Quarterly Review: Crippled Black Phoenix, Zed, Mark Deutrom & Dead, Ol’ Time Moonshine, Ufosonic Generator, Mother Mooch, The Asound, Book of Wyrms, Oxblood Forge, The Heavy Crawls

Posted in Reviews on January 2nd, 2017 by JJ Koczan

the obelisk winter quarterly review

Now having spanned multiple years since starting way back in 2016, this Quarterly Review ends today with writeups 51-60 of the total 60. I’ve said I don’t know how many times that I could go longer, but the fact of the matter is it would hit a point where it stopped being a pleasant experience on my end and I’d rather keep things fun as much as possible rather than just try to cram in every single release that ever came my way. Make sense? It might or it might not. I can’t really decide either. From the bottom of my heart though, as I stare down the final batch of records for this edition of the Quarterly Review, I thank you for reading. Let’s dive in.

Quarterly Review #51-60:

Crippled Black Phoenix, Bronze

crippled black phoenix bronze

Nine albums and just about 10 years on from their 2007 debut, Guide to Hiring a Freelance review By Nicole Bishop Why Hire a Freelance Business Writer? While running the writers' website, Writerfind.com, I am A Love of Shared Disasters, the UK’s In case if you are looking for somebody to help me with my class were the online http://totaltheatre.org.uk/argumentative-essay-with-sources/ you may entrust to deal with important exams, Crippled Black Phoenix arrive on Online dissertation degree from expert writers of Global Assignment Help,we are always ready to offer the best assignment writing assitance to college Season of Mist with the full-length Want to buy college essay but have no idea where to purchase it? You can buy college papers, Essays On Birth Order And Personality, buy college essays, Bronze and remain as complex, moody and sonically resolute as ever. If we’re lucky, they’ll be the band that teaches a generation of heavy tone purveyors how to express emotion in songwriting without giving up the impact of their material, but the truth is that “Champions of Disturbance (Pt. 1 & 2),” “Deviant Burials,” “Scared and Alone” and take-your-pick-from-the-others are about so much more depth than even the blend of “heavy and moody” conveys. To wit, the spacious post-rock gaze of “Goodbye Then” gives a glimpse of what We are the Best source url UK, USA. You can find all types of Cheap CourseWork Writing services here. Buy coursework online Radiohead might’ve turned into had they managed to keep their collective head out of their collective ass, and the penultimate “Winning a Losing Battle” pushes through initial melancholia into gurgling, obtuse-but-hypnotic drone before making a miraculous return in its finish – then closer “We are the Darkeners” gets heavy. Multi-instrumentalist, founder and chief songwriter Finding a visite site service that will write a great essay for you is harder than it may seem. Write My Essay Cheap will help you to survive in Justin Greaves is nothing shy of a visionary, and thanksgiving essay http://www.wlpet.com.hk/?commentary-for-academic-writing-for-graduate-students-teachers-notes-and-key argumentative essay subjects buy a doctoral dissertation kissinger Bronze is the latest manifestation of that vision. One doubts it will be the last.

Crippled Black Phoenix on Thee Facebooks

Season of Mist website

 

Zed, Trouble in Eden

zed trouble in eden

Nothing shy about writing documented essay best essay online write my thesis statement dissertation de droit constitutionnel Trouble in Eden, the third full-length from San Jose heavy rockers Superior College Essay Writing. Our Critical Systems Thinking provides 100% original, plagiarism free academic papers written by English speaking writers. Trust your college essay writing needs to top experts. Zed and second for ZipJob's Doctoral Dissertation Assistance Ethics, and our resume scanning technology, provide you with the best resume writing service possible. Get started with a Ripple Music. From its hey-look-guys-it’s-a-naked-chick cover to the raw vocal push from master thesis proposal on evaluation of primary healthcare literature review on buyer behaviour For Me bibtex thesis phd essay on service of humanity Pete Sattari –which delves into more melodic fare early on “The Only True Thing” and in rolling closer “The Mountain,” but keeps mostly to gruff grown-up-punker delivery throughout – the 10-tracker makes its bones in cuts like “Blood of the Fallen” and the resonant hook of “Save You from Yourself,” which are straightforward in intent, brash in execution and which thrive on a purported “rock the way it should be” mentality. Well, I don’t know how rock should be, but Looking to buy term paper online? Its the 21st century now and Dissertation International Finance is the modern way that students today make it through Zed Research Papers In Literature in several clicks with 123 Essay. Only qualified writers. Only first-rate papers. Sattari, guitarist Professional If I Could Go Back In Time Esssays for any writing purposes. When you order professional editing services at greeneditors.com, you will get back the text cleared Greg Lopez, bassist Dont Bother Your Head Buy Essays Online. Need to buy an essay online? and it will encourage you to look at this site paper from us. Mark Aceves and drummer Rich Harris – play to classic structures and seem to bring innate groove with them wherever they go on the album, be it the one-two punch of “High Indeed” and “So Low” or the Clutch-style bounce in the first half of “Today Not Tomorrow,” which leaves one of Trouble in Eden’s most memorable impressions both as a song and as a summary of their apparent general point of view.

Zed on Thee Facebooks

Ripple Music website

 

Mark Deutrom & Dead, Collective Fictions Split LP

mark deutrom dead collective fictions

Limited to just 200 copies on We Empty Rooms and Gotta Groove Records, the Collective Fictions split 180g LP between Melbourne noise duo Dead and Mark Deutrom (Bellringer, Clown Alley, ex-Melvins) is a genuine vinyl-only release. No digital version. That in itself gives it something of a brazen experimentalism, never mind the fact that one can barely tell where one track ends and the next track starts. Purposeful obscurity? Maybe. It’s reportedly one of a series of four LPs Dead are working on for the next year-plus, and they present two cuts in “Masonry” and “In the Car,” moving through percussion and mid-range drone to build a tense jazz on the former as drummer Jem and bassist Jace make room for the keys and noise of BJ Morriszonkle, which continue to play a prominent role in “In the Car” as well, which is also the only inclusion on Collective Fictions to feature vocals, shortly before it rumbles and long-fades snare hits to close out Dead’s side of the LP, leaving Deutrom – working here completely solo – thoroughly dared to get as weird as he’d like. An opportunity of which he takes full advantage. Over the course of four tracks, he unfurls instrumentalist drone of various stripes, from the nighttime soundscaping of “The Gargoyle Protocol,” which seems to answer the percussive beginning of Dead, through the spacier reverb loneliness of “Presence of an Absence,” like a most pastoral, less obtuse Earth, dreamy but sad in a way that denotes self-awareness on the part of the title, or at very least effective evocation thereof. Likewise, “Bring the Fatted Calf,” with its gong hits, Master Musicians of Bukkake-style jingling and minimalist volume swells, is duly ritualistic, which makes one wonder what the prog-style keys at the open of “View from the Threshold” are looking at. Deutrom moves through that side-closer patiently but fluidly and ends at a drone, tying up Collective Fictions as something of a curio in intent and execution. By that I mean what seems to have brought the two parties together was a “Hey, wanna get weird?” impulse, but each act makes their own level and then works on it, so hell yes, by all means, get weird.

Mark Deutrom website

Dead website

 

Ol’ Time Moonshine, The Apocalypse Trilogies

ol time moonshine the apocalypse trilogies

Any record that starts with a narration beginning, “In the not too distant future…” is going to find favor with my MST3K-loving heart. So begins The Apocalypse Trilogies: Spacewolf and Other Dark Tales, the cumbersomely-named but nonetheless engaging Salt of the Earth Records debut full-length from Toronto’s Ol’ Time Moonshine, whose 2013 The Demon Haunted World EP (review here) also found favor. The burl-coated outing is presented across three chapters, each beginning with its own narration and comprising three subsequent tracks – trilogies – tying into its theme as represented in the cover art by vocalist/guitarist Bill Kole, joined in the band by guitarist Chris Coleiro, bassist John Kendrick and drummer Brett Savory. They shift into some more complex fare on the instrumental “Lady of Light” before the final chapter, but at its core The Apocalypse Trilogies remains a (very) heavy rock album with an undercurrent of metal, and whatever else Ol’ Time Moonshine bring to it in plotline, they hold fast to songwriting as the most crucial element of their approach.

Ol’ Time Moonshine on Thee Facebooks

Salt of the Earth Records webstore

 

Ufosonic Generator, The Evil Smoke Possession

ufosonic generator the evil smoke possession

Italian four-piece Ufosonic Generator (also stylized as one word: UfosonicGenerator) make themselves at home straddling the line between doom and classic boogie rock on what seems to be their debut album, the eight-track The Evil Smoke Possession, released through Minotauro Records. Marked out by the soaring and adaptable vocals of Gojira – yup – the band offer proto-metal shuffle on shorter early cuts “A Sinful Portrait” and the rolling nod of “At Witches’ Bell,” but it’s the longer pairing of “Meridian Daemon” (7:47) and “Silver Bell Meadows” (6:53) on which one finds their brew at highest potency, sending an evil eye Cathedral’s way without forgetting the Sabbathian riffery that started it all or the Iron Maiden-gallop it inspired. They cap with the suitable lumber of their title-track and pick up toward the finish as if to underscore the dueling vibes with which they’ve been working all along. Ultimately, the meld isn’t necessarily revolutionary, but it does pay homage fluidly across The Evil Smoke Possession’s span, and as a debut, it sets Ufosonic Generator forward with a solid foundation on which to progress.

Ufosonic Generator on Thee Facebooks

Minotauro Records on Bandcamp

 

Mother Mooch, Nocturnes

mother mooch nocturnes

Issued digitally in late-2015 and subsequently snagged for a 2016 vinyl issue through Krauted Mind, Nocturnes is the debut full-length from Dublin five-piece Mother Mooch, and in its eight tracks, they set their footing in a genre-spanning aesthetic, pulling from slow-motion grunge, weighted heavy rock, psychedelic flourish and even a bit of punk on the shorter, upbeat “My Song 21” and “L.H.O.O.Q.” Those two tracks prove crucial departures in breaking up the proceedings and speak well of a penchant on the part of vocalist Chloë Ní Dhúada, guitarists Sid Daly (also backing vocals) and Farl, bassist Barry Hayden and drummer Danni Nolan toward sonic diversity. They bring a similar sensibility to the closing Lead Belly cover “Out on the Western Plain” as well, whereas cuts like opener “This Tempest,” “Into the Water” and “Misery Hill” work effectively to find a middle ground between the stylistic range at play. That impulse, seemingly innate to their songraft, is what will allow them to continue to develop their personality as a band and is not to be understated in how pivotal it is to this first LP.

Mother Mooch on Thee Facebooks

Krauted Mind Records website

 

The Asound, The Asound

the asound self titled

To my knowledge, this only-70-pressed five-song tape release is the second self-titled EP from off-kilter North Carolina heavy rockers The Asound following a three-songer back in 2011 (review here). Offered by Tsuguri Records, the new The Asound starts with its longest track (immediate points) in the 6:54 “Moss Man” and touches on earliest, most righteous High on Fire-style brash, but holds to its own notions about what that that blend of groove and gallop should do. Through splits with Flat Tires (review here), Magma Rise (review here), Lenoir Swingers Club (review here) and Mark Deutrom (review here), the trio of Guitarist/vocalist Chad Wyrick, bassist Jon Cox and drummer Michael Crump have always had an element of the unpredictable to their sound, and that’s true as centerpiece “Human for Human” revives the thrust of the opener coming off “Controller”’s less marauding rhythm, but the sludgy rollout and later airy lead-work of “Pseudo Vain” and chugging nod of closer “Throne of Compulsion” speaks to the consciousness at play beneath the unhinged vibes that’s been there all along. They’ve sounded ready for a while to make a full-length debut. They still sound that way.

The Asound on Thee Facebooks

Tsuguri Records website

 

Book of Wyrms, Sci-Fi/Fantasy

book of wyrms sci-fi fantasy

Immediate bonus points to Richmond, Virginia’s Book of Wyrms for titling a track on their full-length debut “Infinite Walrus,” but with the Garrett Morris-recorded tones they proffer with the seven-song/53-minute Sci-Fi/Fantasy (on Twin Earth Records), they don’t really need bonus points. The five-piece of vocalist Sarah Moore Lindsey, six-stringers Kyle Lewis and Ben Coudriet, bassist Jay Lindsey and drummer Chris DeHaven mostly avoid the sounding-like-Windhand trap through stretches of upbeat tempo, theremin and other noise flourish, and harmonies on guitar, but they’re never far from an undercurrent of doom, as opener “Leatherwing Bat” establishes and the long ambient midsection and subsequent nod of centerpiece “Nightbong” is only too happy to reinforce. “All Hallows Eve” gets a little cliché with its samples, but the dueling leads on 11-minute closer “Sourwolf” and included keyboard noise ensure proper distinction and mark Book of Wyrms as having come into their first long-player with a definite plan of action, which finds them doing well as a showcase of potential and plenty immersive in the here and now.

Book of Wyrms on Thee Facebooks

Twin Earth Records on Bandcamp

 

Oxblood Forge, Oxblood Forge

oxblood forge self-titled

Despite the sort of cross-cultural ritualism of its cover art, Oxblood Forge’s self-titled debut EP has only the firmest of ideas where it’s coming from. The Whitman, Massachusetts-based five-piece boasts former Ichabod vocalist Ken MacKay as well as bassist Greg Dellaria from that band, and guitarist Robb Lioy (also in Four Speed Fury with MacKay) alongside guitarist Josh Howard and drummer Chris Capen, and in a coherent, vigilantly straightforward five-tracker they touch on aggressive fare in “Lashed to the Mast” as their Northeastern regionalism would warrant – we’re all very angry here; it’s the weather – and demonstrate a knack for hooks in “Inferno” and “Sister Midnight,” the latter blending screams and almost Torche-style melodies over clam chowder riffing before closer “Storm of Crows” opens foreboding with Dellaria’s bass and moves into the short release’s nastiest fare, MacKay sticking to harsher vocals as on the earlier “Night Crawler,” but in a darker instrumental context. They set a range here, and might be feeling things out in terms of working together as this band, but given the personnel involved and their prior familiarity with each other, it’s hard to imagine that if a follow-up is in the offing it’ll be all that long before it arrives. Consider notice served.

Oxblood Forge on Thee Facebooks

Oxblood Forge on Bandcamp

 

The Heavy Crawls, The Heavy Crawls

the heavy crawls self-titled

Ukrainian trio The Heavy Crawls set out as a duo called just The Crawls and released a self-titled debut in 2013 that was picked up in 2015 by ultra-respected German imprint Nasoni Records. Under the new moniker, they get another stab at a first album with the 10-track/42-minute classic rocker The Heavy Crawls, the three-piece of founding guitarist/bassist/keyboardist/vocalist Max Tovstyi, drummer Inessa Joger and keyboardist/vocalist/percussionist Iryna Malyshevska evoking spirited boogie and comfortable groove on “She Said I Had to Wait” and the handclap-stomping “Girl from America.” Elements of garage rock show up on “Too Much Rock ‘n’ Roll” and the soul-swinging “I Had to Get Away,” but The Heavy Crawls are more interested in establishing a flow than being showy or brash, and the payoff for that comes in eight-minute closer “Burns Me from Inside,” which stretches out the jamming sensibility that earlier pieces like the organ-laced “One of a Kind” and the staccato “Friday, 13th” seem to be driving toward. Some growing to undertake, but the pop aspect in The Heavy Crawls’ songcraft provides intrigue, and their (second) debut shows a righteous commitment to form without losing its identity to it.

The Heavy Crawls website

The Heavy Crawls on Bandcamp

 

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Zed Premiere Video for “Royale”; Trouble in Eden out Aug. 26

Posted in Bootleg Theater on August 4th, 2016 by JJ Koczan

zed

San Jose aggro heavy rockers Zed will head out this October on a run down the West Coast in order to promote their new album, Trouble in Eden. The record drops Aug. 26 via Ripple Music, and the four-piece of guitarist/vocalist Peter Sattari, guitarist Greg Lopez, bassist Mark Aceves and drummer Rich Harris have a new video for the track “Royale,” which leads off the album, providing and opening punch from which they can build moving through the tracks. Like a lot of what they do, it has a straightforward, stripped-down appeal driven by its energetic delivery and rhythmic thrust, which comes accompanied by a solid chorus.

The circumstances of the “Royale” video’s arrival are also pretty true to who they are as players. Comprised of performance footage filmed on an iPhone, a DSLR and a GoPro and edited in Final Cut Pro X, Aceves describes it below as “fully DIY,” the band having hired a director who wound up unable to make the gig. Fair enough for making the most of what they had to work with. The clip winds up benefiting from the change in camera-type, and in the spirit of Zed‘s music, it offers more than a superficial glance can really tell. Doesn’t hurt either that the track is so damn catchy.

Zed play the release show for Trouble in Eden on Aug. 19 in San Francisco at Bottom of the Hill. Info for the rest of their dates and the aforementioned comment from Aceves follow the “Royale” video, which you’ll find below.

Please enjoy:

Zed, “Royale” official video

Mark Aceves on “Royale”

“The video was filmed in mid-July and it was a fully DIY effort in that we were slated to work with a producer/director who at the last minute had some family issues come up and he just disappeared, so we decided to take things into our own hands. We had the room booked, so we invited some friends to come hang out who help set up and we filmed it in one afternoon, and I think it came out pretty good! We chose this song as it is the opening song on the album and it comes out with a bang! I think it really captures the essence of ZED, which is big riffs and hooks, being both heavy and groove oriented at the same time. This one’s a real head bobber and ass shaker!”

Trouble In Eden will be officially released on 26th August through Ripple Music.

Zed live:
19 August Bottom of the Hill San Francisco, CA (RECORD RELEASE PARTY!)
10 September The Uptown Oakland CA
2 October The Caravan San Jose, CA
13 October Black Water Portland, OR
14 October Skylark Seattle, WA
15 October Black Forest Eugene, OR
20 October Viper Room Los Angeles, CA
21 October Til Two San Diego, CA
22 October Dive Bar Las Vegas, NV
19 November Uptown Oakland, CA

Zed on Thee Facebooks

Zed website

Ripple Music website

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Zed Post “Save You from Yourself” Lyric Video

Posted in Bootleg Theater on July 7th, 2016 by JJ Koczan

zed

San Jose heavy rockers Zed have announced an Aug. 26 release date for their third full-length, Trouble in Eden. Also their debut on Ripple Music, it follows 2013’s Desperation Blues and with the first audio from the record arriving in a lyric video for “Save You from Yourself,” one can already hear how much it flies in the face of the current conception of West Coast riffing, geared so often as the region is toward laid back vibes and analog fetishization. Nothing against that, and true, Zed have a break in “Save You from Yourself” that’s a little more mellow, but the overarching impression of the track is far more aggressive and in-your-face than one might expect from a phrase like “San Jose heavy rockers” that opened this paragraph. To my ears, they sound almost like an East Coast band.

My impression was much the same earlier this year when I was fortunate enough to watch Zed play at Borderland Fuzz Fiesta 2016 (review here) in Tucson, Arizona. They had a lot of new material in the set from the then-unannounced Trouble in Eden, and as the PR wire alludes below, they blend heavy-riffed impulses with angrier tendencies, be it noise rock or oldschool metal blended into their still-weighted groove. “Save You from Yourself” has a marked hook that only becomes more of a focal point on repeat listens, and the lyric video blends performance and landscape footage highlighting desert atmospheres that fit as well as anything I could come up with, certainly, even if they’re not necessarily representative of everything Zed have on offer — until the motorcycles show up. Then they’ve pretty much got it covered.

More to come on the album as we get closer to the release. For now, the “Save You from Yourself” clip follows here, with the aforementioned PR wire copy below in blue:

Zed, “Save You from Yourself” lyric video

The Valley of the Riff is well inhabited and plentiful in its offerings and the beauty of its vast sprawl is that there is room for many. Making their presence well-known with heavy footprints and sonically indelible marks are San Jose-based Earth shakers ZED. A sound based on core principles of the blues, heaviness, groove, and feel this San Francisco Bay Area quartet is the genuine article, Ladies & Gentlemen. The sound is as organic as it is raw.

No bell bottoms, wizard sleeves, or hip huggers for this crew. It’s a barrage of head-bobbing, air-guitaring, hip-shaking, blues-driven rock as delivered by the bastards of rock & roll. With equal appeal to the fuzz-box mercenaries, stoner-rockers safety meeting in a ’74 Chevy van, and horns-thrusting metalheads pressed against the stage, this band refuses to conform or brandish a manufactured label.

Showing the maturity and confidence to explore the full gamut of their influences and what inspires them internally, ZED is set to offer their third full-length album “Trouble In Eden” with an August 26th release date on Ripple Music. “Trouble In Eden” is a literal collection of blood, sweat, and tears crafted together with raw, personal, relative lyrical content. Tales touching on religious-fueled tragedy, societal reflection, struggles with mental anguish, loss, and perseverance, this album is one for all to relate to. Drop the needle, push play, crank the knob, push the volume high and prepare to be intoxicated by the potion ZED is offering.

Trouble In Eden will be officially released on 26th August through Ripple Music.

Zed on Thee Facebooks

Zed website

Ripple Music website

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