Posted in Whathaveyou on April 15th, 2021 by JJ Koczan
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Looking forward to hearing this one, if that even needs to be said, and though no audio is out yet, you can still hear their self-titled debut (review here) at the bottom of this post, with hopes of more to come before the new release.
Dig:
10,000 YEARS “II”
We are very proud to unveil the artwork and tracklisting for our new record!
The album is called “II” and it was recorded in the legendary Studio Sunlight in Norrtälje, Sweden 18-21 February with the equally legendary Tomas Skogsberg manning the controls. Mastering was done by Magnus Andersson in Endarker Studio Sweden in Norrköping.
The brilliant artwork was made by Francesco Bauso at Negative Crypt Artwork who continually blows our minds by coming up with the perfect stuff for us.
“II” tracklisting: 1. Descent 2. Gargantuan Forest 3. Spinosaurus 4. The Mooseriders 5. Angel Eyes 6. March Of The Ancient Queen 7. Prehuman Walls 8. Dark Side Of The Earth
The album will be released on the following formats:
Green King Edition vinyl from Interstellar Smoke Records CD & digital from Death Valley Records European Edition cassette from Ogo Rekords American Edition cassette from Olde Magick Records
The first taste of new music will come soon in the form of a digital-only single that will be released on Bandcamp and Spotify. There will be a separate announcement regarding that in due time.
More info regarding release date and preorders coming soon as well.
“II” IS COMING!
10,000 Years: Erik Palm – Guitars Alex Risberg – Bass/vocals Espen Karlsen – Drums
On March 26, Sweden’s Our Complete Dissertation Month service is second to none. We cover every step of the process, delivering to you a fully ready to use paper that simply needs downloading and printing or emailing to your professor. Help with Dissertation Writing. When you use Academized, there is no need for you to lift a finger. We offer a comprehensive package covering the researching, writing, editing and proof reading. You will receive your full paper including your thesis, introduction, main section, counter The Quill released Term Paper Nuclear Power Plant and Proofreading. Our thesis editing includes checking for and correcting the basics (such as grammar, spelling, punctuation, word choice, sentence structure, etc.). In addition, your WordsRU academic editor will confirm that your thesis complies with the citation style you are using, as well as any school or department requirements for form and style. Finally, the chief editor Earthrise, their ninth studio album, through homework help for computer science at personalessaywriter.com Best assignments help: benefit from the expertise of our authors in motivation letters and application essay Metalville Records. If one counts their history as starting between 1991 and ’92, their history goes back at least 30 years, and it’s been 26 since their self-titled debut showed up in 1995. All four current members of the band — vocalist Our PhD Vhdl Based Design Phd Thesiss will give you more confidence in the work that you submit. Years of planning, research, discussion, writing and editing (not to mention tuition) are invested in the PhD thesis that is usually required to earn a doctoral degree at a university, yet a PhD student can risk failure after all that hard work if the university or department guidelines have not been Magnus Ekwall, guitarist We offer professional Do My College Assignment For Me and article writing services for websites. Our cfreelance copywriting services include articl writing, website Christian Carlsson, bassist Roger Nilsson and drummer Jolle Atlagic (as well as organist Anders Haglund) — were in the group for that album, and while Ekwall and Nilsson both left for a time, the former returning on 2017’s Born From Fire (discussed here) and the latter on the prior record, 2013’s Tiger Blood, the band pressed on and awaited their respective homecomings.
And talking to Carlsson, that’s the impression one gets The Quill means to him. Of course I wanted to talk about Earthrise — its powerhouse heavy rock sensibilities from the outset of “Hallucinate,” the classic metal grandeur it weaves in and out of songs like “Evil Omen,” the sheer boogie of “21st Century Sky,” and so on through the 47-minute LP’s varied but engaging course — and how The Quill have always sought to foster a classic dynamic with a modern outward sound, but let’s be honest. 30 years is a lot of history, and it’s bound to come up. Most bands are lucky if they put out three records, many just one, but The Quill have persisted through shifts in trend, the advent of the internet as a tool for media consumption, and — as Carlsson himself notes — Ekwall going from not having children to becoming a grandfather.
Yeah, family comes up, as it should, because one of the things I most wanted to know was how The Quill has been integrated into Carlsson‘s life. The band has toured, sure, and they’ve put out killer records and played festivals and done the whole thing, but he says it straight up when he talks about dayjobs and things of that sort. The answer, of course, is that the band becomes a family in itself, as The Quill seem to have done. And hearing Carlsson describe not only the instrumental dynamic between himself and Nilsson or Atlagic (who also did a stint in Hanoi Rocks, it’s worth noting), but the idea of writing songs with each other in mind, knowing what won’t piss someone else off, it becomes clear just how important these relationships are to The Quill as a group and as individuals.
I’ve interviewed Carlsson before — a decade ago, for the release of 2011’s Full Circle (review here) — but this was the first time face-to-face, such as videoconferencing allows. He was thoughtful and kind enough to indulge the fact that a little bit into the interview, my oven timer in the kitchen went off and I had to go take a pie out. I paused the recording, but you’ll see it in the video when I come back. Chicken pot pie, man. My wife’s dinner. Can’t burn that. So yeah, we talk about family a bit.
Please enjoy:
The Quill Interview with Christian Carlsson
Earthrise is available now on Metalville. More info at the links below.
Posted in Questionnaire on April 12th, 2021 by JJ Koczan
The Obelisk Questionnaire is a series of open questions intended to give the answerer an opportunity to explore these ideas and stories from their life as deeply as they choose. Answers can be short or long, and that reveals something in itself, but the most important factor is honesty.
Based on the Proust Questionnaire, the goal over time is to show a diverse range of perspectives as those who take part bring their own points of view to answering the same questions. To see all The Obelisk Questionnaire posts, click here.
Thank you for reading and thanks to all who participate.
The Obelisk Questionnaire: Êlea of NOÊTA
—
How do you define what you do and how did you come to do it?
I’m a singer, musician and a visual artist.Musically, I define NOÊTA as a dynamic mixture between folk, black metal, and dark ambient, with my singing as a contrasting element. I never really chose to do music, but it’s been something I’ve needed to do to feel complete.
Describe your first musical memory.
Probably singing in the Church choir as a three-year old.
Describe your best musical memory to date.
Very tough question, I’ve had so many great musical memories. I think it would be either times of writing my own music, in especially creative times, or one of the many great live concerts I’ve been to.
When was a time when a firmly held belief was tested?
Constantly, I feel. I live a life of constant exploration and I think we should never stop challenging our beliefs.
Where do you feel artistic progression leads?
The obvious answer is to new creative expressions. But I think the neat thing about being an artist is that, at least for me, so much of the value of life is interconnected with music and creativity. So exploring and progressing in your artistic expression is in a way what gives some bigger purpose to life.
How do you define success?
Success is dangerous to define by any external values or opinions, or by things like financial gain or popularity. I believe that in the end, success is the constant work towards your goals. It’s not a place that you reach, and then you’re finished. Success to me is more a “state” and a mindset.
What is something you have seen that you wish you hadn’t?
The slow destruction of our natural surroundings at the hands of humanity.
Describe something you haven’t created yet that you’d like to create.
Music in so many shapes and forms. I like and appreciate a lot of different expressions of music, and I hope to create something of another genre than that of my current project, NOÊTA. I’d like to sing a lot more during my everyday life. So, more so than what I want to create, my goals are about focusing more time and energy towards singing and music.
What do you believe is the most essential function of art?
There is no one answer to that question, as art affects people in very different ways, and in a multitude of ways at that. For me art is about experiencing, expressing or exploring different emotions, feelings, concepts or settings. Art that doesn’t prompt any emotional response whatsoever is quite useless, or serves the same purpose as a wall paper or a nice pair of pants.
Something non-musical that you’re looking forward to?
The first thing you hear — and it’s quick, but it’s there — is birdsong. Swedish mushroom folk serenity-bringers Barr released their debut album, Skogsbo is the Place (discussed here), in 2008 through the Transubstans Records-affiliated imprint Sakuntala. MySpace era. I bought it, as you can read in that link, after sampling an MP3 from the now-gone All That’s Heavy webstore, and digging further into the entire affair thereafter. It has proven almost infinitely listenable — the kind of record that calls you back over time, or even just pops into your head somewhere along the line while you’re listening to something else; a source of sonic coincidence. That’s what happened this week and prompted the revisit, but for all the time I’ve spent hearing it, I’m not sure I ever bothered to look up what or where Skogsbo is until now.
I’ve listened to enough Scandinavian metal to know “skog” is “forest” in English, and that makes sense with the cover art of Skogsbo is the Place, and in the east of Sweden, there are a bunch of places with the designation. Bus stops, little spots. A nature preserve south of Gothenburg that would be a pretty good candidate, but the band were based in Stockholm and Finspång, so who knows. “Skogsbo,” the word, translates to “forest estate,” so fair enough. I guess it could just be a cottage in the woods belonging to someone in the band — vocalist Andreas Söderström (also harmonium, glockenspiel, dulcimer), vocalist/guitarist Patrik Andersson, vocalist/flutist Hanna Fritzson, vocalist/guitarist Marcus Palm, bassist/cellist Svante Söderqvist, pianist Patric Thorman, percussionist Fredrik Ohlsson — or it could just as easily be a made-up place that doesn’t really exist. It doesn’t make the record any less transporting either way.
“Summerwind” is the opener that gets underway with that birdsong noted above, and that’s not the last nature-sound throughout. The folkish impression is immediate with harmonium and acoustic guitars backing soulful, sweetly melodic vocals, and that presence of arrangement, who’s singing or who’s playing what at any given moment, will change from song to song — Fritzson taking lead vocals on centerpiece “Calling My Name” and the title-track that follows, or or the meandering duet vocals over piano of “Words Would Do,” others intertwining at various points between “Summerwind,” “Words Would Do” and “He Ain’t a Friend, He’s a Brother.” Those three serve as the immersive lead salvo that marks one’s passage into these woods, lines like, “I watch the sunrise/It suits me,” and “Far, far away” and “Let everyone surround you” standing out over arrangements likewise lush, be it the cello sneaking into the end of “Summerwind” and “He Ain’t a Friend, He’s a Brother,” flute amid the harmonies of “Calling My Name,” the subtle snare shuffle on the penultimate “Moonfall” or the return of cello on “Sister,” the closing track which builds in its finish and pulls itself apart leading to captured forest-at-night audio — there’s a cough and some speech as well — before “Lovers Alone” ends the proceedings as a semi-secret track, no less gorgeous for being tucked away as it is.
One wouldn’t call Skogsbo is the Place long at 43 minutes, in no small part because its songs are so wonderfully engaging, but they’re not necessarily short in the way one finds a lot of neo-folk operating. “Words Would Do” at four and a half minutes and the lyric-less title-track at three minutes are the two shortest cuts (“Lovers Alone” might actually be shorter, but it’s somewhere around three minutes as well), and everything else tops six. “Moonfall” stretches to 6:53 and uses its time well to build into a melodic payoff that’s still more about the journey than the destination, and certainly “Summerwind” and “He Ain’t a Friend, He’s a Brother” and “Calling My Name” and “Sister” prove memorable enough with their understated hooks and classic feel that while I can’t really say anything that at any point involves a glockenspiel isn’t indulgent on some level, it’s an indulgence well worth making. Like precious few albums I’ve encountered since, Skogsbo is the Placehas the ability to carry the listener along its course, and with particular attention paid to atmosphere and the overarching organic presentation, there’s no regrets in going where it goes.
It was one of the first records I wrote about for this site that wasn’t outwardly heavy but carried a presence of tone and melody and/or an emotional heft to coincide with its abidingly natural psychedelia. It’s not acid folk in the sense of being coated in reverb or blissed out on effects or any of that kind of thing. I think there’s electric guitar on there, but it’s surrounded by acoustics, 12-string, and the diversity of the vocal arrangements to the point that it’s clearly not intended to be a primary factor. Some of the songs sound like the strum came first, others the vocals, others other things. That spirit of song-happening-to-artist is rampant throughout, and the more I hear Skogsbo is the Place, the more it feels like an album I’ll continue to come back to, like visiting an old friend, or a brother. Time changes your context of appreciation, but some records continue to speak to the person you’ve become as well as the person you were. 13 years isn’t eternity, but when I think of the amount of music I’ve come across in that time, Barr‘s debut feels all the more special.
The band’s 2012 follow-up, Atlantic Ocean Blues (discussed here), gave up some of the intimacy of the first offering in favor of breadth, marked in particular by the fuller, jammier take on “He Ain’t a Friend, He’s a Brother” that made its way onto the release. To be perfectly honest with you, I keep that album on my phone in case of emergencies, so I’m not going to say a bad word about it or the resonance it shares with its predecessor. To the best of my knowledge, Barr haven’t done anything since, and whether theirs was a two-album course or if they ever do anything else, I consider myself fortunate to have this music in my life.
As always, I hope you enjoy. Thanks for reading.
—
I woke up this morning before four. I haven’t slept well all week, that helps nothing. Yesterday was a turnaround point though. The morning was wretched. We’ve been trying to push on potty training with The Pecan, and just… no. He’s flat-out refused it, and it’s made the house a miserable place and me miserable and stressed and I finally yesterday decided fuck it. I took a xanax in the morning and by the time I put him upstairs for a rest — he doesn’t nap anymore, but goes upstairs for an hour or 90 minutes or however long in the afternoon, and just kind of chills out with himself, plays, whatever; it’s a pattern that benefits everybody; Daniel Tiger has a whole song about a quiet rest being good for you — did some vocals for nascent-heavy-industrial-project, worked on more posts for today and by the time that was done, I’d decided that’s it. I don’t care anymore.
I don’t care when he pisses in the toilet. I don’t care when it happens. Means nothing in the grand scheme of his life. I’ll change his fucking diapers for as long as it takes. I don’t care anymore. It’s not worth the struggle or the stress, or him losing his mind or holding in poop for two days because he feels bad about going in his diaper but is terrified of the potty. I just can’t do it anymore. I don’t care that much. I’m sorry. There’s part of me that feels like I should rip off his diaper, refuse to put another one on, push him out of the nest, and so on, but seriously, fuck it. Maybe I’ll give don’t-be-a-prick a shot and see how that goes.
Yesterday afternoon? Much better. I felt like I’d pushed a weight off my shoulder and because I wasn’t miserable, he wasn’t either. We played and read books and he pissed in his diaper and it was fine. The day proceeded. We had dinner.
He’s been off from school all week. Spring break. We’ve had some real hang-out time. I’ve been spoiled sleeping mornings by him going to school, and there continues to be a big difference in my head between getting up at 5AM or before (I beat the alarm a couple days this week, including today) and getting up at 6AM or even later. Maybe I’ll nap later if I can.
I can’t. I have an interview this afternoon that I rescheduled from yesterday because I was such a mess and then kind of zoned out on meds.
I have more writing to do. Another news post I’d like to have go up today — that’ll be six posts; always gotta pack stuff in on Friday, I guess — and then the second of my two interviews for the Roadburn ‘zine. I put together the Steve Von Till piece yesterday or the day before. Wednesday, it was. The Patient Mrs. took The Pecan out of the house so I could get some time, I wound up transcribing that and Tau both. Still need to write up Tau. That was a cool chat. Seems like a nice guy. Steve Von Till I hadn’t talked to in a long while, so that was interesting as well. He’s kind to put up with my stupid fucking questions about process.
Hey, I like process.
The birds are out and yelling at the sun to rise, so The Pecan will be up soon. It’s almost six. I’m gonna try and get that other post done before it’s breakfast time and then, I don’t know, finish my coffee? That’d be cool. I can’t seem to sit still these days.
Am I the only one super-anxious about shows coming back? Not because of the plague, but because of the shows themselves? I’m not worried about wearing a mask or social distancing, but I’m not sure I ever want to leave the house again either. I miss live music, but there’s so much other bullshit about shows I don’t miss. People, most venues, taking pictures, the work of writing up a live review and knowing that no one’s going to care about it, driving there, driving back, losing basically two days because I was out so late, the pre-show anxiety, the post-show fatigue.
It feels like so much, like the prospect of having that in my life again is overwhelming. I wasn’t dude-at-three-shows-a-week anymore anyway — I did my fucking time — but still. The thought of being out and around. It’s troubling in a way I didn’t anticipate when the world went into lockdown last year and concerts evaporated.
If you have any thoughts, I’d appreciate. On that happy note, thank you for reading. Have a great and safe weekend. Don’t forget to hydrate — so important — and watch your head. New merch up next week, I think.
Posted in Whathaveyou on April 9th, 2021 by JJ Koczan
I’m not saying it can’t happen or that I wouldn’t be stoked if it did, but unless they’re hitting the studio, like, next week, a 2021 timeline for Besvärjelsen‘s second album seems ambitious, especially if they’re also taking part in Magnetic Eye Records‘ upcoming AC/DC tribute (man, they just keep pumping out those reduxes). The PostWax veterans released their Frost EP (discussed here) in 2019 as a follow-up to 2018’s Vallmo (review here), and for sure the wintry aspects of their sound would be highlighted by a release in, say, November, but even if their songs are nailed down tight and all that, I guess it just seems like to go from zero to mastered-album, then give figure three months lead time for promo, preorders, all that stuff, that puts you into probably September at the earliest. Doable, yeah. But with a band like this, whose sound is so meditative and fleshed out, you’d almost rather they take their time.
Don’t hurry, is all I’m saying. Yes, I’m very much looking forward to what Besvärjelsen might do next. I guess maybe I’m just fretting over nothing. Such a worrier, this one.
More important, congrats to the band on the Magnetic Eye signing, though they were with Blues Funeral, so it’s Jadd either way. Distribution don’t hurt though.
PR wire brings details:
BESVÄRJELSEN sign deal with Magnetic Eye Records
BESVÄRJELSEN have penned a multi-album deal with Magnetic Eye Records. The Swedish forest rockers will release their sophomore album via the label this year and also contribute a track to the forthcoming “Back in Black Redux” homage to AC/DC.
BESVÄRJELSEN comment: “We are extremely thrilled to be joining Magnetic Eye Records”, writes drummer Erik Bäckwall. “We know that we have come to the right team as we will be joining an amazing roster on this renowned label. In all modesty, we think that we have written our finest material yet for the new record, so we are very much looking forward to record and share it with the world as soon as possible!”
Jadd Shickler welcomes the Swedes: “I feel extremely privileged in welcoming Besvärjelsen onto our roster and I promise that the world of heavy music will be floored by what this amazing group does next”, comments the Magnetic Eye Records label director. “Having been part of the heavy rock underground for some time, I am fortunate to know many great musicians going back quite a few years. Sometimes such artists re-emerge with new bands and projects and I am lucky to be one of the first to hear about them. The very moment that original Dozer drummer Erik let me hear material from his new band Besvärjelsen, I knew they were something special and magical. Altareth, Heavy Temple, and now Besvärjelsen, 2021 is shaping up to be a hell of year for great bands joining Magnetic Eye Records.”
Spellbinding five-piece BESVA?RJELSEN take their name from the Swedish word for “conjuring”, which is a fitting description for their haunting approach to Northern heaviness. The Scandinavians carry melodic doom at their hearts, but lace their sound with subtle touches of prog as well as punk, folk, and classic rock.
The Swedes set out to with a clear vision to channel the vast Dalarna forests, a region otherwise famous for its painted wooden horses, instead of following the general trend among European riff-rock bands to try and evoke the American deserts.
The band was co-founded by guitarists and vocalists Andreas Baier and Staffan Stensland Vinrot in 2014, inspired by their magical geographic location. The musicians had both grown up on old Norse and Finnish grounds in Dalecarlia, Sweden surrounded by its lore, its mysticism, and its dark, droning musical traditions. The duo saw their new band as a means to create heavy music infused with all those elements.
Andreas, coming from a background in punk and hardcore, had realised that by constantly making his music faster, it finally hit a point where fast started to become slow. The timing of riffs would cut in half, even with blastbeats going underneath, and his instinctive pattern for slowing things down laid the foundation for BESVA?RJELSEN’s approach.
Initially Andreas and Staffan shared vocal duties, but they concluded that a full-time singer would free them to explore the complexity of their music further. While the duo never made a conscious decision to look for a female vocalist, Lea Amling Alazam arrived with a passion for punk and stoner rock that had started at age 13 at the local skate park. When, to the surprise of the guitarists, her distinctive voiced summoned the intimacy and charisma of singers like NINA SIMONE or AMY WINEHOUSE, Lea became the obvious choice.
BESVA?RJELSEN released their debut EP “Villfarelser” in 2015, which was followed quickly with the “Exil” EP in 2016. At this time, former DOZER and GREENLEAF drummer Erik Ba?ckwall joined the line-up. Both releases, though self-financed and released with minimal promotion, were well-received and even found airplay on Swedish National Radio.
Bass player Johan Rockner (DOZER, GREENLEAF) joined in 2018; just before their debut full-length “Vallmo” came out. The quintet merged crushing riffs and storming drums with increasingly sophisticated melodies and thoughtful themes. The album debut was greeted with great acclaim and even earned BESVA?RJELSEN a festival slot opening for DEEP PURPLE.
With Erik and Johan having played in various bands together and sharing a musical language, the rhythm section started to contribute to the songwriting for the mini-album “Frost”, which was released in late 2019. While BESVA?RJELSEN were forced into involuntary live performance hibernation like every band other during 2020, the Swedes kept themselves busy with intensive songwriting during all those months.
Having now joined Magnetic Eye Records, BESVA?RJELSEN will enter studio in spring 2021 to record their sophomore full-length to be released via the label this year.
Line-up Lea Amling Alazam- vocals Staffan Stensland Vinrot – guitars, vocals Andreas Baier – guitars, vocals Erik Bäckwall – drums Johan Rockner – bass
Posted in audiObelisk on April 9th, 2021 by JJ Koczan
Swedish psychedelic post-rock explorers Den Der Hale release their debut album Harsyra through Sound Effect Records on June 11. Even if the endorsement from the Greek imprint isn’t enough to immediately pique your interest — and it probably should be — the Malmö-based five-piece won’t take long to immerse you in their melodic wash, speaking here and there to post-punk or proto-New Wave (is there a difference?) or sundry other microgenres and eternal niches-within-niches they simply dub “post-psych.” Points for being concise, but much as the LP’s accessible runtime of five tracks/35 minutes unfolds sonic spaces greater than the sum of their time, so too does their chosen designation only begin to explain where they’re coming from on Harsyra, from the airy, harmony-culminating come-with-us downer-dirge of “Carcassonne,” string break included, to the surging wash of bliss that caps the concluding title-track.
Perhaps their path to creating such a striking first full-length makes more sense when one learns of band members’ past in Insaunas, whose dreamy svenskfolk found itself combining bedroom-psych intimacy and experimentalism on 2019’s We Brought Some Days Back, released through the Malmö label Nytt Arkiv. Knowing that isn’t going to account for all of the ritual-style standalone vocals at the end of second cut and side A closer “Ant Mill” — a 13-minute journey of spaces lush and minimal, fuzzed-out, weirded up and moving into your neighborhood, and, in that finish, more or less still; it is a beautiful thing that feels reckless without being so — but it’s a foundation to work from, and as much as Den Der Hale have their own mission throughout Harsyra, finding a place for themselves between that which is essentially human and that which is formless ether and grooving in and on that divide, melody is melody. Fortunately.
Side B is about a minute shorter than A when all put together — which is how I got the album, by the way; two files, one for each side and a time sheet from Magnus Lindberg Mastering that showed where one track ended and another began; pioneer spirit! — but it spends its time digging further into the post-heavy vibe set forth in the first two tracks. To wit, the droning line of guitar/maybe-keys/who-knows-what underscoring “Armoured,” which arrives as the first half-ish of the eight-minute “Armoured/Endurance,” the latter half of the track picking up immediately and letting the guitar come more forward to create Harsyra‘s most fervent wash (it’s no wonder they didn’t want to give it away by premiering the whole thing), vital and weighted and engulfing in its distortion and broad in its aftermath of noise and feedback. This builds on what Den Der Hale were doing previously, takes it someplace new, and there’s still enough context so that when the far-back programmed beat behind the guitar of the two-minute “Tinktur” comes in, it’s not at all out of place.
“Tinktur,” while short, is more than an interlude. Its soothing vocal calls back to “Carcassonne” at the outset and while it provides a convenient basis for contrast when the immediately motorik guitar chug begins at the start of “Harsyra” itself, it’s not without a presence of its own either. Still, once the Hawkwindian launch sequence begins, Den Der Hale make it clear they’ll not be returning to ground anytime soon. The melody remains fluid as the finale finds its grandness, guitars and drums leading an outward procession that’s loyal to the core rhythm while teasing the payoff to come and still giving the vocals room when necessary. It is tense, exciting. And then they’re off again. God knows what the lyrics are about — the title refers to a wood-sorrel, a three-leaf clover, which blooms from Spring to Midsummer, so maybe there’s some alignment with the June release — but the echoing voices provide a reassurance just the same. You’re not on this trip alone, and that becomes comforting as “Harsyra” is brought to its end. It’s not as cacophonous a blaster as “Armoured/Endurance” becomes, but it sure is fascinating that they put both those songs on side B to set up the contrast between them. Almost enough to make you think there’s been a plan underway the whole time.
And maybe there has, but Den Der Hale aren’t telling, and though Harsyra‘s accomplishments across this first 12″ are significant, they’re all the more so for the potential they hold. I’m no arbiter of cool and I never have been, but this one speaks to me and so I wanted to cover it. It’s as simple as that. I hope you find it speaks to you too. If you check out “Armoured” on the player below, it’s not going to tell you everything you need to know about the album. Don’t expect it to. It’s a teaser. Half a track. But it’s what I could get, and no one pays attention to anything that isn’t a premiere anymore and I thought this was worth someone paying attention to it, so here we are. I’ve put this record on my list of 2021’s best debuts, and I look forward to hearing what Den Der Hale do next.
That and preorder links is all I got, friends. PR wire info follows the song below.
After forming in late 2019, Den Der Hale quickly wrote and put out a number of singles, straddling the genres of post-rock and psych. ‘Harsyra’ is their debut album, a 5-track output which crystallizes their particular brand of post-psych. Tracks range from anthem-like and earthy, to fast paced and grimy, all while keeping an ethereal atmosphere throughout. “Harsyra” is out, on limited edition black and bone color vinyl, on June 11th via Sound Effect Records.
Born in Oljehamnen, the industrial harbour of Malmö, Den Der Hale rose from the remnants of former neo-folk project Insaunas. The addition of new members saw the sound evolve in a heavier and more complex direction, drawing on a wide array of influences. After putting out two singles during 2020, and polishing their sound through a number of live shows, guitarist Max Bredberg dubbed their new brand of music ‘post-psych’. The continued lockdown in the wake of the Covid-19 pandemic, has led to a sharp decrease in opportunities to play live shows. For Den Der Hale, this meant that the creative energy had to find some other form of outlet.
That outlet is what would eventually become the debut album Harsyra. Recorded and produced by the band itself in a studio located in the old railway roundhouses of Malmö, the album features five tracks, ranging in tone from earthy, grimy and ethereal to heavy hitting and fast-paced. Until the day comes when we can again enjoy music performed in the flesh, this post-psych oeuvre can best be experienced on vinyl, put out by Sound-Effect Records.
Posted in Whathaveyou on April 8th, 2021 by JJ Koczan
Summer is going to be busy. Summer’s always busy — truth is every time is always busy except maybe the last couple weeks of December and the first two of January — but I have the feeling that the over the course of this month we’re going to see a lot of announcements for records due in August, September, even July, as the world collectively dares to peak out from under the Covid-19 pandemic. Between stuff that was delayed and/or pushed back to allow for a return to touring, pandemic-era projects, and those who pushed forward in spite of the reigning chaos, the field is already becoming increasingly crowded.
And hey, it just so happens Chaos Reigns is the title of the second LP by Wolves in Haze. How about that. The Gothenburg now-trio — last heard from with 2018’s single “All or Nothing” (premiered here) — have parted ways with bassist Vicke Crusner and handed those duties to drummer Kalle Lilja (also of Långfinger and Welfare Sounds Studio) at least for the time being, and signed with Majestic Mountain Records for the release, which will be in collaboration with Tvåtakt Records and out sometime this summer.
One assumes more details are forthcoming, but the basic signing announcement and some comment from the band follow here, as hoisted from social media:
Welcome Wolves In Haze to Majestic Mountain Records!
Gothenburg-based ‘Wolves in Haze’ will drop their new album ‘Chaos Reigns ‘ on digital, cd, and vinyl on Majestic Mountain Records later this summer. The vinyl release will be a collaboration with the kickass label Tvåtakt Records! If you’re the slightest familiar with them and their previous releases, you know that the album will be riff-filled!
“We are happy to announce that we now are a part of the Majestic Mountain Records family,” says the band. “The new album ‘Chaos Reigns’ will be out later this year in a co-release with the awesome Tvåtakt Records. Vinyl, compact disc and digital streaming stuff, yeah you know it’s gonna be amazing!”
Let there be riffs!
Give Wolves a follow!
Wolves in Haze are: Olle Hansson – Guitar Manne Olander – Vox & guitar Kalle Lilja – Drums & bass
Swedish doomers Dun Ringill issued their second album, Library of Death, last summer through Argonauta Records. It is a particularly Scandinavian take on classic doom and metal in its construction of riffs and melodies and all the more in a piece like opener “Raven’s Tear” or the later “Well of Desire,” and in the kind of folkish undercurrent — at least that seems to be how they thought of it — there and in “My Funeral Song,” the Gothenburg six-piece not only flesh out arrangements with strings or dig through to a stylistic niche, but they use the material as a setting in which an examination of death, and thus the nature of life, take place, the band welcoming a host of guests in order to push their sound further into these yet-uncharted spaces, including Matti Norlin, who handles nyckelharpa, cello, violin and hurdy-gurdy across as range of tracks.
If you missed Library of Death, the title-track coming second after “Raven’s Tear” and making a morose side A trilogy piece with “My Funeral Song” ahead of the album-centerpiece “Dance of the Necromancer,” upon its release, remember, at the time there was no shortage of less-theoretical death to be concerned with in Summer 2020. And in that context, though the material would have been written earlier — likely over the course of 2019/early 2020 following the release of their debut LP, Welcome (review here), also through Argonauta Records; decidedly pre-plague in any case — even in the context of the traditionalist and markedly untraditionalist metal brought to bear, Library of Death feels woefully of its time, right unto the flute on “Dance of the Necromancer” or the hurdy-gurdy on “Well of Desire.” Even as it’s out of its time, purposefully so, both in its use of folk elements/instruments and its foundation in classic metal.
Maybe I’m overthinking it, but the way the three-plus-minute “NBK” (an acronym for “Natural Born Killers”), so willfully bursts out with driving, straight-ahead heavy metal seems too willful to just be a coincidence stuck in ahead of “Reverend of Many Faces” because it didn’t fit anywhere else. Dun Ringill, as a six-piece, no doubt have a hard enough time coordinating anything — have you ever tried to get six people into the same place at the same time? — that to then go ahead and broaden the lineup even further by bringing aboard guest players seems frankly like too much work if it wasn’t the point to start with. That is to say, the contrasts Dun Ringill set up across Library of Death, between classic structures or modern tonality, between folk and metal, even between guttural or more melodic vocals, are jarring at times, but these are jarring times. What else can it be that so readily pulls from varied pasts but the present?
“Reverend of Many Faces,” which includes an appearance from the admirably ubiquitous Per Wiberg on church organ in an epic closing section, caps the album in a manner that highlights the considered nature of the tracks’ direction. It is very much a culmination, not quite mirroring “Library of Death” or “My Funeral Song” back on side A, but in part continuing the thread after the aside of “NBK.” Bringing the point home, as it were. And it does so in grand fashion, the final dirge sounding very final indeed as the band cut the audio short to end cold and send a last message about the fleeting nature of our existence. We’re here and gone. So too, were they.
It’s a dark sound, but it moves, and even as epic as “Reverend of Many Faces” gets, it doesn’t lose its underpinning in doom metal. You’ll find Dun Ringill know what they’re doing when it’s all over, and the deeper you dig, the wider their breadth feels across Library of Death as a whole.
Happy to host the premiere their video for “Reverend of Many Faces.” I’ve also included the full album stream below for your perusal and the complete credits, which are ample in themselves.
Please enjoy:
Dun Ringill, “Reverend of Many Faces” official video premiere
Dun Ringill on “Reverend of Many Faces”:
Behind the sacred face of this holy Reverend, hides a dark and complex mind. He has an evil agenda and he will use his status and power to plead and honor “His True Father” ….
We see all over the world repeatedly that priests and reverends use their status and power in the society in horrible ways. They abuse and use children and adults behind the closed doors of their church, all in the name of God….What God to they obey?
Reverend of Many Faces is the brand-new video from Dun Ringill, taken from the bands second album “Library of Death”, released July 31st-20 via Argonauta Records.
Filmed and directed by: Patrik Andersson Winberg
The Reverend: Henrik Myrberg
Music by: Dun Ringill, Lyrics by: Patrik Andersson WInberg
Dun Ringill’s new album digs deeper into the soil of Nordic folk music and at the same time, it is even darker, rawer and heavier than their debut. Recorded with mastermind Joona Hassinen at Studio Underjord and Grand Recording Studio during the winter of 2019, with Library of Death the band creates a haunting vibe of the evil wilderness and the dark woods lurking around the corner.
The album was arranged in a basement in the grey parts of Gothenburg while the lyrics were written on the high and mighty mountains of Norway. This special combination gives this album its unique aura of a beautiful darkness and malevolent feelings, that will follow you into your dreams…
When The Order of Israfel took a one year break from September 2017, the rhythm section Patrik Andersson Winberg (Bass) and drummer Hans Lilja (also in Lotus) grabbed the chance to create new music again together with Patrik’s old band mate from the Doomdogs era, Tomas Eriksson (Intoxicate and ex Grotesque). To make this exciting project of Dun Ringill as great as possible, the band teamed up with Gothenburg’s fella musicians, guitarists Tommy Stegemann (Silverhorse), Jens Florén (also in Lommi & ex- live guitarist for Dark Tranquillity) and Patric Grammann (SFT, Neon Leon). After the band released their critically acclaimed debut, Welcome, in March 2019 – followed by several gigs and tours with acts alike Church Of Misery, Year Of The Goat and Elder to name just a few, their new studio album Library of Death saw light of day on July 31st on Argonauta Records.
Dun Ringill are: Thomas Eriksson – Vocals Hans Lilja – Drums Patrik Andersson Winberg – Bass Jens Florén – Guitar Tommy Stegemann – Guitar Patric Grammann – Guitar
Guests: Glenn Kjellberg – Vocals (“Reverend of Many Faces”) Matti Norlin – Nyckelharpa, Hurdy Gurdy, Cello, Violin Philip Lindgren – Flute Trevor Pricket – Spoken Word (“My Funeral Song”) Per Wiberg – Church Organ (“Reverend of Many Faces”) Matilda Winberg – Church Choir (“Reverend of Many Faces”)
