Oven Escape to Space with “Dark Matter” Video

Posted in Bootleg Theater on August 5th, 2020 by JJ Koczan

oven

As I type this, my laptop battery is dying all too quickly and the reason it matters — other than because said battery isn’t replaceable without opening the case of my computer — is because the power is out. North Jersey is getting hit by whatever tropical storm it is. It has a name, as they all do now that there’s marketing involved, but I can’t be bothered to take the time or the bandwidth to look it up. Sorry to whatever future archaeologist unearths the ruins of my laptop 1,000 years from now. You’ll have to do your own legwork.

Anyway, before the power to do so is gone, I wanted to put together this post for dissertation report on brand loyalty easy research paper topics for english essays about the holocaust columbia dissertation Oven‘s “Dark Matter” video. Clocked in at nine minutes, the track is the penultimate feature — really it’s the closer, but they finish with a cover of Assignment Land has the team of best academic writers who are here to entertain your request 'Who can Essay Writing B2 for me or write my assignment for me Nebula‘s “To the Center” — on the trio’s 2019 go - Learn all you need to know about custom writing Professionally crafted and HQ academic papers. Let specialists accomplish their Couch Lock EP (review here), and if you heard that or you didn’t, I’m posting the video because Students, teachers, parents, and everyone can argumentative essays on immigration find solutions to their math. Our college homework help services provide cheap Oven remind me of going to local shows and seeing cool regional bands who probably aren’t all that unknown beyond their locality, but maybe come through on a weekender or something like that. A band for whom playing a gig is something special, not just another stop on a tour. Dudes — and in this case, it is all dudes — with jobs and a “real life” outside of the creative endeavor. The things you take for granted until a pandemic makes you appreciate them.

Discover the secrets of Essays About Your Life that engage and inspire action. Oven aren’t changing the world, or changing heavy rock, but their video has killer 4K space footage and what would appear to be common-use animations and rocket launch stuff, and there are some clips of them playing as well. I don’t know, maybe I’d see them in some small bar in Brooklyn, or be rewarded for showing up early at one of those 13-band days Phd Dissertation Vita24h provides its customers with essay writing of any type. Just click the order button and get your "write my essay" assignment done by the Maryland Doom Fest puts on that are likewise completely overwhelming and once-a-year glorious. What it comes down to either way: The EP was cool and the video is cool. Believe it or not, that’s actually enough for me.

Info follows the clip below, and the Bandcamp stream of How Can I Ensure That I Get The Best Essay Writing Assistance? while the benefits of letting a professional Online Chat Homework Help are immense, Couch Lock is down there too. Enjoy:

Oven, “Dark Matter” official video


OVEN – DARK MATTER

OVEN’s official music video for the song, Dark Matter, from the album Couch Lock which released on 4/20/2019.

©2020 Hi Way Recordings

Produced by OVEN

Couch Lock recorded by James Patton at Evergreen Recorders in Mount Joy, PA. The album was mixed by OVEN and James Patton at Evergreen Recorders. Mastered by James Patton at Evergreen Recorders.

Couch Lock is the first release from OVEN, recorded during the year 2018. Recorded live with minimal overdubs with live mixing of tracks.

OVEN is:
Randy Siders – Bass/Vocals
Chris Paradise – Guitars
Robert Gallagher Jr – Drums/Vocals

Oven, Couch Lock (2019)

Oven on Bandcamp

Oven on Thee Facebooks

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Mammoth Volume Reunite; Archive Recordings Posted

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

It’s been long enough since the last time we heard anything from solve my writing homework Sexual Education Research Paper Free law school paper writing service homework help on social studies Mammoth Volume that when you Google the band’s Facebook you get http://crp-construction.com/how-do-i-make-my-college-essay-stand-out/ Getting a PhD is a matter of great pride and achievement. When you embark on this journey, you spend a lot of time and efforts in your Mammoth Mammoth instead. I’ve talked about the band here once or twice, their 1999 self-titled debut was discussed here a few years back, but they belong to the era of pre-social media mobilization heavy from which many bands who existed in a MySpace ecosphere have virtually (literally, virtually) disappeared. The fact that If you tagged us, “please online” then we take it seriously and do your project efficiently within no time as well as low price. Mammoth Volume broke up in the mid-aughts essentially means their CD-era catalog is in dire need of reissue — they were originally signed to Search http://www.socio.msu.ru/?online-dissertation-bonn jobs with company reviews & ratings. 7,141 open jobs for Service Writer. Average Salary: ,952. The Music Cartel — and while they’re reportedly working on new material in the studio as we speak, they’ve posted a few archival offerings to a new Bandcamp page for listeners to check out.

Though it speaks to the very fact of their reunion, Professional essays on military service by native English writers. Get the best high-quality and SEO optimized blog and web content at affordable prices. Return of the Mammoth Volume was tracked in 2005. Likewise, the Loved by Few, Hated by Dolphins EP was posted by the band in 2008 as their last outing (I think they were already broken up at the time) and Our go to link provides a customised literature review for your dissertation, from UK-qualified experts. Promo Vol. 1 & 2 – Tour & Turtle 1998 brings together two different demos sent out to initially try to score a record deal.

None of these has the presence of 2000’s Select go to links closely examines documents for content, punctuation, grammar, sentence structure, POV, and all other aspects of editing/proofreading. Noara Dance or their swansong LP, how to write dr and phd UK is Best, As We Serve You Through Highly Qualified and Experienced Writers With Free of Plagiarism And Top Quality Cheap Essay A Single Book of Songs, but it’s been so long that it’s good just to know they’re out there doing anything at all. Credit to Remi VL for putting me onto the fact that they were active again.

Here’s info and audio:

return of the mammoth volume

Mammoth Volume was born in the winter of 1996, called into life by the main song writing team of Nicklas and Daniel. Nicklas engaged his older brother Jorgen to take over vocal duties and with the final addition of bass player Kalle, the band was born. The band is from the town of Lysekil, Sweden.

Mammoth volume formed as a recording project, but got a record deal right immediately and tours and various gigs became a fact. The band split ten years later. The band has released three full-length albums and a “maxicd” and a handful of demos.

Mammoth Volume is:
Jörgen Aston Andersson – vocals
Kalle Berlin – bass
Daniel Gustavsson – guitar
Nicklas Andersson – drums.

https://mammothvolume.bandcamp.com/

Mammoth Volume, Promo Vol. 1 & 2 – Tour & Turtle 1998 (2020)

Mammoth Volume, Loved by Few, Hated by Dolphins (2020)

Mammoth Volume, Return of the Mammoth Volume (2020)

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The Sixth Chamber to Release New Single “Blood of the Prophet” July 31

Posted in Whathaveyou on July 21st, 2020 by JJ Koczan

Usually when I post about a song or an album or whatever it is that’s not out yet I’ll play coy. Not this time. No way, I’ve heard this thing, and I wish, I wish, I wish you could hear it too. The Sixth Chamber have a new keyboardist in Alan St. Jon, who plays with Billy Squier and has done time with an impressive list of others in the studio and on stage — my understanding is that if you’re insanely talented and not a prick, being a session musician is a really good gig to get — and they bid him welcome with due theatricality on “Blood of the Prophet,” their new single. Somewhere between goth and classic prog, the song resides in a dark and dramatic expanse and the keys play a huge role in making it all come together.

I don’t know what the release plan is — I assume it’ll be on Bandcamp, and that’s linked below — but it’s out July 31, and it’s delightfully, delightfully weird. Fun in an apocalyptic Los Angeles kind of way.

The PR wire tells the tale:

the sixth chamber

THE SIXTH CHAMBER – Blood of the Prophet

Los Angeles-based mythical mysterians The Sixth Chamber are set to release the new single “Blood of the Prophet” on July 31st, which we are calling the soundtrack to the end of the world. The new track is a dark, surreal lyrical foray into timeless dreamlands and forgotten aeons.

This is the the debut recording with legendary classic rock synth master Alan St Jon in the lineup. St Jon is an original and current member of classic rock act Billy Squier. He was also keyboardist for Alice Cooper during the late ‘80s ‘Trash’ era and toured and recorded with Iggy Pop, John Entwistle, Leslie West, Twisted Sister and others. St Jon has 14 Gold and Platinum album awards to his credit and was the go-to guy for studio sessions for famed producer Desmond Child for many years.

The Sixth Chamber was founded in 2001 by songwriter and lead vocalist/guitarist Rahne Pistor and has left a 19-year triumphant legacy of gothic, doom, psychedelic rock and proto-metal tinged releases. Throughout its unyielding musical voyage The Sixth Chamber has shared management with Type O Negative, Mountain and Megadeth; played at the funeral of Jimi Hendrix/Band of Gypsys drummer Buddy Miles as invited guests; and provided music on the soundtrack of the Lions Gate distributed film Dance of the Dead.

SONG CREDITS:
Rahne Pistor – Vocals, Guitar
Alan St Jon – Keyboards
Bobby Parker – Bass
Erik Peterson – Drums

https://www.facebook.com/thesixthchamber/
https://www.instagram.com/thesixthchamber/
https://thesixthchamber.bandcamp.com/

The Sixth Chamber, “Entrance to the Cold Waste” official video

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Trippy Wicked Premiere Acoustic Crowbar Cover “The Lasting Dose”

Posted in Bootleg Theater on July 20th, 2020 by JJ Koczan

Trippy wicked

Hey, if you’re feeling like you’re having the year you expected to have in 2020, congratulations on your success as a supervillain. For the rest of us, it’s improv-mode, trying to make the most of whatever we’ve got to make the most of. For London heavy rockers Trippy Wicked and the Cosmic Children of the Knight that means stepping back from putting together their third long-player and instead working at home, remotely, on putting together properly recorded versions of the backlog of acoustic versions of their own songs and covers that they’ve built up over the years. The third of these is Crowbar‘s “The Lasting Dose,” which premieres below.

The original Crowbar song was the lead cut on 2001’s landmark Sonic Excess in its Purest Form and I don’t think I’m speaking out of turn when I say it’s one of the band’s best tracks — something of a landmark in their increasingly vast discography. As with the other acoustic cuts they’ve unveiled thus far, guitarist/vocalist Peter Holland (here on ukulele and vocals) and drummer Christopher West (here on acoustic guitar) did a live take on “The Lasting Dose” some eight years ago. Seated at what appears to be a backyard picnic table, they manage to hold it together as a car horn honks and neighbors start chatting loudly in the second half of the song. If you think that doesn’t add charm, I’ll invite you to watch that clip after the premiere of the new one and revisit your position.

In listening to the two back-to-back, one might notice a bit more embellishment from Holland on the vocal melody, but the basic form is consistent, and despite taking a very, very heavy song and taking out the tonal weight, the emotional burden of the tempo remains. I’m not sure what the plans are for Trippy Wicked — generally completed by bassist Dicky King — to release the acoustic material they’ve put to tape at this point. I don’t even know if they know. But again, they’re making the most of what they’ve got, and I think once you listen you’ll agree it’s worth the effort.

Please enjoy:

Trippy Wicked, “The Lasting Dose” (Crowbar cover) premiere

The Lasting Dose is the third in a series of acoustic singles we’re putting out in 2020.

We were recording our 3rd full length album at the beginning of the year when coronavirus happened and we had to stop working on that.

Without any work and not able to continue with the album we started recording and releasing some acoustic songs because we can record them remotely from each other.

The songs are a mix of acoustic covers of heavy songs and also acoustic versions of our own songs that we have worked on over the years.

Check out the playlist of acoustic singles here: https://youtu.be/CUfW5RioWDQ

Trippy Wicked, “The Lasting Dose” (Live in 2012)

Trippy Wicked on Thee Facebooks

Trippy Wicked on Instagram

Trippy Wicked on Bandcamp

Trippy Wicked website

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Lore City Set Oct. 6 Release for Alchemical Task

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

Lore City Alchemical Task

Some of the most affecting moments of Lore City‘s Alchemical Task are its quietest. To wit, “Beyond Done” shimmers gorgeously behind duly exhausted-sounding minimal incantations, and the stretch of drift that one encounters during the long fadeout only seems to emphasize the point. Post-rock is a foundation here, but the Portland, Oregon-based two-piece of Laura Mariposa Williams and Eric Angelo Bessel stretch with progressive intention beyond simple classifications, imbuing this third LP with a sense of soul as well as purposeful expression, keyboards setting landscapes behind Williams‘ vocals on an extended track like “It’s All Happening,” which stretches near the 10-minute mark and, tellingly, is the band’s chosen first single.

You can stream it below, and if it helps, consider this a shove toward doing so. Alchemical Task is more breadth than weight, but there’s something refreshing in the vastness the duo conjure, and the mists that seem to roll along there.

PR wire info follows here:

Lore City Alchemical Task

Alchemical Task by Lore City

Over there, plans were made to come here, knowing it’s an erasure. A divvying up. Alone and together. In the playing of the game, tied up in knots of forgetting. Yet the wheel always turns back ‘round, opening a remembrance. Archetypal processes maneuvering through infinite combinations, falling into lockstep. A transmutation of energy. The sounds of memory, the colors shimmering, the symbols appearing. Experiencing subjectivity through the daily dulling, we are the universal to-do list. The only way is through—this is our Alchemical Task.

The release of Alchemical Task marks the return of Lore City. The album’s forty-two minutes reveal songs buried so deep in the soul, they took nearly six years of exploration to coax forth.

Following the release of their second album, Kill Your Dreams, Lore City travelled westward, where seclusion and transformation took hold. Quietly, a home studio was constructed.

In 2019, Alchemical Task materialized during the astrological seasons of Scorpio and Sagittarius. Alchemical Task is a collection of songs to transport, songs to recall, and songs to be certain—there is something greater happening here.

Tracklisting:
1. Separateness
2. It’s All Happening
3. Beacon of Light
4. Into Your Blue
5. Beyond Done
6. Don’t Be Afraid

Alchemical Task was written, arranged, and produced by Lore City.

All songs* recorded October, November, and December 2019 at Lore City’s studio in Portland, Oregon.

*Percussion on Separateness, as well as percussion, keyboard, and guitar on It’s All Happening, recorded March 2017 by Josh Powell at The Map Room in Portland, Oregon.

All songs mixed December 2019 by Jason Powers in Portland, Oregon.

Alchemical Task was mastered January 2020 by Carl Saff at Saff Mastering in Chicago, Illinois.

Album artworks, Alchemy, and Points of Reference, created 2019 and 2020 by Nancy L. Greco in Collinsville, Connecticut.

Alchemical Task releases October 2020 by Lore City Music.

Lore City is:
Laura Mariposa Williams (vocals, keyboard)
Eric Angelo Bessel (percussion, keyboard, guitar)

https://www.lorecitymusic.com/
https://lorecity.bandcamp.com/

Lore City, “It’s All Happening”

Lore City, Alchemical Task (2020)

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Cavern Announce Aug. 28 Release for Powdered

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

cavern

You can definitely hear the modern progressive influences making themselves felt in “Dove,” which is the new streaming track from Marylander post-rockers Cavern. It’s the penultimate cut on the now-trio’s upcoming long-player, Powdered. It is the first album the band have put together since drummer Stephen Schrock and guitarist Zach Harkins were joined by bassist/vocalist Rose Heater, whose presence changes the dynamic twice-over, bringing voice to what was previously instrumental and adding low-end to the rhythm, thereby letting the guitar explore different directions. Which it would seem to be doing if “Dove” is any indication.

That the band traveled to Massachusetts to record with Kurt Ballou of Converge is a significant sign that how they’re thinking about what they do has changed, and perhaps that they’re looking to reach a broader audience than they had previously. Touring would help that too, but you know how that goes.

Album preorders are up, if you want to get on the action, and the track is streaming below:

CAVERN POWDERED

CAVERN: Maryland Atmospheric Post-Rock Trio To Release Powdered Full-Length Next Month; New Track Streaming + Preorders Available

Maryland-based atmospheric post-rock trio CAVERN will release their fourth full-length, Powdered, August 28th.

The six tracks comprising Powdered were recorded at GodCity Studio in Salem, Massachusetts with the legendary Kurt Ballou (Converge) and Zach Weeks and mastered by Magnus Lindberg (Cult Of Luna). Elaborates drummer Stephen Schrock, “The writing process for CAVERN has always been a very collaborative effort which normally results in [guitarist] Zach Harkins and I getting angry at one another over very minuscule elements of songs. [Bassist/vocalist] Rose [Heater] provided a very cool headed voice and approach when it came to getting the songs finished. We decided to record with Kurt at GodCity while we were driving back from a Canadian tour in 2019. We had already recorded a few songs at a different studio but wanted to take things to the next level. We had talked to Kurt before about recording when we were a two-piece but thought that he could really help us achieve the sound we wanted with this new material… We want our sound to be abrasive and loud but also groovy and bright at times. We all have such different influences and come from different backgrounds musically so we’re constantly trying to keep things interesting and have fun while also remaining thoughtful and heartfelt.”

In advance of the record’s release, CAVERN is pleased to unveil first single, “Dove.” Notes Heater of the track, “‘Dove’ was one of the last songs I wrote lyrics for on the record. The words that kept popping up created images of my own experience with anxiety. The song ended up being my representation of a panic attack.”

Powdered will be released independently on digital and vinyl formats. For preorders and to stream “Dove,” visit the CAVERN Bandcamp page at THIS LOCATION.

Powdered Track Listing:
1. River
2. Grey
3. Powdered
4. Red Moon
5. Dove
6. Fade Before The Flood

CAVERN was forged in 2012 by best friends Zach Harkins and Stephen Schrock. Over the span of eight years they’ve toured North America and recorded four albums.

While the band’s first two offerings — their self-titled 2013 debut and 2014 EP Tales Of Ruin — were a fusion of heavy progressive-leaning instrumentals and abrasive post-hardcore vocals often compared to the early work of Mastodon and Baroness, their third record — 2015’s Outsiders — was the band’s first instrumental effort. Teeth Of The Divine hailed a record that was, “harder than Russian Circles, more energetic than Pelican, and more progressive than anything post-American Don Caballero.”

Following the release of Outsiders, CAVERN spent a few years touring and writing their fourth record, Eater, which was unveiled in 2018. Teeth Of The Divine again weighed in championing the band’s, “untouchable melodies, tough musical turns, and unpredictable songwriting,” that, “wraps its arms around you and take you for the ride.” Shortly thereafter, the band saw the addition of Rose Heater on vocals/bass in late 2018. This updated lineup spent nearly two years writing and touring their newest material. This year welcomes their first full-length as a trio with Powdered. In an ever-changing world, CAVERN continues to challenge themselves and their listeners with a sound that keeps people guessing.

CAVERN:
Rose Heater- bass/vocals
Stephen Schrock – drums
Zach Harkins – guitars

http://www.cavernband.com
https://cavernmd.bandcamp.com/
http://www.facebook.com/cavernmd
http://www.instagram.com/cavernband
http://cavern.bigcartel.com

Cavern, Powdered (2020)

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Quarterly Review: Katatonia, Marmalade Knives, King Witch, Glass Parallels, Thems That Wait, Sojourner, Udyat, Bismarck, Gral Brothers, Astral Glide

Posted in Reviews on July 9th, 2020 by JJ Koczan

the-obelisk-qr-summer-2020

Welcome to the penultimate day of the Summer 2020 Quarterly Review. I can only speak for myself, but I know it’s been a crazy couple months on this end, and I imagine whatever end you’re on — unless and probably even if you have a lot of money — it’s been the same there as well. Yet, it was no problem compiling 50 records to review this week, so if there’s a lesson to be taken from it all, it would seem to be that art persists. We may still be painting on cave walls when it comes to the arc of human evolution, but at least that’s something.

Have a great day and listen to great music.

Quarterly Review #31-40:

Katatonia, City Burials

katatonia city burials

Like their contemporaries in My Dying Bride and Paradise Lost, the latter-day period of work from Sweden’s Katatonia veers back toward some measure of direct heaviness, as City Burials showcases in cuts like “Rein,” “Heart Set to Divide” and “Behind the Blood,” but more than either of those others mentioned, the Stockholm outfit refuse to forsake the melody and progressivism they’ve undertaken with their sound in the name of doing so. By the time they get to “Untrodden” at the end of the album’s 50-minute/11-song run, they’ve run a gamut from dark electronica to progressive-styled doom and back again, and with the founding duo of guitarist Anders Nyström and vocalist Jonas Renkse at the helm of the songwriting, they are definitive in their approach and richly emotive; a melancholy that is as identifiable in their songs as it is in the bands working under their influence. Their first work in four years, City Burials is an assurance that Katatonia are in firm ownership and command of all aspects of their sound. As they approach their 30th year, they continue to move forward. That’s a special band.

Katatonia on Thee Facebooks

Peaceville Records website

 

Marmalade Knives, Amnesia

marmalade knives amnesia

Boasting production, mixing and percussion from The Golden GrassAdam Kriney, Marmalade Knives‘ debut album, Amnesia, is a delight of freaky-but-not-overblown heavy psychedelia. Oh, it’s headed far, far out, but as the opening narration and the later drones of second cut “Rivuleting” make plain, they might push, but they’re not trying to shove, if you know what I mean. The buzz in “Best-Laid Plans” doesn’t undercut the warmth of the improvised-seeming solo, and likewise, “Rebel Coryell” is a mellow drifter that caps side A with a graceful sense of wandering the soundscape of its own making. The vibe gets spacey on “Xayante,” and “Ez-Ra” touches on a funkier swing before seeming to evolve into light as one does, and the 10-minute “Astrology Domine” caps with noise and a jammed out feel that underscores the outbound mood of the proceedings as a whole. Some of the pieces feel like snippets cut from longer jams, and they may or may not be just that, but though it was recorded in three separate locations, Amnesia draws together well and flows easily, inviting the listener to do the same.

Marmalade Knives on Thee Facebooks

Electric Valley Records webstore

 

King Witch, Body of Light

king witch body of light

Edinburgh’s King Witch toe the line between classic metal and doom, but whatever you want to call them, just make sure you don’t leave out the word “epic.” The sweeping solo and soaring vocals on the opening title-track set the stage on their second LP, the hour-long Body of Light, and as much mastery as the band showed on their 2018 debut, Under the Mountain (review here), vocalist Laura Donnelly, guitarist Jamie Gilchrist, bassist Rory Lee and drummer Lyle Brown lay righteous waste to lofty expectations and bask in grandiosity on “Of Rock and Stone” and the linear-moving “Solstice I – She Burns,” the payoff of which is a high point of the album in its layered shred. Pieces like “Witches Mark” and “Order From Chaos” act as confirmation of their Euro-fest-ready fist-pumpery, and closer “Beyond the Black Gate” brings some atmosphere before its own headbang-worthy crescendo. Body of Light is a reminder of why you wanted to be metal in the first place.

King Witch on Thee Facebooks

Listenable Records on Bandcamp

 

Glass Parallels, Aisle of Light

Glass Parallels Aisle of Light

Eminently listenable and repeat-worthy, Glass Parallels‘ debut LP, Aisle of Light, nonetheless maintains an experimentalist flair. The solo-project of Justin Pinkerton (Golden Void, Futuropaco), covers a swath of ground from acid folk to psych-funk to soul vibes, at times bordering on shoegaze but seeming to find more expressive energy in centerpiece “Asphyxiate” and the airy capper “Blood and Battlegrounds” than any sonic portrayal of apathy would warrant. United by keys, pervasive guitar weirdness and Pinkerton‘s at-times-falsetto vocals, usually coated in reverb as they are, Aisle of Light brings deceptive depth for being a one-man production. Its production is spacious but still raw enough to give the drums an earthy sound as they anchor the synth-laden “March and April,” which is probably fortunate since otherwise the song would be liable to float off and not return. One way or another, the songs stand out too much to really be hypnotic, but they’re certainly fun to follow.

Glass Parallels on Thee Facebooks

Glass Parallels on Bandcamp

 

Thems That Wait, Stonework

thems that wait stonework

Stonework is the self-aware debut full-length from Portland, Maine, trio Thems That Wait, and it shoulders itself between clenched-teeth metallic aggression and heavier fuzz rock. They’re not the first to tread such ground and they know it, but “Sidekick” effectively captures Scissorfight-style groove, and “Kick Out” is brash enough in its 1:56 to cover an entire record’s worth of burl. Interludes “Digout” and “Vastcular” provide a moment to catch your breath, which is appreciated, but when what they come back with is the sure-fisted “Paragon” or a song like “Shitrograde,” it really is just a moment. They close with “Xmortis,” which seems to reference Evil Dead II in its lyrics, which is as good as anything else, but from “Sleepie Hollow” onward, guitarist/vocalist Craig Garland, bassist Mat Patterson and drummer Branden Clements find their place in the dudely swing-and-strike of riffs, crash and snarl, and they do so with a purely Northeastern attitude. This is the kind of show you might get kicked at.

Thems That Wait on Thee Facebooks

Thems That Wait on Bandcamp

 

Sojourner, Premonitions

sojourner premonitions

Complexity extends to all levels of Sojourner‘s third album and Napalm Records debut, Premonitions, in that not only does the band present eight tracks and 56 minutes of progressive and sprawling progressive black metal, varied in craft and given a folkish undercurrent by Chloe Bray‘s vocals and tin whistle, but also the sheer fact that the five-piece outfit made the album in at least five different countries. Recording remotely in Sweden, New Zealand, Scotland and Italy, they mixed/mastered in Norway, and though one cringes at the thought of the logistical nightmare that might’ve presented, Sojourner‘s resultant material is lush and encompassing, a tapestry of blackened sounds peppered with clean and harsh singing — Emilio Crespo handles the screams — keyboards, and intricate rhythms behind sprawling progressions of guitar. At the center of the record, “Talas” and “Fatal Frame” (the shortest song and the longest) make an especially effective pair one into the other, varied in their method but brought together by viciously heavy apexes. The greatest weight, though, might be reserved for closer “The Event Horizon,” which plods where it might otherwise charge and brings a due sense of largesse to the finale.

Sojourner on Thee Facebooks

Napalm Records website

 

Udyat, Oro

udyat oro

The order of the day is sprawl on Udyat‘s recorded-live sophomore LP, Oro, as the Argentinian outfit cast a wide berth over heavy rock and terrestrial psych, the 13-minute “Sangre de Oro” following shorter opener “Los Picos de Luz Eterna” (practically an intro at a bit over six minutes) with a gritty flourish to contrast the tonal warmth that returns with the melodic trance-induction at the start of “Los Ășltimos.” That song — the centerpiece of the five-track outing — tops 15 minutes and makes its way into a swell of fuzz with according patience, proceeding through a second stage of lumbering plod before a stretch of noise wash leads pack to the stomp. The subsequent “DespuĂ©s de los Pasos, el Camino Muere” is more ferocious by its end and works in some similar ground, and closer “Nacimiento” seems to loose itself in a faster midsection before returning to its midtempo roll. Oro borders on cosmic doom with its psychedelic underpinnings and quiet stretches, but its movement feels ultimately more like walking than floating, if that makes any sense.

Udyat on Thee Facebooks

Udyat on Bandcamp

 

Bismarck, Oneiromancer

Bismarck Oneiromancer

To anyone who might suggest that extreme metal cannot also be forward-thinking, Bismarck submit the thoughtful bludgeon of Oneiromancer, a five-song/35-minute aesthetic blend that draws from doom, death, hardcore and sundry other metals, while keeping its identity in check through taut rhythm and atmospheric departures. Following the chants of opening intro “Tahaghghogh Resalat,” the Chris Fielding-produced follow-up to Bismarck‘s 2018 debut, Urkraft (review here), showcases an approach likewise pummeling and dynamic, weighted in ambience and thud alike. “Oneiromancer” itself starts with blastbeats and a plundering intensity before breaking into a more open midsection, but “The Seer” is absolutely massive. Despite being shorter than either the title-track or “Hara,” both of which top nine minutes, and closer “Khthon” underscores the blood-boiling tension cast throughout with one last consuming plod. Fucking raging. Fucking awesome. Pure sonic catharsis. Salvation through obliteration. If these are dreams being divined as the title hints, the mind is a limitless and terrifying place. Which, yes.

Bismarck on Thee Facebooks

Bismarck on Bandcamp

 

The Gral Brothers, Caravan East

gral brothers caravan east

I won’t say it’s seamless or intended to be, but as Albuquerque, New Mexico, two-piece The Gral Brothers make their initial move on Caravan East between cinematic Americana and industrial brood, samples of dialogue on “Cactus Man” and violin in the seven-minute soundscaper “In Die Pizzeria” seem to draw together both a wistfulness and a paranoia of the landlocked. Too odd to fall in line with the Morricone-worship of Cali’s Spindrift, “Crowbar” brings Spaghetti West and desert dub together with a confidence that makes it seem like a given pairing despite the outwardly eerie vibes and highly individualized take, and “Santa Sleeves” is beautiful to its last, even if the lone bell jingle is a bit much, while “Silva Lanes” pushes even further than did “Circuit City” into mechanized experimental noisemaking. They end with the birdsong-inclusive “Ode to Marge,” leaving one to wonder whether it’s sentiment or cynicism being expressed. Either way, it’s being expressed in a way not quite like anything else, which is an accomplishment all on its own.

The Gral Brothers on Thee Facebooks

Desert Records on Bandcamp

 

Astral Glide, Flamingo Graphics

astral glide flamingo graphics

When you’re at the show and the set ends, Flamingo Graphics is the CD you go buy at the merch table. It’s as simple as that. Recorded this past March over the course of two days, the debut album from Floridian foursome Astral Glide is raw to the point of being barebones, bootleg room-mic style, but the songwriting and straightforward purposes of the group shine through. They’re able to shift structures and mood enough to keep things from being too staid, but they’re never far off from the next heavy landing, as “Devastation” and the closer “Forever” show in their respective payoffs, that latter going all out with a scream at the end, answering back to the several others that show up periodically. While their greatest strength is in the mid-paced shove of rockers like “Space Machine” and “Scarlett” and the speedier “Workhorse,” there are hints of broader intentions on Flamingo Graphics, though they too are raw at this point. Very much a debut, but still one you pick up when the band finishes playing. You might not even wait until the end of the show. Meet them back at the table, and so on.

Astral Glide on Thee Facebooks

Astral Glide on Bandcamp

 

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Swarm of Flies Post New Single “The Jaunt”

Posted in Whathaveyou on July 8th, 2020 by JJ Koczan

swarm of flies group jaunt

If the vibe of the second Swarm of Flies single strikes you as having a different vibe from the first, that’s at least in part because it’s also got something of a different lineup. While project-spearhead/guitarist Ken Wohlrob and bassist Davis Schlachter make a return — they’re bandmates in End of Hope; Wohlrob also fronts Eternal Black, Schlachter doubles (triples?) in Reign of Zaius — they’re joined by a Philadelphia contingent of Thunderbird Divine‘s Erik Caplan and Clamfight‘s Andy Martin.

It’s Martin to whom the vocal duties fall on “The Jaunt,” and he weaves a tale of sci-fi paranoia and conspiracy that’s only suited to whatever clever name history will someday give what we’re now calling “this moment” that we’re living through. It’s a spoken word piece, and the music behind is correspondingly atmospheric, which itself is a departure from the prior “Mine All Along” (posted here), but if the end-goal of Swarm of Flies is to create an album’s worth of collaborations, the Wohlrob and Schlachter serve a vital function in tying it all together.

But really, what’s a guy gotta do to get an invite to do a track, huh? Is it ‘sit here and be jealous?’ Because that I can do.

Here’s info and audio:

Swarm of Flies The Jaunt

Pandemic-project Swarm of Flies releases second single, “The Jaunt,” featuring members of Eternal Black, Clamfight, Thunderbird Divine, Reign of Zaius, and End of Hope.

A few words from Ken Wohlrob (Eternal Black, End of Hope):

Swarm of Flies is a collaborative musical project made up of musicians from well-established underground bands. The goal is to continue to release new music during the coronavirus pandemic. Our second single, “The Jaunt,” is now available as a name-your-price download on Bandcamp (swarmofflies.bandcamp.com) and is also available via online streaming services including Spotify and Apple Music.

The Song

As always, the S.O.F. lineup changes with each track. “The Jaunt,” features Andy Martin from Clamfight on vocals, Erik Caplan from Thunderbird Divine on guitar, drones, and harmonica, Davis Schlachter from Reign of Zaius and End of Hope on bass, synthesizer, and piano, and myself on guitar, Moog, and programming. This song is a strange one and the journey it went through from a somewhat minimalist dirge into a sort of space-rock epic speaks to the collaborative process. Erik is a flurry of creative ideas and threw so many layers at me that the challenge became finding the sonic bandwidth to make all the parts fit. The piano part added by Davis became an important counterpoint to all the electronic noise and his bassline anchors the whole thing in the Bad Seeds tradition. Andy had the idea for a spoken word part early on, but when we finally heard what he cooked up, we were stunned. It sets this dark tone and then builds to a great revelation. We handed it over to our good friend Joe Kelly, of Suburban Elvis Studios, to mix and master it, as well as add some additional percussion. It is a headphones song. You’ll keep hearing different layers every time you listen to it.

Comments from Erik:

“‘The Jaunt’ initially arrived as a sort of a puzzle challenge from Ken. The song is in an awkward key, and it’s in a janky time signature. It’s gloomy and moody. Once I figured out the progression, I had to figure out where I fit into the equation. This isn’t a song for guitar shredding, and it’s not a rocker or a doom jam. So I did a little Doors surf guitar and added some drone manipulations. I think the end result is simultaneously trippy, intense and organic.”

Comments from Andy:

“Lyrically, ‘The Jaunt’ was born of a collision between astrological alignments of Neolithic monuments, the Space Race during the Cold War, and the Repo Man soundtrack. The world we currently exist in is one that’s both isolated and unintentionally intimate. People are cut off from each other yet we can broadcast every moment of our lives to the those in our social circles. That made it easy to imagine being isolated from someone while having intimate access to their last moments.”

Who?

Here is a list of musicians who have participated in the Swarm of Flies project so far:
Andy Martin from Clamfight
Erik Caplan from Thunderbird Divine
Davis Schlachter from Reign of Zaius, Clothesline, and End of Hope
Earl Walker Lundy from Shadow Witch
David Richman from Witch Taint, St. Bastard, and End of Hope
Joe Kelly and Kol Marshall from Suburban Elvis Studios
And myself (if you don’t know who I am) from Eternal Black and End of Hope

https://swarmofflies.bandcamp.com/
https://www.facebook.com/swarmoffliesband

Swarm of Flies, “The Jaunt”

Swarm of Flies, “Mine All Along”

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