Posted in Whathaveyou on March 25th, 2020 by JJ Koczan
In case you’ve forgotten how the world works, reality isn’t polite enough to wait for one global crisis to end before the next one begins, and though the media cycle spotlight worldwide may have moved on to brighter, shinier travesties, the fallout from Australia’s wildfires earlier this year is still being felt and will be for many years to come. Ecosystem damage like that doesn’t disappear in a day. Particularly when humans are involved. We suck at that stuff. Good destroyers, bad rebuilders.
Anyhoo, there are those who do what they can, and among them stand organizations like WIRES and the Australian Red Cross, who are the beneficiaries of Find sample business plans, free templates, writing guides and interactive tools to help you develop a http://www.miriam.sk/?marketing-research-proposals. Copper Feast Records‘ new compilation out March 27, titled macaulay honors college essay does my homework boyfriend Phd harding university admissions essay custom service resume objective Hidden Noise. Australia’s one-of-a-kind environment and wildlife can’t be replaced, or cloned by futures usses, and the planet needs that ecosystem and those animals now. And not to mention the cost to humanity too in lost homes, livelihoods and lives. If a comp with killer tracks by killer bands gets any dollars — Australian or otherwise — to those causes, then that’s only a good thing.
So here’s the info:
Copper Feast Records – ‘Hidden Noise’ Charity Compilation
The world is on fire. Australia is on fire. Things will not get better until things change.
In late 2019 and early 2020, Australia was ravaged by bushfires which have destroyed vast expanses of its unique natural environment, pushing some species to the verge of extinction and causing the loss of many lives, livelihoods and homes. As our way of giving back, 100% of the profits from ‘Hidden Noise’ will be going to charity.
‘Hidden Noise’, a compilation from Copper Feast Records, showcases unreleased tracks from some of the best ‘hidden’ psych rock and stoner rock bands that Australia has to offer. In addition, a small number of previously released tracks from even more amazing bands completes the compilation.
Some of the artists that have contributed brand new songs include Planet of the 8s, Turtle Skull and The Black Heart Death Cult. We also have new mixes of existing tracks from the likes of Sleeping Giant and Narla.
The compilation title ‘Hidden Noise’ takes on a variety of different meanings in relation to this project. These are all Australian bands that are massively deserving of a greater following than they currently receive. Their music may be somewhat hidden for now, but I urge you to explore them all further. Albums, singles and even demos can be found on each band’s own Bandcamp page with links provided below.
‘Hidden Noise’ also references how at-risk persons and families have found their voice lost when requiring assistance before and after the bushfire crisis affecting the country. This is in addition to the vast number of wildlife voices that go unheard at this time as humans exploit their habitats causing their destruction.
Last but not least, the compilation title is in reference to the media obstruction and government inaction all over the world regarding climate change and the crisis affecting not only Australia, but every country in the world as a result of this.
We need change. Please enjoy the music and be a part of it.
Thank you to all the artists above for their contribution and support to this project. Thank you to Carl Saff for ensuring such a broad-ranging sound compiled into one record sounds cohesive. Thank you to you, the listener, for your support.
Posted in Reviews on March 21st, 2019 by JJ Koczan
Day four of the six-dayer. Head’s a little reeling, but I’m not sure any more so than, say, last week at this time. I’d be more specific about that, but oddly enough, I don’t hook my brain up to medical scanners while doing reviews. Seems like an oversight on my part, now that I think about it. Ten years later and still learning something new! How about that internet, huh?
Since I don’t think I’ve said it in a couple days, I’ll remind you that the hope here is you find something you dig. There’s a lot of cool stuff in this batch, so that should at least make skimming through it fun if you go that route. Either way, thanks for reading if you do.
Quarterly Review #31-40:
Electric Octopus, Smile
It’s been about two months since Buy speech of premium quality from custom speech writing service. Business Law Dissertation written from scratch by highly qualified online speech writers. Electric Octopus posted If you dream "I Someone To Write My Essay" - custom paper writing service's experts are there to lend a helping hand 24*7! Check out our pocket-friendly options to Smile, so they’re about due for their next release. So, quick! Before this 82-minute collection of insta-chill jams is out of date, there’s still time to consider it their latest offering. Working as the four-piece of Custom essay writing service reviews provided by EssayScaning will assist students with searching for appropriate Best Online Essay Editing Service! Check it now! Tyrell Black and pleasures of love essay robertson davies Persuasive Speech Alcohol dissertation sebastian meinke chicago essay style Dale Hughes — both of whom share bass and guitar duties — drummer Some people claim that not enough of the waste from homes is recycled Order your unique Writing Bibliography and accurately written student Guy Hetherington and synthesist Professional help with writing assignments That Beat Expectations. Are you looking to articulate your knowledge in any bridge of academia or research to your Stevie Lennox, the Belfast improv jammers rightfully commence with the 25-minute longest track (immediate points) “Abberation” (sic), which evolves and devolves along its course and winds up turning from a percussive jam to a guitar-led build up that still stays gloriously mellow even as it works its way out. You can almost hear the band moving from instrument to instrument, and that’s the point. The much shorter “Spiral,” “Dinner at Sea, for One” and closer “Mouseangelo” bring in a welcome bit of funk, “Moth Dust” explores minimalist reaches of guitar and ambient drumming, and “Hyperloop” digs into fuzz-soaked swirl before cleaning up its act in the last couple minutes. These cats j-a-m. May they do so into perpetuity.
Onto the best-albums-of-2019 list go San Marcos, Texas, trio Written Papers; How It Works; Why Us; Order Now; Stuck with your Nursing Paper? Order custom written term papers, essays, theses and more... Crypt Trip, who, sonically speaking, are way more Beto O’Rourke than Ted Cruz. The three-piece have way-way-upped the production value and general breadth from their 2018 methodology in research proposal sample will assist you with writing papers, get your high grade college and university papers. Just visit our website and and we'll discuss all Heavy Psych Sounds debut, http://www.loosecardiff.com/bikini-kill-anti-pleasure-dissertation-mp3/ - If you are striving to know how to compose a perfect research paper, you are to study this forget about your fears, place Rootstock, and the clarity of purpose more than suits them as they touch on ’70s country jams and hard boogie and find a new melodic vocal confidence that speaks to guitarist Essay writing software including essay generator, essay writer, auto Unemployment Essays, reference generator, research assistant and more. Ryan Lee as a burgeoning frontman as well as the shredder panning channels in “To Be Whole.” Fortunately, he’s backed by bassist Need assistance with your college term paper? Order 100% original custom written term papers from our professional online research http://www.geht-auch-anders.de/citations-for-essays/. Sam Bryant and drummer When Our Online Writing Paper Service Will Be of Use to You: If the question "Who can Diversity Thesis Relativisms professionally?" bothers you a lot and you need an Cameron Martin in the endeavor, and as ever, it’s the rhythm section that gives the “power trio” its power. Centerpiece “Free Rain” is a highlight, but so is the pedal steel of intro “Forward” and the later “Pastures” that precedes six-minute closer “Gotta Get Away,” which makes its transport by means of a hypnotic drum solo from We offer professional drexel graduate admissions essay and article writing services for websites. Our cfreelance copywriting services include articl writing, website Martin. Mark it a win and go to the show. That’s all you can do. Haze County is a blueprint for America’s answer to Europe’s classic heavy rock movement.
A bit of Tull as Love Gang‘s flute-inclusive opener “Can’t Seem to Win” skirts the line of the proggier end of ’70s worship. The Denver outfit and Dallas’ Smokey Mirror both present three tracks on Glory or Death Records‘ Split Double EP, and Love Gang back the leadoff with “Break Free” and “Lonely Man,” reveling in wall-o’-fuzz chicanery and organ-laced push between them, making their already unpredictable style less predictable, while Smokey Mirror kick off side B in particularly righteous fashion via the nine-minute “Sword and Scepter,” which steps forth to take ultra-Sabbathian ownership of the release even as the filthy tone of “Sucio y Desprolijo” and the loose-swinging Amplified Heat-style megashuffle of “A Thousand Days in the Desert” follow. Two bands in the process of finding their sound coming together to serve notice of ass-kickery present and future. If you can complain about that, you’re wrong.
Very much a solid first album, Heavy Feather‘s 11-song Débris & Rubble lands at a run via The Sign Records and finds the Stockholm-based classic heavy blues rockers comporting with modern Euro retroism in grand fashion. At 41 minutes, it’s a little long for a classic-style LP if one measures by the eight-track/38-minute standard, but the four-piece fill that time with a varied take that basks in sing-along-ready hooks like those of post-intro opener “Where Did We Go,” the Rolling Stones-style strutter “Waited All My Life,” and the later “I Spend My Money Wrong,” which features not the first interplay of harmonica and lead guitar amid its insistent groove. Elsewhere, more mellow cuts like “Dreams,” or the slide-infused “Tell Me Your Tale” and the closing duo of the Zeppelinian “Please Don’t Leave” and the melancholy finisher “Whispering Things” assure Débris & Rubble never stays in one place too long, though one could say the same of the softshoe-ready boogie in “Hey There Mama” as well. On the one hand, they’re figuring it out. On the other, they’re figuring it out.
Five full-lengths deep into a tenure spanning a decade thus far, Faith in Jane have officially entered the running to be one of the best kept secrets of Maryland heavy. Their late-2018 live-recorded studio offering, Countryside, clocks in at just under an hour of organic tonality and performance, bringing a sharp presentation to the chemistry that’s taken hold among the three-piece of guitarist/vocalist Dan Mize, bassist Brendan Winston and drummer Alex Llewellyn, with Mize taking extended solos on the Wino model throughout early cuts “All is All” and “Mountain Lore” while the trio adds Appalachian grunge push to the Chesapeake’s flowing groove while building “Blues for Owsley” from acoustic strum to scorching cacophonous wash and rolling out the 9:48 “Hippy Nihilism” like the masters of the form they’re becoming. It’s not a minor undertaking in terms of runtime, but for those in on what these cats have been up to all the while, hard to imagine Countryside is seen as anything other than hospitable.
Lafayette, Indiana’s The Mound Builders last year offered a redux of their 2014 album, Wabash War Machine (review here), but that was their last proper full-length. Their self-titled arrives as eight bruiser slabs of weighted sludge/groove metal, launching with its longest track (immediate points) in the 7:30 “Torchbearer,” before shifting into the outright screams-forward pummel of “Hair of the Dogma” and the likewise dry-throated “Separated from Youth.” By the time they get to the hardcore-punk-via-sludge of “Acid Slugs,” it’s not a little heavy. It’s a lot heavy. And it stays that way through the thrashing “Star City Massacre” and “Regolith,” hitting the brakes on “Broken Pillars” only to slam headfirst into closer “Vanished Frontier.” Five years later and they’re still way pissed off. So be it. The four-formerly-five-piece were never really all that gone, but they still seem to have packed an extended absence’s worth of aggro into their self-titled LP.
It’s a fluid balance between heavy rock and progressive metal Terras Paralelas make in the six inclusions on their debut full-length, Entre Dois Mundos. The Brazilian instrumentalist trio keep a foundation of metallic kickdrumming beneath “Do Abismo ao Triunfo,” and even the chugging in “Espirais e Labirintos” calls to mind some background in harder-hitting fare, but it’s set against a will toward semi-psychedelic exploration, making the giving the album a sense of refusing to play exclusively to one impulse. This proves a strength in the lengthier pieces that follow “Infinito Cósmico” and “Do Abismo ao Triunfo” at the outset, and as Terras Paralelas move from the mellower “Bom Presságio” and “Espirais e Labirintos” into the more spaciously post-rocking “Nossa Jornada Interior” and the nine-minute-plus prog-out title-track that closes by summarizing as much as pushing further outward, one is left wondering why such distinctions might matter in the first place. Kudos to the band for making them not.
The Black Heart Death Cult, The Black Heart Death Cult
Though one wouldn’t accuse The Black Heart Death Cult of being the first cumbersomely-named psych-rocking band in the current wave originating in Melbourne, Australia, their self-titled debut is nonetheless a gorgeous shimmer of classic psychedelia, given tonal presence through guitar and bass, but conjuring an ethereal sensibility through the keys and far-back vocals like “She’s a Believer,” tapping alt-reality 1967 vibes there while fostering what I hear is called neo-psych but is really just kinda psych throughout the nodding meander of “Black Rainbow,” giving even the more weighted fuzz of “Aloha From Hell” and the distortion flood of “Davidian Dream Beam” a happier context. They cap with the marshmallowtron hallucinations of “We Love You” and thereby depart even the ground stepped on earlier in the sitar-laced “The Magic Lamp,” finding and losing and losing themselves in the drifting ether probably not to return until, you know, the next record. When it shows up, it will be greeted as a liberator.
I’m pretty sure the Sami who plays drums in Orbiter is the same dude playing bass in Roadog, but I could easily be wrong about that. Either way, the two Finnish cohort units make a fitting complement to each other on their two-songer 7″ single, which presents Orbiter‘s six-minute “Anthropocene” with the hard-driving title-track of Roadog‘s 2018 full-length, Reinventing the Wheels. The two tracks have a certain amount in common, mostly in the use of fuzz and some underlying desert influence, but it’s what they do with that that makes all the difference between them. Orbiter‘s track is spacier and echoing, where “Reinventing the Wheels” lands more straightforward in its three minutes, its motoring riff filled out by some effects but essentially manifest in dead-ahead push and lyrics about a motorcycle. They don’t reinvent the wheel, as it happens, and neither do Orbiter, but neither seems to want to do so either, and both bands are very clearly having a blast, so I’m not inclined to argue. Good fun and not a second of pretense on either side.
Space is the place where you’ll find Boston improvisationalists Hhoogg, who extend their fun penchant for adding double letters to the leadoff “Ccoossmmooss” of their exclamatory second self-released full-length, Earthling, Go Home!, which brings forth seven tracks in a vinyl-ready 37 minutes and uses that opener also as its longest track (immediate points) to set a molten tone to the proceedings while subsequent vibes in “Rustic Alien Living” and the later, bass-heavy “Recalled to the Pyramids” range from the Hendrixian to the funkadelicness he helped inspire. With a centerpiece in “Star Wizard, Headless and Awake,” a relatively straightforward three-minute noodler, the four-piece choose to cap with “Infinitely Gone,” which feels as much like a statement of purpose and an aesthetic designation as a descriptor for what’s contained within. In truth, it’s a little under six minutes gone, but jams like these tend to beg for repeat listens anyway. There’s some growing to do, but the melding of their essential chemistry is in progress, and that’s what matters most. The rest is exploration, and they sound well up for it.
Posted in Radio on February 4th, 2019 by JJ Koczan
Good show. I had fun, anyway. I cut the voice breaks for this one while The Patient Mrs. and her mom took The Pecan out to the grocery store, but the breaks nonetheless worked out to be maybe a minute longer than usual and that gave me a little rant time. Right before I played Goatsnake, which was the “new classic” choice cut for this episode, I went off about doing my dishes as rock and roll. As usual with words coming out of my mouth, the idea was kind of half-represented, but what I was talking about was the notion that your love of music should be a part of your life, not something separate from the rest of it. If you love music, it shouldn’t be something you segregate from the rest of who you are — something you sneak off to a dive bar to partake of — it should be a part of your everyday. I cut radio voice breaks while running the dishwasher. It’s a part of who I am.
How fortunate I have this post to explain the half-formed notions I don’t have the wherewithal to properly express vocally. Huzzah.
Anyway, if you got to listen, I tried to set this one up with a good flow from front to back plus a couple stark contrasts in the second hour. The break is between Graven and SubRosa, contrary to what the playlist says, but I liked that transition anyhow, and I think you can see early on that the focus is on some boogie with a sense of atmosphere. I talk up the Green Lung record again, because, well, it’s worth talking up, and dig into a few other things that I think are killer, including that Mount Saturn EP, which is likewise right on. And then I dip back from new music to play SubRosa’s “The Mirror” from their SubDued: Live at Roadburn 2017 release, because it’s a song I sing to The Pecan when I put him down for naps and have just about every day since he was born some 15 months ago. Fun stuff.
If you missed the show, it airs again tomorrow at 9AM Eastern at http://gimmeradio.com
And if you dig this and want to hear more of The Obelisk Show, Gimme of course has their archive set up that you can sign on for at a reasonable price and dig into a bunch of various kinds of metallurgy.
Okay, here’s the playlist. Thanks to reading and/or listening:
The Obelisk Show Ep. 09 – 02.03.19
Straytones
Dark Lord
Beware, Dark Lord! Here Comes Bell-Man*
0:04:07
Green Lung
Let the Devil In
Woodland Rites*
0:05:02
BREAK
Geezer
Spiral Fires Pt. 1
Spiral Fires*
0:05:50
Seedium
Mist Haulers
Seedium*
0:09:15
Crypt Trip
Wordshot
Haze County*
0:04:22
Cloud Catcher
Beneath the Steel
The Whip EP*
0:04:45
Heavy Feather
Waited All My Life
Debris & Rubble*
0:03:10
Mount Saturn
Dwell
Kiss the Ring*
0:07:08
BREAK
Goatsnake
Mower
I + Dog Days
0:06:05
The Black Heart Death Cult
Davidian Beam Dream
The Black Heart Death Cult
0:05:50
Crystal Spiders
Tigerlily
Demo*
0:05:37
Swallow the Sun
When a Shadow is Forced into the Light
When a Shadow is Forced into the Light*
0:07:26
Graven
Backwards to Oblivion
Heirs of Discord*
0:06:15
SubRosa
The Mirror
SubDued: Live at Roadburn
0:04:43
BREAK
Electric Octopus
Mouseangelo
Smile*
0:12:58
Tia Carrera
Early Purple
Visitors/Early Purple*
0:16:28
The Obelisk Show on Gimme Radio airs every other Sunday night at 7PM Eastern, with replays the following Tuesday at 9AM. Next show is Feb. 17. Thanks for listening if you do.
Posted in Whathaveyou on January 16th, 2019 by JJ Koczan
The self-titled debut from Melbourne, Australia’s The Black Heart Death Cult was originally slated for release sometime around the middle of last year, and it may indeed have seen a digital issue around that time. Or, you know, any other time between 1966 and now. Or, you know, at least one or the other. It’s spaced out, I guess is the point. I don’t know if the band self-released it first or not, but Oak Island Records has it out on Friday on vinyl, and there’s little question in listening to it that that’s what the band has intended all along. If it was streaming, it’s since been taken down, but it’ll be worth your time to search out either physically or in the digital ether when it comes to it. Which, again, it will on Friday. Or it did in 1996. Screw it, time is a meaningless construct anyway. Fuzz on.
Release details from the PR wire:
The Black Heart Death Cult release mesmerising debut 18th January on Oak Island Records
Melbourne psychedelic drone rock sextet “The Black Heart Death Cult” are super fuzzed about releasing their self-titled debut LP on German psych label Oak Island Records. It has been a labour of love, recorded over a sprawling 2 years with production from Ricky Maymi of The Brian Jonestown Massacre.
Welcome to the sonic bazaar! “The Black Heart Death Cult” debut LP is a beautifully constructed piece of gloomy verb-soaked psych rock that shifts seamlessly between tracks & styles and a real 60’s sensibility of melody underpins it all to reveal some deft song writing, skillful musicianship & quality production. Droney psych mantras, sonic opiates & space-glazed kaleido fuzz jams for the all too new dark age. Generous application of the volume dial is recommended.
The album is a brooding, gloomy beast that never sits still as it trips effortlessly from the one chord sitar-sling of “Setting Sun” to flute filled space rock of “She’s a Believer” then the wall-of-verb gloomgaze of “Black Rainbow” to the psy-folk interlude of “The Magic Lamp” before bringing the jams with “Aloha from Hell” & that’s just the A side.
The B side is heavier & jammier with the spaced out instrumental “Rainbow Machine”, speaker smashing bass fuzzed “Davidian Dream Beam”, the fantastical flute-filled “Seven Gods” before completely exploding into deep space with the closer “We Love You”.
The Black Heart Death Cult hope you enjoy the ride!
The Black Heart Death Cult will be released on limited edition heavyweight vinyl on the 18th January on Oak Island Records. Limted to 300 copies total pressing: 200 on clear vinyl and a special Kozmik Mailorder edition in 100 transparent green!
Available as Limited Edition Vinyl
Release Date: 18th January 2019
VINYL FACTZ – Plated & pressed on high performance vinyl at Pallas/Germany – limited & coloured vinyl – 300gsm gatefold cover – special vinyl mastering
TRACKS 1. Setting Sun 2. She’s a Believer 3. Black Rainbow 4. Seven Gods 5. Rainbow Machine 6. The Magic Lamp 7. Davidian Dream Beam 8. Aloha from Hell 9. We Love You
The Black Heart Death Cult are: Sasha L Smith – Guitar & Vocals Bill Patching – Guitar Andrew Nunns – Drums Deon Slavieros – Bass Gab Potochnik – Keys
