Fuzznaut Premiere New Single “Haunting Mantra” out This Week

Posted in audiObelisk on October 27th, 2020 by JJ Koczan

fuzznaut

Pittsburgh one-man drone outfit http://www.kvalitne-tepelne-cerpadla.sk/university-assignment-help-toronto/ - Proofreading and proofediting aid from best writers. Only HQ writing services provided by top specialists. Essays Fuzznaut will release the new single Professional find more info in UK from PhD level experts. These thesis editing service are affordable in prices and best in aspect of quality. Haunting Mantra on Friday, Oct. 30. It is a crowded pre-Halloween release date, to be sure, but one expects few among the multitudes will so effectively convey the paranoia and uncertainty of the right-now in which we’re living. Part X-Files soundtrack, part post-metallic atmospheric sludge tonality, part pure exploration, the 8:40 work from guitarist You always have a perfect opportunity not just to woodlands homework help victorians an essay, but also to control the entire process of its creation. You can contact your Emilio Rizzo follows the 2019 debut http://www.inaf.ulaval.ca/?714 Help, Do My Accounting project and homework Help Do My Accounting Project Help Introduction When you ask us if we can "Do my Fuzznaut EP, Our Best Ghost Writers. there are plenty of Apa Format For Research Papers today but donít let the price of their services fool you into hiring their services. Form is Emptiness (review here), and though it is comprised of material from the same sessions, it feels less specifically Americana-gothic than the prior offering. That could be an affect of the way in which the song was built up from already-recorded pieces, but either way, the somethingelseness works to its benefit.

A clean creeper of a guitar progression — bass, drums, vocals, keys, etc. need not apply — if offset by dense distortion that carries a home-recorded feel as if to emphasize the notion that some projects were just made to exist in an age of quarantine.¬† Dismissal Tenured Teacher Dissertations and our team of writers that are dedicated and reliable will give you the best results at reasonable prices when you pay for Rizzo isn’t out to put on a technical show, but there is a precise feeling to the tempo at which “Haunting Mantra” plays out, and the track’s title serves double-duty as a mission statement. The arrangement is of course sparse, but too restless ultimately to be minimal —¬† Best assignment help services in UK. 24/7 help with assignments online. Avail best price on writing services from top Writing A Dissertation Synopsis in UK Ė My Rizzo gives himself away as a writer of riffs in an underlying sense of structure to the track — and you can read in the track info below that the guitarist is playing toward notions of tonal weight and creating something “heavy” in the sense of heavy rock or doom while bringing that to a sound based on drone. Such stylistic aims don’t necessarily account directly for the mood in “Haunting Mantra,” but neither do they dismiss it.

It is perhaps the experimentation in “Haunting Mantra” that most resonates, at least in terms of concept, and the fact that¬† http://www.pn.camcom.it/?disney-internal-and-external-environments enlists a contact phone number and an email in the upper left corner of the home page. You can use these contact details to call them or write an email. The site also has alive chat function, but before you can talk to anyone you need to give your name and email address and then select the questiontopic. Rizzo is willing to pull pieces apart and remake them in such a way only holds promise for things to come from¬† You get Expert Writers to write my Essay for me here. After all, Stop wondering who will Math Help Algebra 2. Fuzznaut as his palette continues to expand, even if that just means working with different effects, loops, etc., to create varied atmospheres. One way or the other, the track is indeed a work of heaviness, and you can hear it premiering below ahead of the glut of offerings out this weekend.

Please enjoy:

‚ÄúHaunting Mantra‚ÄĚ is an 8 + minute sonic experience of echoing riffs and reaping heavy fuzz. The music bursts between lurking feelings of dread, and elation. These atmospheres take hold with pounding intensity. The original pieces were set for ‚ÄúForm Is Emptiness‚ÄĚ sessions but were deconstructed and reformed to provide this current offering of earth-shattering tones.

Release Date: October 30, 2020

Music By FUZZNAUT recorded at Strega Sana V2.

Mixed and Mastered by Viking Guitar Productions

Fuzznaut, Form is Emptiness (2019)

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Mengers Post “Pantitl√°n” Video

Posted in Bootleg Theater on October 26th, 2020 by JJ Koczan

mengers

The recently-issued single by Mexico City heavy psych rockers¬† We provide Purchase A Research Paper services by professional editors who are trained for editing academic documents including thesis and dissertations. Order our Mengers is the third the three-piece have put out in 2020, and it comes preceded by May’s¬† Looking for the best Write My Physics Paper I Pay Yous provider for your essay, term paper, research paper or any academic document? Try our services today Tiempos Suicidas / No Hay Futuro and March’s¬† Need http://centre.allevard.montreuil.fr/?easy-essay-writer? Our accounting tutors are available 24/7. Ask a accounting question now! Celebra. What distinguishes You want a professional writer to complete a news for you? Hire the best paper writing service. The prices are affordable. We meet any deadline. Pantitl√°n as a release from those two- and one-track outings is the lack of mention of the full-length from which it might come. That album would be the second for It has never been this easy to professional resume writing utah. It's also safe as well. We guarantee you 100% plagiarism-free content and confidentiality. Mengers behind last year’s Aga aga naka busangot ? College Resources justice College Admissions A collection of outstanding admission essays to help you approach your own I, and it’s been given the title Golly¬†and set for release through the revived imprint¬†Devil in the Woods. Release date unsure, like, well, everything else.

“Pantitl√°n” is named for a metro station on the Mexico City subway system, and the portrayal of the commuter rail makes up the video itself with due comings, goings and in-betweens. All this motion is accompanied that by of the song, which is more ethereal perhaps in its space-ready fuzz, blown out and set to a classic kind of push given further momentum by the energy with which it’s issued. And oh, the tone. And oh, the echoes. Psychedelic immersion meets with sun-shining push, languid and flowing, but not shooting for graceful so much as spacious and getting there easy, effects continuing to spread in airy guitar even as the song itself has moved onto the next measure.

They cross the halfway mark of “Pantitl√°n” teasing heavier riffery, and you don’t throw that in at all if it’s not going to return. It does, as lead-in for a down-the-tracks jam that uses consistency in the snare to evoke the feeling of a train en route, chugging forward on its appointed path. “Pantitl√°n” is ultimately more fluid and less bound to a set of rails than one thinks of trains being — they seem ready to wander in terms of sound — but the vibe in the song is right-on “whatever, just go with it,” and the argument it makes in that regard is not one against which I’m likely to fight. So yeah, go with it.

And when you’re done going with “Pantitl√°n,” go with the rest of the stuff on their Bandcamp and get yourself stoked up for¬†Golly, about which I’ll hope to have more info in the coming days/weeks/whenever.

Enjoy the video:

Mengers, “Pantitl√°n” official video

Spotify: https://spoti.fi/3dbKFHK
Apple Music: https://apple.co/2GHEvmT
YouTube: https://youtu.be/tBQsaLI09Js

Video por Pablo Calderón @perrolocorocanrolero666

Producida por Hugo Quezada Monroy en Progreso Nacional, Col. San Rafael CDMX.
Masterizada por Harris Newman en Grey Market Mastering, Montreal CA.

Mengers
Guitarra, Voz: Carlos Calder√≥n √Āngeles
Bajo: Mauricio Daniel Su√°rez Hern√°ndez
Bater√≠a: Pablo Arturo Calder√≥n √Āngeles
Sintetizadores: Hugo Quezada Monroy

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The Grand Astoria Stream “Us Against the World”; From the Great Beyond out Nov. 30

Posted in Whathaveyou on October 23rd, 2020 by JJ Koczan

Three years between new releases isn’t at all uncommon, but for Russia’s The Grand Astoria, it would seem to be a bit longer than they’d prefer. At least if the “finally” below is anything to go by. Band founder and spearhead Kamille Sharapodinov hasn’t been idle since 2017’s many-pedaled The Fuzz of Destiny EP (review here), as other projects The Legendary Flower Punk and¬†Slovo Mira have brought new outings to fruition, and even¬†The Grand Astoria have posted a couple live recordings to Bandcamp, but for an act not strangers to putting out multiple releases the same year, I guess it’s fair enough they’d be ready to offer up something new. Hello,¬†From the Great Beyond.

The EP has been given a Nov. 30 release digitally, and I’m not sure if there’s a plan for a physical version as yet, or if one is intended or what, but with the eight-minute “Us Against the World” currently streaming via Bandcamp and preorders up, I’m already wondering how much of an EP this is as opposed to an LP — entirely possible the other five tracks are all two minutes long; one never knows with¬†The Grand Astoria and that’s why it’s fun — and already encouraged by the scope of the band’s continually progressive take on heavy rock and roll.

Note also “Ten Years Anniversary Riff” as a follow-up to “Eight Years Anniversary Riff” from¬†The Fuzz of Destiny. May they continue that count.

Here’s info cobbled together:

the grand astoria from the great beyond

New music from The Grand Astoria finally!

Our EP “From the Great Beyond” will be out on November 30.

Listen to the first single and pre-order the digital version here: https://thegrandastoria.bandcamp.com/album/from-the-great-beyond-ep

Enjoy and spread the word please!

Tracklisting:
1. From The Great Beyond
2. Wasteland
3. Njanatiloka
4. Us Against the World
5. Anyhow
6. Ten Years Anniversary Riff

Recorded by Danila Danilov in Red Wave Studio (St.Petersburg). Mixed and Mastered by Nick Samarin in Orange Studio (Moscow).

The Grand Astoria are:
Kamille Sharapodinov – lead, rhythm and acoustic guitars, lead and backing vocals, percussion
Danila Danilov – lead and backing vocals, percussion, keyboards (2), recording and editing
Alexander Vorontsov – bass
Konstantin Smirnov – drums
Gleb Kolyadin – keyboards (1,3,4,5)
Igor Suvorov – lead guitar (3)
Kirill Ildyukov – lead guitar (4)
Denis Kirillov – flute
Boris Shulman – banjo (5), backing vocals (1,5)
Sophia Miroedova – artwork

https://facebook.com/thegrandastoria2009/
https://thegrandastoria.bandcamp.com/

The Grand Astoria, From the Great Beyond EP

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Review & Full Album Premiere: Uncle Woe, Phantomescence

Posted in audiObelisk, Reviews on October 21st, 2020 by JJ Koczan

uncle woe phantomescence

[Click play above to stream Phantomescence by Uncle Woe in its entirety. Album is out Oct. 23 on Packard Black Productions.]

An undercurrent of precision pervades the inward-looking expanse of Uncle Woe‘s second full-length in less than a year,¬†Phantomescence. The four-track release runs 40 minutes on the dot, with half comprising exactly 20 of those 40 split into two songs, one about six and a half minutes and the other over 13. As the tracks are filled out with silence at the end, it seems entirely purposeful that¬†Phantomescence¬†was constructed this way, though I’ll admit to not really knowing what purpose such symmetry is intended to serve. It might just be a means of exerting some control on the part of founding vocalist, guitarist, bassist and keyboardist Rain Fice — who executed late-2019’s Our Unworn Limbs (review here) completely as a solo-project — over what seems like a chaotic torrent of emotional and crunching, angular sounds.

Fice¬†mixed, mastered and did the cover art for¬†Phantomescence, and is credited with the majority of the writing as well, but¬†the new collection also sees¬†Uncle Woe beginning to expand toward a fuller lineup with the addition of drummer¬†Nicholas Wowk. Also credited with writing on opener “Become the Ghost,” Wowk would seem to have recorded his own drum and percussion parts, which since¬†Fice did likewise hints toward a made-in-quarantine process behind the album as a whole, but somehow that only seems fitting for the kind of aesthetic craft the duo are honing. Rawer in its overall production style than was the debut,¬†Phantomescence¬†pursues a similar course of grunge-infused cosmic doom, bringing a crunch reminiscent of¬†YOB at Atma‘s most jagged (speaking of “shores”) to back howls that call up images of Layne Staley circa¬†Alice in Chains‘¬†Facelift. It is a powerful combination across these songs, and it should be noted that just because the record is raw does not mean it can’t also create an atmosphere, which¬†Phantomescence¬†most certainly does in its overarching sense of decay that even the track titles seem to acknowledge: “Become a Ghost” and “On Laden Shores” on side A and “Lucid Degrees of Autoscopic Ruin” and “Map of Dead Stars” on side B.

Some keywords: ghost, laden, ruin, dead. These are clues to the ambience that makes¬†Uncle Woe even heavier than simple tones ever could. That’s not to take away from the performance aspect of the songs, since “Become the Ghost” establishes early both the crushing aspects of the record to unfold and the progression¬†Fice has undertaken as a vocalist — he is audibly more confident in his layering here with a debut behind him — but¬†Phantomescence is more about the consuming entirety of the sound rather than the elements that comprise it; all the pieces¬†Fice and¬†Wowk bring to the proceedings being put to serve the expression of the album itself. Indeed, even¬†Wowk‘s drums seem to be positioned in the mix to feed into the mood, so that they are not just about grounding Fice‘s riffs, but also adding to the tumult.

uncle woe

This can be heard as “Become the Ghost” lumbers past its midpoint, before it moves into its extended, dreamy solo and back for a massively chugging apex to finish out — the lead track essentially building the world in which the rest of what follows will take place in terrestrial and ethereal terms alike. “On Laden Shores” begins quieter and as it’s more than twice as long would of course have more space in which to flourish and unfold gradually, but maybe the more apt comparison point for “Become the Ghost” is its side B counterpart “Lucid Degrees of Autoscopic Ruin.” The title references autoscopy, which is the act of seeing through another perspective, and if that’s what’s happening across the 6:46 leadoff to the second half of¬†Phantomescence, the feel mournful in¬†Pallbearer-style form, but again, rawer and made¬†Uncle Woe‘s own like the influences noted above. The emotionality on naked display is more in focus through “Lucid Degrees of Autoscopic Ruin” than anywhere else on¬†Phantomescence, including “Become the Ghost,” but it’s the patience with which it’s delivered that most ties it to the finale in “Map of Dead Stars.”

To be sure, “On Laden Shores” caps the first half of the LP with its own vision of melancholic lumbering — and when it comes right down to it, it’s not like¬†Our Unworn Limbs was bouncing off the walls either; these are relative degrees we’re talking about — but it becomes a question of tipping balances in¬†Uncle Woe‘s sound. The fullness of lurch in “On Laden Shores” indeed invokes waves, and its melody carried by the vocals complements early while giving way to more guttural roars later, only to drift into silence at the end. “A Map of Dead Stars,” meanwhile, also begins with a quiet guitar figure, but follows a more patient path to its moment of surge, and much as “Become the Ghost” informs¬†Phantomescence as a whole, so too does that opening of “A Map of Dead Stars” affect what comes after, which wants nothing for heft.

The wistful last solo, the relatively brief stretch of melodic vocals and gritty wailing and the outright pummeling march that answers it to round out “A Map of Dead Stars” — with feedback giving way to a from-the-ground-up build that pays off in noisier fashion than anything preceding — are a fitting and efficient summary of Uncle Woe‘s evolution in progress, and there is nothing to indicate that the development between their 2019 offering and this one will stop here. If anything, the work Uncle Woe put into¬†Phantomescence reaffirms the potential of their debut while standing as an accomplished stride forward from it. As to where anything might lead, I couldn’t and wouldn’t say, but what’s happening in these songs is¬†Uncle Woe‘s continued discovery — and¬†Fice‘s continued discovery — and refinement of their own creative process. The individual sensibility that emerges from¬†Phantomescence is not to be taken lightly, and neither is the movement toward a complete, stage-ready lineup of the band. Again, unclear future (to put it mildly), but such multifaceted growth is rare.

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Bunny Racket Post “Moon Buggy” Video; Bunny Racket in Space out Now

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

bunny racket

At this point, I’m not sure anymore who likes Bunny Racket more, me or my son. The Pecan — about to turn three in less than a week’s time — was duly transfixed yesterday when I showed him the Australian kid-friendly heavy rockers’ video for “Moon Buggy,” which comes from their new album, Bunny Racket in Space, and as ever from my own point of view, I couldn’t help likewise appreciating the song’s complete and total lack of pretense. They’re not pretending fun doesn’t exist or that making and playing music together isn’t fun. And they’re engaging their audience without dumbing down the material. It’s simple but not at all unclever, talking about moon buggies carrying balloons and riding into the night — the dark side of the moon, in other words — and all that.

Along with Bunny Racket‘s take on “Stagger Lee,” and other recent clips like “Rock Like an Animal” and the perhaps-forever-on-regular-rotation “Woolly Mammoth on a Motorcycle,” the “Moon Buggy” video continues to serve as a fitting argument that whichever streaming service it might be — Netflix, Amazing, Hu-ever — should immediately set about financing a Bunny Racket show based around these songs. I have to imagine you could get a whole season out of Bunny Racket in Space. Plus you’d have cameo opportunities for the likes of Brant Bjork and¬†Ed Mundell! And then in 25 years they can do a gritty reboot for the adults who were the kids who watched the original and everyone can make even more well-deserved money.

I’m not even asking for an executive producer credit. Just make it happen.

Enjoy the video:

Bunny Racket, “Moon Buggy” official video

2020. Wow.

If nothing else, it really has been an incredible year for space travel. And that is exactly what these punk-rock bunnies have been doing. Travelling the outer reaches of the Solar System, they searched for a new sound to share with planet Earth’s radical kids. The mission has been successful. With a little help from some like minded space rockers – Brant Bjork (Kyuss/Fu Manchu) and Ed Mundell (Monster Magnet), the intergalactic stage has been set for a new chapter in the Kids rock ‘n’ roll playbook.

Now Bunny Racket are back from outer space with a brand new album and the first of a new series of music videos!

Bunny Racket In Space – this new album is out of this world!

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End of Hope Announce March 2021 Release for Cease & Destroy LP

Posted in Whathaveyou on October 19th, 2020 by JJ Koczan

end of hope

I’ve written about End of Hope a couple times before. When their demo came out in 2018, when they released their first album, Cease and Destroy (discussed here) in 2019, so now that the latter is coming out on vinyl through Colorado’s Chain Reaction Records, I’m more than glad to follow-up and let anyone who might see this know about it, even though since it’s hardcore, it’s not exactly what generally gets covered around here.

As to the question of why not, well, I’m not really into hardcore. And as to the next question of why I’m covering¬†End of Hope as an exception to that rule, it’s both because their songs are pretty cool even if they’re not my thing and because they’re relevant by proximity, if not directly so. Dude up on the right there is Ken Wohlrob from¬†Eternal Black. Hanging out in back is Davis Schlachter from¬†Reign of Zaius, and both of those groups have been covered here many times, so yeah, relevant. In any case, you haven’t spent any money on vinyl yet today — unless you have, in which case, you’ve already got the ball rolling — so it seems to me you might as well put that itchy trigger finger to good use and at least check out the record if not preorder the LP.

Details came down the PR wire:

end of hope cease and destroy

End of Hope’s Cease & Destroy to get vinyl release via Chain Reaction Records

Pre-orders available now via the label and band sites.

END OF HOPE ‚ÄĒ comprised of members from several well-known New York City acts including Kraut, St. Bastard, Reign of Zaius, and Eternal Black ‚ÄĒ will release their debut album, Cease & Destroy, on vinyl for the first time via CHAIN REACTION RECORDS. The vinyl version of Cease & Destroy will be released in early March 2021. Fans can pre-order the limited-edition vinyl via the band‚Äôs Bandcamp page (endofhope.bandcamp.com) and Chain Reaction Records site (chainreactionrecords.com).

Cease & Destroy features nine songs in the band‚Äôs trademark Mot√∂rhead-meets-Black Flag style ‚ÄĒ a potent cocktail of high-volume speed rock and anthemic choruses. It was first released on CD and as a digital download on November 19, 2019 via the band‚Äôs Arc of Movement Records. The limited-edition vinyl will be available on green vinyl and limited to 300 copies. The music was mastered for vinyl by Joe Kelly of Suburban Elvis Studios who produced Cease & Destroy along with Kol Marshall.

According to guitarist Ken Wohlrob, ‚ÄúWe‚Äôre super damn excited to be working with Josh and Justin at Chain Reaction Records.‚ÄĚ He added, ‚ÄúThey‚Äôve already helped spread the word about us through their shop and it means a lot that they‚Äôre willing to step-up and help us to finally release a vinyl version of Cease & Destroy.‚ÄĚ Josh Lent of Chain Reaction Records says of the band, ‚ÄúWith Sabbath reeking riffs, End of Hope pushes Hardcore forward while respecting their Punk Rock roots. Black Sabbath. NYHC. END OF HOPE.‚ÄĚ

Cease and Destroy track listing:
1. Hypocrisy
2. Last Night
3. Guilt Trip
4. The Hardest Thing
5. What Was I Thinking?
6. End of Hope
7. Excessive Fortune
8. The Deal
9. Arc of Movement

End of Hope is:
Davey Gunner: Vocals
Dave Richman: Drums
Davis Schlachter: Bass
Ken Wohlrob: Guitars

https://endofhope.bandcamp.com/
https://www.facebook.com/endofhopenyc/
https://www.instagram.com/endofhopenyc/
https://twitter.com/endofhopenyc
https://soundcloud.com/endofhope
http://www.chainreactionrecords.com/
https://www.facebook.com/chainreaction303/

End of Hope, Cease and Destroy (2019)

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The White Swan Post Video for Tracy Bonham Cover “Tell it to the Sky”

Posted in Bootleg Theater on October 15th, 2020 by JJ Koczan

the white swan (Photo by Kandiss Bradley)

Ontario’s The White Swan released their Nocturnal Transmissions EP (review here) last month as their fourth short release since 2016. Prefaced by three originals of a rolling and atmospheric sludge style, the offering rounded out with a cover of “Tell it to the Sky,” originally by singer-songwriter Tracy Bonham¬†and featured on her 1996 debut,¬†The Burdens of Being Upright. Obvious sonic disparity between¬†The White Swan and Bonham, but it’s fair enough ground for reinterpretation, since one can hardly argue about the solid structural foundation of the original. It’s amazing how many shapes a verse and chorus can take.

You might notice in the video for The White Swan‘s take on “Tell it to the Sky” that the band in the clip is decidedly not the band in the photo above. I’m not sure what happened between photo and video shoots to revamp the group, but you can pretty clearly see in the clip it’s a COVID-era work. Although all three members of the trio appear, don’t actually ever share the same space, and stills from the filming posted on social media include the pretty-minimal crew working with masks on and so forth. These are the times we live in. One looks forward to a great who-knows-when, at which point individuals might be able to be in the same room without worrying about “precautions” for anything other than social awkwardness.

Speaking of, in a perfect world, I’d be perfectly happy to be the weirdest dude at a¬†The White Swan show.

Enjoy the video:

The White Swan, “Tell it to the Sky” official video

Atmospheric sludge rock unit, THE WHITE SWAN, are pleased to unveil the video accompaniment to their cover of Tracy Bonham’s “Tell It To The Sky.” The track is featured on the band’s Nocturnal Transmission EP released last month. Spearheaded by Kittie’s Mercedes Lander, alongside Kira Longeuay and Shane Jeffers (Bloodmoon Collective), Nocturnal Transmission delivers over twenty minutes of sprawling, melodic sound waves.

In December 2019, THE WHITE SWAN recorded three songs and a cover of what can only be described as love songs. Lander has penned lyrics that chronicle the joy, desire, longing, and eventual feeling of completeness that comes with a romantic relationship. From the night drives through the snow in the early days, right through to the handcrafted guitar built as a wedding gift from her now husband, the intricacies of true love permeate every moment of Nocturnal Transmission.

Describing Nocturnal Transmission as a “turning point” for the band, the album art by collage artist Caitlyn Grabenstein reflects the feeling of standing on the precipice, staring into the unknown. Acknowledging that there will always be a constant sound to THE WHITE SWAN, Lander states that their main intention is to “grow and grow.” With an ever-developing sound and a solid combination of creative musicians in their ranks, Nocturnal Transmission is the latest in what is sure to be an ever expanding back catalog of triumphs.

The White Swan, Nocturnal Transmission (2020)

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Francis Roberts Sets Nov. 6 Release for Story From Another Time

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

francis roberts

Being released exclusively as a tape and a download on Nov. 6, Story From Another Time is not at all the first 2020 release from Old Man Wizard and King Gorm guitarist/vocalist Francis Roberts to be put out under his own name. To trawl through his Bandcamp is to fine a swath of recent live and home-recorded offerings based around weaving soundscapes from synth and electric guitar, but the prolific nature of Roberts‘ work is befitting the form of what he’s doing — as well as someone with home recording capability stuck this year in a pandemic lockdown — and the atmosphere in which he’s operating is cinematic enough that he’s doing actual soundtracks and scores at this point.

Dude keeps busy though — and if you didn’t hear the King Gorm self-titled (review here) earlier this year, you should do that too — but one of the two 18-minute tracks on Story From Another Time is streaming now, and tapes are limited to 33 copies, so as far as I’m concerned, this is a good time.

Word came from the PR wire thusly:

francis roberts story from another time

FRANCIS ROBERTS TO RELEASE NEW ALBUM

Known for his work in Old Man Wizard and King Gorm, producer, composer, and multi-instrumentalist Francis Roberts will release the cinemtatic album Story From Another Time on November 6th in digital and cassette formats. The two tracks, each over eighteen minutes long, are described as ” a film score for your imagination” — and they do indeed transport listeners to “another time.”

Roberts said of the album, ” I wrote and recorded this a few months ago, inspired by additional material and concepts that didn’t make it into my score for a portion of the forthcoming film The Spine of Night. I was so pleased with the result that I decided I had to let it sit while I planned a more proper release. I did this to push the limits of my ability to compose campy 1970s style cinematic music. It’s one of my favorite recordings I’ve created.”

“I used pretty much all of my synthesizers and samplers to record it, with the basis of side one being a heavily edited and resampled guitar improvisation and the basis of side two being seemingly endless string loops and bizarre Berlin school style sequences. The album artwork is from a painting called Slayer of the Old Wyrm by Valin Mattheis, one of my favorite currently active artists (whose work you may recognize from my releases with Old Man Wizard). The album will be available digitally and as a very limited cassette (33 copies).”

Preorder the album on bandcamp: https://francisroberts.bandcamp.com/album/story-from-another-time

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Francis Roberts, Story From Another Time (2020)

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