Witchrot Premiere “Strega” From 8″ Single out June 12

Posted in audiObelisk on April 3rd, 2020 by JJ Koczan

witchrot

With the premiere of its title-track, the new two-songer Strega from Toronto doom-drifters Witchrot is streaming in its entirety. By that I mean the other song was already streaming.

The release, cartoon-boobs cover and all, will see issue as an 8″ single — that’s right: “it’s one more, innit?” — through the cross-ocean partnership between Toronto’s Fuzzed and Buzzed Records and the Netherlands’ DHU Records, and to be sure, it puts that extra inch above the standard to good use. With a total 13-minute runtime, “Strega” and “Hey Hey My My” dwell in a realm of hypnotic riffy largesse. With the guitar and bass of Peter Turik clearly attuned toward maximum density, drummer Shane Tyrer brings forth a slow march on the B side after conjuring a pointed thud on the leadoff, in both cases giving Lea Reto a not-at-all-missed opportunity to cut through the morass as only melody can.

For added intrigue, not only does Reto do this, but she plays into the hypnotic aspects of both tracks almost entirely, patterning lyrics around a few repeating lines rather than whole verses and choruses. “Strega” is just “La strega/Hit me with her evil eye” — though certainly there’s a story behind it, as you can see in the quote from Turik below — and even “Hey Hey My My,” which derives straight from Neil Young, chooses one of the most distinctive progressions of his long career and reinterprets it as almost a religious chant. The attempt isn’t to turn it into the stuff of cult rock cliché — despite the fact that the band have “witch” in their name, I don’t actually get much of that kind of “I’m a spooky supernatural being and I live in the woods” vibe, thankfully — and neither does it need to be. Witchrot are plainly able to conjure the ethereal without hyperperformance of genre tropes. All they need are the riffs, and clearly they have those.

One would be tempted to call Strega deceptively memorable if there were anything deceptive about it. Rather, Witchrot are up front about what they’re doing and ask little indulgence on the listener’s part other perhaps than a definitely-earned nod along. So get to it.

Enjoy “Strega” below, followed by a few words from Turik about the song, and “Hey Hey My My” under that, for completeness’ sake:

Peter Turik on “Strega”:

This song was recorded at Candle Studio by Dylan Frankland. He has become the ultimate behind-the-scenes man for our band. He always knows what works and what doesn’t. Of course Lea belted it all out on this track with minimal effort. There is never a time when she goes into the studio with something set, she is in a constant state of experimentation.

I wrote this song about an encounter my Nono had with a witch back in Italy. She asked him for a ride on his donkey and when he denied she cursed him with some sort of paralysis. Apparently he was bed ridden for weeks and nearly died. His family eventually had to get another witch to reverse the spell.

DHU Records is releasing the song on a special edition 8″ vinyl with our Neil Young cover as the B side. So heavy a 7″ wouldn’t cut it! We also had a tour planned for May which would have been our first time heading to the USA, as of now I can only imagine that will be postponed. Along with that, Fuzzed and Buzzed was going to help us finish recording our first full-length. Of course that will be put off as well.

The state of the world is completely fucked up right now and I can only hope that there is a way to reverse this curse laid upon us.

It seems we’re doomed. Time will tell.

Stay safe… stay heavy.

Witchrot are:
Lea Reto – Vox
Peter Turik – Guitar/Bass
Shane Tyrer – Drums

Witchrot, “Hey Hey My My”

Witchrot on Thee Facebooks

Witchrot on Instagram

Witchrot on Bandcamp

Fuzzed and Buzzed Records on Thee Facebooks

Fuzzed and Buzzed Records on Instagram

Fuzzed and Buzzed Records store

DHU Records on Thee Facebooks

DHU Records on Instagram

DHU Records on Bandcamp

DHU Records store

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Quarterly Review: Slift, IIVII, Coogans Bluff, Rough Spells, Goblinsmoker, Homecoming, Lemurian Folk Songs, Ritual King, Sunflowers, Maya Mountains

Posted in Reviews on March 26th, 2020 by JJ Koczan

quarterly review

Thursday. Everyone doing well? Healthy? Kicking ass? Working from home? There seems to be a lot of that going around, at least among the lucky. New Jersey, where I live, is on lockdown with non-essential businesses shuttered, roads largely empty and all that. It can be grim and apocalyptic feeling, but I’m finding this Quarterly Review to be pretty therapeutic or at least helpfully distracting at a moment when I very much need something to be that. I hope that if you’re reading this, whether you’ve been following along or not, it’s done or can do the same for you if that’s what you need. I’ll leave it at that.

Quarterly Review #31-40:

Slift, Ummon

slift ummon

The second album from French space/psych trio Slift is a 72-minute blowout echoshred epic — too aware not to be prog but too cosmic not to be space rock. Delivered through Stolen Body Records and Vicious Circle, Ummon is not only long, it speaks to a longer term. It’s not an album for this year, or for this decade, or for any other decade, for that matter. It’s for the ongoing fluid now. You want to lose yourself in the depths of buzz and dreamy synth? Yeah, you can do that. You want to dig into the underlying punk and maybe a bit of Elder influence in the vocal bark and lead guitar shimmer of “Thousand Helmets of Gold?” Well hell’s bells, do that. The mega-sprawling 2LP is a gorgeous blast of distortion, backed by jazzy, organic drum wud-dum-tap and the bass, oh, the bass; the stuff of low end sensory displacement. Amid swirls and casts of melodic light in “Dark Was Space, Cold Were the Stars,” Slift dilate universal energy and push beyond the noise wash reaches of “Son Dong’s Cavern” and through the final build, liftoff and roll of 13-minute closer “Lions, Tigers and Bears” with the deft touch of those dancing on prior conceptions. We’d be lucky to have Ummon as the shape of space rock to come.

Slift on Thee Facebooks

Stolen Body Records store

Vicious Circle Records store

 

IIVII, Grinding Teeth/Zero Sleep

Two LPs telling two different stories released at the same time, Grinding Teeth/Zero Sleep (on Consouling Sounds) brings Josh Graham‘s aural storytelling to new cinematic reaches. The composer, guitarist, synthesist, programmer, visual artist, etc., is joined along the way by the likes of Jo Quail, Ben Weinman (ex-The Dillinger Escape Plan), Dana Schecter (Insect Ark), Sarah Pendleton (ex-SubRosa) and Kim Thayil (Soundgarden) — among others — but across about 90 minutes of fluidity, Graham/IIVII soundtracks two narratives through alternatingly vast and crushing drone. The latter work is actually an adaptation from a short sci-fi film about, yes, humanity losing its ability to sleep — I feel you on that one — but the former, which tells a kind of meth-fueled story of love and death, brings due chaos and heft to go with its massive synthesized scope. Josh Graham wants to score your movie. You should let him. And you should pay him well. And you should let him design the poster. And you should pay him well for that too. End of story.

IIVII on Thee Facebooks

Consouling Sounds store

 

Coogans Bluff, Metronopolis

coogans bluff metronopolis

Following the initial sax-laden prog-rock burst and chase that is opener “Gadfly,” Berlin’s Coogans Bluff bring a ’70s pastoralia to “Sincerely Yours,” and that atmosphere ends up staying with Metronopolis — their fifth album — for the duration, no matter where else they might steer the sound. And they do steer the sound. Sax returns (as it will) in the jabbing “Zephyr,” a manic shred taking hold in the second half accompanied by no-less-manic bass, and “Creature of the Light” reimagines pop rock of the original vinyl era in the image of its own weirdness, undeniably rock but also something more. Organ-inclusive highlight “Soft Focus” doesn’t so much touch on psychedelics as dunk its head under their warm waters, and “The Turn I” brings an almost Beatlesian horn arrangement to fruition ahead of the closer “The Turn II.” But in that finale, and in “Hit and Run,” and way back in “Sincerely Yours,” Coogans Bluff hold that Southern-style in their back pocket as one of several of Metronopolis‘ recurring themes, and it becomes one more element among the many at their disposal.

Coogans Bluff on Thee Facebooks

Noisolution store

 

Rough Spells, Ruins at Midday

rough spells ruins at midday

An underlying current of social commentary comes coated in Rough Spells‘ mysticism on Ruins at Midday, the Toronto unit’s second LP. Recorded by Ian Blurton and presented by Fuzzed and Buzzed and DHU Records, the eight-track LP has, as the lyrics of “Chance Magic” say, “No bad intentions.” Indeed, it seems geared only toward eliciting your participation in its ceremony of classic groove, hooks and melodies, even the mellow “Die Before You Die” presenting an atmosphere that’s heavy but still melodic and accessible. “Grise Fiord” addresses Canada’s history of mistreating its native population, while “Pay Your Dues” pits guitar and vocal harmonics against each other in a shove of proto-metallic energy to rush momentum through side B and into the closing pair of the swaggering “Nothing Left” and the title-track, which is the longest single cut at five minutes, but still keeps its songwriting taut with no time to spare for indulgences. In this, and on several fronts, Ruins at Midday basks in multifaceted righteousness.

Rough Spells on Thee Facebooks

Fuzzed and Buzzed store

DHU Records store

 

Goblinsmoker, A Throne in Haze, A World Ablaze

goblinsmoker a throne in haze a world ablaze

Upside the head extreme sludgeoning! UK trio Goblinsmoker take on the more vicious and brutal end of sludge with the stench of death on A Throne in Haze, A World Ablaze (on Sludgelord Records), calling to mind the weedian punishment of Belzebong and others of their decrepit ilk. Offered as part two of a trilogy, A Throne in Haze, A World Ablaze is comprised of three tracks running a caustic 26 minutes thick enough such that even its faster parts feel slow, a churning volatility coming to the crash of “Smoked in Darkness” at the outset only to grow more menacing in the lurch of centerpiece “Let Them Rot” — which of course shifts into blastbeats later on — and falling apart into noise and echoing residual feedback after the last crashes of “The Forest Mourns” recede. Beautifully disgusting, the release reportedly furthers the story of the Toad King depicted on its cover and for which the band’s prior 2018 EP was named, and so be it. The lyrics, largely indecipherable in screams, are vague enough that if you’re not caught up, you’ll be fine. Except you won’t be fine. You’ll be dead. But it’ll be awesome.

Goblinsmoker on Thee Facebooks

Sludgelord Records on Bandcamp

 

Homecoming, LP01

homecoming lp01

Progressive metal underpins French trio Homecoming‘s aptly-titled first record, LP01, with the guitars of second cut “Rivers of Crystal” leading the way through a meandering quiet part and subsequent rhythmic figure that reminds of later Opeth, though there’s still a strong heavy rock presence in their tones and grooves generally. It’s an interesting combination, and all the more so because I think part of what’s giving off such a metal vibe is the snare sound. You don’t normally think of a snare drum determining that kind of thing, but here we are. Certainly the vocal arrangements between gruff melodies, backing screams and growls, etc., the odd bit of blastbeating here and there, bring it all into line as well — LP01 is very much the kind of album that would title its six-minute instrumental centerpiece “Interlude” — but the intricacy in how the nine-minute “Return” develops and the harmonies that emerge early in closer “Five” tell the tale clearly of Homecoming‘s ambitions as they move forward from this already-ambitious debut.

Homecoming on Thee Facebooks

Homecoming on Bandcamp

 

Lemurian Folk Songs, Logos

lemurian folk songs logos

Tracked in the same sessions as the Budapest outfit’s 2019 album, Ima (review here), it should not come as a major surprise that the six-track/49-minute Logos from Lemurian Folk Songs follows a not entirely dissimilar course, bringing together dream-drift of tones and melodies with subtle but coherent rhythmic motion in a fashion not necessarily revolutionary for heavy psych, but certainly well done and engaging across its tracks. The tones of guitar and bass offer a warmth rivaled only by the echoing vocals on opener/longest cut (immediate points) “Logos,” and the shimmering “Sierra Tejada” and progressively building “Calcination” follow that pattern while adding a drift that is both of heavy psych and outside of it in terms of the character of how it’s played. None of the last three tracks is less than eight minutes long — closer “Firelake” tops nine in a mirror to “Logos” at the outset, but if that’s the band pushing further out I hear, then yes, I want to go along for that trip.

Lemurian Folk Songs on Thee Facebooks

Para Hobo Records on Bandcamp

 

Ritual King, Ritual King

ritual king ritual king

Progressive heavy rockers Ritual King display a striking amount of grace and patience across their Ripple Music-issued self-titled long-player. Tapping modern influences like Elder and bringing their own sense of melodic nuance to the proceedings across a tightly-constructed seven songs and 42 minutes, the three-piece of vocalist/guitarist Jordan Leppitt, bassist Dan Godwin — whose tone is every bit worthy of gotta-hear-it classification — and drummer/backing vocalist Gareth Hodges string together linear movements in “Headspace” and “Dead Roads” that flow one into the next, return at unexpected moments or don’t, and follow a direction not so much to the next chorus but to the next statement the band want to make, whatever that might be. “Restrain” begins with a sweet proggy soundscape and unfolds two verses over a swaying riff, then is gone, where at the outset, “Valleys” offers grandeur the likes of which few bands would dare to embody on their third or fourth records, let alone their first. Easily one of 2020’s best debuts.

Ritual King on Thee Facebooks

Ripple Music on Bandcamp

 

Sunflowers, Endless Voyage

sunflowers endless voyage

You know what? Never mind. You ain’t weird enough for this shit. Nobody’s weird enough for this shit. I have a hard time believing the two souls from Portugal who made it are weird enough for this shit. Think I’m wrong? Think you’re up for it and you’re gonna put on SunflowersEndless Voyage and be like, “oh yeah, turns out mega-extreme krautrock blasted into outer space was my wavelength all along?” Cool. Bandcamp player’s right there. Have at it. I dare you.

Sunflowers on Thee Facebooks

Stolen Body Records store

 

Maya Mountains, Era

maya mountains era

Italian heavy rockers Maya Mountains formed in 2005 and issued their debut album, Hash and Pornography, through Go Down Records in 2008. Era, which follows a narrative about the title-character whose name is given in lead cut “Enrique Dominguez,” who apparently travels through space after being lost in the desert — as one does — and on that basis alone is clearly a more complex offering than its predecessor. As to where Maya Mountains have been all the time in between records — here and there, in other bands, etc. But Era, at 10 tracks and 44 minutes, is the summation of five years of work on their part and its blend of scope and straight-ahead heavy riffing is welcome in its more heads-down moments like “Vibromatic” or in the purposefully weirder finale “El Toro” later on. Something like a second debut for the band after being away for so long, Era at very least marks the beginning of a new one for them, and one hopes it continues in perhaps more productive fashion than the last.

Maya Mountains on Thee Facebooks

Go Down Records store

 

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Häxan: Debut Album Aradia Preorders Start Tomorrow

Posted in Whathaveyou on March 13th, 2020 by JJ Koczan

haxan

The latest pickup for collaboration between Fuzzed and Buzzed Records in Canada and DHU Records in Europe is Häxan, a Toronto-based four-piece whose debut album, Aradia, is set to come out on April 11 with preorders going live, oh, how’s tomorrow sometime in the afternoon sound? That work for you? Good. We’ll roll with that. I haven’t heard the full release, but the track “Baba Yaga” is streaming below and is right on in its balance between raw classic doom and cultish-style melody. The album was produced by Alia O’Brien of Blood Ceremony, and of course Häxan complete the trilogy of artists whose releases will have been backed by Fuzzed and Buzzed after appearing on the label’s ambitious 7″ compilation The Altar Box — the other two being Astral Witch and Rough Spells. Clearly working on a theme.

Three different versions of the record being pressed. Dare you to collect ’em all:

haxan aradia

Fuzzed and Buzzed & DHU present Aradia the debut album by hex groovers Häxan

Heavy groove hexers Häxan release their debut album Aradia on Fuzzed and Buzzed Records in North America and DHU in Europe.

Produced by the high goddess of heavy enchantment Alia O’Brien from Blood Ceremony, Aradia is the grooviest hipshakinest story of a Tuscan witch ever committed to wax.

That wax comes in three different colorways including the Band edition, the DHU edition and the Fuzzed and Buzzed edition.

Pre-orders will be on Mar 14 at Noon EST and 5pm CEST from fuzzedandbuzzed.com in North America and darkhedonisticunionrecords.bigcartel.com in Europe or straight from the band haxanto.bandcamp.com/ who will release Aradia digitally that same day.

Aradia will officially drop on wax on April 11 with a celebratory party that includes special guests epic dume metallers Smoulder (https://smoulder.bandcamp.com/) celebrating the release of their latest EP Dream Quest Ends and beats & riffs party doomers NLP (https://nlpmusic.bandcamp.com/).

Party details can be found here: https://www.facebook.com/events/monarch-tavern/aradia-record-release-h%C3%A4xan-smoulder-nlp/622294925225623/

Häxan are:
Kayley Bomben – Vocals
Paul Colosimo – Lead guitar
Eric Brauer – Bass
Paul Ciuk – Drums

https://www.facebook.com/Haxantoronto/
https://www.instagram.com/haxanto/
https://haxanto.bandcamp.com/
https://www.facebook.com/Fuzzedandbuzzed-631019733954614/
https://www.instagram.com/fuzzedandbuzzed/
https://www.fuzzedandbuzzed.com/
https://www.facebook.com/DHURecords/
https://www.instagram.com/dhu_records/
https://darkhedonisticunionrecords.bandcamp.com/
darkhedonisticunionrecords.bigcartel.com/

Häxan, “Baba Yaga”

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Rough Spells to Release Ruins at Midday LP March 7

Posted in Whathaveyou on February 14th, 2020 by JJ Koczan

rough spells

Originally released by the band last year and still up as a name-your-price download on their Bandcamp (see below), the Ian Blurton-recorded debut album from Toronto heavy-’70s-meets-heavy-’10s-style cultish rockers Rough SpellsRuins at Midday, will see vinyl release through Fuzzed and Buzzed Records in cooperation with European imprint DHU Records. You might recall the two labels aligned previously behind the Astral Witch LP, and Rough Spells won’t be their final collaboration either, as Fuzzed and Buzzed informs below its intention to release full-lengths from all the bands included in its The Altar Box 7″ collection, which included Rough SpellsAstral Witch and Häxan in a gorgeously realized ambitious first release for the Canadian label (which they’ve since followed with the more glam-minded The Powder Box). So there’s one more to go, and then who knows.

March 7 is  the exact release date for the vinyl, and there’s a release party with Lousy Riders and Witchrot that is a thing that’s happening, and everyone knows happening things are where it’s at.

Behold:

rough spells ruins at midday

Fuzzed and Buzzed and DHU present Ruins At Midday the debut album by witch ‘n rollers Rough Spells

After the successful release last year of The Altar Box featuring Rough Spells, Häxan and Astral Witch, Fuzzed and Buzzed will be co-releasing with DHU Records in Europe, debut albums by each of these bands.

The first will be the Rough Spells full length LP Ruins At Midday.

Check it out here:
https://roughspells.bandcamp.com/album/ruins-at-midday

Ruins At Midday will be released on March 7 with a celebratory party including special guests Lousy Riders (https://lousyriders.bandcamp.com/) and Witchrot (https://witchrot.bandcamp.com/)

Party details can be found here: https://www.thedrake.ca/events/rough-spells-album-release-party/?date=2020-03-07

Womb doom witch ‘n rollers Rough Spells present a night of occult riffs and ritual delights as they celebrate the release of their debut album Ruins At Midday, a co-release of up and coming local label Fuzzed and Buzzed Records and dark hedonistic European label DHU Records. Joining Rough Spells on their journey to the center of the mystical mind are diabolical local Doom duo Lousy Riders and the seventh best band of all time (narrowly pushing the Beatles out of the top ten) Witchrot. This is an early show, so be there on time to brew the cauldron, take the potion and ready the brooms to fly off into the midnight witching hour.

With a successful EP and a forthcoming hit album, Rough Spells blast out of Toronto by way of Montreal, Vancouver and the Maritimes with a sound best described as Heart fronted by Stevie Nicks.

Already notorious for an Instragram band breakup post that went viral, Witchrot are now set to capture infamy with their killer combo of ethereal vocals, crushing riffs and heavy bottom end dredged up from your local graveyard.

Hailing from Eastern Europe, Lousy Riders are here to drop an Iron Curtain on North America like Black Sabbath’s Iron Man.

https://www.facebook.com/roughspells/
https://www.instagram.com/roughspells/
https://roughspells.bandcamp.com/
https://www.facebook.com/Fuzzedandbuzzed-631019733954614/
https://www.instagram.com/fuzzedandbuzzed/
https://www.fuzzedandbuzzed.com/
https://www.facebook.com/DHURecords/
https://www.instagram.com/dhu_records/
https://darkhedonisticunionrecords.bandcamp.com/
darkhedonisticunionrecords.bigcartel.com/

Rough Spells, Ruins at Midday (2020)

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Pale Mare Premiere “Voidgazer” from II EP out April 3; Announce Live Dates

Posted in audiObelisk on February 11th, 2020 by JJ Koczan

pale mare

The first time you put on the new single from Pale Mare, it becomes obvious why they chose to name it as they did. Not much else to call such a thing other than “Voidgazer,” which is the title they gave it. The track is shorter by two full minutes than the next shortest of its three compatriot inclusions on the Toronto-based trio’s new EP, Pale Mare II — out April 3 through Seeing Red Records (world) and Ancient Temple Recordings (Canada) — and after the initial charge of “House of War” and the gallop-over-your-head groove in “Zealot,” the intensity and focus on impact feels nothing if not earned. Intensity is the fuel that Pale Mare seem to be huffing, but their pummel isn’t just down to tonal weight and speedy riffs, though as “Zealot” winds its way through its apex, they offer plenty of both. Instead, across the 27-minute EP, Pale Mare cast forth a pummel that harnesses High on Fire-style drive without aping Matt Pike‘s style of guitar playing and calls to mind earlier-Neurosis‘ intertwining vocal patterns without being really at all post-metallic. And not for nothing, but I was listening to a track off the new Sepultura record the other day on a whim and “House of War” kind of feels like there’s a little bit of that going on as well.

But this metallic amalgam has been duly internalized by the trio of guitarist/vocalist Eytan Gordon, drummer/vocalist Kevin Richards and bassist James Tulloch to a degree of surprising individualism. The elements are familiar pale mare iienough, as one might tell from above, and “Voidgazer” has its spoken sample and nine-minute finale “Remains” has its EP-unto-itself vibe and maybe-you’re-imagining-it wisp of a keyboard line worked into its fading guitar finish, but amid the immediate onslaught and the subsequent unfolding across such a compact offering, Pale Mare find footing on ground that’s their own as much as it’s grown up from underlying roots of heavy metal and noise. It is, in its execution, neither and both of these things, and it’s sludge and not sludge, but most importantly, it’s performed with the self-assurance of a band who know that what they’re doing is what they want to be doing. I wouldn’t call it poised, if only because it’s so brash in style that the word doesn’t seem to fit, but in terms of aesthetic, there doesn’t seem to be any doubt on the part of Pale Mare that they’re able to make their songs go where they want, and thus, able to make their audience go where they want. A flash of melody in the guitar during the second half of “House of War” — shh, don’t tell anyone — speaks of more complexity to come, but Pale Mare II already brings plenty to bear, without compromising aggression to do it.

Further, the tendency is to think of a band’s early EPs as preludes to full-length albums — because usually they are — but the form suits Pale Mare remarkably well and gives Pale Mare II an almost punkish edge. I’m not sure they’d be well served by having a bunch of filler or trying to play to a sense of breadth in the way an LP might require, since part of what makes these songs work so well is the upfront manner in which they’re presented, but of course there’s no real way to tell what the three-piece would do with a longer-form record until they do it. Presumably they’ll get there in time, and if they handle that task with the same formidable sense of presence they bring to Pale Mare II, they’ll be fine either way. Anything in their destructive path, however, might not be able to say the same.

Pale Mare have newly announced a stretch of live dates alongside Mother Iron Horse. You’ll find those below, following the premiere of “Voidgazer,” which it’s my pleasure to host ahead of the EP’s April 3 arrival.

Please enjoy:

Pale Mare was born out of the desire to play music that is loud, aggressive and full of thick groovy riffs. They released their self-titled EP in November of 2017 through Medusa Crush Records which was met with high praise.

Having provided Canadian support for touring artists such as Eyehategod, Corrosion of Conformity, Windhand, Satan’s Satyrs, Mutoid Man, Weedeater, Serial Hawk, Black Wizard, King Buffalo, Set and Setting and even Perturbator – Pale Mare have established themselves in their home town of Toronto as a massive force to be reckoned with. Their sound has been likened by some in the same sonic territory as early Baroness, High On Fire, Mastodon and Black Tusk; full of fire, attitude, brimstone, tone and soul – and with a new EP (mixed by Andrew Schnieder, Mastered by Brad Boatwright) ready to be unleashed, Pale Mare prepare to take their sound to the masses full guns ablaze.

Recorded at Locust Ridge studios outside of Kitchener, Ontario.

Mixed by Andrew Schnieder (Converge, Mutoid Man, Ken Mode, Old Man Gloom)
(http://andrewschneideraudio.com/what)

Mastered by Brad Boatright (Sleep, COC, Yob)
(http://audiosiege.com/About/engineers.html)

Inspired by the track “Voidgazer” the EP is completed with jawdroppingly dark and twisted artwork by Toronto based tattoo artist Arthur Mills.

Tracklisting:
1. House of War
2. Zealot
3. Voidgazer
4. Remains

PALE MARE live (April 10-16 w/ Mother Iron Horse):
Friday April 10th: Brooklyn, NY: Gold Sounds
Saturday April 11th: Pittsburgh, PA: Gooski’s:
Monday April 13th: Wichita, KS: TBA
Tuesday April 14th: Denver, CO: Seventh Circle
Wednesday April 15th: Colorado Springs, CO: The Nickle
Thursday April 16th: Las Vegas, NV: TBA
Friday April 17th: Phoenix, AZ: YUCCA TAPROOM
Saturday April 18th: Psycho Smokeout 2020: Catch one: Los Angeles, CA
Sunday April 19th: San Fran, CA: The Knockout
Monday April 20th: Portland, IR: High Water Mark
Tuesday April 21st: SEATTLE, WA: The Funhouse

Pale Mare is:
Eytan Gordon – guitar/vocals
James Tulloch – bass
Kevin Richards – drums/vocals

Pale Mare on Thee Facebooks

Pale Mare on Bandcamp

Seeing Red Records on Thee Facebooks

Seeing Red Records on Instagram

Seeing Red Records on Bandcamp

Seeing Red Records website

Ancient Temple Recordings on Thee Facebooks

Ancient Temple Recordings BigCartel store

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Quarterly Review: Sunn O))), Crypt Sermon, The Neptune Power Federation, Chron Goblin, Ethereal Riffian, Parasol Caravan, Golden Core, Black Smoke Omega, Liquid Orbit, Sun Below

Posted in Reviews on January 10th, 2020 by JJ Koczan

quarterly review

Hey all, we made it to the final day of the Winter 2020 Quarterly Review, so congrats to ‘us’ and by us I mean myself and anyone still reading, which is probably about two or three people. On my end today is completely manic in terms of real-life, offline logistics — much to do — but no way I’m letting one last batch of 10 reviews fall by the wayside, so rest assured, by the time this goes live, it’ll be complete, even though I’ve had to swap things out as some stuff has been locked into other coverage since I first slated it. Plenty around waiting to be written up. Perpetually, it would seem.

But before we dive in, thank you for reading if you’ve caught any part of this QR. I hope your 2020 is off to an excellent start and that finding new music to love is as much a part of your next 12 months as it can possibly be.

Quarterly Review #41-50:

Sunn O))), Pyroclasts

sunn o pyroclasts

The narrative — because of course there’s a narrative; blessings and peace upon it — is that drone-metal progenitors Sunn O))), while in the studio recording earlier-2019’s Life Metal (review here) with Steve Albini, began each day doing a 12-minute improvised modal drone working in a different scale. They used a stopwatch to keep time. Thus the four tracks of Pyroclasts were born. They all hover around 11 minutes after editing, which settles neatly onto two vinyl sides, and it’s the rawer vision of Sunn O))), with just Greg Anderson and Stephen O’Malley‘s guitars, rather than some of the more elaborate arrangements which they’ve been known to undertake. That they’d put out two studio records in the same year is striking considering it had been four years since 2015’s Kannon (review here), but I think the truth of the matter is they had these tapes and decided they were worth preserving with a popular release. I wouldn’t say they were wrong, and the immersion here is a good reminder of the core appeal of Sunn O)))‘s conjured depths.

Sunn O))) on Bandcamp

Southern Lord Recordings website

 

Crypt Sermon, The Ruins of Fading Light

Crypt Sermon The Ruins of Fading Light

Traditional doom rarely sounds as vital as it does in the hands of Crypt Sermon. The Philly five-piece return with The Ruins of Fading Light on Dark Descent Records as an awaited follow-up to 2015’s Out of the Garden (review here) and thereby bring forth classic metal with all the urgency of thrash and the poise of the NWOBHM. Frontman Brooks Wilson — also responsible for the album art — is in command here and with the firm backing of bassist Frank Chin and drummer Enrique Sagarnaga, guitarists Steve Jannson and James Lipczynski offer sharpened-axe riffs and solo scorch offset by passages of keyboard for an all the more epic vibe. The rolling “Christ is Dead” is pure Candlemass, but the galloping “The Snake Handler” might be the highlight of the 10-track/55-minute run, though that’s not to take away either from the Dehumanizer chug of “Key of Solomon” or the melodic reach of the closing title-track either. Take your pick, really. It’s all metal as fuck and glorious for that. If they don’t sell denim jackets, they should.

Crypt Sermon on Thee Facebooks

Dark Descent Records on Bandcamp

 

The Neptune Power Federation, Memoirs of a Rat Queen

the neptune power federation memoirs of a rat queen

“Can you dig what the Imperial Priestess is laying down?” is the central question of Memoirs of a Rat Queen, the first album from Sydney, Australia’s The Neptune Power Federation to be released through Cruz Del Sur Music, and it arrives over an ELO “Don’t Bring Me Down”-style arena rock beat on leadoff “Can You Dig?” as an intro to the rest of the LP. Strange, epic, progressive, traditional, heavy and cascading rock and roll follows, as intricate as it is immediately catchy, and whether it’s “Watch Our Masters Bleed” or “I’ll Make a Man out of You,” the Imperial Priestess Screaming Loz Sutch and company make it easy to answer in the affirmative. Arrangements are willfully over the top as “Bound for Hell” and “The Reaper Comes for Thee” engage a heavy rocker take on heavy metal’s legacy, maddened laughter and all in the latter track, which closes, and the affect on the listener is nothing less than an absolute blast — a reminder of the empowering sound of early metal on a disaffected generation in the late ’70s and early ’80s and how that same fist-pump-against-the-world has become timeless. No doubt the costumes and all that make The Neptune Power Federation striking live, but as Memoirs of a Rat Queen readily steps forward to prove, the songs are there as well.

The Neptune Power Federation on Thee Facebooks

Cruz Del Sur Music on Bandcamp

 

Chron Goblin, Here Before

chron goblin here before

Have Chron Goblin been here before? The title of their album speaks to a kind of creepy deja vu feeling, and that’s emblematic of the Canadian band’s move away from the party rock of their past offerings, their last LP having been Backwater (review here) 2015. Fortunately, while they seek out some new aesthetic ground, the 11 tracks of Here Before do maintain Chron Goblin‘s penchant for straight-ahead songcraft and unpretentious execution — and frankly, that wasn’t at all broken. Neither, perhaps was the let’s-get-drunk-and-bounce-around spirit of their prior work, but they sound more mature in a song like the six-minute “Ghost” and “Slipping Under” (premiered here) successfully melds the shift in presentation with the energy of their prior output. Maybe it’s still a party but we watch horror movies? I don’t know. They’ve still got “Giving in to Fun” early in the tracklisting — worth noting it follows the swaying “Oblivion” — so maybe I’m misreading the whole thing, or maybe it’s more complex than being entirely one thing or the other might allow for. Perish the thought. Either way, can’t mess with the songs.

Chron Goblin on Thee Facebooks

Chron Goblin on Bandcamp

 

Ethereal Riffian, Legends

ethereal riffian legends

Ukrainian heavy rockers Ethereal Riffian make a pointed sonic shift with their Legends album (on Robustfellow), keeping some of the grunge spirit in their melodies as the eight-minute “Moonflower” and closer “Ethereal Path” show, but in songs like “Unconquerable” and the early salvo of “Born Again,” “Dreamgazer” and “Legends” and even the second half of “Kosmic” and “Pain to Wisdom,” they let loose from some of the more meditative aspects of their past work with a fiery drive and a theme of enlightenment through political and social change. A kind of great awakening of the self. There’s still plenty of “ethereal” to go with all that “riffian” in the intro “Sage’s Alchemy,” or the first half of “Kosmic” or the CD bonus “Yeti’s Hide,” but no question the balance has tipped toward the straightforward, and the idea seems to be that the electrified feel is as much a part of the message as the message itself. The only trouble is that since putting Legends out, Ethereal Riffian called it quits to refocus their energies elsewhere in the universe. Are they really done? I’m skeptical, but if so, then at least they went out trying new things, which always seemed to be a specialty, and on a note of directly positive attitude.

Ethereal Riffian on Thee Facebooks

Robustfellow Productions on Bandcamp

 

Parasol Caravan, Nemesis

parasol caravan nemesis

A second long-player behind 2015’s Para Solem, the eight-song/35-minute Nemesis is not only made for vinyl, but it’s made for rockers. Specifically, heavy rockers. And it’s heavy rock, for heavy rockers. Based in Linz, Austria, the double-guitar four-piece Parasol Caravan have their sound and style on lockdown, and their work, while not really keeping any secrets in terms of where it’s coming from in its ’70s-via-’90s modern take, is brought to bear with a clarity that seems particularly derived from the European heavy rock tradition. Para Solem was longer and somewhat fuzzier in tone, but the stripped down approach of the title-track at the outset and its side B counterpart, “Serpent of Time” still unfold to a swath of ground covered, whether it’s in the subdued instrumental “Acceptance” or “Transition,” which follows the driving “Blackstar” and closes the LP with a bit of a progressive metal edge. Even that has its hook, though, and that’s ultimately the point.

Parasol Caravan on Thee Facebooks

Parasol Caravan on Bandcamp

 

Golden Core, Fimbultýr

golden core fimbultyr

The title Fimbultýr translates to “mighty god” and is listed among the alternative names of Odin, which would seem to be who Oslo’s Golden Core have in mind in the leadoff title-track of their second album. Issued through Fysisk Format, it is not necessarily what one thinks of as “Viking metal” in the post-Amon Amarth or post-Enslaved context, but instead, the eight-song collection unfolds a biting modern sludge taking an edge of the earlier Mastodon lumber and bringing it to harshly-vocalized rollout. The 11-minute “Runatal” and only-seconds-shorter “Buslubben” are respective vocal points around which sides A and B of the release center, and each finds a way to give like emphasis to atmosphere and extremity, to stretch as well as pummel, and much to Golden Core‘s credit, they seem not only aware of the changes they’re presenting in their material, but in control of how and when they’re executed. The resulting linear flow of Fimbultýr, given the shifts within, isn’t to be understated as a victory on the part of the band.

Golden Core on Thee Facebooks

Fysisk Format on Bandcamp

 

Black Smoke Omega, Harbinger

Black Smoke Omega Harbinger

Harbinger may well be just that — a sign of things to come. The debut offering from Black Smoke Omega wraps progressive death-doom and gothic piano-led atmospherics around a thematic drawing from science-fiction, and while I’m not certain of the narrative being told by the Dortmund, Germany-based band, their method for telling it is fascinating. It’s not entirely seamless in its shifts, and it doesn’t seem like the band — seemingly spearheaded by multi-instrumentalist/vocalist Jack Nier, though Ashley James (The Antiquity) plays guitar on “A Man without a Heart” and Michael Tjanaka brings synth/piano to “Kainé” — want it to be, but there’s no denying that by the time “Falling Awake” seems to provide some melodic resolution to the often-slow-motion tumult prior, it’s doing so by bringing the different sides together. It’s a significant journey from the raw, barking shouts on “The Black Scrawl” and the lurching-into-chug-into-lurch of “The Man without a Heart” to get there, however. But this, too, seems to be on purpose. How it all might shake out feels like a question for the next release, but Black Smoke Omega seem poised here to leave heads spinning.

Black Smoke Omega on Thee Facebooks

Black Smoke Omega on Bandcamp

 

Liquid Orbit, Game of Promises

Liquid Orbit Game of Promises

While on the surface, Liquid Orbit might be on familiar enough ground with Game of Promises for anyone who has encountered the swath of up-and-comers working in the wake of Blues Pills, the Bremen, Germany, five-piece distinguish themselves through not just the keyboard work of Anders alongside Andree‘s guitar, Ralf‘s bass, Steve‘s drums and Sylvia‘s vocals, but also the shifts between funk, boogie, and edges of doom that play out in songs like “Shared Pain” and “Please Let Her Go,” as well as the title-track, which starts side B of the Nasoni Records-issued vinyl with a highlight guitar solo and an insistent snare tap beneath that works to bring movement to what’s still one of Game of Promises‘ shorter tracks at six and a half minutes, as opposed to the earlier eight-minute-toppers on side A or the psych-prog finale “Verlorene Karawane,” which translates in English to “lost caravan” and indeed basks in some Mideastern vibe and backward-effects vocal swirl. Bottom line, if you go into it thinking you know everything you’re getting, you’re probably selling it short.

Liquid Orbit on Thee Facebooks

Nasoni Records website

 

Sun Below, Black Volume III

Sun Below Black Volume III

As the title hints, the name-your-price Black Volume III is the third EP release from Toronto’s Sun Below. All three have been issued over roughly a year’s span, and the three-piece of guitarist/vocalist Jason Craig, drummer/backing vocalist Will Adams, bassist/backing vocalist Garrison Thordarson — who as far as I’m concerned wins this entire Quarterly Review when it comes to names; that’s an awesome name — and two have featured covers. On their debut, they took on “Dragonaut” by Sleep, and on Black Volume III, in following up the 12-minute nod-roller “Solar Burnout,” they thicken and further stonerize the catchy jaunt that is “Wires” by Red Fang. They’ve got, in other words, good taste. Black Volume III opens with “Green Visions” and thereby takes some righteous fart-fuzz for a walk both that and “Solar Burnout” show plenty of resi(n)dual Sleep influence, but honestly, it’s a self-releasing band with three dudes who sound like they’re having a really good time figuring out where they want to be in terms of sound after about a year from their first release, and if you ask anything else of Black Volume III than what it gives, you’re obviously lacking in context. Which is to say you’re fucking up. Don’t fuck up. Dig riffs instead.

Sun Below on Thee Facebooks

Sun Below on Bandcamp

 

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Fuzzed and Buzzed Records Presents The Powder Box Triple-7″ Box Set

Posted in Whathaveyou on November 26th, 2019 by JJ Koczan

Think of it like a split. If it was a split LP, you’d have three bands splitting a 12-inch platter or something like that, and it would be business as usual. Everyone would agree to art and cover some portion of the costs, the label would get behind it and blamo, the magic happens. Fuzzed and Buzzed Records out of Toronto has made the idea a little more complicated. The forthcoming The Powder Box — available direct from them in Canada, through DHU Records in Europe or the All That is Heavy store in the States — brings together Head, Cherry Hooker and Darlene Shrugg under an appropriately glam-style roof, with three separate seven-inchers all snuggled up together in a box set.

This is the second time the label has done this, arriving behind The Altar Box, which has long since sold out. I’d expect much the same with this round, despite the shift in aesthetic. In any case, kudos to the label for changing it up, and continuing its mission of highlighting their regional underground. That’s how you make shit happen. They obviously believe in it, and there’s very little better than that to sell something as far as I’m concerned.

They’ve posted a lot about it, here’s a bit of it:

va the powder box

THE POWDER BOX (2019)

HEY ROCKERS!!!!

OUR EUROPEAN HOMIES OVER @dhu_records ONLY HAVE 6 COPIES LEFT AND THAT’S IT!!!!

BOOGIE ON OVER AND SCORE ONE OF THE LAST POWDER BOXES FEATURING TORONTO ROCKERS @headrnr @cherryhooker @darleneshrugg

IF YOU’RE IN CANADA OR THE STATES, HIT UP @allthatisheavy OR YOURS TRULY @fuzzedandbuzzed!!

STAY BUZZED!!! @fuzzedandbuzzed FEST STARTS THIS THURSDAY NOV 28th 10pm @swandiveto!! NOV 29th IS THE HAMILTON RELEASE PARTY @doorspubhamilton AND THE FOLLOWING DAY, NOV 30th WE HAVE THE FINAL PARTY AT LEGENDARY @bovinesexclub

COME PARTY, BRING SOME FRIENDS OR MAKE NEW ONES!!!!!!!

3 Record Box (45″ Vinyl)

HEAD
A: Shudder
B: Journey to the Center of the Mind

CHERRY HOOKER
A: City Sidewalkin’
B: Machine

DARLENE SHRUGG
A: Reptile Radio
B: Some Weird Sin

https://fuzzedandbuzzed.myshopify.com/
https://www.instagram.com/fuzzedandbuzzed/
https://www.facebook.com/Fuzzedandbuzzed-631019733954614/

Head, “Shudder”

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Sons of Otis Finish Writing New Album; Reissuing Paid to Suffer & Spacejumbofudge

Posted in Whathaveyou on September 12th, 2019 by JJ Koczan

Okay, yeah, I’ll admit that I saw the below posted from Totem Cat Records last week and held off putting it up here. I guess maybe I was hoping from a more substantive update or something specific, but what that doesn’t account for is that, hey man, it’s Sons of Otis. Take what you can get. Fair enough. The new album from the Toronto-based megastoners — who toured Europe last year, playing Hellfest and then some — is reportedly finished, and that’s nifty news because when it comes out, it’ll be their first studio offering since 2012’s Seismic (review here). They’ve also been saying they were writing for over a year now, but what the hell. Slow music happens slowly. Be really surprised or don’t.

You might recall that late last year, Totem Cat released the Live in Den Bosch LP capturing the band in 2011 in the Netherlands in an edition of a paltry 300 copies. They’re currently down to their last copies at the BigCartel store linked below, and I haven’t heard the thing, but I’ll happily spend your money and say you should pick it up. If for nothing else than to dedicate the shelf space to Sons of Otis, that’s probably better than whatever else you were going to buy. What was it? Groceries? A car? Nah, screw that. There’s riffs to be had.

The rather efficient announcement below also includes the news that the band’s 1994 debut EP, Paid to Suffer, and their 1996 debut album, Spacejumbofudge (discussed here) are being reissued. CLF Records also put out a vinyl of 2001’s Songs for Worship in 2017, leaving 1999’s Templeball in desperate need of another look.

Here’s the latest, for posterity, as well as a video of the band last year in Paris that unsurprisingly kicks ass:

sons of otis logo

New Sons of Otis album is fully written and will be recorded soon, we’re excited to be releasing it early next year. Paid To Suffer & Spacejumbofudge will be reissued on CD & LP as well.

https://www.facebook.com/sonsofotis/
https://www.reverbnation.com/sonsofotis
https://www.facebook.com/totemcatrecords/
http://totemcatrecords.bigcartel.com/

Sons of Otis, Live in Paris, 2018

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