Dust Mice Release Earth III Today

Posted in Whathaveyou on April 16th, 2021 by JJ Koczan

dust mice

Hit up the usual-suspect streaming outlets and you’ll be able to hear click site come in three flavors. Learn the differences and how to choose the right one. Learn about revision-shock and how to avoid it. Earth III, the debut album from Seattle’s http://www.infotel.cz/?research-proposal-on-leadership - top-ranked and cheap report to ease your education Forget about those sleepless nights writing your coursework with our Dust Mice, out today. In addition to reimagining An excellent biography should be written professionally. We have experienced and highly trained biography writers. Seek our Critical Thinking Websitess Black Sabbath‘s “Solitude” as a speedy Graduate Research Proposal and Writing Services Online. Coming up with an authentic annotated bibliography paper can be a tasking venture Hawkwindian space jaunt, laced with sax and keys, the record runs a gamut of psychedelia, marked out by the stomp of opener “Choom Wagon” and the shake in “Hepatitis X” — dire of lyric and vital of groove — onward into the trippy ever-forward motion of “Desert Bus” and the drift-at-last “MTN Wizzards,” which caps. You’re gonna get knocked around a bit by some electromagnetic interference, but who the hell ever said visiting the cosmos would be a smooth ride the whole way through? The bumps and bruises garnered along the way five the eight-song offering all the more character to work from.

Space. Rock. Vibe. Rock.

Out today, you say? Don’t mind if I do.

Think of the PR wire preliminary data as a pre-flight checklist. Half-impulse. Take us out:

dust mice earth iii

Space rockers Dust Mice release eclectic new album Earth III

Earth III is the new album from Dust Mice, a 5-piece Space-Garage band from the Pacific Northwest. Analog synths, distorted saxophone and raw guitar combine with a driving rhythm section to deliver spaced out garage rock with influences from New Wave Sci-Fi, post-punk, and classic metal. Previous work includes 2 EPs and a digital single, which are all available (including bonus live tracks) on the Super Moon Fetus compilation.

Earth III is the band’s first full-length album and follows up on the themes introduced in their EP, Moon Fetus. The album was written while the band was actively gigging and the final form of many of the songs was worked out on-stage before tracking the album live. To get the layered, out of control sound Dust Mice hunkered down for a session of overdubs and extended jams. Those tracks were cut up and mixed throughout the album as sonic connective tissue, mimicking the chaotic sonic assault of a live Dust Mice show.

Lyrical themes explore tales of wizard cults (MTN Wizzards), suicidal androids (Eye Make You Eye), the existential burden of living on a generation starship (Hepatitis X), and the self-mythologizing failures of American Imperialism (Choom Wagon, Sky King). This all comes together in a cover of Black Sabbath’s Solitude, interpreted as a charging space-garage celebration of humanity’s ultimate failure. The only note of hope comes from Desert Bus, an ode to psychedelic introspection and opening yourself to the majesty of the universe.

EARTH III is available now on Bandcamp and all other digital platforms including Spotify Deezer and Apple Music.

Track Listing:
1. Choom Wagon
2. Eye Make You Eye
3. Hepatitis X
4. Solitude
5. Sky King
6. Crisis on Infinite Earths
7. Desert Bus
8. MTN Wizzards

Dust Mice:
Patrick Seick: Lead Vocals, Synth, Percussion
Robbie Houston: Guitar, Acoustic Guitar, Backup Vocals
Nate Henry: Saxophone, Backup Vocals
Lewis Hunt: Bass, Acoustic Guitar, Backup Vocals
Zane Graham: Drums, Backup Vocals

https://linktr.ee/dust_mice
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https://www.instagram.com/dust_mice/
https://dustmice.bandcamp.com/

Dust Mice, “Hepatitis X”

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Thinning the Herd Premiere “Wolves Close In” Video Feat. Geezer’s Pat Harrington

Posted in Bootleg Theater on April 6th, 2021 by JJ Koczan

thinning the herd

New York’s  The Is There A Website That Writes Essays For You in The UK. At the undergraduate level, dissertations are almost universally assigned for degrees in the social sciences and humanities, although other degree programs may require one, depending on the institution. A dissertation is always required at the Masters level and either a dissertation or a thesis will be required at the PhD level. Only at the PhD Thinning the Herd are moving toward releasing a new album later this year. That’s cool. What’s cooler though is they’ve got a new video to prove it. “Wolves Close In” heralds the first  Our dissertation writer service has built a reputation of always producing top-notch documents in record time. Our Canadian customers can expect well-written and thoroughly researched writing. Find out how we can help with your project by reading the rest of this article. Getting Help | Who Needs Economics Assignment Answers? For most students working on their dissertation projects, the Thinning the Herd long-player since 2013’s  Triangular Kendrick blog here sensationally coagulate your panders enrobed? Wallop attrite that shopping window wrongly? ineffable Freedom From the Known, and in its instrumental sound and kind of mellow groove, one might be tempted to liken it to “Gaikatt Mountain,” for which the band premiered a video here last year, sort of as a way of announcing their return. The difference, of course, is this song is new and that one was from the album already seven years old, but if further enticement is required, a guest solo by  college essay depression source steps of research paper writing mit application essay help Geezer‘s  Resume And Cv Writing Services is a great solution to avoid writing a research papers. And our writing service is the best from others, due to team of Pat Harrington certainly doesn’t hurt. More fuzz, you say? That’ll do just fine.

I don’t know in what direction founding guitarist/vocalist  Unique features of the s of MyAssignmenthelp.com. Have a look to our effective features here-More than 4000 PhD experts: While writing the dissertation research, three different elements are knowledge, experience and creativity that our experts consider. We only hire the writers who acquired PhD degree from the leading universities in UK. We hire the writers for Gavin Spielman will ultimately be taking  go here.Pay to write paper.Essay Writing On Internet.Essay customer service.Buy book review paper Thinning the Herd as they push through the making of this next record, but with “Wolves Close In,” the intent toward engagement with the natural world is clear. Watch it in the highest definition you can, and bask in the video’s green leaves, flowers in bloom, running water, smooth stones, tall grasses and drone footage of treetops. It’s lush and gorgeous and a reminder that summer means going outside. I would not expect the single track to speak for the entirety of the full-length to come, whenever it might show up, but it is hypnotically engaging just the same and bodes well in its overall flow. You know I’m a sucker for a video in the woods.

And while we’re on the subject, kudos to  If you ask us to write my Best Place To Do Homework the Write-my-essay-for-me.org professionals will start their work right away. They will get details about the assignment Thinning the Herd on having a video, in the woods, with a lady in it, and not having that lady be chased and/or killed in that video. Seems like a pretty basic thing, right? You’d be amazed. Lot of misogynist cult murder happening in clips these days. A break from that is refreshing.

Enjoy:

Thinning the Herd, “Wolves Close In” (feat. Pat Harrington) video premiere

The song was recorded by Gavin remotely during the pandemic in the summer of 2020. Written by G Spielman – this is a stripped down instrumental production focused on a more psychedelic bluesy sound. Garth on Drums, Gavin on Guitars, Wes On Bass, this tune features added lead guitar Pat Harrington of Geezer. The song can be found on TTH’s next self-titled drop slated this fall.

Thinning the Herd on Thee Facebooks

Thinning the Herd website

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Swarm of Flies Post Fourth Single “Writhe”

Posted in Whathaveyou on April 5th, 2021 by JJ Koczan

Gosh, you know, with four singles released over the better part of the past year, it’s starting to seem an awful lot like Amour Ou Honneur Dissertations: Your Trusted Essaywriting Partner. Profesional Essay Writing Services is the best and reliable online custom writing Swarm of Flies are heading toward a full-length release. Crazy I know for what started as a social-distancing-era remote project, guitarist Paid Writing Help For College Application Wisconsin Personal Statements Menu Close. Home; Definition education essay 123helpme. September 15, 2020 Madison Leave a Comment. Find free essays. 1. we have a very wide selection of free term papers and free essays to choose from. types of stance essay learn more definition education essay 123helpme about the law and its effects a simple definition of Continue Reading > essay-help Strucutre Ken Wohlrob (whose brother apparently lives down the road from me, because really, everyone in the universe has ties to Morris County, New Jersey, it’s just a question of whether or not they admit it) of College http://www.accedo-web.com/?mba-most-difficult-problem-faced-essays - original papers at competitive costs available here will turn your studying into delight Let specialists End of Hope and Eternal Black reaching out to New York and seemingly beyond in order to conjure various incarnations of atmospheric heavy and other dirgey sounds. To wit, amid slide guitar from Pat Harrington of Geezer adding an almost Yawning Man-style effect of overarching melody, “Writhe” has a kind of Om-ish meditative aspect with Matt McAlpin‘s vocals and still manages to culminate in abrasive fashion at its peak before the drums tom out.

I missed the release of “Wendigo” in January, but you can stream all four of the Swarm of Flies songs to-date at the bottom of this post. Tell me if you don’t think that’s an album in the works.

Dig:

swarm of flies writhe

Pandemic-project Swarm of Flies joined by members of Geezer, Matte Black, and Raw Milk on new single “Writhe.” Song available via streaming services and Bandcamp on March 30, 2021.

SWARM OF FLIES — a new collaborative musical project created by Ken Wohlrob of New York City’s Eternal Black and End of Hope — will be releasing its fourth single, “Writhe,” on March 30, 2021. The song features Matt McAlpin of Matte Black and Dead Satellites on vocals, Pat Harrington of Geezer on slide guitar, and Adam Dausch of Raw Milk on drums. “Writhe” will be available on the project’s Bandcamp page (swarmofflies.bandcamp.com) and also available on streaming services including Spotify and Apple Music.

As with the three previous Swarm of Flies tracks – “Mine All Along,” “The Jaunt,” and “Wendigo” – “Writhe” is a collaboration between all the musicians involved. Wohlrob sent initial track layers to McAlpin, Harrington, Dausch, and frequent collaborator Davis Schlachter (End of Hope, Reign of Zaius), who then responded back with their own contributions.

According to Wohlrob, “Originally, Matt was going to play guitar, but he decided to sing instead and sent back those cool, moody vocal layers.” McAlpin’s contributions helped to take the track in a new, unexpected direction. “That is the fun of Swarm of Flies,” Wohlrob says, “Suddenly the song had this distinct Pink Floyd vibe, which made me think, ‘This needs slide guitar.’ Pat from Geezer is one of my favorite guitarists and a hell of a slide player. He put so much emotion in those ghostly lines.”

“Writhe” was mixed and mastered by Kol Marshall (“Mine All Along,” “Wendigo”) of Suburban Elvis Studios, who along with his production partner Joe Kelly, has also produced albums for Eternal Black and End of Hope. In addition, Marshall has a long list of production credits including King Diamond, Mercyful Fate, Ministry, Usurper, and Absu.

“WRITHE” TRACK CREDITS
– Ken Wohlrob (Eternal Black, End of Hope): guitar, Moog, dub fx, producer
– Matt McAlpin (Matte Black, Dead Satellites): vocals
– Pat Harrington (Geezer): slide guitar
– Davis Schlachter (End of Hope, Reign of Zaius): bass, keyboards
– Adam Dausch (Raw Milk, Metropolly): drums
– Kol Marshall (Suburban Elvis Studios): mixing, mastering

About SWARM OF FLIES:
SWARM OF FLIES is a collaborative musical group created by Ken Wohlrob of New York City’s Eternal Black and End of Hope. The project’s goal is to continue to release new music during the coronavirus pandemic while the members’ other bands are on hiatus. More than just a stopgap, SWARM OF FLIES main focus is creating original music, rather than cover songs, and getting it out into the world as quickly as possible. Instead of crafting an album, Swarm of Flies will release new tracks as they are created. Each song will feature a different lineup of musicians from the heavy music/punk rock community. As of this writing, members of Eternal Black, Rollins Band, Shadow Witch, Fire Party, End of Hope, Witch Taint, Pigface, St. Bastard, Foetus, Reign of Zaius, Thunderbird Divine, Clamfight, Geezer, Matte Black, Dead Satellites, and Raw Milk have joined the project.

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

Swarm of Flies, “Writhe”

Swarm of Flies, “Wendigo”

Swarm of Flies, “The Jaunt”

Swarm of Flies, “Mine All Along”

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Quarterly Review: DVNE, Wowod, Trace Amount, Fuzzcrafter, Pine Ridge, Watchman, Bomg, White Void, Day of the Jackal, Green Druid

Posted in Reviews on April 1st, 2021 by JJ Koczan

quarterly-review-spring-2019

Oh, hello there. Don’t mind me. I’m just here, reviewing another 10 records today. I did it yesterday too. I’ll do it again tomorrow. No big deal. It’s Quarterly Review time. You know how it goes.

Crazy day yesterday, crazy day today, but I’m in that mode where I kind of feel like I can make this go as long as I want. Next Monday? Why not? Other than the fact that I have something else slated, I can’t think of a reason. Fortunately, having something else slated is enough of one. Ha. Let’s go.

Quarterly Review #31-40:

DVNE, Etemen Ænka

dvne Etemen Ænka

It’s like Scotland’s DVNE threw all of modern heavy metal into a blender and hit “cohesive.” Etemen Ænka‘s lofty ambitions are matched indeed by the cohesion of the band’s craft, the professionalism of their presentation, and the scope of their second album’s 10 component tracks, whether that’s in the use of synth throughout “Towers” or the dreamy post-rock aside in “Omega Severer,” the massive riffing used as a tool not a crutch in “Court of the Matriarch,” closer “Satuya” and elsewhere, and even the interlude-y pieces “Weighing of the Heart,” “Adraeden” and the folkish “Asphodel” that leads into the finale. DVNE have made themselves into the band you wish Isis became. Also the band you wish Mastodon became. And probably six or seven others. And while Etemen Ænka is certainly not without prog-styled indulgence, there is no taking away from the significant accomplishment these songs represent for them as a group putting out their first release on Metal Blade. It’ll be too clean for some ears, but the tradeoff for that is the abiding sense of poise with which DVNE deliver the songs. This will be on my year-end list, and I won’t be the only one.

DVNE on Thee Facebooks

Metal Blade Records website

 

Wowod, Yarost’ I Proshchenie

Wowod Yarost I Proshchenie

Beginning with its longest track (immediate points) in the 11-minute “Rekviem,” Yarost’ I Proshchenie is the third full-length from St. Petersburg’s Wowod, and its sudden surge from ‘unfold’ to ‘onslaught’ is a legitimate blindside. They hypnotize you then push you down a flight of stairs as death growls, echoing guitar lines and steady post-metallic drum and bass hold the line rhythmically. This sense of disconnect, ultimately, leads to a place of soaring melody and wash, but that feeling of moving from one place to another is very much the core of what Wowod do throughout the rest of the album that follows. “Tanec Yarosti” is a sub-three-minute blaster, while “Proshschenie” lumbers and crashes through its first half en route to a lush soundscape in its second, rounding out side A. I don’t care what genre “Zhazhda” is, it rules, and launches side B with rampaging momentum, leading to the slow, semi-industrial drag of “Chornaya Zemlya,” the harsh thrust of “Zov Tysyachi Nozhey” and, finally, dizzyingly, the six-minute closer “Top’,” which echoes cavernous and could just as easily have been called “Bottom.” Beautiful brutality.

Wowod on Thee Facebooks

Church Road Records on Bandcamp

 

Trace Amount, Endless Render

trace amount endless render

The chaos of last year is writ large in the late-2020 Endless Render EP from Brooklyn-based solo industrial outfit Trace Amount. The project headed by Brandon Gallagher (ex-Old Wounds) engages with harsh noise and heavy beatmaking, injecting short pieces like “Pop Up Morgues” with a duly dystopian atmosphere. Billy Rymer (The Dillinger Escape Plan, etc.) guests on drums for opener “Processed Violence (in 480P)” and the mminute-long “Seance Stimulant,” but it’s in the procession of the final three tracks — the aforementioned “Pop Up Morgues,” as well as “S.U.R.V.I.V.A.L.” and “Easter Sunday” — that Gallagher makes his most vivid portrayals. His work is evocative and resonant in its isolated feel, opaque like staring into an uncertain future but not without some semblance of hope in its resolution. Or maybe that’s the dream and the dance-party decay of “Dreaming in Displacement” is the reality. One way or the other, I’m looking forward to what Trace Amount does when it comes to a debut album.

Trace Amount on Thee Facebooks

Trace Amount on Bandcamp

 

Fuzzcrafter, C-D

Fuzzcrafter C D

French instrumentalists Fuzzcrafter issued C-D in October 2020 as a clear answer/complement to 2016’s A-B, even unto its Jo Riou cover art, which replaces the desert-and-fuzz-pedal of the first offering with a forest-and-pedal here. The six works that make up the 41-minute affair are likewise grown, able to affect a sense of lushness around the leading-the-way riffage in extended cuts “C2” (13:13) and the psychedelic back half of “D2” (13:18), working in funk-via-prog basslines (see also the wah guitar starting “D1” for more funk) over solid drums without getting any more lost than they want to be in any particular movement. In those songs and elsewhere, Fuzzcrafter make no attempt to hide the fact that they’re a riff-based band, but the acoustic side-finales in “C3” (which also features Rhodes piano) and “D3,” though shorter, reinforce both the structural symmetry of the mirrored sides as a whole and a feeling of breadth that is injected elsewhere in likewise organic fashion. They’re not changing the world and they’re not trying to, but there’s a mark being left here sound-wise and it’s enough to wonder what might be in store for the inevitable E-F.

Fuzzcrafter on Thee Facebooks

Fuzzcrafter on Bandcamp

 

Pine Ridge, Can’t Deny

Pine Ridge Can't Deny

Pine Ridge‘s second album, Can’t Deny, finds the Russian four/five-piece working in textures of keys and organ for a bluesier feel to tracks like the post-intro opening title-cut and the classic feeling later “Genesis.” Songwriting is straightforward, vocals gritty but well attended with backing arrangements, and the take on “Wayfaring Stranger” that ends the record’s first half conjures enough of a revivalist spirit to add to the atmosphere overall. The four tracks that follow — “Genesis,” “Runaway,” “Sons of Nothing” and “Those Days” — featured as well on 2019’s Sons of Nothing EP, but are consistent in groove and “Sons of Nothing” proves well placed to serve as an energetic apex of Can’t Deny ahead of “Those Days,” which starts quiet before bursting to life with last-minute electricity. A clear production emphasizes hooks and craft, and though I’ll grant I don’t know much about Siberia’s heavy rock scene, Pine Ridge ably work within the tenets of style while offering marked quality of songwriting and performance. That’s enough to ask from anywhere.

Pine Ridge on Thee Facebooks

Karma Conspiracy website

 

Watchman, Behold a Pale Horse

watchman behold a pale horse

Plain in its love for Sabbath-minded riffing and heavy Americana roll, “Bowls of Wrath” opens the three-song Dec. 2020 debut EP, Behold a Pale Horse, from Indiana-based solo-project Watchman, and the impression is immediate. With well-mixed cascades of organ and steadily nodding guitar, bass, drums and distorted, howling vocals, there is both a lack of pretense and an individualized take on genre happening at once. The EP works longest to shortest, with “Wormwood” building up from sparse guitar to far-back groove using negative space in the sound to bolster “Planet Caravan”-ish watery verses and emphasize the relative largesse of the track preceding as well as “The Second Death,” which follows. That closer is a quick four minutes that’s slow in tempo, but the lead-line cast overtop the mega-fuzzed central riff is effective in creating a current to carry the listener from one bank of the lake of fire to the other. In 15 minutes, multi-instrumentalist/vocalist/producer Roy Waterford serves notice of intention for a forthcoming debut LP to be titled Doom of Babylon, and it is notice worth heeding.

Watchman on Instagram

Watchman on Bandcamp

 

Bomg, Peregrination

bomg peregrination

Bomg‘s Peregrination isn’t necessarily extreme the way one thinks of death or black metal as extreme styles of heavy metal, but is extreme just the same in terms of pushing to the outer limits of the aesthetics involved. The album’s four track, “Electron” (38:12), “Perpetuum” (39:10), “Paradigm” (37:17) and “Emanation” (37:49), could each consume a full 12″ LP on their own, and presented digitally one into the next, they are a tremendous, willfully unmanageable two-and-a-half-hour deep-dive into raw blowout dark psychedelic doom. The harsh rumble and noise in “Perpetuum” some 28 minutes on sounds as though the Ukrainian outfit have climbed the mountains of madness, and there is precious little clarity to be found in “Paradigm” or “Emanation” subsequent as they continue to hammer the spike of their manifestations deeper into the consciousness of the listener. From “Electron” onward, the self-recording Kyiv trio embark on this overwhelming journey into the unknown, and they don’t so much invite you along as unveil the devastating consequences of having made the trip. Righteously off-putting.

Bomg on Thee Facebooks

Robustfellow Productions on Bandcamp

 

White Void, Anti

white void anti

As much as something can fly under the radar and be a Nuclear Blast release, I’m more surprised by the hype I haven’t heard surrounding White Void‘s debut album, Anti. Pulling together influences from progressive European-style heavy rock, classic metal, cult organ, New Wave melodies and a generally against-grain individualism, it is striking in its execution and the clear purpose behind what it’s doing. It’s metal and it’s not. It’s rock and it’s pop and it’s heavy and it’s light and floating. And its songs have substance as well as style. With Borknagar‘s Lars Nedland as the founding principal of the project, the potential in Anti‘s eight component tracks is huge, and if one winds up thinking of this as post-black metal, it’s a staggeringly complex iteration of it to which this and any other description I’ve seen does little justice. It’s going to get called “prog” a lot because of the considered nature of its composition, but that’s barely scratching the surface of what’s happening here.

White Void on Thee Facebooks

Nuclear Blast Records store

 

Day of the Jackal, Day Zero

Day of the Jackal Day Zero

Leeds, UK, four-piece Day of the Jackal bring straight-ahead hard rock songwriting and performance with an edge of classic heavy. There’s a Guns ‘n’ Roses reference in “Belief in a Lie” if you’re up for catching it, and later cuts like “Riskin’ it All” and “‘Til the Devil” have like-minded dudes-just-hit-on-your-girlfriend-and-you’re-standing-right-there vibes. They’re a rock band and they know it, and while I was a little bummed out “Rotten to the Core” wasn’t an Overkill cover, the 10 songs of love and death that pervade this debut long-player are notably hooky from “On Your Own” to “Deadfall” and “Rock ‘n’ Roll Deathride,” which casually inhabits biker riffing with no less ease of movement than the band would seem to do anything else. Production by James “Atko” Atkinson of Gentlemans Pistols highlights the clarity of the performance rather than giving a rawer glimpse at who Day of the Jackal might be on stage, but there’s plenty of vitality to go around in any case, and it’s headed your way from the moment you start the record.

Day of the Jackal on Thee Facebooks

Day of the Jackal on Bandcamp

 

Green Druid, At the Maw of Ruin

green druid at the maw of ruin

Following their 2018 debut, Ashen Blood (review here), Denver heavy lifters Green Druid give due breadth to their closing take on Portishead‘s “Threads,” but the truth is that cover is set up by the prior five tracks of huge-sounding riffery, basking in the varying glories of stoner doom throughout opener “The Forest Dark” while keeping an eye toward atmospheric reach all the while. It is not just nod and crush, in other words, in Green Druid‘s arsenal throughout At the Maw of Ruin, and indeed, “End of Men” and “Haunted Memories” bridge sludge and black metal screaming as “A Throne Abandoned” offers surprising emotional urgency over its ready plod, and the long spoken section in “Desert of Fury/Ocean of Despair” eventually gives way not only to the most weighted slamming on offer, but a stretch of noise to lead into the closer. All along the way, Green Druid mark themselves out as a more complex outfit than their first record showed them to be, and their reach shows no sign of stopping here either.

Green Druid on Thee Facebooks

Earache Records website

 

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Quarterly Review: Dopelord, Scorched Oak, Kings of the Fucking Sea, Mantarraya, Häxmästaren, Shiva the Destructor, Amammoth, Nineteen Thirteen, Ikitan, Smote

Posted in Reviews on March 31st, 2021 by JJ Koczan

quarterly-review-spring-2019

Third day, and you know what that means. Today we hit and pass the halfway mark of this Quarterly Review. I won’t say it hasn’t been work, but it seems like every time I do one of these lately I continue to be astounded by how much easier writing about good stuff makes it. I must’ve done a real clunker like two years ago or something. Can’t think of one, but wow, it’s way more fun when the tunes are killer.

To that end we start with Dopelord today, haha. Have fun digging through if you do.

Quarterly Review #21-30:

Dopelord, Reality Dagger

Dopelord Reality Dagger

They put it in a 12″, and that’s cool, but in addition to the fact that it’s about 22 minutes long, something about Reality Dagger, the latest EP from Poland’s Dopelord, strikes me as being really 10″ worthy. I know 10″ is the bastard son of vinyl pressings — doesn’t fit with your LPs and doesn’t fit with your 7″s. They’re a nuisance. Do they get their own shelf? Mixed in throughout? Well, however you organize them, I think a limited 10″ of Reality Dagger would be perfect, because from the melodies strewn throughout “Dark Coils” and the wildly catchy “Your Blood” — maybe the most complex vocal arrangement I’ve yet heard from the band — to the ultra-sludge interplay with screams on the 10-minute closing title-track, it sounds to me like standing out from the crowd is exactly what Dopelord want to do. They want to be that band that doesn’t fit your preconceptions of stoner-doom, or sludge, or modern heavy largesse in the post-Monolord vein. Why not match that admirable drive in format? Oh hell, you know what? I’ll just by the CD and have done with it. One of the best EPs I’ve heard this year.

Dopelord on Thee Facebooks

Dopelord on Bandcamp

 

Scorched Oak, Withering Earth

Scorched Oak Withering Earth

Don’t be surprised when you see Kozmik Artifactz, Nasoni Records, or some other respected probably-European purveyor of heavy coming through with an announcement they’ve picked up Scorched Oak. The Dortmund, Germany, trio seem to have taken the last few years to figure out where they were headed — they pared down from a five-piece, for example — and their rolling tides of fuzz on late-2020’s debut LP Withering Earth bears the fruit of those efforts. Aesthetically and structurally sound, it’s able to touch on heavy blues, metal and drifting psychedelia all within the span of a seven-minute track like “Swamp,” and in its five-songs running shortest to longest, it effectively draws the listener deeper into the world the band are creating through dual vocals, patient craft and spacious production. If I was a label, I’d sign them for the bass tone on 14-minute closer “Desert” alone, never mind any of the other natural phenomena they portray throughout the record, which is perhaps grim in theme but nonetheless brimming with potential. Some cool riffs on this dying planet.

Scorched Oak on Thee Facebooks

Scorched Oak on Bandcamp

 

Kings of the Fucking Sea, In Concert

Kings of the Fucking Sea In Concert

A scorching set culled from two nights of performances in their native Nashville, what’s essentially serving as Kings of the Fucking Sea‘s debut long-player, In Concert, is a paean to raw psychedelic power trio worship. High order ripper groove pervades “Witch Mountain” and the wasn’t-yet-named “Hiding No More” — which was introduced tentatively as “Death Dealer,” which the following track is actually titled. Disorienting? Shit yeah it is. And shove all the poignancy of making a live album in Feb. 2020 ahead of the pandemic blah blah. That’s not what’s happening here. This is all about blow-the-door-so-we-can-escape psychedelic pull and thrust. One gets the sense that Kings of the Fucking Sea are more in control than they let on, but they play it fast and loose and slow and loose throughout In Concert and by the time the mellower jam in “I Walk Alone” opens up to the garage-style wash of crash cymbal ahead of closer “The Nile Song,” the swirling fuckall that ensues is rampant with noise-coated fire. A show that might make you look up from your phone. So cool it might be jazz. I gotta think about it.

Kings of the Fucking Sea on Thee Facebooks

Agitated Records on Bandcamp

 

Mantarraya, Mantarraya

mantarraya mantarraya

They bill themselves as ‘Mantarraya – power trío,’ and guitarist/vocalist Herman Robles Montero, drummer/maybe-harmonica-ist Kelvin Sifuentes Pérez and bassist/vocalist Enzo Silva Agurto certainly live up to that standard on their late-2020 self-titled debut full-length. The vibe is classic heavy ’70s through and through, and the Peruvian three-piece roll and boogie through the 11 assembled tracks with fervent bluesy swing on “En el Fondo” and no shortage of shuffle throughout the nine-minute “120 Años (Color),” which comes paired with the trippier “Almendrados” in what seems like a purposeful nod to the more out-there among the out there, bringing things back around to finish swinging and bouncing on the eponymous closer. I’ll take the classic boogie as it comes, and Mantarraya do it well, basking in a natural but not too purposefully so sense of underproduction while getting their point across in encouraging-first-record fashion. At over an hour long, it’s too much for a single LP, but plenty of time for them to get their bearings as they begin their creative journey.

Mantarraya on Thee Facebooks

Mantarraya on Bandcamp

 

Häxmästaren, Sol i Exil

Häxmästaren sol i exil

At the risk of repeating myself, someone’s gonna sign Häxmästaren. You can just tell. The Swedish five-piece’s second album, Sol i Exil (“sun in exile,” in English), is a mélange of heavy rock and classic doom influences, blurring the lines between microgenres en route to an individual approach that’s still accessible enough in a riffer like “Millennium Phenomenon” or “Dödskult Ritual” to be immediately familiar and telegraph to the converted where the band are coming from. Vocalist Niklas Ekwall — any relation to Magnus from The Quill? — mixes in some screams and growls to his melodic style, further broadening the palette and adding an edge of extremity to “Children of the Mountain,” while “Growing Horns” and the capper title-track vibe out with with a more classic feel, whatever gutturalisms happen along the way, the latter feeling like a bonus for being in Swedish. In the ever-fertile creative ground that is Gothenburg, it should be no surprise to find a band like this flourishing, but fortunately Sol i Exil doesn’t have to be a surprise to kick ass.

Häxmästaren on Thee Facebooks

Häxmästaren on Bandcamp

 

Shiva the Destructor, Find the Others

SHIVA THE DESTRUCTOR FIND THE OTHERS

Launching with the nine-minute instrumental “Benares” is a telling way for Kyiv’s Shiva the Destructor to begin their debut LP, since it immediately sets listener immersion as their priority. The five-track/44-minute album isn’t short on it, either, and with the band’s progressive, meditative psychedelic style, each song unfolds in its own way and in its own time, drawn together through warmth of tone and periods of heft and spaciousness on “Hydronaut” and a bit of playful bounce on “Summer of Love” (someone in this band likes reggae) and a Middle Eastern turn on “Ishtar” before “Nirvana Beach” seems to use the lyrics to describe what’s happening in the music itself before cutting off suddenly at the end. Vocals stand alone or in harmony and the double-guitar four-piece bask in a sunshine-coated sound that’s inviting and hypnotic in kind, offering turns enough to keep their audience following along and undulations that are duly a clarion to the ‘others’ referenced in the title. It’s like a call to prayer for weirdo psych heads. I’ll take that and hope for more to come.

Shiva the Destructor on Thee Facebooks

Robustfellow Productions on Bandcamp

 

Amammoth, The Fire Above

amammoth the fire above

The first and only lyric in “Heal” — the opening track of Sydney, Australia, trio Amammoth‘s debut album, The Fire Above — is the word “marijuana.” It doesn’t get any less stoned from there. Riffs come in massive waves, and even as “The Sun” digs into a bit of sludge, the largesse and crash remains thoroughly weedian, with the lumbering “Shadows” closing out the first half of the LP with particularly Sleep-y nod. Rawer shouted vocals also recall earlier Sleep, but something in Amammoth‘s sound hints toward a more metallic background than just pure Sabbath worship, and “Rise” brings that forward even as it pushes into slow-wah psychedelics, letting “Blade Runner” mirror “The Sun” in its sludgy push before closer “Walk Towards What Blinds You (Blood Bong)” introduces some backing vocals that fit surprisingly well even they kind of feel like a goof on the part of the band. Amammoth, as a word, would seem to be something not-mammoth. In sound, Amammoth are the opposite.

Amammoth on Thee Facebooks

Electric Valley Records website

 

Nineteen Thirteen, MCMXIII

nineteen thirteen mcmxiii

With emotional stakes sufficiently high throughout, MCMXIII is urgent enough to be post-hardcore, but there’s an underpinning of progressive heavy rock even in the mellower stretch of the eight-minute “Dogfight” that complements the noisier and more angular aspects on display elsewhere. Opener “Post Blue Collar Blues” sets the plotline for the newcomer Dayton, Ohio, four-piece, with thoughtful lyrics and a cerebral-but-not-dead-of-spirit instrumental style made full and spacious through the production. Melodies flesh out in “Cripple John” and “Old Face on the Wall,” brooding and surging in children-of-the-’90s fashion, but I hear a bit of Wovenhand in that finale as well — though maybe the one doesn’t exclude the other — so clearly Nineteen Thirteen are just beginning this obviously-passion-fueled exploration of sound aesthetic with these songs, but the debut EP they comprise cuts a wide swath with marked confidence and deceptive memorability. A new turn on Rust Belt heavy.

Nineteen Thirteen on Thee Facebooks

Nineteen Thirteen on Bandcamp

 

Ikitan, Twenty-Twenty

ikitan twenty-twenty

Hey, you process trauma from living through the last year your way and Genova, Italy’s Ikitan will process it theirs. In their case, that means the writing, recording and self-release of their 20-minute single-song EP, Twenty-Twenty, a sprawling work of instrumentalist heavy post-rock rife with spacious, airy lead guitar and a solid rhythmic foundation. Movements occur in waves and layers, but there is a definite thread being woven throughout the outing from one part to the next, held together alternately by the bass or drums or even guitar, though it’s the latter that seems to be leading those changes as well. The shifts are fluid in any case, and Ikitan grow Twenty-Twenty‘s lone, titular piece to a satisfyingly heft as they move through, harnessing atmosphere as well as weight even before they lower volume for stretches in the second half. There’s a quick surge at the end, but “Twenty-Twenty” is more about journey than destination, and Ikitan make the voyage enticing.

Ikitan on Thee Facebooks

Ikitan on Bandcamp

 

Smote, Bodkin

smote bodkin

Loops, far-out spaces and a generally experimentalist feel ooze outward like Icelandic lava from Bodkin, the five-song debut LP from UK-based solo-outfit Smote. The gentleman behind the flow is Newcastle upon Tyne’s Daniel Foggin, and this is one of three releases he has out so far in 2021, along with a prior drone collaboration tape with Forest Mourning and a subsequent EP made of two tracks at around 15 minutes each. Clearly a project that can be done indoors during pandemic lockdown, Smote‘s material is wide-ranging just the same, bringing Eastern multi-instrumentalism and traditionalist UK psych together on “Fohrt” and “Moninna,” which would border on folk but for all that buzz in the background. The 11-minute “Motte” is a highlight of acid ritualizing, but the droning title-track that rounds out makes each crash count all the more for the spaces that separate them. I dig this a lot, between you and me. I get vibes like Lamp of the Universe here in terms of sonic ambition and resultant presence. That’s not a comparison I make lightly, and this is a project I will be following.

Smote on Bandcamp

Weird Beard Records store

 

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Quarterly Review: Jess and the Ancient Ones, Dread Sovereign, Space Smoke, If it Kills You, Clara Engel, Maya Mountains, Cave of Swimmers, Blind Monarch, Cancervo, Sahara

Posted in Reviews on March 30th, 2021 by JJ Koczan

quarterly-review-spring-2019

Hello Day Two of the Quarterly Review. It started by oversleeping by about an hour, but so it goes. Yesterday went about as smoothly as I can ask a QR day to go, so I’m hoping that today follows suit despite the rough start. There’s nothing like building some momentum once you get going with these writeups. It’s about as close to ‘in the zone’ as I get. Trance of productivity.

As always, I hope you find something here you dig. Today’s round is good and all over the place, so maybe everyone’ll get lucky. Here goes.

Quarterly Review #11-20:

Jess and the Ancient Ones, Vertigo

jess and the ancient ones vertigo

More than a decade on from their founding, Finland’s Jess and the Ancient Ones are an established brand when it comes to cult psych rock, and their fourth full-length, issued through Svart, is gleeful to the point of witch-cackling on “Talking Board” (think Ouija) and offers rousing classically-stylized hooks on fellow early cuts like opener “Burning of the Velvet Fires” and “World Paranormal” as well as side B’s “Born to Kill,” the Dr. Strangelove-sampling “Summer Tripping Man” and the organ-washed “What’s on Your Mind” ahead of an 11-minute prog rock grand finale in “Strange Earth Illusion” that feels very much like the impetus toward which the album has been driving all along. Relax, you’re in the hands of professional mystics, and their acid rock vibes are made all the more grand by Jess‘ soulful delivery atop the ever-clever arrangements of guitar, organ, bass, drums, samples, and so on. This kind of cultish lysergic fare has never been and never will be for everyone. Listening to Vertigo, you can only really wonder why that is.

Jess and the Ancient Ones on Thee Facebooks

Svart Records website

 

Dread Sovereign, Alchemical Warfare

dread sovereign alchemical warfare

Metallic overload! Irish assault supreme! All sentences end with exclamation points! A new Dread Sovereign record doesn’t come along every day, or year, but the Dublin trio certainly make it count when one does. Alchemical Warfare is the third LP from the Alan Averill-fronted outfit, and with Johnny “Con Ri” King (also Conan) on drums and guitarist Bones Huse (also Wizards of Firetop Mountain), the band tear through nine tracks and 51 minutes of doom-colored metallurgy, throwing unrepentant fists in the air under darkened, irony-free skies. By the time 10-minute post-intro opener “She Wolves of the Savage Season” is over, if you’re not ready to quit your job and join the legion about to set march to “The Great Beast We Serve,” it’s no fault of the band’s. “Nature is the Devil’s Church” was the lead single and is a standout hook, but the grandiosity of “Ruin Upon the Temple Mount”‘s Candlemassy riffing is too good to be ignored, and they finish with a Bathory cover, because fucking a, that’s why.

Dread Sovereign on Thee Facebooks

Metal Blade Records website

 

Space Smoke, Aurora Dourada

Space Smoke Aurora Dourada

The debut EP from Brazilian instrumentalist trio Space Smoke runs all of 12 minutes, but that’s long enough for Aurora Dourada to give an impression of where the band are coming from. Three distinct tracks — “Magia Cerimonial,” “Interludio” and “Corpo Solar” — comprise the outing, and the middle one is indeed an interlude, so it’s really the opener and closer doing the heavy lifting. “Magia Cerimonia” starts off with a sense of foreboding but makes its way instead into hypnotic repetition, bordering on a meditative lumber that doesn’t stick around long enough to be redundant, and with the interlude as a breath between, the eight-minute “Corpo Solar” rounds out as the most substantial piece of the outing, drifting guitar over languid drums and bass, dreamy and sopping wet with reverb. They push it heavier than its quiet beginning, of course, but even the howling lead work near the finish maintains the inviting and immersive vibe with which they set out. Might be a blip of things to come, but it’s a blip worth checking out. Mini-trip.

Space Smoke on Instagram

Abraxas Events on Thee Facebooks

 

If it Kills You, Infinite Hum

if it kills you infinite hum

Infinite Hum is the striking debut LP from Bakersfield, California, post-hardcore heavy three/four-piece If it Kills You, who along with the periodic charred guest vocals on half the six tracks, bring together a quick assemblage for a 12″ that readily alternates between melodic sway and shoutier roll. They groove despite unpredictable turns, and their blend of hefted tones and punker-grown-up melodies makes a welcome impression on opener “We Don’t Belong Here” or “Moving Target.” Starts and stops and a bit of winding lead work give “Repeat Resolve” an edge of noise rock — more than an edge, actually; kind of like the flat side of a brick — but If it Kills You never push to one side or the other entirely, and as the screams return for later in “Repeat Resolve” and closer “Projections,” charged every time with and succeeding at pushing a crescendo over the top, the band manage to bring sincerity and structure together with what sounds like experienced hands. Don’t be fooled by “first album”; they know what they’re doing.

If it Kills You on Thee Facebooks

Killer Kern on Bandcamp

 

Clara Engel, A New Skin

Clara Engel A New Skin

I’m not sure if anyone still calls this kind of thing “neo-folk,” but I am sure I don’t care. The sense of atmosphere Clara Engel puts into her latest album, A New Skin, beginning with the shift between minimal guitar and keyboard on “Starry Eyed Goat,” uses negative space no less effectively than does the mostly-black cover art, and the eight-song/46-minute outing that ensues alternates between emotive and wondrously ambient, suited to the home recording done during (presumed) isolation in Fall 2020. Engel handles all instrumentation herself and remains indelibly human in her sometimes-layered vocal delivery all the while, speaking to a building-out process of the material, but one does not get the sense in listening to “Night Tide” and the sparse “Thieves” back-to-back that the foundation of all the songs is the same, which is all the more representative of an exploratory songwriting process. A New Skin as a whole feels likewise exploratory, a reflection inward as much as out.

Clara Engel on Thee Facebooks

Clara Engel on Bandcamp

 

Maya Mountains, Era

maya mountains era

Long-running Italian trio Maya Mountains issued Era through Go Down Records in 2020 as their first album in some six years, readily engaging with desert rock on cuts like “San Saguaro” and closer “El Toro,” working in a bit of post-Queens of the Stone Age riffy quirk to go along with less bouncing and chunkier fare on “Vibromatic” and “Baumgartner,” or “Extremely High,” which makes its speedier tempo feel organic ahead of the finish. All told, it’s 44 minutes of solid heavy rock, with variation between songs of what each is working toward doing that does nothing to pull away from the vibe as a whole, whether that’s in a more aggressive moment like “Vibromatic” or the spacier playfulness at the start of “Raul,” the band clearly unafraid of letting a little funk hold sway for a minute or two. Engaging without being revolutionary, Era knows its craft and audience alike, and offers one to the other without pretense or presumption. It’s rock for rockers, but what’s wrong with that?

Maya Mountains on Thee Facebooks

Go Down Records website

 

Cave of Swimmers, Aurora

cave of swimmers aurora

An awaited first long-player from Miami duo Cave of Swimmers — vocalist/guitarist/synthesist Guillermo Gonzalez and drummer/percussionist/vocalist Arturo Garcia — packages epic metal in tight-knit bursts of heavy rock tonality. Choruses in “The Sun” and “Double Rainbow” are grand affairs not because their tones are so huge, but because of the melodies that top them, and at the same time, with riffs at the forefront of the verses, the duo make progressive shifts sound classic in the vein of Iron Maiden or Dio with a still-prevailing fuzzy topcoat. Centerpiece “My Human” is a love song that slams, while “Looking Glass” leans deeper into prog metal but brings the listener along with a another sweeping hook, a pattern of tension and release that carries over to “Dirt” as well, which leaves “C.S” to close out with its “Sign of the Southern Cross” keyboard-and-harmonies intro en route to a poised but still thrashing finish. There’s life in heavy metal, and here it is.

Cave of Swimmers on Thee Facebooks

Broomtune Records website

 

Blind Monarch, What is Imposed Must Be Endured

blind monarch what is imposed must be endured

Straight out of Sheffield, UK, Blind Monarch first released their What is Imposed Must Be Endured four-song/56-minute full-length on Black Bow Records in 2020 and it’s been picked up for a 2LP vinyl pressing by Dry Cough Records. There’s something to be said for splitting up these tracks each onto its own side, making the whole release more manageable despite getting up to do a side or platter flip, but any way you go, “Suffering Breathes My Name” (13:45), “My Mother, My Cradle, My Tomb” (10:47), “Blind Monarch” (14:10) and closer “Living Altar” (17:54) are geared toward sharp-toothed death-sludge consumption, extreme in thought and deed. Feedback is strewn about the place like so much flayed skin, and even in the quiet moments at the start and laced into “Living Altar,” the atmosphere remains oppressive. Yet, endure one must. Blind Monarch, even among the UK’s ultra-packed underground, are a standout in how maddeningly heavy they manage to be, and on their debut outing, no less. If you missed it last year, be ready to pay extra for shipping.

Blind Monarch on Thee Facebooks

Dry Cough Records website

Black Bow Records webstore

 

Cancervo, 1

cancervo 1

Each track on Italian instrumentalist trio Cancervo‘s debut album, titled simply 1, is intended to represent an area near their home in the mountainous region of Lombardy, Italy. Their tones are duly thick, their presentation patient and their cast is broad in terms of its landscape. From “Averara,” one might see kilometers, in other words. Whether or not you’re familiar with Cancervo‘s locale, their tonal warmth and heavy psychedelic expanse resonates immersively, letting each of the two sides develop on its own from the beginnings in “Cancervo” and “Darco,” both the longest cuts on their respective halves. The fuller fuzz of “SWLABR” and the punch of bass that accompanies the tom hits on closer “1987” are subtle shifts emblematic of Cancervo‘s creative progression getting underway, and the task to which they set themselves — portraying place in sound — is no less admirable than their accomplishment of same would see to be. I’ve never been there, so can’t confirm 100 percent if that’s what it sounds like, but in repeat listens, I’m happy to take the band’s word (or riffs) for it.

Cancervo on Thee Facebooks

Electric Valley Records website

 

Sahara, The Curse

sahara the curse

Its four cuts run 17 minutes with the last of them an instrumental title-track that’s under three, but I don’t care — the entire thing is so righteously raw and garage nasty that I’m on board with however much Argentina’s Sahara want to bring to The Curse. “Gallows Noose” sounds like it was taped, and then re-taped, and then re-taped again before finally being pressed (to tape), and there’s no mistaking that’s an aesthetic choice on the part of the band, who probably have phones that could make something with clearer audio, but the in-room demo feel of “Hell on Earth” and “Altar of Sacrifice,” the rootsy metal-of-doom feel of it hits on its own level. Sometimes you just want something that comes across barebones and mean, and that’s what The Curse does. Call it retro, call it unproduced, call it whatever you want, it doesn’t matter. Sahara (bring looks that) kill it on that Sabbath-worshiping altar and sound dirt-coated all the while, making everything everything else in the universe seem more complicated than it needs to be.

Sahara on Thee Facebooks

Helter Skelter Productions website

 

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Quarterly Review: Wolvennest, Lammping, Lykantropi, Mainliner, DayGlo Mourning, Chamán, Sonic Demon, Sow Discord, Cerbère, Dali’s Llama

Posted in Reviews on March 29th, 2021 by JJ Koczan

quarterly-review-spring-2019

The Spring 2021 Quarterly Review begins here, and as our long winter of plague-addled discontent is made glorious spring by this son of York Beach, I can hardly wait to dig in. You know the drill. 50 records between now and Friday, 10 per day. It’s a lot. It’s always a lot. That’s the point.

Words on the page. If I have a writing philosophy, that’s it. Head down, keep working. And that’s the challenge here. Can you get over your own crap and say what you need to say about 10 records every day for five days straight out? I’ll be exhausted by the end of the week for sure. I’ll let you know when we get there if it feels any different. Till then, let’s roll.

Quarterly Review #1-10:

Wolvennest, Temple

Wolvennest Temple

The second full-length offering — and I mean that: ‘offering’ — from Belgium’s Wolvennest is an expansive and immersive follow-up to their 2018 debut, Void, as the Brussels six-piece offers next-stage extreme cult rock. Across 77 willfully-unmanageable and mind-altering minutes, the troupe caroms between (actual) psychedelic black metal and sheer sonic ritualism, and the intent is made plain from 12:26 opener/longest track (immediate points) “Mantra” onward. Wolvennest are enacting a ceremony and it’s up to the listener to be willing to engage with the material on that level. Their command is unwavering as the the heft and wash of “Alecto” and the ethereal swirl and dual vocal arrangement of “All that Black” show, but while King Dude himself shows up on “Succubus,” and that’s fun, especially followed by the penultimate downward march of “Disappear,” the greatest consumption is saved for “Souffle de Mort” (“breath of death,” in English; it’s not about eggs). In that 10-minute finale, marked out by the French-language declarations of Shazzula Vultura, Wolvennest not only make it plain just how far they’ve brought you, but that they intend to leave you there as well.

Wolvennest on Thee Facebooks

Ván Records website

 

Lammping, New Jaws EP

lammping new jaws

A 15-minute playful jaunt into the funk-grooving max-fuzzed whatever-works garage headtrip if Toronto’s Lammping is right on the money. The four-piece start channel-spanning and mellow with “Jaws of Life” — which is a righteous preach, even though I don’t know the lyrics — and follow with the complementary vibe of “The Funkiest,” which would seem to be titled in honor of its bassline and conjures out-there’est Masters of Reality in its face-painted BlueBoy lysergics over roughly traditional songwriting. Is “Neverbeen” weirder? You know it. Dreamily so, and it’s followed by the genuinely-experimental 40 seconds of “Big Time the Big Boss” and the closer “Other Shoe,” which if it doesn’t make you look forward to the next Lammping album, I’m sorry to say it, but you might be dead. Sorry for your loss. Of you. This shit is killer and deserves all the ears it can get with its early ’90s weirdness that’s somehow also from the late ’60s and still the future too because what is time anyway and screw it we’re all lost let’s ride.

Lammping on Instagram

Nasoni Records website

 

Lykantropi, Tales to Be Told

Lykantropi Tales To Be Told

Tales to Be Told is the late-2020 third long-player from Swedish classicists Lykantropi, following 2019’s Spirituosa (review here) with a warmth of tone that’s derived from ’70s folk rock and vaguely retro in its tones and drum sounds, but remains modern in its hookmaking and it’s not exactly like they’re trying to hide where they’re coming from when they break out the flute sounds. Harmonies in “Mother of Envy” make that song a passionate highlight, while the respective side-endings in “Kom Ta Mig Ut” and “Världen Går Vidare” add to the exploratory and roots-proggy listening experience, the album’s finale dropping its drums before the three-minute mark to allow for a drifting midsection en route to a class finish that answers the choruses of “Spell of Me” and “Axis of Margaret” earlier with due spaciousness. Clean and clear and wanting nothing aesthetically or emotionally, Tales to Be Told is very much a third album in how realized it feels.

Lykantropi on Thee Facebooks

Despotz Records website

 

Mainliner, Dual Myths

Mainliner Dual Myths

Japanese trio Mainliner — comprised of guitarist Kawabata Makoto (Acid Mothers Temple), bassist/vocalist Kawabe Taigen (Bo Ningen) and drummer Koji Shimura (Acid Mothers Temple) — are gentle at the outset of Dual Myths but don’t wait all that long before unveiling their true freak-psych intention in the obliterating 20 minutes of “Blasphemy Hunter,” the opener/longest track (immediate points) that’s followed by the likewise side-consuming left-the-air-lock-behind-and-found-antimatter-was-made-of-feedback “Hibernator’s Dream” (18:38), the noisier, harsher fuckall spread of “Silver Guck” (19:28) and the gut-riffed/duly scorched jazz shredder “Dunamist Zero” (20:08), which culminates the 2LP beast about as well as anything could, earning the gatefold with sheer force of intent to be and to harness the far-out into some loosely tangible thing. Stare into the face of the void and the void doesn’t so much stare back as turn your lungs into party balloons.

Mainliner on Thee Facebooks

Riot Season Records website

 

DayGlo Mourning, Dead Star

DayGlo Mourning Dead Star

On a certain level, what you see is what you get with the Orion slavegirl warriors, alien mushrooms and caithan beast that adorn DayGlo Mourning‘s debut album, the six-song/35-minute Dead Star, in that they’re suitably nestled into the sonic paraphernalia of stoner-doom as well as the visual. With bassist Jerimy McNeil and guitarist Joseph Mills sharing vocal duties over Ray Miner‘s drums, variety of melody and throatier shouts are added to the deep-toned largesse of riff, and the Atlanta trio most assuredly have their heads on when it comes to knowing what they want to do sound-wise. The hard-hit hi-hat of “Faithful Demise” comes with some open spaces after the fuzzy lumber that caps “Bloodghast,” and as “Ashwhore” and “Witch’s Ladder” remind a bit of the misogyny inherent in witchy folklore — at the end of the day it was all about killing pretty girls — the grooves remain fervent and the forward potential on the part of the band likewise. It’s a sound big enough that there isn’t really any room left for bullshit.

DayGlo Mourning on Thee Facebooks

Black Doomba Records webstore

 

Chamán, Maleza

Chamán maleza

Issued in the waning hours of Dec. 2020, Chamán‘s 70-minute, six-song debut album, Maleza, is a psicodelico cornucopia of organic-toned delights, from the more forward-fuzz of “Poliforme” — which is a mere six and a half minutes long but squeezes in a drum solo — to the 13-plus-minute out-there salvo that is “Malezo,” “Concreto” and “Temazcal,” gorgeously trippy and drifting and building on what the Mendozza, Argentina, three-piece conjure early in the proceedings with “Despierta” and “Ganesh,” each over 10 minutes as well. Even in Maleza‘s most lucid moments, the spirit of improv and live recording remains vibrant, and however these songs were built out to their current form, I’m just glad they were. Whether you put it on headphones and bliss out for 70 minutes or you end up using it as a backdrop for whatever your day might bring, Chamán‘s sprawling and melted soundscapes are ready to embrace and enfold you.

Chamán on The Facebooks

Chamán on Bandcamp

 

Sonic Demon, Vendetta

sonic demon vendetta

Italian duo Sonic Demon bring a lethal dose of post-Electric Wizard grit fuzz and druggy echoed snarl to their debut full-length, Vendetta, hitting a particularly nasty low end vibe early on “Black Smoke” and proving willing to ride that out for the duration with bouts of spacier fare in “Fire Meteorite” and side A capper “Cosmic Eyes” before the second half of the 40-minute outing renews the buzz with “FreakTrip.” Deep-mixed drums make the guitar and bass sound even bigger, and such is the morass Sonic Demon make that even their faster material seems slow; that means “Hxxxn” must be extra crawling to feel as nodded-out as it does. Closing duo “Blood and Fire” and “Serpent Witch” don’t have much to say that hasn’t already been said, style-wise, but they feel no less purposeful in sealing the hypnosis cast by the songs before them. If you can’t hang with repetition, you can’t hang, and the filth in the speedier-ish last section of “Serpent Witch” isn’t enough to stop it from being catchy.

Sonic Demon on Thee Facebooks

The Swamp Records on Bandcamp

Forbidden Place Records website

 

Sow Discord, Quiet Earth

sow discord quiet earth

Sow Discord is the solo industrial doom/experimentalist project of David Coen, also known for his work in Whitehorse, and the bleak feel that pervades his debut full-length under the moniker, Quiet Earth, is resonant and affecting. Channeling blowout beats and speaker-throbbing crush on “Ruler,” Coen elsewhere welcomes Many Blessings (aka Ethan Lee McCarthy, also of Primitive Man) and The Body as guests for purposefully disturbing conjurations. Cuts like “Desalination” and “Functionally Extinct” churn with an atmosphere that feels born of a modern real-world apocalypse, and it’s hard to tell ultimately whether closer “The World Looks on with Pity and Scorn” is offering condolence or condemnation, but either way you go, the bitter harshness that carries over is the thread that weaves all this punishment together, and as industrial music pushes toward new extremes, even “Everything Has Been Exhausted” manages to feel fresh in its pummel.

David Coen on Instagram

AR53 Productions on Bandcamp

Tartarus Records on Bandcamp

 

Cerbère, Cerbère

cerbere cerbere

Formed by members of Lord Humungus, Frank Sabbath and Carpet Burns, Cerbère offer three tracks of buried-alive extreme sludge on their self-titled debut EP, recorded live in the band’s native Paris during a pandemic summer when it was illegal to leave the house. Someone left the house, anyhow, and the resultant three cuts are absolutely unabashed in their grating approach, enough so to warrant in-league status with masters of misanthropy like Grief or Khanate, even if Cerbère move more throughout the 15-minute closing title-track, and dare to add some trippy guitar later on. The two prior cuts, “Julia” — the sample at the beginning feels especially relevant in light of the ongoing Notre Dame rebuild — and “Aliéné” are no less brutal if perhaps more compact. I can’t be sure, because I just can’t, but it’s entirely possible “Aliéné” is the only word in the song that bears its name. That wouldn’t work in every context. Here it feels earned, along with the doomier lead that follows.

Cerbère on Thee Facebooks

Cerbère on Bandcamp

 

Dali’s Llama, Dune Lung

dalis llama dune lung

They’ve cooled down a bit from the tear they were on for a few years there, but Dali’s Llama‘s new Dune Lung EP is no less welcome for that. The desert-dwelling four-piece founded by guitarist/vocalist Zach and bassist Erica Huskey bring a laid back roll to the nonetheless palpably heavy “Nothing Special,” backing the opener with the fuzzy sneer of “Complete Animal,” the broader-soundscape soloing of “Merricat Blackwood,” and the more severe groove of “STD (Suits),” all of which hit with a fullness of sound that feels natural while giving the band their due as a studio unit. Dali’s Llama have been and continue to be significantly undervalued when it comes to desert rock, and Dune Lung is another example of why that is and how characteristic they are in sound and execution. Good band, and they’re edging ever closer to the 30-year mark. Seems like as good a time as any to be appreciated for the work they’ve done and do.

Dali’s Llama on Thee Facebooks

Dali’s Llama on Bandcamp

 

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The Obelisk Questionnaire: Sacha Besson of Fuzzcrafter

Posted in Questionnaire on March 26th, 2021 by JJ Koczan

fuzzcrafter-sacha BESSON

The Obelisk Questionnaire is a series of open questions intended to give the answerer an opportunity to explore these ideas and stories from their life as deeply as they choose. Answers can be short or long, and that reveals something in itself, but the most important factor is honesty.

Based on the Proust Questionnaire, the goal over time is to show a diverse range of perspectives as those who take part bring their own points of view to answering the same questions. To see all The Obelisk Questionnaire posts, click here.

Thank you for reading and thanks to all who participate.

The Obelisk Questionnaire: Sacha Besson of Fuzzcrafter

How do you define what you do and how did you come to do it?

It’s a strange instrumental mix of fuzz rock and progressive music, with a lot of different influences ranging from funk to doom metal and world music. We have already released two albums, A – B and C – D, that were both recorded during live studio sessions. We feel that recording that way, in an age of overproduced albums with thousands of tracks, allows us to reach the authenticity and wildness that made the rock ‘n’ roll classics we love.

We try to make music we would be happy to listen to: with massive amounts of fuzz, long tracks with complicated structures, and musical changes you wouldn’t have expected a second earlier.

Describe your first musical memory.

I’m not coming from a musician family, I was not really exposed to music as a child. But I remember having a kind of revelation when playing Zelda Link’s Awakening on my Gameboy when I was like six or seven. The goal of the game is to pick up eight musical instruments through the dungeons. Every time you pick one, the instrument plays his part, then once again with the ones you already got. You literally assist to the creation of the arrangement. I played that on repeat and was like “Wooah, that’s cool, I wanna do this!”

Not really rock ‘n’ roll is it? Fuzzy stuff came later.

Describe your best musical memory to date.

We had a lot of good times with the band, but I’d say the day we finished tracking the second album. It was a challenging session, we had two rough days. It was the first time we recorded tracks that long and technical. When we finally laid down the last track, I was very proud of what we had accomplished. There’s an euphoria you’d never get if you record the instruments one by one.

When was a time when a firmly held belief was tested?

As an independent band, I don’t think there are that many occasions for this kind of dilemmas. We’re just having fun playing music we love.

Where do you feel artistic progression leads?

The more you progress, the more you understand how little you really know. I sure feel that way with music, I guess it’s the same in other artistic fields.

How do you define success?

Setting yourself goals that seem a bit too high, and working your ass off until you finally achieve something you’re proud of. The rest is bonus.

What is something you have seen that you wish you hadn’t?

Humanity going completely crazy, speeding up the extinction of entire species all over the planet to preserve short-term personal comfort… And… Star Wars Ep. VIII.

Describe something you haven’t created yet that you’d like to create.

We would really like to incorporate more guest musicians, and different kind of instruments in the next releases. We really love the trio format, and I think the limitations it imposes pushes the inspiration in a cool way; but why not bonus tracks with a way bigger band?

What do you believe is the most essential function of art?

Isn’t not having a function one of the main characteristics of art?

Something non-musical that you’re looking forward to?

A good beer in a bar with friends when that weird Covid situation is over!

https://www.facebook.com/fuzzcrafter
https://www.instagram.com/fuzzcrafterband/
https://fuzzcrafter.bandcamp.com/

Fuzzcrafter, C-D (2020)

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