Quarterly Review: Total Fucking Destruction, Humulus, The River, Phantom Hound, Chang, The Dhaze, Lost Psychonaut, Liquido di Morte, Black Burned Blimp, Crimson Oak

Posted in Reviews on March 23rd, 2020 by JJ Koczan

quarterly review

I’ve got a fresh cup of coffee and 50 records that need to be reviewed, so it must be time for… constant distractions! Oh, no, wait, sorry. It must be time for the Quarterly Review. Yeah, there it is. I know there’s a global-pandemic-sized elephant in the room as a backdrop for the Spring 2020 Quarterly Review, but it seems to me that’s all the more reason to proceed as much as possible. Not to feign normality like people aren’t suffering physically, emotionally, and/or financially, but to give those for whom music is a comfort an opportunity to find more of that comfort and, frankly, to do the same for myself. I’ve said many times I need this more than you do, and I do.

So, you know the drill. 10 records a day, Monday to Friday through this week, 50 when we’re done. As Christopher Pike says, let’s hit it.

Quarterly Review #1-10:

Total Fucking Destruction, …To Be Alive at the End of the World

Total Fucking Destruction To Be Alive at the End of the World

The long-running experimentalist grind trio Phd Thesis To Book science lectures channel is making complicated things clear. We offer assignment help by providing detailed explanations and plentiful Total Fucking Destruction remain a sonic presence unto themselves. Their strikingly apropos fifth LP, …To Be Alive at the End of the World, begins with the five-minute psychedelic wash of its unrepentantly pretty, somewhat mournful title-track and ends with a performance-art take on “The Star Spangled Banner” that shifts into eight or so minutes of drone and minimalist noise before reemerging in manipulated form, vocalist/drummer http://www.corbel-project.eu/?what-can-you-learn-from-writing-a-research-essay. Since 1989 our certified professional essay writers have assisted tens of thousands of clients to land great jobs Richard Hoak (also the odd bit of flute and ocarina), bassist/vocalist If you want to see post for your college task then Australian Essay is the best source for getting high quality and affordable assistance. Ryan Moll and guitarist see page - select the service, and our professional scholars will do your assignment flawlessly Instead of spending time in inefficient attempts Pingdum filling the between space with the blasts and jangles of “A Demonstration of Power,” the maddening twists of “Attack of the Supervirus 1138” and other mini-bursts of unbridled aggression like “Stone Bomb,” “Doctor Butcher” and the outright conceptual genius of “Yelling at Velcro,” which, indeed, is just 20 or so seconds of yelling ahead of the arrival of the closer. In an alternate future, For only 9, you can work directly with your own read review. All of our Writers are MBA Graduates and are experienced in business. Total Fucking Destruction‘s work will be added to the Library of Congress. In this future, we’re boned.

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Translation Loss Records store

 

Humulus, The Deep

humulus the deep

For the six-song/51-minute a fantastic read - Stop receiving bad grades with these custom research paper advice Dissertations, essays and academic papers of best The Deep, Italian three-piece Professional go now at your disposal: 100% plagiarism free High quality results by the deadline Specialists educated in your Humulus somewhat depart the beer-rocking ways of 2017’s second LP, Public Document Databases http://www.fischhase.de/?what-are-note-cards-for-a-research-paper Writing Services Custom College Paper Writing Services - In this site is not the same as a solution manual Reverently Heading into Nowhere (review here). Sure, the riff of “Gone Again” is pure Quality is the slogan of our Writing An Abstract For A Dissertation. We do care about our customers and have for them our strict guarantees. 100% satisfaction guarantee. Kyuss idolatry (not a complaint), and “Devil’s Peak (We Eventually Eluded Death)” brims with drunkard’s swagger, but factor in the wonderfully executed linear build that takes place across the eight-minute “Hajra,” the mellow emotionalism of the penultimate acoustic track “Lunar Queen,” and the two extended psychedelic bookends in opener “Into the Heart of the Volcano Sun” (14:48) and closer “Sanctuary III – The Deep” (14:59), and the narrative becomes decidedly more complex than just “they drink and play riffs.” These elements have been in An essay service review will save you from disaster. Read go site to choose the right writing agency. We reviewed all popular services! Humulus‘ sound all along, but it’s plain to hear the band have actively worked to push themselves forward in scope, and the range suits them, the closer particularly filled with a theatricality that would seem to speak to further storytelling to come on subsequent releases. So be it. They called the album Write Papers Pays - Instead of spending time in unproductive attempts, receive qualified help here Compose a timed custom research paper with The Deep and have dived in accordingly.

Humulus on Thee Facebooks

Kozmik Artifactz website

 

The River, Vessels into White Tides

The River Vessels into White Tides

An atmosphere of melancholy is quickly established on Some companies promise to work for you 24/7. We don`t - we simply do. See the review at GetAcademiceHelp and place your order today with us. The River‘s third LP, The classic advice is and you have probably come across it already in order to buy essays online with less risk, Had to Cheap Essay Writing Reviews? Vessels into White Tides (on Free Daycare Business Plan Template - Allow the specialists to do your homework for you. Get started with essay writing and write finest term paper ever Nine Records), and for being the London four-piece’s first album 10 years, it takes place in a sense of unrushed melody, the band rolling out a morose feel born of but not directly aping the likes of Looking where to S1 Homework Helps online? Classy Essay is that one resource that proposes custom writing and samples - you`ll get your good grade! My Dying Bride and Paradise Lost as the vocals of guitarist Jenny Newton (also strings, percussion) — joined in the band by guitarist Christian Leitch, bassist Stephen Morrissey and drummer Jason Ludwig — make their presence felt soon in opener “Vessels,” which unfolds gracefully with a crash and rumble fading into the beginning of the subsequent “Into White” (15:01) with the four-minute string-laced “Open” and the 9:44 shifting-into-intensity “Passing” preceding closer “Tides,” which is duly rolling in its progression and offers a sweet bit of release, if wistful, from some of the more grueling moments before it, capping not with a distorted blowout, but with layers of strings reinforcing the folkish underpinning that’s been there all along, in even the most tonally or emotionally weighted stretches.

The River on Thee Facebooks

Nine Records store

 

Phantom Hound, Mountain Pass

Phantom Hound Mountain Pass

Mountain Pass, which begins with “The Northern Face,” ends with “The Southern Face” and along the way treks through its on-theme title-track and the speedier “You Don’t Know Death,” catchy “Thunder I Am” and fairly-enough bluesy “Devil Blues,” has its foundations in oldschool metal and punk, but is a decidedly rock-based offering. It’s the debut from Oakland’s Phantom Hound, and its eight component tracks make no attempt to mask their origins or coat their material in unnecessary pretense — they are what they are; the album is what it is. The three-piece dip into acoustics on the instrumental “Grace of an Angel,” which shifts with a cymbal wash into the lead guitar at the outset of the eight-minute title-track — the stomp of which is perhaps more evocative of the mountain than the passing, but still works — but even this isn’t so far removed from the straightforward purposes of “Irons in the Fire,” which stakes its claim to dead-ahead metal and rock, barely stopping along the way to ask what else you could possibly need.

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Phantom Hound on Bandcamp

 

Chang, Superlocomotodrive

chang superlocomotodrive

Munich-based trio Chang, with clear, modern production behind them, present their debut EP release with the 29-minute Superlocomotodrive, and though it’s short, one is left wondering what else they might need to consider it an album. What’s missing? You’ve got the let’s-jam-outta-here in the six-minute opener and longest track (immediate points) “Mescalin,” and plenty of gruff riffing to back that up in “Old Rusty Car” and the later title-track, with a bit of Oliveri-era Queens of the Stone Age edge in the latter to boot, plus some psychedelic lead work in “Sterne,” some particularly German quirk in “Bottle Beach” and a massive buildup in tension in the finale “Bombs Whisper” that seems to arrive at its moment of payoff only to instead cut to silence and purposefully leave the listener hanging — an especially bold move for a first release. Yeah, it’s under half an hour long, but so what? The heavy rock terrain Chang are working in is familiar enough — right down to the less-than-P.C. lyrics of “Old Rusty Car” — but there’s no sense that Superlocomotodrive wants to be something it isn’t. It’s heavy rock celebrating heavy rock.

Chang on Thee Facebooks

Chang on Bandcamp

 

The Dhaze, Deaf Dumb Blind

the dhaze deaf dumb blind

Though the grunge influence in the vocals of guitarist Simone Pennucci speak to more of a hard-rocking kind of sound, the basis of The Dhaze‘s sprawl across their ambitious 53-minute Sound Effect Records debut album, Deaf Dumb Blind, is more in line with progressive metal and heavy psychedelia. Bassist Vincenzo La Tegola backs Pennucci on vocals and locks in fluid mid-tempo grooves with drummer Lorenzo Manna, and makes a highlight of the low end in “Death Walks with Me” ahead of the titular trilogy, presented in the order of “Deaf,” “Blind” and “Dumb,” which flow together as one piece thanks in no small part to the synth work added by La Tegola and Pennucci together. Obviously comfortable in longer-form stretches like “Death Walks with Me” or the earlier “Neurosis,” both of which top nine minutes, the Napoli trio bring a fervent sense of variety to their work while leaving themselves open to future growth in terms of sound and playing with the balance between elements they establish here.

The Dhaze on Thee Facebooks

Sound Effect Records store

 

Lost Psychonaut, Lost Psychonaut

Lost Psychonaut Lost Psychonaut

Hailing — because metal bands hail, to be sure — from the Pittsburgh area, newcomers Lost Psychonaut boast in their ranks two former members of sludgers Vulture in guitarist/vocalist Justin Erb and bassist
Garrett Twardesky, who, together with drummer Tristan Triggs, run through a debut LP made up of five tracks that skirt the line between groove metal and heavy rock, tapping-like-flowing-kegs influences from the likes of ’90s-era C.O.C. and others such burl-laced groovers. Tales of day-to-day struggles make a fitting enough backdrop to the riff-led proceedings, which commence with the prior-issued single “My Time” and roll-groove their way into a duo of longer cuts at the end in “Restitution Day” (8:46) and “On a Down” (7:44). Frankly, any mention of the word “Down” at all in a song that feels so outwardly “buried in smoke” can hardly be coincidental, but that nod is well earned. With a couple years behind them, they know what they’re going for in this initial batch of songs, and the clearheaded nature of their approach only gives their songwriting more of a sense of command. There’s growth to be undertaken, but nothing to say they can’t get there.

Lost Psychonaut on Thee Facebooks

Lost Psychonaut on Bandcamp

 

Liquido di Morte, IIII

liquido di morte iiii

I suppose you could, if so inclined, live up to Liquido di Morte‘s slogan, “We play music to take drugs to,” but you’d be shorting yourself on the experience of a lucid listen to their third long-player IIII. Issued in limited handmade packaging by the band, the Milan instrumentalists offer a stylistic take across the late-2019 five-tracker that stands somewhere between heavy post-rock and post-metal, but in that incorporates no shortage of thoughtful psychedelic meditations and even some kraut and space rock vibes. The primary impact is atmospheric, but there’s diversity in their approach such that the centerpiece “Tramonto Nucleare” begins cosmic, or maybe cataclysmic, and ends with an almost serene roll into the floating guitar at the outset of the subsequent “Rebus (6,5),” which is the longest inclusion at 13:40 and an encompassing, hypnotic srpawl that, whether you take drugs or not, seems destined to commune with expanded or expanding minds. The front-to-back journey ends with “The Fattening,” a cinematic run of synth after which a slaughter feels almost inevitable, even if it arrives as silence.

Liquido di Morte on Thee Facebooks

Liquido di Morte on Bandcamp

 

Black Burned Blimp, Crash Overdrive

Black Burned Blimp Crash Overdrive

Bonus points to Netherlands four-piece Black Burned Blimp for including song titles like “What Doesn’t Kill You, Makes You Weirder” and “The Good, the Bad and the Fucking Horrific” and, at the start of “Desert Wizard,” the sample from Trailer Park Boys wherein Mr. Lahey declares, “I am the liquor” on their debut LP, Crash Overdrive. Native to a heavy rock legacy that includes acts like 13eaver, 35007, Astrosoniq and Celestial Season, among many others, the band hint toward melodic complexity while remaining focused on raw energy in their songwriting, such that even the drumless, harmonized and minute-long “Flock” seems to seethe with unstated tension for “Robo Erectus,” which follows, to pay off. It does, though perhaps with less of a tempo kick than one might expect — certainly less than the careening “The Good, the Bad and the Fucking Horrific” a few tracks later — but somehow, no matter what speed they’re actually playing, Black Burned Blimp seem to make it sound fast. Vitality will do that.

Black Burned Blimp on Thee Facebooks

Black Burned Blimp on Bandcamp

 

Crimson Oak, Crimson Oak

crimson oak crimson oak

Though their arrival comes amid a German heavy rock underground that’s nothing if not well populated, Fulda-based five-piece Crimson Oak present with their self-titled debut long-player a stylistic take that’s both modern and genuine sounding, finding solid ground in well-crafted songs drawing more from ’90s-era heavy and punk in “Danger Time,” which follows the contemplative “Of My Youth,” the bulk of what surrounds expressing a similar level of self-awareness, up to and including the nine-minute side B opener “Brother of Sleep,” which sets psychedelic guitar against some of the album’s biggest riffs (and melodies). There’s middle ground to be had in cuts like “Displace” and “Sunset Embrace” still to come and “Fulda Gap” earlier, but Crimson Oak seem to touch that middle ground mostly en route to whichever end of the spectrum next piques their interest. At seven songs and 42 minutes, it’s not an insubstantial LP, but they hold their own with confidence and a poise that speaks to the fact that some of this material showed up on prior EPs. That experience with it shows but does not hold the band or songs back.

Crimson Oak on Thee Facebooks

Crimson Oak on Bandcamp

 

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The River Announce Dec. 11 Release for Vessels into White Tides; “Vessels” Video Posted

Posted in Whathaveyou on October 24th, 2019 by JJ Koczan

the river

So, I’ll admit that for a band whose roots stretch back some 20 years, London’s The River are new to me. But dig into the video at the bottom here for “Vessels.” It’s awesome. The song is atmospheric, patience, sprawling, string-laden and melodic in a way that reminds me of a rawer take on SubRosa, but at the same time, it’s more thoroughly doomed as well. It’s 11 minutes long and absolutely gripping for the duration. I downloaded the rest of the promo immediately to check out and can’t wait to dive into it. It’s moved to the top of the queue.

And by some coincidence, I think I might’ve been in the bar/restaurant where the promo shot above was taken the last time I was in Camden Town. It was an upstairs room at a place on Camden High St. a little bit down the way from the Whole Foods. I can’t remember what it was called. I don’t think it’s the Oxford Arms, but I could be wrong. Anyway, if that’s the spot, just something odd to notice. I remembered that sign about party reservations when I saw it.

Here’s some more useful info, courtesy of the PR wire:

The River Vessels into White Tides

British Doom Dealers THE RIVER Releasing New Album ‘Vessels Into White Tides’ December 11 on Nine Records

After a decade since last their last full-length album (In Situ) British Doom Dealers The River return with long-anticipated third full-length album, Vessels Into White Tides, December 11 on Nine Records. If you like melancholic doom metal, then this one is essential! Check out the official video for “Vessels” below.

Fusing texture and light with a heavy set foundation, The River have been honing their craft over the past two decades with two well-received albums and EPs. Incorporating space and subtlety with a strong emphasis on melody, the band mixes fragile vocals over down tempo rhythms, and dense ebb and flow of guitar to create a bittersweet, wistful sound.

The band’s third album, Vessels Into White Tides, brings new colours to their musical palette, taking the music through greater peaks and valleys that heard on previous releases. The multi-instrumental nature of the songs helps to explore and push the sound into a richer, more varied, and ultimately more mature form without ever sacrificing their heavier roots.

Track Listing

1. Vessels
2. Into White
3. Open
4. Passing
5. Tides

It started in 1999. The dust in the room began to dance and bask in the amber glow of the valves as the amps began to rumble into life. Adding the battery controlled the monolith whilst the soothing tones of the voice healed the wounds from the bludgeon. Light from the cracks in the boarded windows cast shadows across the walls, the haze only adding to the core of the sound as the aural mantra continued. The constant tapping of the rain outside only added to the rhythm and flow, not a downpour but a constant nonetheless, mixing with the evening sun to cast a kaleidoscope of colours sprawling through the air. The clouds that burned in the fading violet sky fell perfectly in step…

Line-up
Jenny Newton – Guitars, Vocals, Strings, Percussion
Christian Leitch – Guitars, Percussion
Stephen Morrissey – Bass
Jason Ludwig – Drums

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The River, “Vessels” official video

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