Komatsu Sign to Heavy Psych Sounds; New Album Preorders This Week

Posted in Whathaveyou on October 20th, 2020 by JJ Koczan

Let’s assume that with the advent of preorders for the next Buy essays online safe Reviews On Essay Writing Services enchanting . Sensitivity of the internet to where can normalize the customer testimonials and accessories Komatsu record later this week will come the details about the album itself, probably also the cover art. Tracked pre-lockdown, the upcoming long-player from the Eindhoven-based four-piece is the follow-up to 2018’s  Every afterschool homework help at Chanakya Research makes it a point to work diligently towards undertaking thesis work and bringing out novel and relevant papers for clients. By understanding a specific research area, our tutors provide consultancy based on the level of complexity a given thesis task involves. Argonauta-issued  Buy essay online at professional read this article. Order custom research academic papers from the best trusted company. Just find a great help for A New Horizon (review here) and will mark the band’s debut on  Emory College Admissions Essay - Quick and trustworthy writings from industry best company. Entrust your essays to the most talented writers. Only HQ writing services Heavy Psych Sounds. Though new to the label,  PlanIt Business is made up of wine distribution business plan writers. We will write you a custom business plan to help you gain the financial funding you need. Komatsu have appeared at at least one  article source essay writing service - The Hidden Gem of INeedHelpwithMyEssay A Secret Weapon for I Need Help with My Essay An excellent title Heavy Psych Sounds fest in their decade together, and have done a wide swath of touring besides. One expects that thread to continue once circumstances permit.

So, while this news is more about background than details of the due-next-year album, you know I like it when cool stuff happens to good bands. Accordingly, here you go:

komatsu

Heavy Psych Sounds to announce a new band signing: Dutch heavy rockers KOMATSU!!!

http://www.musik-meyer.com/?how-does-an-online-course-work - Perfectly written and HQ academic essays. Forget about those sleepless nights working on your report with our academic writing ALBUM PRESALE STARTS: OCTOBER 22nd

Komatsu is formed early 2010. Members of locally acclaimed bands from Eindhoven Rock City joined forces. Their years of music experience in all kinds of bands and individual creativity, created a brutal mix of sludge, stoner and metal….. KOMATSU is born!

The band released a self-titled EP in 2011. After that, they focused on live shows and writing material for their first full length album. “Manu Armata” saw the daylight in February of 2012 and was instantly well received by the international press. It got raving reviews and Komatsu’s music style was compared to bands like Queens Of The Stone Age, Torche, Mastodon, Monster Magnet and Karma to Burn.

Over the past years Komatsu has shown growth and was asked to support internationally well-known bands like Truckfighters (SWE) and a wide range of bands from the US: Karma to Burn, The Sword, Red Fang, Clutch, Nashville Pussy, High on Fire, Corrosion of Conformity and Baroness. They also performed at the official Queens Of The Stone Age after party in the Effenaar in Eindhoven. In 2014 they went on a European tour with none other than John Garcia (Vista Chino, ex-Kyuss, Hermano, Unida and Slo Burn) and played 32 shows in 13 countries. In 2015 Komatsu went on tour with another Palm Desert scene stoner hero: Nick Oliveri’s band Mondo Generator (USA).

“Recipe For Murder One” was released September 2016 and showed that the band gained confidence and experience. On the album you can hear Nick Oliveri on vocals on two songs. The album took the band on various tours throughout Europe with Duel (USA) in October 2016 and the Freeks (with Ruben Romano, ex-Fu Manchu) in March 2017. The album even took Komatsu to Brazil for a stand alone tour. The album appeared in several annual lists of best albums of 2016, and the song “Lockdown” (with a guest appearance by Nick Oliveri on vocals (ex-Kyuss, Queens Of The Stone Age) was nominated by 3voor12 as song of the year.

After playing 85 shows in France, Germany, Belgium. Italy, Switzerland, England, Scotland, Ireland, Spain, Portugal, the Netherlands, Brazil and Austria in support of the album “Recipe for murder one”, Komatsu entered the Void Studio with producer Pieter Kloos to record “A New Horizon”. This album was released in January 2018 and marked their return to Europe and Brazil for several tours. Komatsu supported Brant Bjork in their hometown and with that completed a straight quartet: they played with all four ex-members of Kyuss (Garcia, Oliveri, Bjork, Homme).

After their latest European stand alone tour in December 2019, Komatsu felt it was time to record a new studio album. In February/March 2020 the Super Massive Mother Sludgers recorded a new studio album, this time at Studio Iglesias, Eindhoven.
The new album is recorded and produced by Peter van Elderen (Peter Pan Speedrock) and Komatsu and is mastered by Pieter Kloos. The artwork is made by Lotte Voorhoeve. The album was recorded just before the Covid-19 pandemic and will be released at the beginning of 2021 at Heavy Psych Sounds.

With 9 new killer songs, Komatsu is more than ready and waiting to hit the road again!

KOMATSU is:
Mo Truijens (vocals/guitar)
Mathijs Bodt (guitar)
Martijn Mansvelders (bass)
Jos Roosen (drums)

https://www.facebook.com/komatsurock/
https://www.instagram.com/komatsurock/
http://komatsu.bandcamp.com/
http://www.komatsurock.com/
https://www.facebook.com/HEAVYPSYCHSOUNDS
http://www.heavypsychsounds.com
https://heavypsychsoundsrecords.bandcamp.com

Komatsu, “A New Horizon” official video

Tags: , , , , ,

Quarterly Review: The Pilgrim, Polymoon, Doctors of Space, Merlock, Sun Dial, Saturn’s Husk, Diggeth, Horizon, Limousine Beach, The Crooked Whispers

Posted in Reviews on October 12th, 2020 by JJ Koczan

THE-OBELISK-FALL-2020-QUARTERLY-REVIEW

Well, the weekend’s over and it’s time to wrap up the Quarterly Review. Rest assured, I wrote the following during my copious weekend leisure time, resting on the side of a heated Olympic-size pool with a beverage nearby. It definitely wasn’t four in the morning on a Sunday or anything. If I haven’t gotten the point across yet, I hope you’ve found something amid this massive swath of records that has resonated with you. By way of a cheap plug, I’ll be featuring audio from a lot of these bands on the Gimme Metal show this Friday, 5PM Eastern, if you’re up for tuning in.

Either way, thanks for reading and for being a part of the whole thing. Let’s wrap it up.

Quarterly Review #51-60:

The Pilgrim, …From the Earth to the Sky and Back

the pilgrim from the earth to the sky and back

Lest he be accused of laziness, Want to http://oreca.regionpaca.fr/?how-to-write-a-research-paper-apa online that is quite cheap? Need a confidential paper helper? Here it is! With us, you spend relatively little cash but get the needed Gabriele Fiori — also of get more - Best HQ academic writings provided by top professionals. 100% non-plagiarism guarantee of custom essays & papers. Black Rainbows, Go to the right place for the best source url. We are an enthusiastic group of young students and we ha ve launched a new Killer Boogie and the head of the If you tolerate nothing but excellence, our trustworthy writing service is ready to assist you in writing Social Homework Helps. Place an order and our Heavy Psych Sounds label, booking agency and festival series — made his solo debut as Bio writing can be quite a challenge to cope on your own. That is why you might want to get some assistance from professional The Best Homework Writing Services. The Pilgrim with Spring 2019’s High Quality, Write A Descriptive Essay About My Mother. SureWriteSEO was founded with the core belief that there needs to be high quality, original content on the Walking into the Forest (review here). Joined by how to write a literature review based dissertation check here Argumentative essay writing my neighbourhood executive ghostwriting services Black Rainbows drummer Don't know where to get a admission paper for sale 4? Check out Customwriting.com if want your papers done by experts Zero plagiarism Affordable Pricing Filippo Ragazzoni, Fiori ups the scale of the journey with the second The Pilgrim LP, …From the Earth to the Sky and Back. Richer in arrangement, bolder in craft and more confident in performance, the album runs 14 songs and 50 minutes still largely based around an acoustic acid rock foundation, but with a song like “Riding the Horse” tapping ’70s singer-songwriter vibes while “Cuba” touches on Latin percussion and guitar and “Space and Time” journeying out near the record’s end with waves of synthesizer, it seems The Pilgrim isn’t so willing to be pigeonholed. So much the better.

The Pilgrim on Thee Facebooks

Heavy Psych Sounds website

 

Polymoon, Caterpillars of Creation

Polymoon Caterpillars of Creation

There is an undercurrent of extremity to the debut release from Polymoon, who hail from the psychedelic hotbed that is Tampere, Finland. The six-song/42-minute Caterpillars of Creation turns in opener “Silver Mt.” to fervent guitar push or from freaked-out cosmic prog into drifting post-universe exploration, setting the stage for the dynamic that unfolds throughout. The wash early in the second half of “Lazaward” is glorious, and it’s not the first or the last time Polymoon go to that adrenaline-pumping well, but the serenity that caps that song and seems to continue into “Malamalama” in closing side A is no less effective. “Helicaling” mounts tension in its early drumming but finally releases it later, and “Neitherworld” gives Caterpillars of Creation‘s most fervent thrust while closer “Metempsychosis” rounds out with a fitting sense of dissipation. As a first album/first release, it is particularly stunning, and to make it as plain as possible, I will think less of any list of 2020’s best debut albums that leaves out Polymoon.

Polymoon on Thee Facebooks

Svart Records website

 

Doctors of Space, First Treatment

doctors of space first treatment

The two-piece comprised of Martin Weaver (ex-Wicked Lady) and synthesist Scott “Dr. Space” Heller (Øresund Space Collective, Black Moon Circle, etc.) position First Treatment as their proper studio debut, and it certainly hits its marks in galaxial adventuring well enough to qualify as such, but the duo have been on a creative splurge throughout this year — even in lockdown — and so the six songs here are also born out of the work they’ve been doing since releasing their debut single “Ghouls ‘n’ Shit” (video premiere here) late last year. The album launches with “Journey to Enceladus,” which boasts drum programming by Weaver and though one of the movements in the 21-minute “Into the Oort Cloud” is based around beats, the bulk of First Treatment is purely a work of guitar and synth, and it basks in the freedom that being so untethered inherently brings. Running an hour long, it’s improvisational nature isn’t going to be for everyone, but Heller and Weaver make a strong argument that maybe it should be.

Doctors of Space on Thee Facebooks

Space Rock Productions website

 

Merlock, That Which Speaks

merlock that which speaks

Who’s ready for a New Wave of PNW Fuckery? That’s right folks, the NWOPNWF has arrived and it’s Spokane, Washington’s Merlock leading the sometimes-awfully-punk-sometimes-awfully-metal-but-somehow-also-always-sludge charge. Aggressive and damning in lyrics, swapping between raw screams, grows, shouts and cleaner vocals and unhinged in terms of its genre loyalties, That Which Speaks seems to find the “melt faces” setting wherever it goes, and though there’s a sense of the four-piece feeling out what works best for them stylistically, the sometimes frantic, sometimes willfully awkward transitions — as in second cut “Prolapse” — serve the overall purpose of undercutting predictability. Eight-minute opener/longest track (immediate points) “Idolon” stomps and shoves and gnashes and nasties its way through, and that’s the modus across what follows, though the scream-along headbanger “Vessel” somehow seems even rawer, and though it ends by floating into oblivion, the start of “Condemnation” heavy fuckin’ metal to me. You never know quite where Merlock are going to hit next, and that’s the joy of the thing. May they remain so cacophonous.

Merlock on Thee Facebooks

Merlock on Bandcamp

 

Sun Dial, Mind Control: The Ultimate Edition

sun dial mind control

Long-running UK psychedelic rockers Sun Dial — led by founding guitarist/vocalist Gary Ramon — released Mind Control in 2012. Sulatron Records picked it up in 2015, and now, five years after that, the same label presents Mind Control: The Ultimate Edition, a 2CD version of the original LP-plus-bonus-tracks reissue that brings the total runtime of the release to a well-beyond-manageable 98 minutes of lysergic experimentation. A full 20 tracks are included in the comprehensive-feeling offering, and from early mixes to alternative takes and lost tracks, and if this isn’t the ‘ultimate’ version of Mind Control, I’m not sure what could be, notwithstanding a complete-studio-sessions box set. Perhaps as a step toward that, Mind Control: The Ultimate Edition gives an in-depth look at a vastly underappreciated outfit and is obviously put together as much for the label as by it. That is to say, you don’t put out a reissue like this unless you really love the original record, and if Sulatron loving a record isn’t enough endorsement for you, please turn in your mushrooms on your way out the door.

Sun Dial on Thee Facebooks

Sulatron Records webstore

 

Saturn’s Husk, The Conduit

Saturns Husk The Conduit

Immersion is the goal of Saturn’s Husk‘s third long-player, The Conduit, and the Riga, Latvia, instrumentalist trio accomplish it quickly with the fluid riffs that emerge from the drone-based intro “Death of Imaginary Lights” and the subsequent 10-minute opener “Black Nebula.” At nine songs and 63 minutes, the album is consuming through the welcome nodder “The Heavenly Ape,” the especially-doomed “The Ritual” and the more mellow-float centerpiece “Spectral Haze,” while “Mycelium Messiah” brings more straight-ahead fuzz (for a time) and drones on either side surround the 10:35 “Sand Barrows,” the latter serving as the finale “A Shattered Visage” quoting Percy Bysshe Shelley and the former “City of the Djinn” running just a minute-plus but still doing enough to reset the brain from where “Mycelium Messiah” left it. Almost functioning as two albums side-by-side with “Spectral Haze” as the dividing point, The Conduit indeed seems to join various sides together, with a depth to coincide that invites the listener to explore along with it.

Saturn’s Husk on Thee Facebooks

Saturn’s Husk on Bandcamp

 

Diggeth, Gringos Galacticos

diggeth gringos galacticos

Landing a punch of classic metal to go along with its heavy-bottomed groove, Diggeth‘s Gringos Galacticos — one supposes the title ‘Spacecrackers’ was taken — was released by the Dutch trio in 2019 and receives a US limited vinyl edition thanks to Qumran Records. One finds some similar guitar heroics to those of Astrosoniq‘s more straightforward moments, but Diggeth‘s focus remains on hookmaking for the duration, offering hints of twang and acoustics in “In the Wake of Giants” and tipping a hat southwestward in “Three Gringos,” but “Straight-Shooter” is willfully breaks out its inner Hetfield and even as the penultimate “Unshackled” departs for a quieter break, it makes its way back in time for the big finish chorus, adding just a touch of Candlemass grandiosity for good measure before the harmonica-laced closing title-track rounds out with its dynamic spacey weirdness, the name of the album repeating itself in an answer to the Stephen Hawking sample that started the voyage on its way.

Diggeth on Thee Facebooks

Qumran Records website

 

Horizon, The White Planet Patrol

horizon the white planet patrol

Cursed Tongue Records has the vinyl here, and Three Moons the tape, and the CD will arrive through Aladeriva Records, La Rubia Producciones, Aneurisma Records, Surnia Records and Violence in the Veins — so yes, Horizon‘s third album, The White Planet Patrol is well backed. Fair enough for the Kyuss-via-BlackRainbows vibes of “End of Utopia” or the initial charge and flow of “The Backyard” that sets the Alicante, Spain, trio on their way. “King Serpent” and “Death & Teddies” bring well-crafted fuzz to bear, and “Blind World” effectively layers vocals in its chorus to coincide, but the more laid back roll of the title-cut is an unmistakable highlight. Shades of mid-paced Nebula surface in “Meet the Forest” later on, but Horizon are part of a tradition of heavy bands in Alicante and they know it. The smoothness of their tone and delivery speaks volumes on its own in that regard, never mind the actual songwriting, which also leaves nothing to be desired.

Horizon on Thee Facebooks

Cursed Tongue Records webstore

 

Limousine Beach, Stealin’ Wine + 2

Limousine Beach Stealin Wine

Debut EP from Limousine Beach out of Pittsburgh, and if the three guitars involved don’t push it over the top, certainly the vocal harmonies get that particular job done. You got six minutes for three songs? Yeah, obviously. They scorch through “Tiny Hunter” to close out, but it’s in the leadoff title-track that Stealin’ Wine + 2 sees the Dave Wheeler-fronted outfit land its most outrageous chorus, just before they go on to find a middle-ground between KISS and Thin Lizzy on “Hear You Calling.” The harmonies open and are striking from the outset, but it’s in how they’re arranged around the standalone parts from Wheeler (also Outsideinside, ex-Carousel) that the outfit’s truest potential is shown. Issued through Tee Pee Records, Stealin’ Wine + 2 is the kind of thing you’d pick up at a show in a normal year and then feel way ahead of everyone else when the LP finally hits. Not a normal year, obviously, but Limousine Beach are serving due notice just the same. In six minutes, no less.

Limousine Beach on Thee Facebooks

Tee Pee Records website

 

The Crooked Whispers, Satanic Melodies

the crooked whispers satanic melodies

I’m sure a lot of records show up at Satan’s door with notes, like, “Dear sir, please find the enclosed submitted for your approval,” but it’s not hard to imagine Beelzebub himself getting down with the filth-coated sludge and rolling doom unfurled across The Crooked Whispers‘ debut offering, Satanic Melodies, marked by hateful, near-blackened screams from Anthony Gaglia and the plodding riffs of Chad Davis (Hour of 13, et al). The title-track is longest at 8:23 and in addition to featuring Ignacio De Tommaso‘s right-on bass tone in its midsection, it plays out early like Weedeater sold their collective soul, and drifts out where earlier pieces “Sacrifice” and “Evil Tribute” and “Profane Pleasure” held their roll for the duration. Stretches of clean-vocal cultistry add to the doomier aspects, but The Crooked Whispers seem to care way less about genre than they do about worshiping the devil, and that unshakable faith behind them, the rest seems to fall into place in accordingly biting fashion.

The Crooked Whispers on Thee Facebooks

The Crooked Whispers on Bandcamp

 

Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Quarterly Review: Bell Witch & Aerial Ruin, Cruthu, Sólstafir, ILS, Bismut, Cracked Machine, Megadrone, KLÄMP, Mábura, Astral Sleep

Posted in Reviews on October 8th, 2020 by JJ Koczan

THE-OBELISK-FALL-2020-QUARTERLY-REVIEW

We’ve reached the portion of the Quarterly Review wherein I would no longer know what day it is if I didn’t have my notes to help me keep track. I suppose it doesn’t matter — the day, that is — since it’s 10 records either way, but I’d hate to review the same albums two days in a row or something. Though, come to think of it, that might be a fun experiment sometime.

Not today. Today is another fresh batch of 10 on the way to 60 by next Monday. We’ll get there. Always do. And if you’re wondering, today’s Thursday. At least that’s what I have in my notes.

Quarterly Review #31-40:

Bell Witch & Aerial Ruin, Stygian Bough Vol. I

bell witch aerial ruin Stygian Bough Volume 1

The collaborative effort Bell Witch & Aerial Ruin and their 64-minute full-length, Stygian Bough Vol. I — the intention toward future output together hinted at in the title already confirmed by the group(s) — is a direct extension of what Aerial Ruin, aka Erik Moggridge, brought to the last Bell Witch album, 2017’s Mirror Reaper (review here), in terms of complementing the crushing, emotionally resonant death-doom of the Washington duo with morose folk vocal melody. Stygian Bough Vol. I is distinguished by having been written by the two-plus-one-equals-three-piece as a group, and accordingly, it more fluidly weaves Moggridge‘s contributions into those of Bell Witch‘s Dylan Desmond and Jesse Shreibman, resulting in an approach like if Patrick Walker from Warning had joined Thergothon. It’s prevailing spirit is deep melancholy in longer pieces like “The Bastard Wind” and “The Unbodied Air,” both over 19 minutes, while it might be in “Heaven Torn Low I (The Passage)” and “Heaven Torn Low II (The Toll)” that the trio most effectively bring their intent to life. Either way, if you’re in, be ready to go all the way in, but know that it’s well worth doing so.

Bell Witch on Thee Facebooks

Aerial Ruin on Thee Facebooks

Profound Lore Records website

 

Cruthu, Athrú Crutha

cruthu Athrú Crutha

Traditional doom with flourish both of noise and NWOBHM guitars — that turn in the second half of opener “Transformation” is like a dogwhistle for Iron Maiden fans — I hear Cruthu‘s second album, Athrú Crutha, and all I can think of are label recommendations. The Michigan outfit’s 2017 debut, The Angle of Eternity (review here), was eventually issued on The Church Within, and that’d certainly work, but also Ván Records, Shadow Kingdom, and even Cruz Del Sur seem like fitting potential homes for the righteousness on display across the vinyl-ready six-song/39-minute outing, frontman Ryan Evans commanding in presence over the reverb-loaded classic-style riffs of guitarist Dan McCormick and the accompanying gallop in Matt Fry‘s drums given heft by Derek Kasperlik‘s bass. Like the opener, “Necromancy” and “Dimensional Collide” move at a good clip, but side B’s “The Outsider” and closer “Crown of Horns” slow things down following the surprisingly rough-edged “Beyond the Pale.” One way or the other, it’s all doomed and so are we.

Cruthu on Thee Facebooks

Cruthu on Bandcamp

 

Sólstafir, Endless Twilight of Codependent Love

Sólstafir endless twilight of codependent love

Whereas 2017’s Berdreyminn (review here) existed in the shadow of 2014’s Ótta (review here), Endless Twilight of Codependent Love brings Iceland’s Sólstafir to a new place in terms of their longer-term progression. It is their first album with an English title since 2005’s Masterpiece of Bitterness, and though they’ve had English-language songs since then, the mellow “Her Fall From Grace” is obviously intended to be a standout here, and it is. On the nine-song/62-minute course of the album, however, it is one impression of many, and in the raging “Dionysus” and post-blackened “Drýsill,” 10-minute opener and longest track (immediate points) “Akkeri,” richly atmospheric “Rökkur,” goth-lounging “Or” and worthy finale “Úlfur,” Sólstafir remind of the richly individual nature of their approach. The language swaps could be reaching out to a broader, non-Icelandic-speaking audience. If so, it’s only in the interest of that audience to take note if they haven’t already.

Sólstafir on Thee Facebooks

Season of Mist website

 

ILS, Curse

ils curse

Curse is the first long-player from Portland, Oregon’s ILS, and it’s a rager in the PNW noise tradition, with uptempo, gonna-throw-a-punch-and-then-apologize riffs and basslines and swaps between semi-spoken shouts and vicious screams from Tom Glose (ex-Black Elk) that are precisely as jarring as they’re meant to be. I don’t think Curse is anyone’s first time at the dance — Glose, guitarist Nate Abner, bassist Adam Pike or drummer Tim Steiner — but it only benefits across its sans-bullshit 28-minute run by knowing what it wants to do. Its longest material, like the title-track or “Don’t Hurt Me,” which follows, or closer “For the Shame I Bring,” rests on either side of three and a half minutes, but some of the most brutal impressions are made in cuts like “It’s Not Lard but it’s a Cyst” or leadoff “Bad Parts,” which have even less time to waste but are no less consuming, particularly at high volume. The kind of record for when you want to assault yourself. And hey, that happens.

ILS on Thee Facebooks

P.O.G.O. Records on Bandcamp

 

Bismut, Retrocausality

bismut retrocausality

Apart from the consciously-titled three-minute noiseblaster finale “Antithesis” that’s clearly intended to contrast with what comes before it, Bismut‘s second LP for Lay Bare, Retrocausality, is made up of five extended instrumental pieces the shortest of which is just under 13 minutes long. The Nijmegen-based trio — guitarist Nik Linders, bassist Huibert der Weduwen, drummer Peter Dragt — build these semi-improvisational pieces on the foundation they set with 2018’s Schwerpunkt (review here), and their explorations through heavy rock, metal and psychedelia feel all the more cohesive as a song like “Vergangenheit” is nonetheless able to blindside with the heavy riff toward which it’s been moving for its entire first half. At 71 minutes total, it’s a purposefully unmanageable runtime, but as “Predvídanie” imagines a psych-thrash and “Oscuramento” drones to its crashing finish, Bismut seem to be working on their own temporal accord anyhow. For those stuck on linear time, that means repeat listens may be necessary to fully digest, but that’s nothing to complain about either.

Bismut on Thee Facebooks

Lay Bare Recordings website

 

Cracked Machine, Gates of Keras

Cracked Machine Gates of Keras

UK instrumentalists Cracked Machine have worked relatively quickly over the course of their now-three albums to bring a sense of their own perspective to the tropes of heavy psychedelic rock. Alongside the warmth of tone in the guitar and bass, feeling drawn from the My Sleeping Karma/Colour Haze pastiche of progressive meditations, there is a coinciding edge of English heavy rock and roll that one can hear not so much in the drift of “Temple of Zaum” as in the push of “Black Square Icon,” which follows, as well as the subtle impatience of the drums on “October Dawn.” “Move 37,” on the other hand, is willfully speedier and more upbeat than much of what surrounds, but though opener/longest track (immediate points) “Cold Iron Light” hits 7:26, nothing on Gates of Keras sticks around long enough to overstay its welcome, and even in their deepest contemplations, the feeling of motion carries them and the listener effectively through the album’s span. They sound like a band realizing what they want to do with all the potential they’ve built up.

Cracked Machine on Thee Facebooks

Kozmik Artifactz website

PsyKa Records website

 

Megadrone, Transmissions From the Jovian Antennae

Megadrone Transmissions From the Jovian Antennae

From cinematic paranoia to consuming and ultra-slow rollout of massive tonality, the debut offering from Megadrone — the one-man outfit of former Bevar Sea vocalist Ganesh Krishnaswamy — stretches across 53 minutes of unmitigated sonic consumption. If nothing else, Krishnaswamy chose the right moniker for the project. The Bandcamp version is spread across two parts — “Transmission A” (21:45) and “Transmission B” (32:09) — and any vinyl release would require significant editing as well, but the version I have is one huge, extended track, and that feels like exactly how Transmissions From the Jovian Antennae was composed and is supposed to be heard. Its mind-numbing repetitions lead the listener on a subtle forward march — there are drums back in that morass somewhere, I know it — and the piece follows an arc that begins relatively quiet, swells in its midsection and gradually recedes again over its final 10 minutes or so. It goes without saying that a 53-minute work of experimentalist drone crushscaping isn’t going to be for the faint of heart. Bold favors bold.

Megadrone on Thee Facebooks

Megadrone on Bandcamp

 

KLÄMP, Hate You

klamp hate you

Sax-laced noise rock psychedelic freakouts, blown-out drums and shouts and drones, cacophonous stomp and chaotic sprawl, and a finale that holds back its payoff so long it feels cruel, KLÄMP‘s second album, Hate You, arrives less than a year after their self-titled debut, and perhaps there’s some clue as to why in the sheer mania of their execution. Hate You launches with the angularity of its 1:47 title-track and rolls out a nodding groove on top of that, but it’s movement from one part to another, one piece to another, is frenetic, regardless of the actual tempo, and the songs just sound like they were recorded to be played loud. Second cut “Arise” is the longest at 7:35 and it plays back and forth between two main parts before seeming to explode at the end, and by the time that’s done, you’re pretty much KLÄMPed into place waiting to see where the Utrecht trio go next. Oblivion wash on “An Orb,” the drum-led start-stops of “Big Bad Heart,” psych-smash “TJ” and that awaited end in “No Nerves” later, I’m not sure I have any better idea where that might be. That’s also what makes it work.

KLÄMP on Thee Facebooks

God Unknown Records website

 

Mábura, Heni

Mábura heni

Preceded by two singles, Heni is the debut EP from Rio de Janeiro psychedelic tonal worshipers Mábura, and its three component tracks, “Anhangá,” “III/IV” and “Bong of God” are intended to portray a lysergic experience through their according ambience and the sheer depth of the riffs they bring. “Anhangá” has vocals following the extended feedback and drone opening of its first half, but they unfold as a part of the general ambience, along with the drums that arrive late, are maybe sampler/programmed, and finish by leading directly into the crash/fuzz launch of “III/IV,” which just before it hits the two-minute mark unfurls into a watershed of effects and nod, crashing and stomping all the while until everything drops out but the bass only to return a short time later with the Riff in tow. Rumbling into a quick fade brings about the toking intro of “Bong of God,” which unfolds accordingly into a riff-led noisefest that makes its point seemingly without saying a word. I wouldn’t call it groundbreaking, but it’s a first EP. What it shows is that Mábura have some significant presence of tone and purpose. Don’t be surprised when someone picks them up for a release.

Mábura on Thee Facebooks

Mábura on Bandcamp

 

Astral Sleep, Astral Doom Musick

Astral Sleep Astral Doom Musick

It’s still possible to hear some of Astral Sleep‘s death-doom roots in their third album, Astral Doom Musick, but the truth is they’ve become a more expansive unit than that (relatively) simple classification than describe. They’re doom, to be sure, but there are progressive, psychedelic and even traditional doom elements at work across the record’s four-song/43-minute push, with a sense of conceptual composition coming through in “Vril” and “Inegration” in the first half of the proceedings while the nine-and-a-half-minute “Schwerbelastungskörper” pushes into the darkest reaches and closer “Aurinko ja Kuu” harnesses a swirling progressive spread that’s dramatic unto its last outward procession and suitably large-sound in its production and tone. For a band who took eight years to issue a follow-up to their last full-length, Astral Sleep certainly have plenty to offer in aesthetic and craft. If it took them so long to put this record together, their time wasn’t wasted, but it’s hard to listen and not wonder where their next step might take them.

Astral Sleep on Thee Facebooks

Astral Sleep on Bandcamp

 

Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Quarterly Review: Steve Von Till, Cyttorak, Lambda, Dee Calhoun, Turtle Skull, Diuna, Tomorrow’s Rain, Mother Eel, Umbilichaos, Radar Men From the Moon

Posted in Reviews on October 5th, 2020 by JJ Koczan

THE-OBELISK-FALL-2020-QUARTERLY-REVIEW

Oh hi there. It’s Quarterly Review time again, and you know what that means. 50 records between now and Friday — and I may or may not extend it through next Monday as well; I think I have enough of a backlog at this point to do so. It’s really just a question of how destroyed I am by writing about 10 different records every day this week. If past is prologue, that’s fairly well destroyed. But I’ve yet to do a Quarterly Review and regret it when it’s over, and like the last one, this roundup of 50 albums is pretty well curated, so it might even be fun to go through. There’s a thought. In any case, as always, I hope you find something you enjoy, and thank you for reading if you do or as much as you do.

Quarterly Review #1-10:

Steve Von Till, No Wilderness Deep Enough

steve von till no wilderness deep enough

Neurosis guitarist/vocalist Steve Von Till seems to be bringing some of the experimentalism that drives his Harvestman project into the context of his solo work with No Wilderness Deep Enough, his fifth LP and first since 2015’s A Life unto Itself (review here). Drones and melodic synth backs the deceptively-titled “The Old Straight Track,” and where Von Till began his solo career 20 years ago with traditional folk guitar, if slower, on these six tracks, he uses that meditative approach as the foundation for an outward-reaching 37-minute run, incorporating ethereal strings among the swirls of “Shadows on the Run” and finishing with the foreboding hum of “Wild Iron.” Opener “Dreams of Trees” establishes the palette’s breadth with synthesized beats alongside piano and maybe-cello, but it’s Von Till‘s voice itself that ties the material together and provides the crucial human presence and intimacy that most distinguishes the offerings under his own name. Accompanied by Von Till‘s first published book of poetry, No Wilderness Deep Enough is a portrait of the unrelenting creative growth of its maker.

Steve Von Till on Thee Facebooks

Neurot Recordings on Bandcamp

 

Cyttorak, Simultaneous Invocation of Apocalyptic Harbingers

Cyttorak Simultaneous Invocation of Apocalyptic Harbingers

Take a breath before you hit play only to have it punched right out from your solar plexus by the brutalist deathsludge Cyttorak cleverly call “slowerviolence.” Dominated by low end and growls, screams, and shouts, the lumbering onslaught is the second standalone EP for the three-piece who hail from scenic Pawtucket, Rhode Island (former home of the PawSox), and throughout its six-track run, the unit conjure an unyieldingly punishing tonal morass set to aggressive purpose. That they take their name from the Marvel Universe character who controls X-Men villain Juggernaut should not be taken as coincidence, since their sound indeed seems intended to put its head down and smash through walls and/or anything else that might be in its path in pursuit of its quarry. With Conan-esque lyrical minimalism, the songs nonetheless give clues to their origins — “Royal Shokan Dismemberment” refers to Goro from Mortal Kombat, and finale “Domination Lord of Coldharbour” to Skyrim (which I still regret not playing) — but if you consider comics or video games to be lighter fare, first off, you’re working with an outdated mentality, and second, Cyttorak would like a bit of your time to smother you with volume and ferocity. They have a new split out as well, both on tape.

Cyttorak on Thee Facebooks

Tor Johnson Records website

 

Lambda, Heliopolis

lambda heliopolis

Also signified by the Greek letter from which they take their moniker, Czech four-piece Lambda represent a new age of progressive heavy post-rock. Influences from Russian Circles aren’t necessarily surprising to find coursing through the instrumental debut full-length, Heliopolis, but there are shades of Elder as well behind the more driving riffs and underlying swing of “Space Express,” which also featured on the band’s 2015 EP of the same name. The seven-minute “El Sonido Nuevo” did likewise, but older material or newer, the album’s nine-song procession moves toward its culminating title-track through the grace of “Odysea” and the intertwining psychedelic guitars of “Milkyway Phaseshifter” with an overarching atmosphere of the journey to the city of the sun being undertaken. And when they get there, at the closer, there’s an initial sense of peace that gives way to some of the most directly heavy push Heliopolis has to offer. Payoff, then. So be it. Purposeful and somewhat cerebral in its execution, the DIY debut brings depth and space together to immersive effect.

Lambda on Thee Facebooks

Lambda on Bandcamp

 

Dee Calhoun, Godless

dee calhoun godless

Following his 2016 debut, Rotgut (review here) and 2018’s Go to the Devil (review here), Godless is the third full-length from former Iron Man and current Spiral Grave frontman Dee Calhoun, and its considerable 63-minute runtime finds him working in multiple directions while keeping his underlying roots in acoustic-based heavy metal. Certainly “To My Boy” — and Rob Calhoun has appeared on his father’s releases before as well — has its basis in familial expression, but its pairing with “Spite Fuck” is somewhat curious. Meanwhile, “Hornswoggled” cleverly samples George W. Bush with a laugh track, and “Here Under Protest,” “The Greater Evil,” “Ebenezer” and “No Justice” seem to take a worldly view as well. Meanwhile again, “Godless,” “The Day Salvation Went Away” and “Prudes, Puritanicals and Puddles of Piss” make their perspective nothing if not plain for the listener, and the album ends with the two-minute kazoo-laced gag track “Here Comes the Bride: A Tale From Backwater.” So perhaps scattershot, but Godless is nonetheless Calhoun‘s most effective outing yet in terms of arrangements and craft, and shows him digging further into the singer-songwriter form than he has up to now, sounding more comfortable and confident in the process.

Dee Calhoun on Thee Facebooks

Argonauta Records website

 

Turtle Skull, Monoliths

Turtle Skull Monoliths

Melodic vocal lines weave together and float over alternately weighted and likewise ethereal guitars on Turtle Skull‘s second album, Monoliths. The percussion-inclusive (tambourine, congas, rain stick, etc.) Sydney-based heavy psychedelic outfit create an immersive wash that makes the eight-song/55-minute long-player consuming for the duration, and while there are moments of clarity to be found throughout — the steady snare taps of “Why Do You Ask?” for example — but the vast bulk of the LP is given to the overarching flow, which finds progressive/space-rock footing in the 11-plus minutes of finale “The Clock Strikes Forever” and is irresistibly consuming on the drifting wash of “Rabbit” or the lysergic grunge blowout of “Who Cares What You Think?,” which gives way to the choral drone of “Halcyon” gorgeously en route through the record’s back half. It’s not the highest profile heavy psych release of 2020, but neither is it to be overlooked for the languid stretch of “Leaves” at the outset or the fuzz-drenched roll in the penultimate “Apple of Your Eye.”

Turtle Skull on Thee Facebooks

Art as Catharsis on Bandcamp

Kozmik Artifactz website

 

Diuna, Golem

diuna golem

In some ways, the dichotomy of Diuna‘s 2019 sophomore full-length, Golem, is set by its first two tracks, the 24-second intro “Menu” and the seven-minute “Jarmark Cudów” that follows, each longer song throughout is prefaced by an introduction or interlude, varying in degrees of experimentation. That, however, doesn’t cover the outsider vibes the Polish trio bring to bear in those longer songs themselves, be it “Jarmark Cudów” devolving into a post-Life of Agony noise rock roll, or the thrust in “Frank Herbert” cut into starts and stops and shouting madness. Heavy rock, noise, sludge, post-this-or-that, it doesn’t matter by the end of the 12-track/44-minute release, because Diuna establish such firm control over the proceedings and make so clear the challenge to the listener to keep up that it’s only fun to try. It might take a couple listens to sink in, but the more attention one gives Golem, the more one is going to be rewarded in the end, and I don’t just mean in the off-kilter fuckery of closer “Pan Jezus Idzie Do Wojska.”

Diuna on Thee Facebooks

Diuna on Bandcamp

 

Tomorrow’s Rain, Hollow

tomorrows rain hollow

“Ambitious” doesn’t begin to cover it. With eight songs (plus a bonus track) and 11 listed guest musicians, the debut full-length, Hollow, from Tel Aviv-based death-doomers Tomorrow’s Rain seems to be setting its own standard in that regard. And quite a list it is, with the likes of Aaron Stainthorpe of My Dying Bride, Greg Mackintosh of Paradise Lost, Fernando Ribeiro of Moonspell, Mikko Kotamaki of Swallow the Sun, and so on, it is a who’s-who of melodic/gothic death-doom and the album lives up to the occasion in terms of the instrumental drama it presents. Some appear on one track, some on multiple tracks — Ribeiro and Kotamaki both feature on “Misery Rain” — and despite the constant shifts in personnel with only one of the eight tracks completely without an outside contributor, the core six-piece of Tomorrow’s Rain are still able to make an impression of their own that is bolstered and not necessarily overwhelmed by the extravagant company being kept throughout.

Tomorrow’s Rain on Thee Facebooks

AOP Records website

 

Mother Eel, Svalbard

mother eel svalbard

Mother Eel‘s take on sludge isn’t so much crushing as it is caustic. They’re plenty heavy, but their punishment isn’t just meted out through tonal weight being brought down on your head. It’s the noise. It’s the blown-out screams. It’s the harshness of the atmosphere in which the entirety of their debut album, Svalbard, resides. Five tracks, 33 minutes, zero forgiveness. One might be tempted to think of songs like “Erection of Pain” as nihilistic fuckall, but that seems incorrect. Nah, they mean it. Fuckall, yeah. But fuckall as ethos. Fuckall manifest. So it goes through “Alpha Woman” and “Listen to the Elderly for They Have Much to Teach,” which ends in a Primitive Man-ish static assault, and the lumbering finish “Not My Shade,” which assures that what began on “Sucking to Gain” half an hour earlier ends on the same anti-note: a disaffected malevolence writ into sheer sonic unkindness. There is little letup, even in the quiet introductions or transitions, so if you’re looking for mercy, don’t bother.

Mother Eel on Thee Facebooks

Mother Eel on Redbubble

 

Umbilichaos, Filled by Empty Spaces

Umbilichaos Filled by Empty Spaces

The four-song/39-minute atmospheric sludge long-player Filled by Empty Spaces is listed by Brazilian solo outfit Umbilichaos as being the third part of, “the Tetralogy of Loneliness.” If that’s the emotion being expressed in the noise-metal post-Godflesh chug-and-shout of “Filled by Empty Spaces Pt. 02,” then it is loneliness viscerally presented by founding principal and multi-instrumentalist Anna C. Chaos. The feel throughout the early going of the release is plodding and agonized in kind, but in “Filled by Empty Spaces Pt. 01” and “Filled by Empty Spaces Pt. 03” there is some element of grim, crusted-over psychedelia happening alongside the outright dirge-ism, though the latter ultimately wins out in the four-minute instrumental capper “Disintegration.” One way or the other, Chaos makes her point through raw tonality and overarching intensity of purpose, the compositions coming across simultaneously unhinged and dangerously under control. There are many kinds of heavy. Filled by Empty Spaces is a whole assortment of them.

Umbilichaos on Thee Facebooks

Sinewave website

 

Radar Men From the Moon, The Bestial Light

radar men from the moon the bestial light

Fueled by avant grunge/noise impulsion, Radar Men From the Moon‘s latest foray to Planet Whothefuckknows arrives in the eight-song/41-minute The Bestial Light, a record alternately engrossing and off-putting, that does active harm when the sounds-like-it’s-skipping intro to “Piss Christ” comes on and then subsequently mellows out with psych-sax like they didn’t just decide to call the song “Sacred Cunt of the Universe” or something. Riffs, electronics, the kind of weirdness that’s too self-aware not to be progressive, Radar Men From the Moon take the foundation of experimentation set by Astrosoniq and mutate it via Swans into something unrecognizable by genre and unwilling to compromise its own direction. And no, by the time “Levelling” comes on to round out, there is no peace to be found, though perhaps a twisted kind of joy at the sheer postmodernism. They should score ballets with this stuff. No one would go, but three centuries from now, they’d be worshiped as gods. Chance of that anyway, I suppose.

Radar Men From the Moon on Thee Facebooks

Fuzz Club Records on Bandcamp

 

Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Celestial Season Announce New Album The Secret Teachings Due Oct. 23

Posted in Whathaveyou on August 28th, 2020 by JJ Koczan

celestial season

Here’s one I genuinely didn’t expect to see. Dutch doomers-turned-heavy-rockers-apparently-turned-doomers-again Celestial Season will release their first full-length in two decades on Oct. 23 through Burning World Records. They were a pretty significant presence in the Netherlands heavy underground, first as a death-doom band and then later on as rockers — think Cathedral‘s career arc — and their return is being positioned right alongside their heavier-crunching first two records, with Burning World going so far as to bundle the new album, The Secret Teachings, with reissues of 1995’s Solar Lovers and 1993’s Forever Scarlet Passion in a 3LP Box set. I am fascinated, and a little taken aback by what might be in store.

Consider this year has already seen releases from Katatonia, Paradise Lost and My Dying Bride. To throw Celestial Season into that mix is substantial, to say the least. I look forward to hearing what they’ve come up with after all this time.

Preorders up next week. Announcement came down the PR wire:

celestial season the secret teachings

Celestial Season – Dutch Cult Doom-Metal Group Announce Their Return With New Album “The Secret Teachings”

Nearly twenty years after their last studio effort, Dutch cult doom-metal group Celestial Season announce their return with a new album titled “The Secret Teachings”, due out on October 23rd via Burning World Records.

Formed in the early nineties, the Dutch group attained international acclaim with their first two full-length albums, “Forever Scarlet Passion” from 1993 and “Solar Lovers” from 1995, both still regarded as seminal doom-metal releases right next to Anathema’s “Serenades”, Paradise Lost’s “Gothic” and My Dying Bride’s “Turn Loose the Swans”.

A mix of the “Forever Scarlet Passion” and “Solar Lovers” line-ups re-grouped to create what they labelled as the ‘Doom Era’ line up; with Stefan Ruiters back on vocals, Lucas van Slegtenhorst on bass, Olly Smit and Pim van Zanen on guitars, Jason Köhnen on drums and Jiska Ter Bals back on violin and Elianne Anemaat on cello.

Together, they’ve created and recorded an hour-long musical journey that not only recaptures the magic and splendor of their early years but also shows a masterful and well-balanced collaboration between seven talented and experienced musicians.

“The seeds of this new album have been growing and cultivated for many years, and there were many reasons to complete the full cycle, initiated so many years ago. It is a personal album but also a big thank you to those dedicated fans that have supported us all these years.” Says the band about this new album.

Burning World Records will proudly release the new album along with the re-release of the previous two classic ‘Doom Era’ LPs : “Forever Scarlet Passion” and “Solar Lovers”, both albums remastered from the original tapes by James Plotkin. Pre-orders for the two re-issues and a box set containing these albums and the new album “The Secret Teachings” will go live next Friday, September 4th, to coincide with Bandcamp Friday.

https://www.facebook.com/CelestialSeason
https://www.burningworldrecords.com
https://burningworldrecords.bandcamp.com
https://www.facebook.com/burningworldrecords

Celestial Season, Solar Lovers (1995)

Tags: , , , ,

Molassess Interview with Farida Lemouchi: “Through Fire Reborn”

Posted in Features on August 17th, 2020 by JJ Koczan

molassess (Photo by Ryanne Van Dorst)

Vocalist Farida Lemouchi tells her own story throughout the debut Molassess album, Through the Hollow. Set for release Oct. 16 through Season of Mist, the record is the realization of what began as a commissioned project for Roadburn Festival 2019 (review here) and a concurrent CD single, and a return to music for Lemouchi after the dissolution of her former band, The Devil’s Blood, and the March 2014 suicide of her brother and bandmate, Selim Lemouchi.

Alongside a cast of familiar and respected players and veterans of The Devil’s Blood — guitarists Oeds Beydals (also ex-Death Alley) and Ron van Herpen (Rrrags, ex-Astrosoniq), bassist Job van de Zande, keyboardist Matthijs Stronks and drummer Bob Hogenelst (also Atlanta), Lemouchi casts a tale of perseverance. As one the album’s most resonant choruses tells it, of “getting out from under.” Heavy catharsis takes many forms, however, and Molassess are not attempting to continue what The Devil’s Blood accomplished. This isn’t cult rock in any previously known form. Across its 65 minutes, Through the Hollow may touch on familiar darkness, but it does so with a progressive experimentalism that is no less the band’s own than the lyrical theme and performance is Lemouchi‘s; signature soul, inimitable.

I’ll tell you flat out I was honored to do this interview. And a bit nervous. I was there in 2014 when Lemouchi, Beydals and others took the stage at the 013 to pay tribute to Selim just over a month after his death, and it was one of the most powerful and genuine live performances I’ve ever witnessed. In some ways, it felt voyeuristic to stand and watch the rawness of someone’s grief like that, and now, I’d be engaging that same person — a human being, not just an idea of a person on a stage — in conversation about how she’s moved forward over the six years since. She was, thankfully, kind and sincere and open and honest, and the strength of vulnerability in her telling her story throughout the album came through as much in how she framed talking about returning to music as in learning to focus her energies without her brother’s voice pushing her.

Strength, vulnerability, and the strength to be vulnerable. I hope that’s what comes through here. Thank you for reading.

Full Q&A follows. Thanks to Katy Irizarry for coordinating, to Oeds Beydals, Walter Hoeijmakers, and of course Lemouchi herself.

Please enjoy:

molassess roadburn 2019 (Photo by JJ Koczan)

Molassess Interview with Farida Lemouchi: “Through Fire Reborn”

You’re on the Main Stage at Roadburn 2019 with a brand new band, who people kind of know through association with The Devil’s Blood, Astrosoniq, and you’re up front. What were you feeling at that point, as you were performing as Molassess for the first time, this new entity?

It was the first 30 minutes of the show, I was very much aware of all these things you’re talking about right now, and I needed some time to shake that loose. I think we all had the same experience with the band. It was not uncomfortable, but it was, well… I was making a statement for myself to be something completely new and completely different, but of course we had this story.

I had to shake it out during the first part of the set. Up front, I was thinking, how should I behave? How should I act on stage? Then I let that go, like, okay, I’m not going to think about it, I’m going to do whatever I feel. But it was hard to do that at the beginning. Then, when we went along, it kept feeling better and better and then suddenly I was one with the music and one with the stage and one with all the people there, and it felt like letting go.

It’s all about that, also, the theme. It fit it perfectly, I guess. It maybe represented the time that I needed to get to that point.

What you’re describing sounds to me like catharsis. After five years from being on a stage like that – or on that stage – aside from being exhausted emotionally, was there a sense of relief, too, because, “we did this thing and it worked?”

molasses at roadburn 2019 (Photo by JJ Koczan)(Laughs) Enormously, of course. Yeah, exhausted, but very energetic and very happy, like okay, so we did it and it was good and we overcome, and yeah. All kinds of emotions like that, yes. And then, of course, it was a good thing that Walter decided to put us on the first day so we had the whole weekend then to party (laughs) and be happy.

They call that “processing.” Time to “process.”

(Laughs) Exactly.

Tell me about creating for Molassess. Obviously you and Selim working together had a bond that went beyond the band, and these are familiar players as well, but it’s naturally going to be different. Can you tell me about writing for this band and how your relationship to this music is different from your relationship to that music?

Well, to start with the second part of your question, the relationship is bound to be different, because Selim is not there anymore. What we had was brotherhood or sisterhood, or yeah, and I’m never gonna have that again, it’s obvious. But we have this deep connection in this band, in Molassess. Of course, the two people that [joined], that are there, I didn’t know up front. So that was a search and a process to get to know each other, but in the rehearsal room, there was this energy immediately, so it fits.

Me and Oeds are very deeply connected also, and we had this experience and this history together, so even on a spiritual level, we’re very close. I was very nervous at the beginning to do this, because I had to let myself get into that again, and I think I was a little bit scared of doing that again, because I had all these uncertainties, that I thought I maybe couldn’t do it without Selim. But on the other hand, it was also this challenge for me individually, like, “Okay, I’m on my own now and I have to do it, and I have to search different ways to do that,” and I think we managed very well along the way.

In the beginning, when we were asked for Roadburn, then it was very clear what we needed to do and we also had lots of plans before already, so it was just like, “Okay, let’s put everything together and let’s do this.” So it went really well, actually. But always with this feeling that, you know, and I don’t want to sound too insecure, but, “What am I doing? Is this really gonna be worthwhile? Is it going to be good enough?” But on the other hand, I think all creators deal with that stuff when you’re working on something. I hear it all the time, so yeah. It’s always a personal process.

That’s something I wanted to talk about too. So many of the themes on the album feel directly personal, and to me, the key phrase is “getting out from under.”

Yes, that’s very true.

And that’s kind of what the album is doing as well. For all of you, really, but especially for you. Acknowledging this weight and getting out from under it as best you can. One thing I was struck by in listening is the power of your voice and the vulnerability of your lyrics. You mentioned going into Roadburn you had this story. Can you talk a bit about writing your story and framing it for yourself in this way?

I can. It was very clear to me that I needed to talk about me, and the feelings that I have and the emotions I went through, because that was the story that needs to be told. But however, I never wrote before. Oeds helped me a lot. Because we are connected so well. But I told him, I don’t know how, I don’t know where to begin, how does one go about that? I think it’s very… It’s like walking naked through the street, right? I don’t know if I can do it.

So we had this like a ping-pong game, where I told him my thoughts and my feelings and of course we talked – all those years we stayed in contact – so we knew everything. Then he kind of asked all the questions, “do you mean this?” and “are you saying that?” and then it became lyrics. He texted me back, do you mean this? And I was like, “No I mean that.” And then like molds, you put it in very poetic – I’m not a word artist myself, but together we created. I think he put my thoughts into this cool.. I’m searching for a word.

Like a frame. He helped you frame your thoughts.

Yeah, exactly. And then the music was there. Most of the ideas came from Oeds and Ron, actually, and we started working on that sitting at my kitchen table or at his place. Well, most of the time here because I don’t have any neighbors who – they are all good with it. We started to work and work and work, and that’s how it went. And then we went to the rehearsal room.

Molassess at Roadburn 2019 (Photo by JJ Koczan)What was is like for you, sitting down and getting back to work and back to songwriting after half a decade-plus?

It felt really good, because I missed making music all day. I wasn’t sure. I wanted to, but on the other side, I didn’t want to. I don’t know if I can explain it clearly, but when you’re mourning, you get all these emotions and all this stuff, and sometimes you don’t know why or what does it mean, or how should I deal with them, so my thoughts went from left to right and everything in between, so one day I was very clear about, “Okay, I want a new band and I want to make music,” and then the next day, “Oh no, it’s a really bad idea. I’m never going to do that again.”

I needed a little kick in the ass. We all talked about it a lot, but everyone was doing their own stuff, and because I was sure that if I would do it again it would be with these people, because we had something to finish – or something to begin, but first something to finish – but we never did it together. So yeah, catharsis again. I think maybe if it wasn’t for Walter, we would’ve waited longer. Someone had to put the seed there and then we all were live wolves, “Yeah! Let’s do this!”

So you had ideas and things loosely in progress then, that solidified after Walter came into the picture. When did you know Molassess was something you wanted to keep going?

It was in the first stage of rehearsing for Roadburn. I think when we were in the rehearsal room two or three times, nobody was a done deal (laughs). So in the beginning, Oeds, Ron, Job and me were sitting, at my kitchen table again – lots of stuff happens at my kitchen table (laughs) – and we talked about, you know, are we serious and this is what we want, and are we going to do this, and everyone was very, very into it. That was even before we asked the other musicians to join us, so we were very clear about it, “Okay, the four of us are gonna do it.”

It was in the beginning already. First three get-togethers, we were very decided. It’s like — always this language is so difficult sometimes when you’re talking emotions — but we missed each other. We saw each other, but musically and on a creative level, we missed each other very much, and it was time. We felt it. It was this energy that felt like being whole again, actually.

And in terms of putting the songs together and putting the album together, what can you tell me about being in the studio again and recording vocals again?

Of course, we recorded the single or the 7”, and I did some studio stuff for friends that went pretty cool. But of course it was very, very different. I had to practice and do stuff to get my voice in shape. But it all went very natural.

The real struggle was to find the power in myself. And that is where Selim came in, because he was always very good at challenging me to give everything and more. And you have to dive deep into yourself, and he could fight me to get the best things. And I didn’t know if I could do it in this form, but it did. I had to do it myself, and I found myself, so I think I’m stronger than ever, actually.

And the studio experience was great. We did it with Pieter [Kloos], and of course we did all The Devil’s Blood records with him also, only he changed the studio. He had a studio in one place, but now he built a beautiful little studio in his back yard, and in the old studio, there was a cellar and I had to go into the cellar and was all alone in a dark room (laughs), sort of a dark room.

And they were upstairs telling me all kinds of stuff through their mic to my headphones, and so I told Pieter, “How are we gonna do it because I don’t want to be in the studio where everyone can see me. I want the dark room!” So he made one for me with black curtains, I could say bye-bye, close the curtains, and sing. It went very natural. It was a really great experience and I think I felt more free.

How do you mean?

Well, it’s the paradox of missing someone who’s not there anymore, and thinking that it was maybe Selim who made me do stuff, or I thought I needed him to get the best out of me. But he’s still here, in one form or another, but it was never him. It was always me. But I had to find that out.

Selim’s style comes into a little bit with what Oeds and Ron are doing, and “Molasses” was the last song on the Enemies record, so in what ways do you feel like Through the Hollow is moving forward from that point?

If you look at it music-wise, you can see the progression The Devil’s Blood made from the first one to the last one – it’s not an official album but it is to me – and also how Selim progressed in his way of thinking. He changed very much. In the beginning, he was very like, “This is what I want and you all have to do it like this,” and he was very… what’s the word?

Controlling?

(Laughs) Well yeah, controlling, it’s a Molassess at Roadburn 2019 (Photo by JJ Koczan)good one. He was controlling, but he also had the whole picture in his head already. He had the vision. Along the way, he started also to be more free, and be more loose. More jams and more intuitive, I think. I think you can hear that also in the music very much, and maybe it is where The Devil’s Blood left, or quit, or stopped, that everyone had their own stuff. I’m making it too difficult right now (laughs).

It developed from there to Molassess, and then Molassess was the last song on the album, also the last song we worked together on, and then we all had time to grieve and grow and develop in all kinds of ways, and yeah. It’s like Molassess picked up maybe we left off, but not exactly at the point where The Devil’s Blood quit, but years later, with all the progression and development. You get that?

You’re saying Molassess aren’t trying to pretend the last five years-plus didn’t happen.

There could never be a Molassess without all those years.

It’s taking what’s happened in that time and translating it emotionally and in terms of musical progression into the songs.

And also as individuals, for each and every one. Even with the new guys, I guess. Otherwise we couldn’t – not to get spiritual – but everything feels very organic and it had to be like this, otherwise we couldn’t make this album.

But it is spiritual. In the sense of something intangible, you’re a group of people coming together to make this thing. Shit, if there’s magic anywhere, that’s it. There’s so much honesty in this record, and you see the frame and the story. Where does it go from here? You get the front to back journey on the record. What happens next?

“What happens next?” (Laughs) Yeah, that’s a good… I mean, who knows? We’re already writing again, new stuff. It goes on, but I mean, I don’t know how, I don’t know when. And also everything is on hold. But we’re moving along. It was very, very good to finish this album because it was also like, “When is it gonna be done? I want a copy and I can’t listen to it” and all that stuff, of course.

Because when you have a story to tell and you’ve told it, then it needs to get out there. Because otherwise you still can’t let go. “So go now, thank you” (laughs). But where, I don’t know. I’m not a fortune teller. I don’t know what’s going to happen next. But I hope… We’re not done, so we’re moving on and we’re moving forward and now that this has been said, we can search for other stuff and grow again. It would be really nice if people like it and want more, but we have more, so this is definitely just a beginning.

It sounds like a beginning. You’re working with the benefit of knowing each other, you, Ron and Oeds. You have this foundation of a relationship, but it is a new exploration, and you can hear that as the album goes on. And there’s the story with that as well. I keep going back to the storyline happening across the album.

It is the story from beginning to end. I can almost not listen to it. Well, now I don’t listen to it for a while now. But it was one thing. It almost feels like, yeah. One book. And it’s the beginning and it’s the end and now we’re gonna make a new album (laughs).

It’s like a memoir, almost.

Well yeah, you could call it that. I never thought of that, but yeah. That’s a good name (laughs). We should’ve called it Memoir (laughs).

What do you take away from the experience of making the record ultimately? You’ve mentioned finding that ability to push yourself, the level of catharsis in this expression, and I’d think the ability to make a song personal for you would have to be satisfying. Having told this story now that’s being put out there, I guess in October, what are you taking with you from this experience as you move forward?

Lots of stuff, I guess. It’s this kind of freedom. This inner-freedom. I don’t know if that’s a word.

It changed me as a person. In the way I feel and the way I think. Not really changed, because you never really change –

Molassess at Roadburn 2019 (Photo by JJ Koczan)Wait wait wait wait! Don’t back off that. No no no. Keep going.

Yeah, so I changed. My state of mind changed. It gave me so much energy. New energy, I think, that I haven’t found in my whole life. Maybe also because this was my first experience with really creating something myself that is totally mine – and of course with everyone in the band included because it’s not about me alone – but for me, personal.

I have a child, you have a child also. Something is so yours. It’s in your flesh, it’s in your genes. It’s so hard to give away, and that whole process to really experience that, and yeah. So I’m taking with me that I’m very strong, and I know, I know, I just know, I have to do this and I want to do this and it brought me… everything. That is too fake, I guess.

No, that is not fake. That’s the opposite of fake. That’s is the real thing. You have made a piece of art that has changed who you are. That’s incredible.

Well it feels incredible, and I’m very thankful that I’ve got this chance to do that and I’m in a lucky position that we could do this. And one thing I learned from my brother was that, you know, at the times I was very insecure about, “Was it good enough,” and “Should we do this,” I always listened to him telling me, “If you are okay with it and you did the best you can, then it is good, whatever people will think doesn’t matter anymore.”

That’s how I feel now. When I got insecure, that was what I would think about and say, “I’m good with this. It is fucking good, so yes, move on to the next,” and so on and so on. I changed. It changed me. I’m grown up now. Maybe that’s the thing. I feel very mature (laughs). Not really.

Selim passed away six years ago, and my mother passed away three years ago, and my father passed away like nine years ago. Nine, six, three. So this freedom is also about that, because I’m loose. I have a son, but I don’t have any more responsibilities to my family. In the beginning, also it felt very alone, but I can only depend on me and now I’m very proud of myself, because I’m able to make this great music. Everything I just said, but this is a personal process thing.

The record ends with “The Devil Lives.” Can you talk a little about that?

That was a Selim song, a Devil’s Blood song, that was never finished. And we tried it. We worked on it many times, but it never was good enough, or it was never appropriate. Then it became just another thing that was thrown on the pile of unfinished stuff. But also it was one of my favorites. Way before Roadburn, I had all the guys together, like, “We should finish this song, we should finish it!” so we tried something but it didn’t work and everyone went on doing their stuff again, and then now this was the perfect time to try it again and I think we did a good job.

Molassess Through the HollowWe finished it, but it was Selim’s song. We put it at the end of the album I think too, Through the Hollow is more of a statement like, “And now for something completely different.” It’s very clear that it’s no Devil’s Blood and we’re doing our own shit, but it felt really good to have him there also. We thought it was a perfect ending of this new beginning.

We thought about it, because it’s a very difficult thing. At first when we talked about Molassess, a lot of people were like, “Oh, The Devil’s Blood!” or “Oh, she’s coming back!” and we didn’t want that, but can you really blame people?

It’s like, this is our history, so I learned you need to embrace everything. Also that. When we were thinking about this song, we had also mixed feelings about it, like, “No, but it’s too Devil’s Blood,” and just when we let that go, well, it’s part of us. So here it is.

Molassess, “Through the Hollow”

Molassess on Thee Facebooks

Molassess on Instagram

Molassess on Bandcamp

Season of Mist on Thee Facebooks

Season of Mist website

Tags: , , , , ,

Molassess Announce Oct. 16 Release for Through the Hollow; Title-Track Streaming

Posted in Whathaveyou on July 22nd, 2020 by JJ Koczan

I’ve been waiting for this news, and I’ve been waiting for this song and I’ve been waiting for this album. Molassess‘ impending Season of Mist debut full-length is called Through the Hollow and the 11-minute opener, longest and title-track (immediate points) is streaming now. You’ll find it’s nothing less than a masterclass in dark psychedelic progressive rock, a churning rhythm set to a soulful melody that pushes outside of expected bounds right from the outset. The record’s on my desktop and if I wasn’t at this very minute giving my kid a bath, I’d for sure dig in, but frankly, it’d be hard to hear over the water going in the tub. I’ve got a date for naptime though.

You might recall drummer Bob Hogenelst was also featured on the Atlanta release streamed today. That is just the tip of the black-iceberg when it comes to Molassess.

The PR wire has more to tell about tracks and preorders, and the song’s down at the bottom.

Enjoy:

Molassess Through the Hollow

MOLASSESS Announces New Album, Shares Title Track

Dutch psychedelic rock formation MOLASSESS (ft. members of The Devil’s Blood) will be releasing their debut full-length, ‘Through the Hollow,’ on October 16! The record will be released via Season of Mist, making it the band’s debut to the label. The album art and tracklist can be found below.

MOLASSESS comments on the single, “This was the first one to erupt out of our sonic maelstrom. It represents a journey into the unknown, yet obvious. A creative urge, a story to tell, a perfect timing led Molassess ‘Through the Hollow.’”

Featuring four musicians from THE DEVIL’S BLOOD, MOLASSESS was formed upon being commissioned for a performance during the 2019 edition of Roadburn Festival. Yet, MOLASSESS is not a continuation of a buried past, nor a celebration of a cherished collaborator, but a culmination of heartache, requisite resolution, a rediscovery of rage and the relighting of a fire that never really burned out.

‘Through the Hollow” can be pre-ordered HERE.

Tracklist:
1. Through the Hollow (11:06)
2. Get Out From Under (06:50)
3. Formless Hands (10:54)
4. Corpse of Mind (04:58)
5. The Maze of Stagnant Time (04:03)
6. I Am No Longer (06:21)
7. Death Is (04:54)
8. Tunnel (05:21)
9. The Devil Lives (10:33)
Total: 01:05:00

MOLASSESS are:
Oeds Beydals – guitar
Ron van Herpen – guitar
Job van de Zande- bass guitar
Bob Hogenelst- drums and percussion
Matthijs Stronks- keys
Farida Lemouchi- vocals

https://www.facebook.com/Molassessofficial
https://www.instagram.com/molassessofficial/
https://molasses-vanrecords.bandcamp.com/
https://www.facebook.com/seasonofmistofficial
http://www.season-of-mist.com/

Molassess, “Through the Hollow”

Tags: , , , , ,

Atlanta Stream New Album Nugrybauti in Full

Posted in audiObelisk on July 22nd, 2020 by JJ Koczan

atlanta

Netherlands-based heavy jammers Atlanta release their second album, Nugrybauti, this week through Lay Bare Recordings. The band features the guitar work of Pieter Holkenborg, who took part in Gary Arce‘s one-time European incarnation of Ten East — a Yawning Man jam that wasn’t, but it resulted in a cool album in 2016 — as well as drummer Bob Hogenelst of Birth of Joy and now Molassess, and bassist Sebas van Olst of Typhoon and Cool Genius, so that these dudes would get it together and know what they’re doing when jamming shouldn’t really be a surprise. Atlanta, however, have more than a pedigree of as-yet-underrated bands to offer. Having made their debut in 2018 with the 50-tapes-pressed Flamingo, they resurface through Lay Bare with a cohesive set of six-plus-one instrumental progressions, some longer, some shorter, all exploratory in an at least semi-improvised fashion. The bass or the guitar or the drums start off, the others join in, and they go until the going’s done. It should be a familiar process to those whose heads have been blown out once or twice by modern heavy psychedelia, but there’s again, there’s more here than superficially meets the ear.

Because Nugrybauti — the title of which translates from Lithuanian to mean “to go wandering in search of mushrooms,” according to the band — does more than meander. Particularly driven by Hogenelst‘s drumming, a cut like the later “Lu Li” has a jazzy underpinning to coincide with its spacious guitar work (the echoes bringing to mind, yes, an Arce connection), and as the opening salvo shifts from “Marabou Blues” to “Honolulu Strut” and “Deventer Kunstweg,” the former referencing an African stork, the middle a seeming nod to its for-a-walk drum patternATLANTA Nugrybauti if not the volcanic lava roll of tone that consumes its second half, and the latter an art walk in the city of Deventer, the Netherlands, there’s an immediate sense of Atlanta inviting the listener to interact with the material on more than just an auditory level. It’s not necessarily Google-this-while-listening, which is what I did — yeah that’s right, I had to translate “kunstweg” — but the beginning point of a conversation in which the band hopes its audience will take part, as well as a conversation among the players themselves. That second conversation is the most vivid throughout Nugrybauti, but as Atlanta go wandering, they still find ways to add flourish to what would otherwise be raw jams.

To wit, the piano and backwards guitar on “Honolulu Strut” or the surfy echo on “Marabou Blues” and the fuzzy solo burn on as “Deventer Kunstweg” propels through its apex. Side B offers a likeminded trio of delights in “Dog Whistle Concert No. 5 in E Minor,” the aforementioned “Lu Li” and comparatively mellow closer “Firefly Lullaby” before the noise-laden bonus track “Postzegel Kwijt” takes hold to salt the earth around it and ensure those subdued free jazz vibes at the end of the song before get duly roughed up before they send listeners on their way. That’s hardly the first example of willful abrasion — “Dog Whistle Concert No. 5 in E Minor” could very well take its title from the pitch of the lead guitar in its back half, and the lumber of “Honolulu Strut” gives way to a ready-set-go freakout that seems to carry over into “Deventer Kunstweg” even as that song starts out with its steady and stately drumming before the next round of noodling begins. The bass might be the anchor to it all, or maybe that’s the drums, or maybe there is no anchor and their mushroom-bound journey is out there on its own, floating and diving in various directions as it goes.

That’s a fun thought, but the truth of Atlanta‘s sophomore LP is it’s more focused than that paints it, and just because they’re improvising doesn’t necessarily mean the three-piece don’t have an idea of where they want a given piece to end up. Still, they carry across their sound with a marked dynamic, expanding on live energy without sacrificing it, crafting material that is raw at the same time it demonstrates breadth and a colorful scope that, like each subtle turn of bass or each ghost pop of a snare, is just waiting for the listener to take hold it and be carried off who knows where. In the end, did they find the mushrooms? Yeah, it seems pretty clear they did.

You can check out the entirety of Nugrybauti on the player below, courtesy of Lay Bare Recordings. More PR wire background follows.

Please enjoy:

NUGRYBAUTI (Lithuanian): to become distracted during a task, literally to get lost wandering in search of mushrooms.

Before the Covid-19 pandemic drew a lethal amount of blood out of this year’s festivals and publicly attended live music performances ATLANTA planned to release their second recording (this time in the form of an LP vinyl album) at the infamous Mañana Mañana festival in The Netherlands.

Lay Bare Recordings was steadfast on not waiting and releasing it despite our hopes to present our fully improvised music live in front of curious and eager audience.
Because; well yeah, who knows what the future holds.

However intuitive, elementary and free spirited (the source of) our music and inspired our three separate musical energies are in a live setting, we decided to go along with the expertise of this kindred spirit.

Because now more than ever we DO feel the urge of bringing our drifting soundscapes in a time where every movement is restricted.

Misprints and off-centric vinyl could not distract us from getting our fans TOP NOTCH music and vinyl. So we acted and were eagerly waiting on a new batch of 250 pcs heavy weight coloured vinyl.

We finally can reveal what was kept under wraps!

So for you to walk, sit, stumble, float and/or lay along the travels of “Nugrybauti” the release of Atlanta’s 2nd (but first label endorsed) recording is out there NOW and purchasable here: https://laybarerecordings.com/release/nugrybauti-by-atlanta-lbr030

ATLANTA is:
Bob Hogenelst (Birth Of Joy/Molasses) – Drums
Sebas van Olst (Typhoon/Cool Genius) – Bass
Pieter Holkenborg (Automatic Sam/Ten East) – Guitar

Atlanta on Thee Facebooks

Atlanta on Bandcamp

Lay Bare Recordings website

Tags: , , , ,