Quarterly Review: Mos Generator, Psychic Lemon, Planet of Zeus, Brass Hearse, Mother Turtle, The Legendary Flower Punk, Slow, OKO, Vug, Ultracombo

Posted in Reviews on January 6th, 2020 by JJ Koczan

quarterly review

I’d like to hope y’all know the drill by now. It’s the Quarterly Review. We do it (roughly) every quarter. The idea is 10 reviews per day for a Monday to Friday span, running 50 total. I sometimes do more. Sometimes not. Kind of depends on the barrage and how poorly I’ve been doing in general with keeping up on stuff. This time is ‘just’ 50, so there you go. You’ll see some bigger names this week and some stuff that’s come my way of late that I’ve been digging and wanting to check out. It’s a lot of rock, which I like, and a few things I’m writing about basically as a favor to myself because, you know, self-care and all that.

But staring down the barrel of 50 reviews over the next few days has me as apprehensive and how-the-hell-is-this-gonna-happen as ever, so I think I’ll just get to it and jump in. No time to waste.

Quarterly Review #1-10:

Mos Generator, Exiles

mos generator exiles

Worth it just for the Need help in essay writing, http://tehnodream.com.ua/?business-plan-videos, cheap custom essay writing | Complete set of services for students of all levels including academic writing Sabbath cover? Most definitely. As We are an in-house go now catering to businesses and agencies of all sizes. Our expert copywriters will create stunning, fully optimized Mos Generator take on “Air Dance” from http://www.corbel-project.eu/?topic-for-an-argumentative-essay website that writes essays for you We render quality paper tutoring services online combined with various benefits!50% Prepay. Supreme Quality Service. Loyalty Discounts. Enjoy Much More with Us!Find out more about our professional essay writing service. Order stellar papers and put away your essay writing guide. Never Say Die as part of the BBB's Business Review for Dzooles Online Help With Social Studies Homework, Business Reviews and Ratings for Dzooles Dissertation Consulting in Sugar Hill, GA. Glory or Death Records LP compilation release, prompts for writing essays http://meitoku.edu.vn/?phd-thesis-eindhoven-university-of-technology admissions essay custom write kindergarten marketing masters thesis Exiles, they blend the proggy swagger of later-’70s Script Writing Paper is one of the most often question we hear at our paper writing service! CollegePaperServices.com can fully satisfy your demands in Iommi leads with the baseline acoustic guitar fluidity that makes those final best buy swot analysis where to buy resume portfolio Master define personal essay how to write an argumentative paper Ozzy-era records so appealing in hindsight. It’s just one of the six reasons to take on Looking for the best Money Can39t Buy Happiness Essay that delivers great quality for a low price? Our expert writers are waiting for your order! Exiles however. The A side comprises three outtakes from 2018’s Every one of our source links has a passion for research and education. Many of them are not only graduates, but also have their PhD or are attached to a university institution. This means that our thesis tutors, not only, have experience with writing academic research studies, but they are also experienced in the field of tutoring. Shadowlands (review here), and guitarist/vocalist As far as research papers for sale go, Written in one copy, a Write Economics Papers For Money stands as a great value for money. However, Tony Reed‘s http://www.eumed-ict.eu/?homework-help-sites-scienceS - 100% TOP QUALITY Custom esssays, custom papers, custom essay writing, written essays, buy research term papers custom research paper, custom Big Scenic Nowhere bandmate Get the Organizational Commitment Research Papers you need for MBA application success. Bob Balch sits in on “Battah,” while a duly manic reworking of Experience the Australias best online assignment help service at My http://fizmatika.lt/master-thesis-uva-communicatiewetenschap/. Our team of professional assignment helpers, will provide you Van Halen‘s “Light up the Sky,” the Number of student asks us, can I pay you to official site for me? Our experts always say yes that we do your dissertation efficiently at cheap. Black Sabbath track and a live version of Learn exactly how to Critical Thinking Ideas by following our expert advice and using our professional support. Rush‘s “Anthem” from 2016 make up side B. It’s a quick listen and it’s Mos Generator. It may be a stopgap on the way to whatever they’re doing next, but if you think about it, so is everything, and that’s no reason not to jump in either for the covers or the originals, both of which are up to the band’s own high standard of output.

Mos Generator on Thee Facebooks

Glory or Death Records on Bandcamp

 

Psychic Lemon, Freak Mammal

psychic lemon freak mammal

The distorted wails of Andy Briston‘s guitar echo out of Freak Mammal — the five-track/46-minute third LP from London’s Psychic Lemon — like a clarion to the lysergic converted. A call to prayer for those worshiping the nebulous void, not so much kept to earth by Andy Hibberd‘s bass and Martin Law‘s drums as given a solidified course toward the infinite far out. Of course centerpiece “Afrotropic Bomb” digs into some Ethiopian groove — that particular shuffling mania — and I won’t take away from the lower buzz of “Free Electron Collective” or the tense hi-hat cutting through all that tonal wash or the ultra-spaced blowout that caps six-minute finale “White Light,” but give me the self-aware mellower jaunt that is the 13-minute second track “Seeds of Tranquility” any day, following opener “Dark Matter” as it does with what would be a blissful drift but for the exciting rhythmic work taking place beneath the peaceful guitar, and the later synthesized voices providing a choral melody that seems all the more playfully grandiose, befitting the notion of Freak Mammal as a ceremony or at very least some kind of lost ritual. Someday they’ll dig up the right pyramid and call the aliens back. Until then, Psychic Lemon let us imagine what might happen after they return.

Psychic Lemon on Thee Facebooks

Drone Rock Records website

 

Planet of Zeus, Faith in Physics

PLANET OF ZEUS FAITH IN PHYSICS

There’s a context of social commentary to Planet of ZeusFaith in Physics that makes one wonder if perhaps the title doesn’t refer to gravity in terms of what-goes-up-must-come-down as it might apply to class hierarchy. The mighty, ready to fall, and so on. Songs like the post-Clutch fuzz roller “Man vs. God” and “Revolution Cookbook” (video premiere here) would seem to support that idea, but one way or the other, as the later “Let Them Burn” digs into a hook that reminds of Killing Joke and the dense bass of eight-minute closer “King of the Circus” provides due atmospheric madness for our times, there’s a sense of grander statement happening across the album. The Athens-based outfit make a centerpiece of the starts and stops in “All These Happy People” and remind that whatever the message, the medium remains top quality heavy rock and roll songcraft, which is something they’ve become all the more reliable to deliver. The more pointed perspective than they showed on 2016’s Loyal to the Pack suits them, but it’s the nuance of electronics and arrangements of vocals and guitar on cuts like “The Great Liar” that carry them through here. If you believe in gravity, Planet of Zeus have plenty on offer.

Planet of Zeus on Thee Facebooks

Heavy Psych Sounds website

 

Brass Hearse, Oneiric Afterlife

brass hearse oneiric afterlife

Experimentalist keyboard-laced psychedelic goth your thing? Well, of course it is. You’re in luck then as Brass Hearse — an offshoot of once madly prolific Boston outfit Ice Dragon — unveil three new songs (plus an intro) with the Oneiric Afterlife and in 10 minutes work to unravel about 30 years of genre convention while still tying their material to memorable hooks. “Bleed Neon,” “Indigo Dust” and “Only Forever” seem simple on the surface, and none of them touch four minutes long, let alone “A Gesture to Make a Stop,” the 26-second introduction, but their refusal of stylistic constraint is as palpable as it is admirable, with a blend of folk guitar and dark-dance-party keys and percussive insistence on “Bleed Neon” and a ’60s Halloweeny rock organ line in “Only Forever” that’s complemented by low-end fuzz and a chorus that would rightly embarrass Ghost if they heard it. In comparison, “Indigo Dust” is serene in its presentation, but even there is a depth of arrangement of keys, guitar, bass and drums, and the skill tying it all together as a cohesive sound is not to be understated. A quick listen with a lot to unpack, it’s not going to be everyone’s thing, but those who get it will be hit hard and rightly so.

Brass Hearse on Thee Facebooks

Brass Hearse on Bandcamp

 

Mother Turtle, Three Sides to Every Story

mother turtle three sides to every story

The first of three tracks on Greek progwinders Mother Turtle‘s fourth LP, Three Sides to Every Story, “Zigu Zigu,” would seem to cap with a message of congratulations: “You’ve listened to three musicians indulging themselves with some kind of weird instrumental music.” It then goes on to question its own instrumentalism, because it has the words presently being spoken, continuing in this manner until a long fadeout of guitar leads to the funky start of the 15-minute-long “Notwatch.” Good fun, in other words. Mother Turtle maybe aren’t so weird as they think they are, but they are duly adventurous and obviously joyful in their undertaking, bringing chants in over drifting guitar and synth swirl in “Notwatch” before building to a crescendo of rock guitar and organ, ultimately dominated by a solo as it would almost have to be, before intertwining piano lines in 16:46 closer “A Christmas Postcard from Kim” lead to further shenanigans, vocal experimentation, plays on metal, holiday shimmer, and a fade into the close. At 38 minutes, Three Sides to Every Story doesn’t at all overstay its welcome, but neither is it an exercise looking for audience engagement in the traditional sense. Rather, it resonates its glee through its offbeat sensibility and thus works on its own level to craft a hook. One can’t help but smile while listening to the fun being had.

Mother Turtle on Thee Facebooks

Sound Effect Records website

 

The Legendary Flower Punk, Wabi Wu

The Legendary Flower Punk Wabi Wu

It is something to consider, perhaps as you dive into the nine-minute “Prince Mojito” on The Legendary Flower Punk‘s Wabi Wu, that the band started as a psych-folk solo-project. Currently working as a core trio plus a range of guests, the Russian troupe make their debut on Tonzonen with the brazenly prog seven-tracker, totaling just a 44-minute run but with a range that would seem to be much broader. Alternately jazzy and synth-laden, technically intricate but never overly showy, pieces like the bass-led “Azulejo” and the penultimate “Trance Fusion På Ryska” present a meeting of the minds with founding guitarist Kamille Sharapodinov at the center of most compositions, he and bassist Mike Lopakov and drummer Nick Kunavin digging into nothing’s-off-limits textures from fusion onward through New Wave and dub. The abiding rule followed seems to be whatever moves the band about a given track is what they roll with, and though The Legendary Flower Punk has evolved well beyond its origins, there’s still a bit of flower and still a bit of punk amid all the legends being made. Good luck keeping up with it.

The Legendary Flower Punk on Bandcamp

Tonzonen Records website

 

Slow, VI – Dantalion

Slow VI Dantalion

With the follow-up to 2018’s V – Oceans (review here), Belgian duo Slow rattle off another 78 minutes of utterly consuming, crushing, atmospheric and melancholic funeral doom like it’s absolutely nothing. Well, not like it’s nothing — more like it’s a weight on their very soul — but even so. Issued through Aural Music, VI – Dantlion brings the two-piece of guitarist/vocalist/drummer Déhà and bassist/lyricist Lore B. once again into the grueling, megalithic churn of self-inflicted riff-punishment that’s so encompassing, so dark, so deep and so dramatic it almost can’t help but also be beautiful. To wit, second track “Lueur” is a 17-minute downward journey into ambient brutalism, yet as it moves toward the midsection one can still hear melodic elements of keyboard and orchestral sounds peaking through. There is letup in the lush finale “Elégie,” but to get there, you have to make your way through “Incendiaire,” which is possibly the most extreme movement of the seven inclusions. Though frankly, after a while, you’re buried so far down by Slow‘s glorious miseries that it’s hard to tell. The world needs this band. They are what humanity would sound like if it was ever honest with itself.

Slow on Thee Facebooks

Aural Music on Bandcamp

 

OKO, Haze

oko haze

Adelaide, Australia, newcomers OKO present their debut EP in the form of Haze, a 14:44 single-song outing that sees the instrumental three-piece of guitarist Nick Nancarrow, bassist Tyson Ruch and drummer Ash Matthews tap into organic heavy psych vibes while working cross-planet with Justin Pizzoferrato (known for his work with Elder, among others) on the mix and master. The resulting one-tracker has a clarity in its drum sound and clean feel that one suspects might speak of more progressive intentions on the part of OKO in the longer term, but as they are here they have a sense of tonal warmth that serves them well across the unpretentious span of “Haze” itself, the winding riff inevitably bringing to mind some of Colour Haze‘s jammier work but still managing to find its own direction. I hear no reason OKO can’t do the same, regardless of the influences they’re working under in terms of sound. Further, the longform modus suits them, and while future work will inherently develop some variety in general approach, the natural exploration they undertake on this first outing easily holds attention for its span and is fluid enough that, had they wanted, they could have pushed it further.

OKO on Thee Facebooks

OKO website

 

Vug, Onyx

vug onyx

Vug are not the first European heavy rock band to blend vintage methods with modern production. They’re not the first band to take classic swagger and drum urgency and meld it with a pervasive sense of vocal soul. I’m not sure I’d tell them that though, because frankly, they’re doing pretty well with it. At its strongest, their Tonzonen-released sophomore outing, Onyx, recalls Thin Lizzy via, yes, Graveyard, but there’s enough clarity of intention behind the work to make it plain they know where they’re coming from. Such was the case as well with their 2018 self-titled debut (review here), and though they’ve had some lineup turnover since that first offering, the self-produced four-piece bring a character to their material on songs like “Tired Of” and the penultimate boogier “Inferno” before closing with the acoustic “Todbringer” — a mirror of side A’s “On My Own” — that they carry the classic-style 39-minute long-player off without a hitch, seeming to prep the heavy ’10s for a journey into a new decade.

Vug on Thee Facebooks

Noisolution webstore

 

Ultracombo, Season 1

Ultracombo Season 1

As the title hints, the Season 1 EP is the debut from Italy’s Ultracombo, and with it, the five-piece of vocalist Alessio Guarda, guitarists Alberto Biasin and Giordano Tasson, bassist Giordano Pajarin and drummer Flavio Gola work quickly to build the forward momentum that brings them front-to-back through the 23-minute five-track release. “Flusso” and opener “The King” feel particularly drawn from an earlier Truckfighters influence, but Guarda‘s vocals are a distinguishing factor amidst all that ensuing fuzz and straight-ahead drive, and in “Sparatutto” and the closer “Il Momento in Cui Non Penso,” they seem to strip their approach to its most basic aspects and bring together the tonal thickness and melodicism that’s been at root in their sound overall. The subtlety, such as it is, is to be found in their songwriting, which results in tracks that transcend language barriers through sheer catchiness. That bodes better for them on subsequent outings better than a wall o’ fuzz ever could, though of course that doesn’t hurt them either, especially their first time out.

Ultracombo on Thee Facebooks

Ultracombo on Bandcamp

 

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

Naxatras Bringing Live Rituals at Gagarin 205 to Spotify, Deezer, etc., on Nov. 22

Posted in Whathaveyou on November 7th, 2019 by JJ Koczan

naxatras (Photo by Dan Deutsch)

You about ready for some new Naxatras? Me too. They’ve reportedly started putting material together for their next album, which one assumes and at very least hopes will show up sometime in 2020, but in the meantime, they’re paying another visit to their 2018 offering, Live Rituals at Gagarin 205. Tracked in Athens last April, it found the Greek heavy psych forerunners celebrating the release of their aptly-titled third album,  III (review here), and yes, it’s been on Bandcamp for a while now, but it’ll now also be on Spotify and Deezer what whatever else, and if you pre-save it (Which, I guess… is a thing… you can do… on streaming services?), you get a chance to win the LP version of III. Nice bit of digital/analog interaction there.

If you haven’t heard Live Rituals at Gagarin 205 yet, the Bandcamp player is below. There was also a CD release that came out with Metal Hammer Greece. I don’t even think I dare looking how much that goes for on Discogs.

From the band:

naxatras live rituals at gagarin 205

Naxatras – Live Rituals at Gagarin 205

Back in April 2018 we performed a special show, at Gagarin 205, in Athens, Greece, for the presentation of “III”. We captured the vibe and the feelings of that night and released it in physical form through METAL HAMMER GREECE, back in June 2018.

The time has come to release it digitally as well, on all platforms!

Anyone that pre-saves the album will have a chance of winning our album “III”, in vinyl form. 3 winners will be announced on November 23rd.

Out on November 22nd!

Pre-save link: https://orcd.co/naxatras_liveritualsatgagarin

Tracklisting:
1. You Won’t Be Left Alone 10:57
2. Downer 06:20
3. Machine 10:51
4. Waves 07:33
5. On the Silver Line 09:22
6. Garden of the Senses 10:29
7. I am the Beyonder 11:20
8. The Great Attractor 06:53

Recorded at Gagarin 205 and edited by George Giannikos.
Mixed at Ritual Sound Studios by Dimitris Metaxakis.
Mastered at Grindhouse Studios Athens by George Bokos.
Artwork and design by Christopher Toumazatos aka Chris RW.
Original photo used for the cover by Anastacia Papadaki.

This live album was recorded at our release show for “III” at Gagarin 205, Athens. It was first released as a CD with an issue of Metal Hammer (Greece), June 2018.

Naxatras is:
John Delias – Guitar
Kostas Harizanis – Drums
John Vagenas – Bass & Vocals

https://www.facebook.com/naxatras/
https://naxatras.bandcamp.com/

Naxatras, Live Rituals at Gagarin 205 (2018)

Tags: , , , , ,

Naxatras Announce European Dates en Route to Desertfest Berlin & London

Posted in Whathaveyou on February 7th, 2019 by JJ Koczan

naxatras (Photo by Dan Deutsch)

Greek heavy psych forerunners Naxatras will head out on a run of European shows this April in order to make their way to Desertfest in Berlin and London. They also played Desertfest Belgium this past Fall, as well as other fests, and the fact that they’re getting out again really only underscores their ascent to a forward position with the Euro underground. Their third album,  III (review here), came out last year, and they put out a recording of the release show for that record in the form of Live at Gagarin 205, which you can stream below, but I wouldn’t necessarily be surprised if the analog-obsessed three-piece managed to get something else to the public before Spring comes. They haven’t announced anything in that regard or anything like that, but they’re sneaky sometimes and they’ve dropped EPs in the past with little prior notice, so as they’re hitting the road again, it’s worth keeping an eye out.

The tour is presented by Ouga Booga and the Mighty Oug and will begin in Barcelona on April 17 and finish at Desertfest in London on May 5, covering a decent swath of ground between. Word came out on the social medias like so:

naxatras euro tour

*** NAXATRAS EUROPEAN TOUR 2019 ***

On the road again!

This time, we’re visiting lots of unexplored territories, including cities in Spain, Portugal and the Scandinavian Peninsula! Brace yourselves, spring is coming…

Poster by CHRIS RW
Powered by Ouga Booga and the Mighty Oug ^^

17/4 – BARCELONA (ES) – ROCKSOUND
18/4 – MADRID (ES) – SIROCO
19/4 – LISBON (PT) – RCA CLUB
20/4 – PORTO (PT) – HARD CLUB
21/4 – SAN SEBASTIAN (ES) – DABADABA
22/4 – TOULOUSE (FR) – L’USINE A MUSIQUE
24/4 – TBC
25/4 – TBC
26/4 – MUNSTER (DE) – RARE GUITAR
27/4 – FRANKFURT (DE) – DAS BETT
30/4 – STOCKHOLM (SWE) – NALEN
01/5 – MALMÖ (SWE) – PLAN B
02/5 – COPENHAGEN (DK) – STENGADE
03/5 – HAMBURG (DE) – STUBNITZ
04/5 – BERLIN (DE) – DESERTFEST
05/5 – LONDON (UK) – DESERTFEST

Naxatras is:
John Delias – Guitar
Kostas Harizanis – Drums
John Vagenas – Bass & Vocals

https://www.facebook.com/naxatras/
https://naxatras.bandcamp.com/

Naxatras, Live Rituals at Gagarin 205 (2018)

Tags: , , , , ,

Naxatras Announce Fall European Tour; Playing Up in Smoke, Fuzz Fest and More

Posted in Whathaveyou on May 15th, 2018 by JJ Koczan

naxatras

I don’t know nothin’ about nothin’ — it’s true! ask me anything! — but I’d wager that one or two of the dates still to be announced as part of Greek heavy psych rockers Naxatras‘ upcoming Fall European tour are for festivals. The Thessaloniki three-piece have already been confirmed for Fuzz FestKeep it LowUp in Smoke and Into the Void as part of this run supporting their earlier 2018 offering, III (review here), and considering the response that album got upon its release, much the same as everything they’ve done up to this point, it wouldn’t surprise me if they showed up on a few more massive billings. Again, not anything I know, just speculation.

Certainly even if not, the tour is plenty huge as is, running about a month and a half. The dates are presented by Ouga Bouga and the Mighty Oug and were posted as follows:

naxatras tour poster

Naxatras Fall 2018 European Tour

03/10 – Zagreb (HR) / Vintage Industrial Bar
04/10 – Vienna (AT) / Fuzz Fest
05/10 – Innsbruck (AT) / PMK
06/10 – Pratteln (CH) / Up In Smoke
07/10 – Freiburg (DE) / White Rabbit
09/10 – Strasbourg (FR) / TBA
10/10 – TBC
11/10 – Berlin (DE) / Cassiopeia +
12/10 – Dresden (DE) / Groovestation +
13/10 – Oldenburg (DE) / Cadillac +
14/10 – TBC
17/10 – Mannheim (DE) / 7er Club +
18/10 – Munich (DE) / Keep it Low Preparty +
19/10 – Siegen (DE) / Vortex +
20/10 – Leeuwarden (NL) / Into The Void
21/10 – Leuven (BE) / Sojo
24/10 – Sheffield (UK) / Corporation
25/10 – Bristol (UK) / The Crofters Rights
26/10 – London (UK) / The Black Heart
27/10 – Brighton (UK) / Sticky Mike’s
28/10 – Ghent (BE) / TBA
30/10 – Nantes (FR) / Le Scene Michelet
31/10 – Bordeaux (FR) / TBA
01/11 – Paris (FR) / TBA
02/11 – Olten (CH) / Coq D’Or
03/11 – Ulm (DE) / Club Action
04/11 – Augsburg (DE) / Abraxas Theater
06/11 – Salzburg (AT) / Rockhouse
07/11 – Graz (AT) / Music house
08/11 – Bratislava (SK) / TBA
09/11 – Prague (CZ) / Klub 007 ^
10/11 – Linz (AT) / Kapu + ^
11/11 – Budapest (HU) / Durer Kert ^
13/11 – Cluj (RO) / Flying Circus ^
14/11 – Timisoara (RO) / Reflektor ^
15/11 – Novi Sad (RS) / SKC Fabrika ^
16/11 – TBC
17/11 – Sofia (BG) / Mixtape ^

+ = with Timestone
^ = with Half Gramme of Soma

Naxatras is:
John Delias – Guitar
Kostas Harizanis – Drums
John Vagenas – Bass & Vocals

https://www.facebook.com/naxatras/
https://naxatras.bandcamp.com/

Naxatras, “Machine”

Tags: , , , , ,

Quarterly Review: Primordial, Dead Meadow, Taarna, MaidaVale, Black Willows, Craang, Fuzz Lord, Marijannah, Cosmic Fall, Owl

Posted in Reviews on April 9th, 2018 by JJ Koczan

Quarterly-Review-Spring-2018

Okay, so this is it. The Quarterly Review definitely ends today. I’m not sneaking in a seventh day tomorrow or anything like that. This is it. The last batch of 10, bringing us to a grand total of 60 records reviewed between last Monday and now. That’s not too bad, if you think about it. Me, I’m a little done thinking about it, and if you’ll pardon me, I’m going to enjoy the time between now and late June/early July, in which for the most part I’ll be writing about one record at a time. The thought feels like a luxury after this week.

But hey, we made it. Thanks for reading along the way.

Quarterly Review #51-60:

Primordial, Exile Amongst the Ruins

primordial exile amongst the ruins

Primordial’s flair for the epic has not at all abated over the years. The Irish post-black-metal forerunners follow-up 2014’s Where Greater Men Have Fallen with Exile Amongst the Ruins (on Metal Blade), and though there’s plenty of charge in “To Hell or the Hangman,” “Sunken Lungs” or “Upon Our Spiritual Deathbed,” with frontman Alan Averill proselytizing declarations as grandly as ever, one might read a certain amount of fatigue into the lyrics of songs like “Stolen Years” and the 10-minute closer “Last Call.” Granted, Exile Amongst the Ruins is 65 minutes long, so I don’t think the band has run out of things to say, but could it be that the cycle of writing, recording and touring is starting to wear on them some 25 years after their founding? I wouldn’t know or speculate, and like I said, Exile Amongst the Ruins retains plenty of its sonic force, the layering of the title-track and the preceding “Where Lie the Gods” offering a depth of sound to complement the complexity of their themes.

Primordial on Thee Facebooks

Primordial at Metal Blade website

 

Dead Meadow, The Nothing They Need

dead meadow The Nothing They Need

Utter masters of their domain, Los Angeles’ Dead Meadow – comprised of guitarist/vocalist Jason Simon, bassist Steve Kille and drummer Juan Londono – mark 20 years of the band with the eight songs of The Nothing They Need (on Xemu Records), bringing in former members for guest spots mostly on drums but also guitar across a rich tapestry of moods, all of which happen to be distinctly Dead Meadow’s own. The ramble in opener “Keep Your Head” or “I’m So Glad” is unmistakable, and the fuzz of the six-minute “Nobody Home” bounces with a heavy psychedelic groove that should be nothing less than a joy to the converted. Recorded in their rehearsal space, released on their own label and presented with their own particularly blend of indie pulse, psych dreamscaping and more weighted tone, a song like the swaying eight-minute “The Light” is a reminder of everything righteous Dead Meadow have accomplished in their two decades, and of the vast spread their influence has taken on in that time. Perhaps the greatest lesson of all is that no matter who’s involved, Dead Meadow sound like Dead Meadow, which is about the highest compliment I can think of to pay them.

Dead Meadow on Thee Facebooks

Xemu Records website

 

Taarna, Sanguine Ash

taarna sanguine ash

It’s not entirely clear what’s happening at the start of Taarna’s 29-minute single-song EP, Sanguine Ash, but the samples are vague and violent sounding and the noise behind them is abrasive. A strum and build takes hold as the Portland, Oregon, black metallers, who feature former members of Godhunter in their ranks, continue in the first couple minutes to develop a suicidal thematic, and six minutes in, a wash of static takes hold with drums behind it only to give way, in turn, to lush-sounding keys or guitar (could go either way) that patiently leads to a rumbling, roiling lurch of blacksludge. Cavern-vocals echo and cut through molasses tones and Taarna ride that malicious groove for the next several minutes until, at around 18:30, samples start again. This leads to more quiet guitar, resonant blackened thrust, noise, noise, more noise and a final emergent wash of caustic anti-metal that couldn’t possibly be clearer in its mission to challenge, repel and come across as completely fucked as it can. Done and done, you scathing bastards.

Taarna on Thee Facebooks

Taarna on Bandcamp

 

MaidaVale, Madness is Too Pure

maidavale madness is too pure

I already discussed a lot of what is working so well on MaidaVale’s second album, Madness is Too Pure (The Sign Records), when I put up the video for “Oh Hysteria!” (posted here), but it’s worth reemphasizing the sonic leap the Swedish four-piece have made between their 2016 debut, the bluesy and well-crafted Tales of the Wicked West (review here) and this nine-song offering, which stretches far outside the realm of blues rock and encompasses psychedelic jamming, spontaneous-sounding explorations, brazen but not at all caustic vibes, and an overarching energy of delivery that reminds both of a live presentation and, on a song like “Gold Mine,” of what Death Alley have been able to revitalize in space-punk. Memorable progressions like that of “Walk in Silence” and the freaked out “Dark Clouds” offer standout moments, but really, it’s the whole album itself that’s the standout, and if the debut showed MaidaVale’s potential, Madness is Too Pure ups that factor significantly.

MaidaVale on Thee Facebooks

The Sign Records on Thee Facebooks

 

Black Willows, Bliss

black willows bliss

About a year and a half after releasing their 2016 sophomore outing, Samsara (review here), Swiss post-doomers Black Willows return with a 19-minute single-song EP they’ve dubbed Bliss. It is utterly hypnotic. The sonic equivalent of watching a bonfire take hold of dry wood. It consumes with its dense heft of riff and then lulls the listener with stretches of minimalism and ambience, the first of which provides the intro to the piece itself. Black Willows are no strangers to working with longform material, and as Bliss also appears as the band’s half of a Bloodrock Records split with Craneium, it’s understandable they’d want to bring their best, but the weight of their groove feels unexpected even in terms of having heard their past work. So they’ve gotten heavier? Yeah, maybe. What really matters is how they wield that weight, and on Bliss, they put it to use as much as an atmospheric table-setter as in a display of sheer force. Beware the noise wash at the end. That’s all I’ll say.

Black Willows on Thee Facebooks

Black Willows on Bandcamp

 

Craang, Shine

craang shine

Greek heavy psych rockers Craang set up a dynamic quickly on their new two-song full-length, Shine (also stylized as S H IN E) that both encourages and rewards patience and trust on the part of the listener. They begin 24:52 opener and longest track (immediate points) “Horizon – Tempest” quietly and commence to unfold through ebbs and flows, clean vocals and shouts, open spaces and dense(r) riffing. There is a break near and at the halfway point that presumably is the shift between one part of “Horizon – Tempest” and the other, and the second half follows that lead with a more active presentation. The accompanying “Ocean – Cellular” (19:41) launches with a bed of synth that fades as the bass, drums and guitar enter and begin a linear build that retains a progressive edge, dropping off at about eight minutes in perhaps as another transition into “Cellular,” which indeed follows a more winding, intricate path. One can only say Craang are clear in their representation of what they want to convey, and because of that, Shine is all the more of an engaging experience, the listener essentially following the band on this journey from place to place, idea to idea.

Craang on Thee Facebooks

Craang on Bandcamp

 

Fuzz Lord, Fuzz Lord

Fuzz Lord fuzz lord

We start at “The Gates of Hell” and end up in “Infamous Evil,” so one might say Ohio trio Fuzz Lord – guitarist Steven “Fuzz Lord” joined by bassist/vocalist “Stoner” Dan Riley and drummer/vocalist Lawrence “Lord Buzz” – have their thematic well set on their eight-track self-titled debut (on Fuzzdoom Records). Likewise, their tones and the sense of space in the echoing vocals of “Kronos Visions Arise” and the later, extra-Sabbathian “World Collide” seem to know precisely where they’re headed. Riley recorded the 39-minute outing, while Justin Pizzoferrato (Elder, Dinosaur Jr., many others) mixed, and the resulting conjuration is earthbound in its low end while allowing the guitar to either roll out riffy largesse or take an airier approach. The uptempo “The Lord of the Underground” speaks to a punker underpinning, while the preceding “The Warriors Who Reign” seems to have a more classic metal take, and “Infamous Evil,” also the longest track at 7:51, peppers in layered guitar leads amid a doomier, Luciferian vibe and fervent hook.

Fuzz Lord on Thee Facebooks

Fuzzdoom Records on Thee Facebooks

 

Marijannah, Till Marijannah

Marijannah till marijannah

Comprised of members of Wormrot and The Caulfield Cult, Singapore-based newcomers Marijannah execute four tracks of blown-out tones and psychedelic cavernousness with their Pink Tank Records debut release, Till Marijannah. Touches of garage swing make their way into opener “1974,” and second cut “Snakecharmer” blazes and scorches with wah-drenched solos around crunching rhythms and melodic vocalizations. A march emerges on the nine-minute “Bride of Mine” and only gets more fervent as the track makes its way forward, and driving finale “All Hollow’s Eve” presents a cacophonous but controlled take from Marijannah that reinforces the notion of nothing on their first outing happening by accident. Impressive and just a bit frenetic, it leaves one wondering what further ground the band might look to explore from here, whether they’ve set their sonic course and will look to refine their processes along these lines or whether this is just the beginning of a wider stylistic melding, and their next offering might sound completely different than Till Marijannah. The one seems as likely as the other, and that’s incredibly refreshing.

Marijannah on Thee Facebooks

Pink Tank Records website

 

Cosmic Fall, In Search of Outer Space

cosmic fall in search of outer space

Immediate points to Berlin jammers Cosmic Fall for opening their six-song/43-minute third album, In Search of Outer Space, with the 11-minute longest track “Jabberwocky.” The three-piece introduced new guitarist Marcin Marowski last year on Jams for Free (review here), and as bassist Klaus Friedrich steps up to take the vocalist role and drummer Daniel Sax continues to hold together impossible spaciousness with a fluidity of groove, Marowski seems right at home wah-noodling in the open reaches of “Jabberwocky” and soldering shred and swirl together on the later “Lumberjam.” Some of In Search of Outer Space’s most effective moments are its quietest, as on “Purification” or second cut “Narcotic Vortex,” but neither will I decry the bass fuzz that takes hold near the finish there or the molten churn that bookends closer “Icarus,” but as “Spacejam” hits into the vastness, it seems Cosmic Fall as just as apt to float as to rocket their way out of the atmosphere. In either case, they most certainly get there.

Cosmic Fall on Thee Facebooks

Cosmic Fall on Bandcamp

 

Owl, Orion Fenix

owl orion fenix

The solo-project of Christian Kolf of avant death-crunchers Valborg, Owl issues the 22-minute single-song EP Orion Fenix – with its chanting repetitions of “reborn in fire” – as a precursor to the upcoming LP, Nights in Distortion. Like Owl’s last EP, 2015’s wondrously dark Aeon Cult (review here), Orion Fenix is both intense churn and slow-rolling melancholy, bridging a gap between classic doom (that lead 15 minutes in) and post-doom rhythms and atmosphere. If the project’s purpose is to find beauty in darkness, Orion Fenix accomplishes this quickly enough, but the track’s runtime and lush layering allow Kolf to lend a sense of exploration to what is no doubt a meticulous creative process, since he’s handling all the instruments and vocals himself. Either way, Orion Fenix, as a herald, bodes remarkably well for forward progress on Nights in Distortion to come, and is a remarkable accomplishment on its own in both heft and spaciousness.

Owl on Thee Facebooks

Owl on Bandcamp

 

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

Review & Track Premiere: Naxatras, III

Posted in audiObelisk, Reviews on February 14th, 2018 by JJ Koczan

naxatras iii

[Click play above to stream the premiere of Naxatras’ ‘Machine.’ Their new album, III is out Feb. 16.]

Over the last two years, Greek trio Naxatras have worked quickly to establish themselves at the forefront of their home country’s fertile and widely varied scene. If 1000mods helped put this generation of Greek bands on the map in the wider European underground sphere, then it’s Naxatras brazenly showing that the country has more to offer than straightforward riff-led fare. Naxatras songs — their third album, III, has seven of them and tops out accordingly at 64 minutes long — wind their way around and through the consciousness in display of a penchant for sonic naturalism that goes even beyond the band’s no-compromise approach to recording analog at Magnetic Fidelity with Jesus I. Agnew, who helmed III, the preceding 2017 single All the Stars Collide into a Single Ray (discussed here), its 2016 predecessors, II (review here) and EP (discussed here), as well as their 2015 self-titled debut (discussed here).

Rather, that naturalism extends to the play itself, as the trio of bassist/vocalist John Vagenas, guitaist John Delias and drummer Kostas Harizanis embrace their inner chillout and bring to bear tracks of marked patience, fluidity and soothing. Yeah, III has its heavy moments — more than enough of them throughout extended jams like “On the Silver Line” (9:56), 11-minute opener “You Won’t be Left Alone” and even a later piece like “Prophet,” on which Vagenas‘ bassline sets a foreboding tone while the cymbals crash around and the guitar howls. Raucous as they get, however, it’s the drift of cuts like “White Morning,” the subtle reggae nods of “Land of Infinite Time” and the soothing pastoralia of the acid-folkish closer “Spring Song” that most typify the album’s impression, earthy and resonant as it is.

The only real question when it comes to listening to III is whether to blast it and be consumed by the tonal warmth, to let it wrap around you like a blanket of fuzz, or to put in headphones, get lost in the easy, patient rhythms of the thing and find that even a song like centerpiece “Machine,” which works in multiple, almost disjointed stages of building jamming, tense low end, and a bit of reggae guitar before giving away near the halfway point to whalesong volume swells and a turn to a moodier drone that’s so drastic it might just as easily have been a different song before making its way back to the initial progression with trance-inducing fluidity, ending just before the 11-minute mark. Like all of Naxatras‘ work, III blends instrumental and vocalized material to a place of marked flow, lending an even more exploratory sensibility to songs like “Prophet” and “You Won’t be Left Alone,” the latter opening with an introductory hypnosis before giving way to the warm fuzz of the song itself, its main riff popping in and out to allow for vocal lines.

These, again, are sparse and become part of the background context in which the record takes place rather than a direct frontman-style delivery. “You Won’t be Left Alone” might be the most direct in this regard, though “Pophet” has its moments as well and “Spring Song” is clearly meant to be working in a tradition of soothing hippie soulfulness. Nonetheless, it’s the instrumental portion of III that serves as the band’s clear focus — that’s nothing new for them in terms of overall aesthetic balance — and with their having spent significant time on the road around the first two records, the results can be heard in the ease of their transitions say, near the end of “Prophet” or as they dig into the 12-minute “Land of Infinite Time” with the bass leading the way through each measure traveled.

naxatras (Photo by Marko Devcic)

If you ultimately choose the hi-fi route, and let’s say, relax with a highball in your it’s-been-a-long-day burgundy housecoat and put III on your vintage turntable to ease your worried mind, no doubt you’ll find it does just that. It is a work of such patience as to be legitimately soothing in a way few records that can still justifiably be called heavy are, and yet that presence of tone and weight of rhythm is still very much a factor in what Naxatras do, even at their funkiest or quietest. If you go the headphone route, the listening experience is somewhat lonelier, but the spirit of III continues to resonate that calming, wholesome sensibility that seems to derive purely from the collective performance of HarizanisDelias and Vagenas, and if one is listening to Naxatras and perhaps looking to understand what it is that has allowed the band to have such an impact and to find such a considerable audience in a relatively short amount of time, the answer is right there in their interaction as a trio.

They may decide their next time out to just up and down and take a more active approach overall, or they may continue down this path of turning heavy psych jams into a statement of counterculture folksomeness to represent a movement of heavy hippies that, if it exists, could hardly ask for better PR than it gets in “Prophet” and the penultimate “White Morning.” Whatever they do and wherever they go from here, Naxatras have put all questions to rest about how well earned their place is at Greece’s heavy psych forefront, if there were any to start with. Their jams have an individualized character that speaks to the honest chemistry shared between them as players, and each of their successive full-lengths has furthered the seemingly ongoing process of their cohesion.

III, in that regard, is no different. But it also finds Naxatras reaching further stylistically than they have up to this point outward from that core of psychedelic jamming, and doing so successfully as demonstrated in the proggy “On the Silver Line,” the bouncing “Land of Infinite Time” and the lullaby dreamscape that finishes in “Spring Song.” One doubts these excursions of stylistic nuance represent the sum total breadth the three-piece have and will have to offer, and so it’s easy to argue coming out of III‘s immersive hour-plus that Naxatras‘ potential as a unit has never been so writ large even as their sound itself has never been so realized.

Naxatras, III (2018)

Naxatras on Thee Facebooks

Naxatras on Bandcamp

Tags: , , , , ,

Naxatras Set Feb. 16 Release for III; Teaser Clip Posted

Posted in Whathaveyou on December 27th, 2017 by JJ Koczan

Naxatras have announced a Feb. 16 release date for their new album, III, and I could be wrong — it’s certainly happened once or twice before — but I get the feeling I’m not the only one who’s going to be particularly interested to hear from Greek heavy psych trio have come up with for it. The Thessaloniki-based three-piece would seem to have put themselves in a perfect position to make a splash across the greater European underground even more than they already have, and this could well be the outing that takes them from “upstarts” to “forerunners” in terms of their impact.

To wit, their 2015 self-titled debut (discussed here) won ears, hearts and minds with its ultra-organic approach, lightly-funked approach to what might be space rock were it not so wonderfully earthy, and subsequent outings in 2016, the shorter EP (discussed here) and the full-length II (review here) affirmed not only a commitment to and expertise with analog recording methods, but also that the character and chemistry that seemed so resonant in their first outing was no fluke.

They’ve toured pretty hard since putting out that second long-player, so as we prepare for the third, I can’t help but wonder in what ways the band will step forward with III. Any huge changes in arrangement flourish seem like a lot to ask from a group who keeps their focus so attuned to recording and playing live as a guitar, bass and drums trio, but one never knows. The minute-long teaser clip they posted via the social medias does pretty well in piquing my interest in the sound of the record overall, so I guess mission accomplished there, and hopefully there will be more to come to let us know where Naxatras are at before the album actually arrives. Until then, anticipation and whatnot.

Their post about it was short and sweet:

naxatras photo marko devcic

X-Mas Special!
Naxatras “III” will be released the 16th of February (mark the day)!
Recorded on reel-to-reel tape at Magnetic Fidelity!
This will be a 7-track album guaranteed to blow your mind…
Get ready space cadets! ^^

Naxatras is:
John Delias – Guitar
Kostas Harizanis – Drums
John Vagenas – Bass & Vocals

https://www.facebook.com/naxatras/
https://naxatras.bandcamp.com/

Tags: , , , , ,

Naxatras Post New Single; Announce II Vinyl Release

Posted in Whathaveyou on September 19th, 2017 by JJ Koczan

naxatras ii vinyl

A new jam from Greek trio Naxatras has yet to not find welcome around these parts. Ahead of launching a massive European tour in a couple days and coinciding with a first vinyl release today of their 2016 sophomore album, II (review here), the Thessaloniki-based naturalist psych rockers/analog recording enthusiasts have unveiled the new single “All the Stars Collide into a Single Ray.” It’s a nine-minute gentle nudge into the ethereal that even as it gets heavier stays low key and laid back, the subdued intro holding sway for the duration despite a swinging verse taking hold.

Note the rising bassline from John Vagenas. Also note the lead that starts around 3:50 from guitarist John Delias. Also note the classically classy drumming from Kostas Harizanis. And while you’re noting these things as the band makes its way into and out of organic psych drift, put them all together in your mind for a better understanding and naxatras-all-the-stars-collide-into-a-single-rayquick summation of just what it is about Naxatras that’s allowed them to grab such a fervent place in the Greek underground in such a relatively brief amount of time. The dynamic of their style is so fluid and their grooves so warm — they just hit the mark in a way that makes it sound like anyone could do it. Of course, if that were true, everyone would. I have a hard time believing Elektrohasch or El Paraiso haven’t come knocking at this point to hook up with them for releases, or maybe they have and the band are just keeping secrets. Look at me, spreading intrigue while knowing absolutely nothing for sure either way. In any case, self-release or whatever form it might take, hopefully it’s not too long before word of a third full-length surfaces.

In the interim, I’ll happily engage the quick-dip immersion of “All the Stars Collide into a Single Ray,” the cover art for which you can see above and the audio for which you can hear below. I’ve also included the Naxatras tour dates that start the day after tomorrow (shows are presented by Total Volume Agency) and pics of the II vinyl that come courtesy of the band. You should keep in mind that if you want a green one, they’re limited to 100 copies. I don’t think Naxatras have done a physical pressing of anything to-date that hasn’t completely sold out, so yeah, heads up on that.

Here’s the latest:

‘II’ VINYL INFO: High-quality vinyl with an analog cutting from the original master tapes by Jesus I. Agnew at Magnetic Fidelity, in a lovely gatefold with black sleeves. Artwork by Chris RW. Green version limited to 100 pieces. Available here: https://naxatras.bandcamp.com/album/ii

“ALL THE STARS COLLIDE INTO A SINGLE RAY” SONG INFO: This is a full-analog, live recording at Magnetic Fidelity, engineered by Jesus I. Agnew. Artwork by Chris RW. This song will not be included in our next album.

Naxatras live:
21/09 – Novi Sad (RS) @ Quarter
22/09 – Timisoara (RO) @ Daos Club
23/09 – Cluj-Napoca (RO) @ The Shelter
24/09 – Budapest (HU) @ Durer Kert
26/09 – Salzburg (AT) @ Rockhouse
28/09 – Vienna (AT) @ Viper Room
30/09 – Jena (DE) @ Kulturbahnhof
01/10 – Dresden (DE) @ Roter Baum
02/10 – Leipzig (DE) @ Black Label
04/10 – Prague (CZ) @ Klubovna
05/10 – Poznan (PL) @ u Bazyla
06/10 – Krakow (PL) @ Soulstone Gathering
07/10 – Warsaw (PL) @ Smoke over Warsaw
08/10 – Berlin (DE) @ Zukunft am Ostkreuz
10/10 – Trier (DE) @ Frankenturm
11/10 – Lille (FR) @ La Malterie
12/10 – Portsmouth (UK) @ Wave Maiden
13/10 – Brighton (UK) @ The Hope and Ruin
14/10 – Leeds (UK) @ Wharf Chambers
15/10 – London (UK) @ The Brewhouse
17/10 – Poitiers (FR) @ Cluricaume
18/10 – Nantes (FR) @ Scène Michelet
19/10 – Paris (FR) @ Gibus Live
20/10 – Lucerne (CH) @ Bruch Brothers
21/10 – Munich (DE) @ Keep it Low
22/10 – Ostfildern (DE) @ Zentrum Zinsholz
24/10 – Graz (AT) @ Music House
25/10 – Zagreb (HR) @ Klub Studenata Elektrotehnike
26/10 – Nis (RS) @ Feedback
27/10 – Sofia (BG) @ Live n Loud

Naxatras is:
John Delias – Guitar
Kostas Harizanis – Drums
John Vagenas – Bass & Vocals

https://www.facebook.com/naxatras/
https://naxatras.bandcamp.com/

Naxatras, “All the Stars Collide into a Single Ray”

Tags: , , , , , , ,