Quarterly Review: Monolord, Teacher, Rosy Finch, Holy Mountain Top Removers, Chris Forsyth & the Solar Motel Band, Swan Valley Heights, Cambrian Explosion, Haunted, Gods & Punks, Gaia
Posted in Reviews on October 4th, 2016 by JJ KoczanDay Two starts now. I don’t know if you’re ready for it. I don’t know if I’m ready for it. Ah hell, who am I kidding? I love this stuff. No place I’d rather be right now than pounding out these reviews, batch by batch, all week. This one gets heavy, it goes far out, it rocks hard and relentless and it gets atmospheric. And more. But don’t let me try to sell you on reading it. Even if you skim through and click on players, I hope you find something you dig. If not today, then yesterday, or tomorrow or the next day. Or hell, maybe the day after. It’s 50 records. There’s bound to be one in there. Here we go.
Quarterly Review #11-20:
Monolord, Lord of Suffering / Die in Haze
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Teacher, Teacher
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Rosy Finch, Witchboro
Thereâs an element of danger to Rosy Finchâs debut long-player, Witchboro (on Lay Bare Recordings). Actually two. One: it sounds like it could come apart at any given moment â it never does. Two: any given one among its nine component tracks could wind up just about anywhere. Though the Spanish trio of bassist/vocalist Elena GarcĂa, guitarist/vocalist Mireia Porto and drummer LluĂs Mas keep individual songs relatively raw sounding â or at very least not overproduced as something so progressive could just as easily have wound up â but even the soothing âLigeiaâ holds to a driving sense of foreboding. Punk in its undercurrent with more than a touch of grunge, Witchboro is as much at home in the atmospheric crush of âPolvo Zombiâ as the quick-turning finale thrust of âDaphne vs. Apollo,â and its overarching impression is striking in just how readily it manipulates the elements that comprise it. Ambitious, but more defined by succeeding in its ambitions than by the ambitions themselves.
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Holy Mountain Top Removers, The Ones Disappearing You
Psychedelic surf? Wah-soaked, bass rumbling foreboding? Euro-inflected lounge? All of the above and much more get a big check mark from Nashville instrumentalists Holy Mountain Top Removers, whose The Ones Disappearing You LP covers an enviable amount of stylistic ground and still leaves room near the end for bassist/keyboardist Mikey Allred to lead a blues dirge on trombone. Heâs joined by drummer/percussionist Edmond Villa and guitarist Anthony Ford, as well as guest trumpeter Court Reese and violinist Allan Van Cleave, and as they careen through this vast terrain, Holy Mountain Top Removers only seem to revel in the oddness of their own creation. To wit, the early jangle of âMonsieur Espionnageâ is delivered with gleeful starts and stops, and the later âSerenade for Sexual Absenceâ given a mournful snare march and what sounds like tarantella to go with Van Cleaveâs violin lead. Playful in the extreme, The Ones Disappearing You nonetheless offers rich arrangements and a drive toward individuality that stands among its core appeals, but by no means stands there alone.
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Chris Forsyth and the Solar Motel Band, The Rarity of Experience I
Philadelphia four-piece Chris Forsyth and the Solar Motel Band must have worked quickly to turn around so soon a follow-up to last yearâs debut album, Intensity Ghost (review here), but their second offering, The Rarity of Experience lacks nothing for growth. A two-disc, 72-minute 10-tracker also released through No Quarter, The Rarity of Experience hops genres the way rocks skip on water, from the exploratory psychedelic vibing of âAnthem IIâ to the Talking Heads-style jangle of âThe Rarity of Experience IIâ and into horn-infused free-jazz fusion on âThe First 10 Minutes of Cocksucker Bluesâ â which, by the way, is 12 minutes long. A big change is the inclusion of vocals, but the penultimate âOld Phaseâ still holds to some of the pastoral atmospherics Forsyth and company brought together on the first record, but principally, what The Rarity of Experience most clearly shows is that one doesnât necessarily know whatâs coming from Chris Forsyth and the Solar Motel Band, and as much as they offer across this massive stretch, I wouldnât be surprised if they continue to expand their sound.
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Swan Valley Heights, Swan Valley Heights
Initially released by the band in January, the self-titled debut from Munich heavy rockers Swan Valley Heights sees wider issue through Oak Island Records in an edition of 200 LPs. After rolling out the largesse of welcome-riff in opener âSlow Planet,â the three-piece dig into longform groove on âAlaskaâ (9:09), âMammothâ (11:02) and âLet Your Hair Downâ (9:35), finding a balance between hypnotic flow and deeply weighted tones. Riffs lead the way throughout, and while there arenât a ton of surprises, once they make their way through âCaligula Overdrive,â the shimmer at the start of âMountainâ and some of the more patient unfolding of closer âRiverâ called Sungrazer to mind and I couldnât help but wonder if Swan Valley Heights would make their way toward more lush fare over time. Whether they do or not, their debut engages in its warmth and cohesion of purpose, and offers plenty of depth for those looking to dive in headfirst.
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Cambrian Explosion, The Moon EP
I canât help but feel like Portland, Oregonâs Cambrian Explosion are selling themselves a little short by calling The Moon an EP. At five songs and 35 minutes, the follow-up to their 2013 The Sun outing boasts a richly progressive front-to-back flow, deep sense of psychedelic melodicism and enough crunch to wholly satisfy each of the payoffs its hypnotic wanderings demand. Sure sounds like a full-length album to my ears, but either way, Iâll take it. The four-piece set an open context in the intro noise wash of âSelene,â and while âLooming Eyeâ and âMugen = Mugenâ push further into ritual heavy psych, itâs in the longer âInnocuous Creaturesâ (9:24) and closer âCrust of Theiaâ (8:23) â the two perfectly suited to appear together on the B-side from whatever label is lucky enough to snap them up for a release â that The Moon makes its immersion complete and resonant, blowing out in glorious noise on the former and basking in off-world sentiment as they round out. Gorgeous and forward-thinking in kind. Would be an excellent debut album.
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Cambrian Explosion on Bandcamp
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Haunted, Haunted
Not sure if thereâs any way to avoid drawing a comparison between Italian five-piece Hauntedâs self-titled debut (on Twin Earth Records) and Virginian doomers Windhand, but Iâm also not sure that matters anymore. With the two guitars of Francesco Bauso and Francesco Orlando meting out post-Electric Wizard churn and Cristina Chimirriâs vocals oozing out bluesy incantations on top as Frank Tudiscoâs low end and Valerio Ciminoâs drums push the lumber forward, itâs all doom one way or another. âWatchtowerâ has a meaner chug than opener âNightbreed,â and the centerpiece âSilvercombâ delves into feedback-laden horror atmospherics, but itâs in the closing duo of âSlowthornâ and âHauntedâ that Haunted most assuredly affirm their rolling intention. Theyâll have some work to do in distinguishing themselves, but thereâs flourish in the wash of guitar late and some vocal layering from Chimirri that speaks to nuance emerging in their sound that will only serve them well as they move forward from this immersive first offering.
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Gods and Punks, The Sounds of the Earth
Taking their name from a track off Monster Magnetâs 2010 outing, Mastermind, Brazilian heavy rockers Gods and Punks mark their debut release with The Sounds of the Earth, a self-released five-track EP awash in classic influences and bolstered through a double-guitar dynamic, maybe-too-forward-in-the-mix vocals and a rock solid rhythm section. These are familiar ingredients, granted, but the Rio de Janeiro five-piece present them well particularly in the mid-paced âThe Tuskâ and the catchy, more extended closer âGravity,â and are able to put a modern spin on â70s vibing without becoming singularly indebted to any particular band or era, be it â70s, â90s or the bizarre combination of the two that defines the â10s. Gods and Punks are setting themselves up to progress here, and how that progression might play out â more space rock to go with the theme of their excellent artwork, maybe? â will be worth keeping an eye on given what they already show in their songwriting.
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Gaia, A Cure for Time
Mostly instrumental, deeply atmospheric and clearly intended to divide into the two sides of a vinyl for which it seems more than primed, A Cure for Time is the second album from Copenhagen post-metallers Gaia. Each half of the four-track/39-minute outing pairs a shorter piece with a longer one, and the flow the trio set up particularly on the closing title cut calls to mind some of YOBâs cosmic impulses but with a spaciousness, roll and context that becomes their own. Shades of Jesu in the vocals and the balance of rumble and echo on the earlier âNowhereâ make A Cure for Time all the more ambient, but when they want to, Gaia produce a marked density that borders on the claustrophobic, and the manner in which they execute the album front to back emphasizes this spectrum with a progressive but still organic flourish. I wouldnât call A Cure for Time directly psychedelic, but itâs still easy to get lost within its reaches.sh
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