Superfjord Release For the Moment Vol. 1 Live Album

Posted in Whathaveyou on June 16th, 2020 by JJ Koczan

superfjord

Am I the only one who looks at live albums with a kind of wistfulness now? Like, “Oh yeah, I remember when concerts were a thing.” It’s not like it’s been years or anything. Certainly in my life I’ve got a few months without going to a show before, but I guess there’s something about the shows not even happening that makes the difference. Finland’s solve my writing homework look at this site For You Free law school paper writing service homework help on social studies Superfjord, who released the stellar Visit Websites All Will Be Golden (review here) through How to visite site. in the criminal justice system essay autobiography of a student essays for nhs Things I hate more than writing my Svart in 2018, are beginning a new live series they’re calling The world leader in online proofreading and http://cheapessaywritings24.com/essay-writer-wanted/ essay writer wanteds. Our professional team has revised documents for +5,000 clients in +90 countries. For the Moment, focusing as they apparently do when onstage on improv and exploration. visit here - If you need to find out how to make a good essay, you need to read this Get started with dissertation writing and craft finest For the Moment Vol. 1 is streaming at the bottom of this post and is on Bandcamp, Spotify and I assume all the rest.

It makes for quite a moment:

superfjord for the moment vol 1

New live release series from Superfjord

Improvisation in live performance has always been at the heart of Finnish cosmic psych-rockers Superfjord. Following the release of the band’s well-received second album (All Will Be Golden / Svart Records 2018), in concert the band found themselves gradually tipping the balance between composed and freeform music, evermore in favour of the latter.

For The Moment, vol. 1 is the first release in a digital series of live recordings that aims to capture Superfjord at their purest, in a way no studio recordings are able to. Volume 1 features excerpts – or captured Moments – from the band’s January 2020 concert at Helsinki’s G Livelab. The venue’s state-of-the-art audio fidelity and cozy atmosphere allowed the band an ideal opportunity to chase after that chakra-opening critical mass, where band and audience travel together through no one knows what exactly.

As its name implies, the new release series is all about what happens in the Moment. Enjoy.

For The Moment, vol. 1 is available on all major streaming platforms and as a digital download on Bandcamp.

1. Moment 1 10:09
2. Moment 2 11:00
3. Rainbow 08:03
4. Moment 3 11:22

Superfjord – For The Moment, vol. 1:
Sampo Fagerlund: drums, percussion
Mikko Kapanen: vocals, guitars
Juho Ojala: vocals, keyboards, synthesizers
Jussi Ristikaarto: vocals, guitars, electronics, percussion
Teemu Soininen: bass
Olavi Töyli: tenor saxophone, percussion
Jukka Hyvärinen: recording, mixing, mastering
Rami Mursula: cover art

https://open.spotify.com/album/6gcpzxaxaUfZxKfwEULTIp
http://superfjord.bandcamp.com
www.facebook.com/superfjord
www.svartrecords.com
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Superfjord, For the Moment, Vol. 1 (2020)

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Polymoon Premiere “Malamalama” Video; Announce Debut LP Caterpillars of Creation

Posted in audiObelisk, Whathaveyou on June 10th, 2020 by JJ Koczan

This record doesn’t come out until September, so I’m going to stop myself from heaping ecstatic praise upon its gloriously honed wash of fuzz- and noise-drenched progressive heavy psychedelia, but keep in mind, the impulse is definitely there. At CharityNet USA we offer research and Dissertation Architecture pertaining to grants for nonprofit, federal, and government grants. Caterpillars of Creation, out Sept. 4 through We ordered college papers from the websites before composing our Martin Luther King Essay Help. That's why you're on the right track to pick the Svart Records, is the debut offering from Tampere, Finland’s Who Can Help You Write A Business Plan - Let us take care of your Master thesis. Use this platform to receive your valid custom writing delivered on time Quick and reliable Polymoon, and by “debut offering,” I mean it’s the first thing they’ve ever done. As of this post, I don’t think they’ve even played a live show. They had something booked for March, but I’m pretty sure it got canceled because of the ensuing lockdown. There are some dates booked for around the release, so I guess they’ll get there sooner or later.

Finland has long served as a salon of weirdo visionaries, and it’s not really much of a surprise to find that Take advantage of our recipe of academic success worked out by our pro essay online service at BuyEssay.net. Write An Analytical Essay online that you'll be proud to Polymoon have some connection to the The latest Tweets from http://www.otthonszerviz.com/?i-will-pay-for-a-persuasive-essay (@topdissertation). Rely on our experienced PhD writers and get a brilliant paper at http://t.co/VsKHdI1RE5. @ Waste of Space collective, whose Irmof 1 synthesis essay.. http://www.fime.it/?essay-on-customer-service-representative. hume? kicking a bad habit essay law school essay admission for admisssion essay on Jun-His — vocalist for Assignment Land has the team of best academic writers who are here to entertain your request 'Who can do my assignment for me or http://www.team-sog.com/business-plan-writers-in-charlotte-nc/ Oranssi Pazuzu and indeed a member of the great post to read Do My Assignment services provided by Assignment Expert Help.com is among the premier assignment writing help Waste of Space Orchestra — helmed the production. There are flashes of extremity in some of the later guitar work and noise on research paper on teenage pregnancy Ghost Writers For Essays writing an essay on leadership custom resume writing 2013 Caterpillars of Creation, but ultimately, Rainforest Homework Help, phd thesis monitoring and evaluation, gamsat essay writing course, what do you need in a persuasive essay, act writing essay break Polymoon show little interest in adhering to the tenets of one genre or another and instead bring their own perspective to such established ideals. The record is preceded by the single “Malamalama,” for which you’ll find a visualizer premiering at the bottom of this post (I’m delighted to host it given how much I’m enjoying the album from whence it comes), and which will be released this Friday on all the usual-suspect sources.

More to come? I certainly hope so. Easily one of the most impressive debuts I’ve heard this year.

Here’s info, and live dates, which it feels exceptionally good to post:

polymoon

Svart Records to release POLYMOON’s first single Malamalama this week, music video out now

Somewhere between cosmic space rock and progressive psychedelia are POLYMOON, a new band from Tampere, Finland. The basic elements of POLYMOON are endless sonic reflections in the night sky, crushing fuzz guitars and undulating synthesizers. The backbone of the entity is a symbiosis of complex drum sequences and pulsating bass guitar.

Malamalama is the first single off the POLYMOON debut album Caterpillars of Creation, out this Friday via all digital outlets. Caterpillars of Creation will be released by Svart Records on the 4th of September, 2020.

Malamalama (lit. the light of knowledge) is the crimson heart pounding in the chest of POLYMOON. Malamalama is the lifeblood of POLYMOON: it combines an ethereal, otherworldly atmosphere with heavy-prog soundscapes. Together these elements form the progressive-psychedelic nectar flowing in the orchestra’s heart. Malamalama is like a deep feverish dream from which one does not want to wake up. In its essence, Malamalama is nostalgy for the times past: a longing for something long gone.

“Polymoon are the new open-minded young mages of the explosive psychedelia rock scene that Finland and Tampere area has been producing over the recent years. The rich and colorful sound of the band delivers really fresh and beautiful ideas to the table. And they are being served with such a passion that it makes you think of the days when music was standing out for a revolution. And not in that nostalgic manner, but in a way that makes you experience something important is happening right here and now”, comments the album’s co-producer Jun-His, also known as the voice of Oranssi Pazuzu.

In the music of POLYMOON, euphoria and melancholia converge to guide the listener to another level of being to embrace the monolith of psychedelia. POLYMOON is an ensemble of the end times, a formless entity behind the clandestine curtain.

Upcoming POLYMOON gigs:
Sep 4th. Bar 15, Seinäjoki
Sep 5th. Ääniwalli, Helsinki (w/ Hidria Spacefolk + Superfjord)
Sep 11th. Manse Psych Fest pre-party: Telakka, Tampere (w/ Kaleidobolt + Radio Supernova)
Sep 18th. Freetime, Jyväskylä (w/ Ghost World)
Dec 4th. Korjaamo, Helsinki (w/ Kairon; IRSE!)
Dec 5th. Olympia, Tampere (w/ Kairon; IRSE! + Radio Supernova)

POLYMOON is:
Tuomas Heikura / Drums
Jesse Jaksola / Guitar
Otto Kontio / Guitar
Kalle-Erik Kosonen / Vocals, Synthesizer
Juuso Valli / Bass

https://www.facebook.com/polymooooon/
https://www.instagram.com/polymooooon/
https://soundcloud.com/polymooooon
www.svartrecords.com
www.facebook.com/svartrecords
www.instagram.com/svartrecords

Polymoon, “Malamalama” official video premiere

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Album Review: Göden, Beyond Darkness

Posted in Reviews on May 29th, 2020 by JJ Koczan

goden beyond darkness

Beyond Darkness is built and tailored to be opaque. In many ways, its title sets the goal: Göden are going beyond darkness. Whether that means to something lighter and more hopeful or something that the band’s Svart Records-released debut album engages directly in a linear narrative across its consuming 19 tracks and 72-minute runtime, but the title is also a reference to the band’s own past, particularly that of guitarist Stephan Flam and keyboardist/narrator Tony Pinnisi in forever-underrated New York death-doom pioneer Winter, whose lone-but-pivotal full-length, Into Darkness (discussed here), was released in 1990. Göden as a unit is intended as a progression and a next step from what Winter were, hence the “beyond.” And the new trio, completed by lead vocalist Vas Kallas — best known for her work in industrialists Hanzel und Gretyl — are indeed more complex. While rooted in the extreme end of doom, Beyond Darkness uses its core narrative of the “coming of the age of Göden” (pronounced “god-in”) to unfold in a back and forth of lurching volume swells of charred riffing and ambient spoken pieces.

As for the story, each member of the band has their role to play, whether it’s Flam setting the core instrumental backdrop as ‘Spacewinds,’ Pinnisi accompanying there on keys and speaking as ‘The Prophet of Göden’ during the series of interludes titled as “Manifestation” between longer tracks — between the songs, as it were — or Kallas with her growling rasp as ‘Nyxta,’ representing darkness. And the storyline that plays out through the bulk of the material — I’m not sure where “Komm Susser Tod” (“come sweet death”) or the closing take on Winter‘s “Winter” fit in the plot — is written out in the liner for the CD and the 2LP, but comes through in the narration as well, moving from the nine-minute instrumental opener “Glowing Red Sun” through “Twilight” and “Cosmic Blood” split by “Manifestation I: Tolling Death Bells” along the way to “Komm Susser Tod” and the catchy-in-spite of itself “Genesis Rise” with two more “Manifestation” interspersed.

To say it’s a lot to take in is something of an understatement. Considering Winter‘s last studio outing was 1994’s Eternal Frost — which Svart has reissued, along with Into Darkness — one might think Flam has been sculpting the storyline and breadth of Göden over the last 26 years, but it’s been at least five since Winter‘s on-stage reunion came apart and he proceeded on to the new project, bringing in Kallas and Pinnisi as well as a host of drummers, guest guitarists, a violinist, etc., culminating in the massive work that is Beyond Darkness. Perhaps the album’s greatest triumph is that despite the varying contributors along the way around the core trio and despite the back-and-forth nature of the proceedings between interludes and fits of extreme doom metal, it manages to remain cohesive and indeed only seems to become more so as it proceeds. It might be that as Göden plunge ever deeper into the miasma of their own making, they enact a kind of Stockholm syndrome on the listener, but I put it up to world-creating. The album crafts its own setting, plot and characters, and it tells its own story. Therefore, as you listen, you take it on as you would take on a novella.

And sure, some of the language in pieces like “Manifestation III: The Spawn of Malevolence” and “Manifestation V: The Epoch of Göden” and the later “Manifestation VII: Gaia Rejuvenated” is over the top, but that grandiosity becomes an essential facet of the presentation. Like Triptykon before them, Göden use a theatrical posture in darkness as part of an overarching sense of their command of their songwriting and, in this case, dramatic storytelling. And cuts like “Dark Nebula” — on which church organ and the splash of Scott Wojno‘s drums resound behind Kallas in a striking midsection — and the reinvention of Black Sabbath‘s “Black Sabbath” that is “Ego Eimie Gy” are highlights unto themselves, standing up to scrutiny even when removed from the context of the record as a whole. One couldn’t necessarily say the same for individual “Manifestation” pieces — though certainly all eight of them together would work — but they’re not meant to be experienced in that way in the first place, so it’s moot.

As at last Beyond Darkness arrives at “Night,” which isn’t the finale but comes ahead of the epilogues-of-a-sort “Manifestation VIII: A New Age” and “Thundering Silence” — plus the “Winter” cover that rounds out — the proceedings feel perhaps more grueling than ever, and the lineage from Winter to Göden is laid bare for the listener to behold. And yet, even around that raw, plodding riff, there is evidence of the new outfit’s mission: the keyboards that surround, Kallas‘ language- and mythology-swapping lyrical invocations and the underlying focus on atmosphere that ultimately is what draws Beyond Darkness together as an entire work no less overwhelming than it intends. It’s not supposed to be accessible. It’s not supposed to be for everyone. It’s supposed to be for those willing to meet it on its own, uncompromised terms.

The howls of the last “Manifestation” give way to the creeping guitar and drone, and, finally, nothingness of “Thundering Silence” and when the telltale chug of “Winter” takes hold, its reinterpretation is something of an afterthought given just how much the album prior has worked to get the message across that Göden are to be considered as distinct but grown out of the band that was. Will there be another Göden album? Can there be? I don’t know. Between the ground that Beyond Darkness covers aesthetically and in its plot and characterizations — not to mention the fact that the story is finished at the end of the record — one would have to think a follow-up would entail some reimagining of how the band functions. Maybe even a permanent drummer. As it stands, however, Beyond Darkness is a testament to brutality as artistry. It harnesses bleak visions of the world that is and reshapes it along stark lines of blackened aural decay that more than lives up to the task it sets itself in its name.

Whatever comes next, even if nothing does, Beyond Darkness remains, and will remain. In that most of all, it is the essential answer to what Winter accomplished those years ago.

Göden, Beyond Darkness (2020)

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Days of Rona: Nathan Carson of Witch Mountain & Nanotear Booking

Posted in Features on May 25th, 2020 by JJ Koczan

The ongoing nature of the COVID-19 pandemic, the varied responses of publics and governments worldwide, and the disruption to lives and livelihoods has reached a scale that is unprecedented. Whatever the month or the month after or the future itself brings, more than one generation will bear the mark of having lived through this time, and art, artists, and those who provide the support system to help uphold them have all been affected.

In continuing the Days of Rona feature, it remains pivotal to give a varied human perspective on these events and these responses. It is important to remind ourselves that whether someone is devastated or untouched, sick or well, we are all thinking, feeling people with lives we want to live again, whatever renewed shape they might take from this point onward. We all have to embrace a new normal. What will that be and how will we get there?

Thanks to all who participate. To read all the Days of Rona coverage, click here. — JJ Koczan

witch mountain nanotear nate carson

Days of Rona: Nathan Carson of Witch Mountain & Nanotear Booking (Portland, Oregon)

How have you been you dealing with this crisis as a band? As an individual? What effect has it had on your plans or creative processes?

Witch Mountain was in a fortunate position, at first, because we were in a writing phase between tours with no deadlines or responsibilities. But as time went on and the pandemic accelerated we were eventually forced to cancel our June headlining tour. We have more live plans for later in 2020, and of course they’re all in potential jeopardy now. At least we are still able to write remotely, and will probably resume jamming in person once it feels safe to do so.

Personally, we’re all hanging on, but most of us are laid off or out of work. Kayla had a musical canceled that she’d been prepping for months. Justin’s effects pedal company Mr Black is on life support. Rob has been engineering studio sessions and working other side gigs (he’s got more mouths to feed than the rest of us). For me — a tour booking agent by day – -my entire industry has come crashing down. I lost an entire season of income that is likely to stretch into a year of inactivity. The future is a gigantic question mark when it comes to how live music will resuscitate, and when.

How do you feel about the public response to the outbreak where you are? From the government response to the people around you, what have you seen and heard from others?

Portland is a great place to live overall. The majority of people here want clean air, clean water, and have progressive values. So even though we are sandwiched between two states with some of the larger outbreaks in the country, we’ve done a great job of slowing the spread here.

Nevertheless, there are plenty of people in the grocery stores not wearing masks, and people driving like maniacs on the roads. It’s sad that trusting science has become a partisan issue, or that people who believe a fetus has a soul seem willing to sacrifice the weak and elderly in order to prop up Wall Street and the corporate economy.

What do you think of how the music community specifically has responded? How do you feel during this time? Are you inspired? Discouraged? Bored? Any and all of it?

I’ve seen some great livestreams, which is not something I was particularly interested in before. Of course I do have a 65” 4k tv with high speed internet, 5.1 sound, and a thumping subwoofer. So that’s helping my enjoyment of watching concerts from home quite a bit.

I’ve been able to use this time to catch up on household and archival projects that seemed like they’d never get done based on my past lifestyle. My aim is to use this time as wisely and effectively as possible. The ultimate goal right now is to write the novel-length sequel to my book Starr Creek that I’ve been planning for years. Even if I had decided to save my money and take six months off from work to write the book, my booking clients couldn’t have just put their bands and tours on hold. But now that we’re all forced to stay home, I will have the luxury of writing full time during daylight hours, instead of just on evenings and weekends. I definitely aim to walk away from this situation with something to show for it.

What is the one thing you want people to know about your situation, either as a band, or personally, or anything? What is your new normal? What have you learned from this experience, about yourself, your band, or anything?

I just feel very fortunate to play music with such thoughtful, rational people. No one in Witch Mountain is looking to take unnecessary risks. No one in our band is concerned with conspiracy theories or bucking scientific advice. We love making music, and we’ve had a long term vision from the start. That’s why the band is still around after twenty-three years.

This will all pass and then we’ll find out what that new normal is. In the interim, we are passing files over the internet, slowly working on new material, designing and shipping out merch–like the WM logo face mask that we launched the last time Bandcamp waived fees for a day, etc.

Otherwise, we are taking this one day at a time, slow and steady, just like our music.

www.facebook.com/witchmountain
http://witchmountain.bandcamp.com
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Video Premiere: Kings Destroy Make the Most of Quarantine with “Fantasma Nera” Video

Posted in Bootleg Theater on May 19th, 2020 by JJ Koczan

kings destroy

By now the ‘quarantine video’ is fast becoming a genre of its own, and one that will, when the planet has reopened to whatever new reality awaits our pitiful species — back to burning working class labor and fossil fuels we go, merrily cutting taxes and learning nothing — be a marker of this time and experience. It speaks to the simple need to create that, even isolated from each other, the members of bands can’t help but collaborate on projects like this new video from Kings Destroy. There are so many working on new material during this lockdown, and as we seem to be at least telling ourselves we’re through the worst of it — maybe we are, I don’t know — the baby-boom of records to come might indeed be another marker of COVID-19’s aftermath. So be it. In the meantime, locked in their homes in New York, Kings Destroy put together a clip for “Fantasma Nera” from their 2019 album of the same name (review here), which Svart delivered and you should’ve listened to if you didn’t. There’s time now, to paraphrase Burgess Meredith at the end of the world.

But whatever. The album’s fanatically melodic, and a boldly rock and roll reaction to the confrontationalism of their past work. More than anything, it was the record where they perhaps once and for all shrugged off the expectations of others and took the course they wanted to take. No two Kings Destroy releases have ever been the same — all the more reason to listen — so I wouldn’t count on them repeating this process next time, even should they return to work again with producer David Bottrill (ToolKing Crimson, etc.). But though I’m sure guitarists Carl Porcaro, who bursts into the room at one point in the video with his freshly-shaved head carrying his guitar like he’s on Smackdown, and Christopher Skowronski, who hates run-on sentences like this one and recently did a days of rona talking about his own plague experience, have been chipping away at new riffs and during their stuck-at-home time, the band as a whole aren’t probably there yet. It would probably help things along though if they could get in the same room. Remember when that used to happen?

And as the opening lyrics of the song say, “Remember when we were alive?/Neither do I.”

On that fun note, a few highlights: We see drummer Rob Sefcik‘s dog and child and he gives a good shrug in addition to a righteous performance on some pretend drums. At one point, vocalist Steve Murphy points at the camera. Bassist/backing vocalist Aaron Bumpus fades in with some ’80s metal effects on the harmonies and, later, enjoys a drink, as does much of the band. And of course, that Porcaro entrance. It’s a good one.

The video was edited by Skowronski and he offers some quick comment below, and the Bandcamp stream of Fantasma Nera is down there too. Have at it.

And please enjoy:

Kings Destroy, “Fantasma Nera” official video

Christopher Skowronski on “Fantasma Nera”:

“I was just looking for a project to keep me busy during the lockdown. I realized we never made a video for any song off of Fantasma Nera, so why not make one. Of course all of us being in isolation posed a problem. I also didn’t want to do one of those videos of a band playing “live” via Zoom or whatever. I mean, I’ve seen some cool ones, but it’s been done, and not all of us have the technology to pull that off anyway. So I just asked everyone to film themselves playing the song, as well as some footage of them in isolation doing whatever they chose. I got a ton of footage back from everyone, went through it, and cut it together. It wasn’t until I began making it that I realized the lyrics — especially the first few lines of the song — fit the overall situation so well. Anyway, it at least gave us all something creative to do.”


Fantasma Nera is out now on Svart Records: https://svartrecords.com/?s=kings+destroy

Kings Destroy, Fantasma Nera (2019)

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Self Hypnosis Announce Contagion of Despair out Aug. 21

Posted in Whathaveyou on May 11th, 2020 by JJ Koczan

self hypnosis

If you heard anything Kris Clayton did with Camel of Doom you probably have a sense already that the term “progressive” as it applies to his new collaboration with former-and-once-again Esoteric bandmate Greg Chandler, the infuriatingly-unhyphenated Self Hypnosis, means that genre limits will be stretched. It’s gonna get weird. And sure enough, the info off the PR wire for the debut album from Self Hypnosis (god! damn! I just want to put that hyphen in there so bad!), titled, Contagion of Despair, sets up a range of comparison points from Yes to Akercocke. So yeah. Open your mind just in time to have it melted.

The first streaming track from Contagion of Despair is the 14-minute “Contagion.” The press release was long enough, certainly, but I’ve included below as well a quote from the band talking about the track, which though it might seem timely, what with the ongoing pandemic and all, is actually not about that at all. Seemed worth the clarification.

Lot to dig into here, so brace yourself:

self hypnosis contagion of despair

Self Hypnosis release new single “Contagion”

Extreme UK Progressive Doom Metal band Self Hypnosis, featuring members of Esoteric, set to to release their new album Contagion Of Despair on the 21st of August 2020 via Svart Records!

Svart Records are proud to release the new single from extreme progressive Doom metal band Self Hypnosis. Check out the new video track “Contagion” from the forthcoming album, Contagion of Despair, now.

Though Self Hypnosis are a new band, aficionados of the British Extreme Doom scene should need little introduction to the band members themselves. The project has its roots in Kris Clayton’s long-standing, often-solo, Camel Of Doom outfit, which itself evolved from basic Stoner beginnings towards a much more avant-garde proposal, culminating with the release of fourth full-length album Terrestrial through renowned Russian label Solitude Productions in 2016. Following that, Kris began work on composing the next Camel Of Doom album, but quickly realised that the material was becoming even more experimental and eclectic than previous outings: so much so that it would be more appropriate to record it under a different name, making it clear that there should be no preconception, or historical expectation, attached to it.

Needing a partner to bring the concept to fruition, Kris approached Greg Chandler, whose long-established reputation for recording and production engineering – and, of course, musicianship, co-founder of legendary UK extreme Doom pioneers Esoteric, as well – really does need no elaboration. Greg’s name has appeared as a guest vocalist, guitarist and sometime keyboard player on many a release over the years, but this was intended to be a fully collaborative association from the outset, as well as a reuniting of old accomplices – Kris was one of the guitarists in Esoteric’s line-up from 2007-2009, rejoining in August 2019.

Completing the line-up for the recording sessions was drummer Tom Vallely, though as a guest/session performer rather than as a full band member. As a professional musician, veteran performer with bands such as Sanctus Nex and Lychgate, and having handled the drums on Terrestrial, Tom was already known to both Kris and Greg and the obvious choice to engage for this project as ‘lead drummer’.

The result of their combined endeavours is the full-length album Contagion Of Despair, which was recorded at Greg’s Priory Studios using a variety of innovative techniques, including wiring up the whole building to create spacious, expansive recording spaces, or digitising live drums to drag an ’80s Hip-Hop sub-bass groove into the mix. Self Hypnosis set out to use all of these techniques, and more, to create a completely unique mix of Doom and non-Doom influences that would nonetheless converge towards a genuinely Prog-Doom result, and with Contagion Of Despair, they’ve managed that to perfection. Including everything from Kris and Greg’s anti-system and alternative roots through to more contemporary experimental/noise influences, the album touches base with a myriad different musical themes.

From the most Prog-oriented tracks, like ‘Divided’ (“if The Prodigy made a mash-up of Yes and Meshuggah”) to those more continuous with previous Camel Of Doom works, such as ‘Contagion’ (“a rebellious, angry, multi-tempo and bellowing noise-fest”), the whole album is “just a scream at this decade, and everything we’ve degenerated into”, given the focus, clarity and brutal passion you’d expect from veteran Doomsters. When coupled with the engineering and production quality gained from years of professional experience, the results are an unalloyed exemplar of the absolute dark heart of the underground.

For those curious about the etymology: ‘Self Hypnosis’ itself is defined as a state of constant mindfulness – of being continually aware of the present moment, and to be directly knowledgeable of your internal and external place within it. The album title was inspired by a radio discussion about so-called ‘Contagion Of Hope’ phenomena and their roles in reducing harm to society: ‘Contagion Of Despair’ simply encapsulates the sober antithesis, which is that just means a slightly slower slide into Hell.

Influences that affected this recording range from Death to The Prodigy to Yes and Genesis, Godspeed You! Black Emperor to Godflesh and Ministry, Melvins and Akercocke, Laibach and YOB. But if you want to find out how those disparate elements fit together, then you’ll probably need to listen to the end result.

Self Hypnosis on “Contagion”:

Surprisingly, ‘Contagion’ is not a response to the current COVID-19 crisis, having been written in mid 2018, but rather a case of observation that has become accidental prescience. The song serves as an introduction to the themes found throughout ‘Contagion of Despair’, a hate letter to the ever increasing tendency for the media to no longer be a source of information, choosing profiteering over accuracy with ever more sensationalist stories coming from all angles at all times. Ironically, as a real contagion spreads throughout the world, once again the press ensure at all times that they create an atmosphere of fear and misery. The album as a whole examines various aspects of the constant war on happiness, divisive tactics and general narrative of despair that is now endemic in our society. Who benefits from this situation? Who thrives on human misery?

Self Hypnosis are:
Kris Clayton (Camel of Doom/Esoteric)
Greg Chandler (Esoteric/Lychgate)
Tom Vallely (Lychgate/Macabre Omen/Omega Centuri)

https://www.facebook.com/selfhypnosisband/
https://www.selfhypnosisband.com/
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Self Hypnosis, “Contagion” official lyric video

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Days of Rona: Scott Black of Green Lung

Posted in Features on April 27th, 2020 by JJ Koczan

The statistics of COVID-19 change with every news cycle, and with growing numbers, stay-at-home isolation and a near-universal disruption to society on a global scale, it is ever more important to consider the human aspect of this coronavirus. Amid the sad surrealism of living through social distancing, quarantines and bans on gatherings of groups of any size, creative professionals — artists, musicians, promoters, club owners, techs, producers, and more — are seeing an effect like nothing witnessed in the last century, and as humanity as a whole deals with this calamity, some perspective on who, what, where, when and how we’re all getting through is a needed reminder of why we’re doing so in the first place.

Thus, Days of Rona, in some attempt to help document the state of things as they are now, both so help can be asked for and given where needed, and so that when this is over it can be remembered.

Thanks to all who participate. To read all the Days of Rona coverage, click here. — JJ Koczan

green-lung-scott-black

Days of Rona: Scott Black of Green Lung (London, United Kingdom)

How are you dealing with this crisis as a band? Have you had to rework plans at all? How is everyone’s health so far?

Everyone’s health is fine thanks! One of us suspects he had the ‘rona. Luckily, he’s a strapping young chap — despite the horrid, doobie-based abuse he’d wrought on his lungs over the years, he’s made a full recovery.

The crisis has had a significant impact on the band. We’ve had to postpone a UK and Europe tour as well as a lot of festivals, etc.

The upside, however, is that it has given us more time to concentrate on music. We’ll be recording a new album later this year, so this situation is forcing us to write and refine songs remotely –- a fun and new way of writing for us!

On a personal level, I’ve started learning and recording one iconic guitar solo every day during the lockdown, which I am hugely enjoying. In the 16 days so far I’ve tackled solos that I’ve always wanted to learn including a bunch of Van Halen, Zakk Wylde and Brian May ones. My favorite so far is probably the monstrous “Sails of Charon” by The Scorpions.

I did it just as a fun little project to keep me busy and improve my chops, but it seems to be gaining some momentum of its own, which is very fun.

You can follow the project and see a new solo every day by following me on Instagram – @lockdownshred or subscribing to my YouTube channel here.

What are the quarantine/isolation rules where you are?

We’re all in South London, England, except for our drummer who lives somewhere shit. Luton, maybe?

Our government put a fairly casual lockdown into place just over two weeks ago [as of April 7], meaning that everyone should stay home except to get exercise or go shopping. Of course, British people being British people, loads of folk are completely ignoring it and taking the piss. My kitchen window overlooks a bit of grass. Last night, one bunch of absolute pillocks had a BBQ on it with about five families showing up.

I had to watch them breathing their stanky Corona-breath all over each other while I was doing the washing up. By the time I finished the dishes, I was glaring at them out of the window like Donald Sutherland at the end of Invasion of the Body Snatchers.

How have you seen the virus affecting the community around you and in music?

I should imagine it has been the most devastating for event organizers, promoters and agents. I feel terrible for all of the independent festivals and promoters who have put years of effort into building their companies who are now in serious trouble.

While bands are the most visible, it’s really the behind the scenes guys who are hardest hit. For example, our booking agent put loads time and effort into shows and tours which have been cancelled/postponed/whatever. For most agents, this is commission based work. Therefore, for that whole industry months’ worth of work has been wiped out.

Everyone’s been saying this already, but I’ll add my voice to the choir – IF YOU CAN AFFORD TO, DO NOT DEMAND REFUNDS FROM PROMOTERS / SMALL FESTIVALS / BANDS. IF YOU CAN AFFORD TO, REFUSE REFUNDS FROM PROMOTERS / SMALL FESTIVALS / BANDS.

Seeing the comments on the Facebook announcements from events and festivals make me very sad, seeing lots of bedwetters demanding refunds and getting angry at organisers who are doing everything in their power to salvage the situation. I think due to this attitude from the punters, you’re going to see very few festivals and promotion companies survive this and the live music scene may be quite barren.

What is the one thing you want people to know about your situation, either as a band, or personally, or anything?

Know that you’ll have a new Green Lung album to look forward to in the not-too-distant future!

Also, our new label Svart recently repressed Woodland Rites for the third time. Most of it has already sold out, so if you’ve always wanted a vinyl of the album, now’s your chance!

https://www.facebook.com/greenlungband
https://www.instagram.com/greenlungband/
http://www.greenlung.co.uk/
https://greenlung.bandcamp.com/
www.svartrecords.com
www.facebook.com/svartrecords

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Days of Rona: Lauri Kivelä of PH (aka Mr. Peter Hayden)

Posted in Features on April 20th, 2020 by JJ Koczan

The statistics of COVID-19 change with every news cycle, and with growing numbers, stay-at-home isolation and a near-universal disruption to society on a global scale, it is ever more important to consider the human aspect of this coronavirus. Amid the sad surrealism of living through social distancing, quarantines and bans on gatherings of groups of any size, creative professionals — artists, musicians, promoters, club owners, techs, producers, and more — are seeing an effect like nothing witnessed in the last century, and as humanity as a whole deals with this calamity, some perspective on who, what, where, when and how we’re all getting through is a needed reminder of why we’re doing so in the first place.

Thus, Days of Rona, in some attempt to help document the state of things as they are now, both so help can be asked for and given where needed, and so that when this is over it can be remembered.

Thanks to all who participate. To read all the Days of Rona coverage, click here. — JJ Koczan

ph rehearsal space

Days of Rona: Lauri Kivelä of PH (aka Mr. Peter Hayden) (Seinäjoki, Finland)

How are you dealing with this crisis as a band? Have you had to rework plans at all? How is everyone’s health so far?

Everybody is well, all good. As a band we adapt very well to situations and are rather well trained with adversities and obstacles. We had a European tour coming up, but obviously it got canceled. As most of the summer festival might be canceled as well, we now have plenty of time to work in studio.

What are the quarantine/isolation rules where you are?

All traveling must be avoided, bars and restaurants are closed until June, meetings of more than 10 people are banned and those who can are advised to work from home. The biggest thing is that the Uusimaa region is isolated from rest of the Finland for at least three weeks. That one is affecting our work a bit also as one of us is now stuck there.

How have you seen the virus affecting the community around you and in music?

Well, there are less people in the city and more in the forests. When modern activities are either closed or you avoid them for your safety people get back to basics. Seems like nature has become a big thing.

I hope this little forced retreat is taken advance of. What a possibility to concentrate on your art and dive deeper than ever before. On the business side I hope things will get back to normal as soon as it is possible.

What is the one thing you want people to know about your situation, either as a band, or personally, or anything?

We keep working on our next album, exploring the unknown and reaching the unimaginable. Most of the basic tracks are already recorded and the dive continues. It might just be that we have once again seen the future. And for Europe: We are sorry to cancel once again but we promise to be back next year, in very good company!

www.mrph.net
www.facebook.com/mrpeterhayden
www.instagram.com/mrpeterhayden
http://mrph.bandcamp.com/
www.svartrecords.com
www.facebook.com/svartrecords
www.youtube.com/svartrecords

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