingerprint on all their prior records, perhaps most notably for his vocals on their previous acclaimed full-length, Mirror Reaper, he’s now part of the very fabric that makes up the five, emotional and strikingly heavy songs that comprise Stygian Bough Volume 1.

The addition of guitar to the bass and drum-only dynamic came naturally as the threesome discussed potential models for their joint effort. Ulver’s unorthodox folk album Kveldssanger came up as did Candlemass’ mile marker Nightfall. But the real fuel to Stygian Bough Volume I was the Bell Witch track, “Rows (of Endless Waves)”, which was not only Moggridge’s first appearance with Bell Witch but also a track that has deeply resonated with Desmond over the years. With the approach in place, Bell Witch and Aerial Ruin collectively wrote five desolate yet mystical songs that defy categorization. From the mournful “The Bastard Wind” and the crepuscular “Heaven Torn Low I (the passage)” to the monstrous “Heaven Torn Low II (the toll)” and the liturgical gloom of “The Unbodied Air,” Stygian Bough Volume I is an album of deep, dark undertows and careful respite.

The themes explored by Bell Witch and Aerial Ruin were independently tackled from different angles but were mainly from similar spaces. Whereas Bell Witch plumbed the depths of purgatory—a place of atonement between life and death—across three full-lengths, Moggridge’s Aerial Ruin have centered on the loss of the self and the spiritual places the vacancy ultimately leads to. For Stygian Bough Volume I, Bell Witch and Aerial Ruin topics of choice intersect and complement, continuing in spirit but with a broader vantage point where “Rows (of Endless Waves)” left off.

“Stygian Bough is a reference to the theme of The Golden Bough,” observes Desmond. “The book’s theme is centered on the rites of a temple in ancient Italy where slaves were transformed into kings by slaying he who reigned as such after successfully stealing the Golden Bough from the sacred tree within the temple. Within that notion, a different sort of slavery was brought upon the newly crowned king, as he must understand sooner or later that his fate would ultimately be the same as his predecessor. In short, the golden bough made a king out of a slave only to find they were now enslaved to a different sort of tyranny, always stalking them from the darkest shadows of their imagination. From this perspective, the “golden bough” is better understood as a deception casting darkness. Thus, Stygian Bough.”

Adds Moggridge: “They presented that song [“Rows (of Endless Waves)”] to me in a mostly instrumental form with the idea that it’s about a ghost trapped on rows of waves that can’t reach the land. I ran with this idea and started to think of the ghost of a king who, if he reached land could be reborn and rule again. The king is also a larger metaphor for humanity who rules over the planet and other species. On this new album our ghost upon the waves flees not towards the land but towards death. The narrative, as much as it exists, is loose and not linear and definitely stream of consciousness. There are cyclical and spherical qualities to the journey where death, desolation, and the spirit are reflected in myriad ways.”

Stygian Bough Volume I sees its release June 26 via Profound Lore Records. For pre-orders and additional information on limited pressings and exclusive variants, visit here. Stygian Bough Volume I was recorded and mixed by Randall Dunn at Avast Recording Co. in Seattle. Bell Witch and Aerial Ruin then took the full-length to mastering ace Bob Weston at Chicago Mastering Service in Chicago. The result is a full-length of profound lows and delicate highs — fitting for Bell Witch and Aerial Ruin’s quiet/introspective and heavy/loud dynamic. As for the triumvirate’s next steps, they plan on touring in support of Stygian Bough Volume I when it’s safe to do so. Stay tuned for tour updates.

Stygian Bough Volume 1 Track Listing:
1 – The Bastard Wind
2 – Heaven Torn Low I (the passage)
3 – Heaven Torn Low II (the toll)
4 – Prelude
5 – The Unbodied Air

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Bell Witch & Aerial Ruin, “Heaven Torn Low II (The Toll)”

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