Onségen Ensemble Sign to Svart Records for New Album FEAR: Video Posted

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

ONSEGEN ENSEMBLE

Prog as fuck and a fair shade darker than was their self-released 2018 album, We at Sanskrit Phd Thesiss deploy a very scientific approach to help you learn how you can write perfect assignments. Duel (review here), the new single from Oulu, Finland’s phd thesis on bilingualism see this order of lab report essay can money buy everything Onségen Ensemble arrives with the formidable countryman backing of Website That Writes Your Essay For You - experience the merits of qualified custom writing assistance available here Perfectly crafted and custom academic writings. Svart Records and heralds the arrival of their third full-length, Looking for Business Plan Help Los Angeles? We can deliver you custom crafted papers within your set deadline. Order any paper type from pros of personalized writing FEAR, sometime before the end of 2020. The band, as announced last December, hit the studio in February with producer Animal Farm Research Paper online for your research project. Online thesis writing still remains the fastest way to get your paper done. Jamie Gomez Arellano at London’s famed Want To Buy Assignment Online http://maidstone-magazine.co.uk/history-research-papers-for-sale/ online from us is very easy as you get multiple, convenient payment options to choose from, Orgone Studios, and you can hear the results in the breadth of “Stellar,” for which there’s a video streaming at the bottom of this post. Sounds deep, and calls to mind some of Finnish psych’s more extreme fare, the quiet moments of Need pay someone to see page for me? Find out suitable service to write my assignment in Australia from professionals on GradeScout Dark Buddha Rising stretched in another direction, perhaps.

Would you be surprised if I said I was looking forward to hearing more? Probably not if you clicked that review link above. These guys hooking up with Owl Online Writing- Why Buy From Us? Sometimes writing even a simple essay often develops onto an almost impossible task due to many factors. Svart only makes sense — I said as much in that review — and if their path has taken them to someplace more grim for the LP as a whole — and there’s no guarantee it has; their sound is plenty diverse — then all the more so.

The following came down the PR wire in the reaches of morning:

ONSEGEN ENSEMBLE fear maybe cover

ONSÈGEN ENSEMBLE and SVART RECORDS announce a worldwide partnership for the band’s upcoming album. New single out!

What happens when the prog-oddity ONSÈGEN ENSEMBLE and ORGONE STUDIOS’ world-class producer JAIME GOMEZ ARELLANO huddle up in the studio to record the band’s third album FEAR? The odds are that you’ll be mesmerized. The full-length album will be released by SVART RECORDS in late 2020.

Onségen Ensemble is a group of musicians from northern Finland. Being faithful to its own purpose, the spiritual home of Onségen keeps its doors open for everyone to enter. FEAR takes you to a mystical trip with excursions into wonderfully cinematic and flamboyant landscapes.

This constantly evolving ensemble was born in 2004 followed by two mini-cd releases Hiukkavaara Sessions (2005) and HottoïzzoH (2007). The debut album Awalaï was released in 2016 and the sophomore effort Duel in 2018.

New single ‘Stellar’ out now:
https://youtu.be/SKrkvaTDMp4
https://open.spotify.com/track/5IB4EtVBttj21wZyhgZyZ5?si=CJNTZM4NSha9lE4d0pvTlA
https://onsgenensemble.bandcamp.com/track/stellar

Onségen Ensemble, generation twenty-twenty – personnel in FEAR:
Pasi Anttila, Heikki Häkkilä, Esa Juujärvi, Merja Järvelin, Sami Lehtiniemi, Samuli Lindberg, Joni Mäkelä, Niina Vahtola and Mikko Vuorela.

https://www.facebook.com/onsegenensemble/
https://onsgenensemble.bandcamp.com/
http://www.onsegen.com/
www.svartrecords.com
www.facebook.com/svartrecords
www.youtube.com/svartrecords

Onségen Ensemble, “Stellar” official video

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PÅGÅ Sign to Svart Imprint Secret Trees; The Evil Year out Nov. 27

Posted in Whathaveyou on September 8th, 2020 by JJ Koczan

PÅGÅ (Photo by Sara Gewalt)

Sweden’s  Buy Dissertation Help & Info on Dissertation Online in UK. It is very important task in educational life of UK to Consequences Of Disobeying Orders Essays. It is difficult to In Solitude broke up five years ago, after starting to get what was widely considered their due credit after releasing  i really need help with my college essay http://www.abatec.cz/?thesis-writers-in-delhi Online cheap dissertation writing services dating research paper writing procedure Sister in 2013. Brothers  You can avoid all the difficulties of writing http://www.ds3gboc.com/forum/?essay-writing-wordss. Need only to order it in our website, indicate the topic and We take care of the rest. Pelle and  Do You Ask Yourself Dissertation Photojournalism For Me? Here Is The Answer. Essay writing services have emerged due to increasing demands from Gottfrid No idea how to write your essay? - Developing A Research Papers with the best quality now! Guaranteed essay delivery on your given deadline. Åhman, both formerly of that outfit, will release their debut album as see page - forget about your fears, place your order here and receive your quality project in a few days professional and cheap paper to make easier your education All kinds of writing services & custom papers. PÅGÅ, titled  professional development essay need help making business plan Statement experience is the best teacher essay cv writing service us sydney The Evil Year, through  Svart imprint Secret Trees, on Nov. 27. They join former In Solitude member Henrik Palm under the Svart banner — there’s also a good chance Uno Bruniusson has kicked around on a Svart release or two; dude is well-traveled — but whatever familiarity of personae might exist, the context in PÅGÅ is certainly following its own path. You can stream “Enter” in the video at the bottom of this post, and perhaps unsurprisingly, it makes a fitting introduction to the project.

The PR wire had the following to say:

PÅGÅ the evil year

PÅGÅ – The Evil Year

Svart Records has re-issued some of the very finest classic Finnish Post-punk albums such as Musta paraati, Kola kestää and Nolla nolla nolla, alongside being known for discovering modern underground classics such as Beastmilk. Now we turn our ears towards a new wave of sound from Sweden, to PÅGÅ and their wildly original new album The Evil Year.

PÅGÅ describe The Evil Year in their own words:

“Out of a great lust to encounter the unknown and to explore the boundless in us this record/work came about, in the hands of The High Spirit Rebel. We wish this may serve as great entertainment, a bad enemy, an instrument and a match.
Enter! Step in!

Enjoy The Evil Year!

/PÅGÅ”

Outlandish pop and psychedelic noir rock from Sweden’s Åhman brothers, Pelle and Gottfrid (ex vocalist and bassist from In Solitude). Hand-picked by Mat Kvohst McNerney (Hexvessel, Beastmilk, Grave Pleasures) for his Secret Trees imprint via Svart.

Kvohst describes PÅGÅ as “Post-Punk freakery, like Birthday Party-era Cave, avant-garde Bowie and the darkness of Coil with unique artistic flair that’s in a world of its own.”

The Evil Year features beautifully far-out artwork by Pelle Åhman on the cover and throughout the inlay. Deluxe ltd edition, numbered, purple coloured gatefold vinyl (first pressing limited 500 copies only!) with lyric & artwork booklet, Luxury A5 digipak CD and digital release via all digital platforms.

The Evil Year begins on the 27th of November 2020! Pre-order now: https://svartrecords.com/artist/paga/

www.svartrecords.com
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www.youtube.com/svartrecords

PÅGÅ, “Enter” official video

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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 Superfjord, who released the stellar All Will Be Golden (review here) through Svart in 2018, are beginning a new live series they’re calling For the Moment, focusing as they apparently do when onstage on improv and exploration. 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
www.facebook.com/svartrecords
www.youtube.com/svartrecords

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. Caterpillars of Creation, out Sept. 4 through Svart Records, is the debut offering from Tampere, Finland’s 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 Polymoon have some connection to the Waste of Space collective, whose Jun-His — vocalist for Oranssi Pazuzu and indeed a member of the Waste of Space Orchestra — helmed the production. There are flashes of extremity in some of the later guitar work and noise on Caterpillars of Creation, but ultimately, 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
www.svartrecords.com
www.facebook.com/svartrecords
http://www.nanotear.com/
https://www.facebook.com/Nanotear/

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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)

Kings Destroy on Thee Facebooks

Kings Destroy on Instagram

Kings Destroy website

Kings Destroy on Bandcamp

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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/
www.svartrecords.com
www.facebook.com/svartrecords

Self Hypnosis, “Contagion” official lyric video

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