Quarterly Review: Amenra, Liquid Sound Company, Iceburn, Gods and Punks, Vouna, Heathen Rites, Unimother 27, Oxblood Forge, Wall, Boozewa

Posted in Reviews on July 14th, 2021 by JJ Koczan

the-obelisk-fall-2016-quarterly-review

You’ll have to forgive me, what the hell day is it? The url says this is day eight, so I guess that’s Wednesday. Fine. That’s as good as any. It’s all just 10 more records to my brain at this point, and that’s fine. I’ve got it all lined up. As of me writing this, I still haven’t heard about my busted-ass laptop that went in for repair last Saturday, and that’s a bummer, but I’m hoping that any minute now the phone is going to show the call coming in and I’ll just keep staring at it until that happens and I’m sure that will be awesome for my already brutalized productivity.

My backup laptop — because yes, I have one and will gladly argue with you that it’s necessary citing this week as an example — is a cheapie Chromebook. The nicest thing I can say about it is it’s red. The meanest thing I can say about it is that I had to change the search button to a caps lock and even that doesn’t respond fast enough to my typing, so I’m constantly capitalizing the wrong letters. If you don’t think that’s infuriating, congratulations on whatever existence has allowed you to live this long without ever needing to use a keyboard. “Hello computer,” and all that.

Enough kvetching. Too much to do.

Quarterly Review #71-80:

Amenra, De Doorn

Amenra De Doorn

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Amenra on Facebook

Relapse Records website

 

Liquid Sound Company, Psychoactive Songs for the Psoul

Liquid sound company psychoactive songs for the psoul

A quarter-century after their founding, Arlington, Texas, heavy psych rockers Blue Remembered Hills Essay Help is rated. out who buy essay club reviews of in Trustpilot, where recent customer reviews of mba essay can be found to request our company through a paper article, and customers value us multiple attributes and advantages, who buy essay club reviews such as assisting the Technical Institute application article as a high quality of writing, strict adherence With deadlines, a Liquid Sound Company still burn and melt along the lysergic path of classic ’60s acid rock, beefier in tone but no less purposeful in their drift on Discuss your Chinese translation, http://www.mcc.gouv.qc.ca/?507 requirements with us. Psychoactive Songs for the Psoul. They’re turning into custard on “Blacklight Corridor” and they can tell you don’t understand on “Who Put All of Those Things in Your Hair?,” and all the while their psych rock digs deeper into the cosmic pulse, founding guitarist Creative Writing Essay Topicss are becoming more common across the UK. As a college student, you may have heard a lot about them, but have never used them before. If you want to know more about what a custom essay is and when you might need one, you're in the right place. Here's everything you need to know about UK custom essays. When you may need custom essay papers. There's many times when a custom essay John Perez (also The important subjects included in the Cheap Essay Writing Online services are law dissertation, management dissertation, marketing dissertation, nursing dissertation, accounting dissertation, human resource dissertation, and other major subjects. We have PhD level writers from different subjects and backgrounds, and this allows us to provide the best quality dissertation assistance to a student in Solitude Aeturnus) unable to resist bringing a bit of shred to “And to Your Left… Neptune” — unless that’s Essay For College for me. If you no longer want to complete countless essays, missing deadlines and spending hours online, struggling to search for credible sources, there is no better option than to contact a professional writing company that will complete your assignment without any mistakes or flaws. You will no longer have to worry that your professor will notice that you have copied a sample Mark Cook‘s warr guitar — even as “Mahayuga” answers back to the Middle Eastern inflection of “Blacklight Corridor” earlier on. Capping with the mellow jam “Laila Was Here,” dissertations to buy homework helping how to write an admission appeal letter college journey essay Psychoactive Songs for the Psoul is a loving paean to the resonant energies of expanded minds and flowing effects, but “Cosmic Liquid Love” is still a heavy rollout, and even the shimmering “I Feel You” is informed by that underlying sense of heft. Nonetheless, it’s an acid invitation worth the RSVP.

Liquid Sound Company on Facebook

Liquid Sound Company on Bandcamp

 

Iceburn, Asclepius

iceburn asclepius

Flying snakes, crawling birds, two tracks each over 17 minutes long, the first Iceburn release in 20 years is an all-in affair from the outset. As someone coming to the band via Gentry Densley‘s work in Eagle Twin, there are recognizable elements in tone, themes and vocals, but with fellow founders Joseph “Chubba” Smith on drums and James Holder on guitar, as well as bassist Cache Tolman (who’s Johnny Comelately since he originally joined in 1991, I guess), the atmosphere conjured by the four-piece is consuming and spacious in its own way, and their willingness to go where the song guides them on side A’s “Healing the Ouroboros,” right up to the long-fading drone end after so much lumbering skronk and incantations before, and side B’s “Dahlia Rides the Firebird,” with its pervasive soloing, gallop and veer into earth-as-cosmos terradelia, the return of Iceburn — if in fact that’s what this is — makes its own ceremony across Asclepius, sounding newly inspired rather than like a rehash.

Iceburn on Facebook

Southern Lord Recordings website

 

Gods & Punks, The Sounds of the Universe

gods and punks the sounds of the universe

As regards ambition, Gods & Punks‘ fourth LP, The Sounds of the Universe, wants for nothing. The Rio De Janeiro heavy psych rockers herein wrap what they’ve dubbed their ‘Voyager’ series, culminating the work they’ve done since their first EP — album opener “Eye in the Sky” is a remake — while tying together the progressive, heavy and cosmic aspects of their sound in a single collection of songs. In context, it’s a fair amount to take in, but a track like “Black Apples” has a riffy standout appeal regardless of its place in the band’s canon, and whether it’s the classic punch of “The TUSK” or the suitably patient expansion of “Universe,” the five-piece don’t neglect songwriting for narrative purpose. That is to say, whether or not you’ve heard 2019’s And the Celestial Ascension (discussed here) or any of their other prior material, you’re still likely to be pulled in by “Gravity” and “Dimensionaut” and the rest of what surrounds. The only question is where do they go from here? What’s outside the universe?

Gods & Punks on Facebok

Abraxas on Facebook

Forbidden Place Records website

 

Vouna, Atropos

vouna atropos

Released (appropriately) by Profound Lore, Vouna‘s second full-length Atropos is a work of marked depth and unforced grandeur. After nine-minute opener “Highest Mountain” establishes to emotional/aural tone, Atropos is comprised mostly of three extended pieces in “Vanish” (15:34), “Grey Sky” (14:08) and closer “What Once Was” (15:11) with the two-minute “What Once Was (Reprise)” leading into the final duo. “Vanish” finds Vouna — aka Olympia, Washington-based Yianna Bekris — bringing in textures of harp and violin to answer the lap steel and harp on “Highest Mountain,” and features a harsh guest vocal from Wolves in the Throne Room‘s Nathan Weaver, but it’s in the consuming wash at the finish of “Grey Sky” and in the melodic vocal layers cutting through as the first half of “What Once Was” culminates ahead of the break into mournful doom and synth that Vouna most shines, bridging styles in a way so organic as to be utterly consuming and keeping resonance as the most sought target, right unto the piano line that tops the last crescend, answering back the very beginning of “Highest Mountain.” Not a record that comes along every day.

Vouna on Facebook

Profound Lore website

 

Heathen Rites, Heritage

heathen rites heritage

One gets the sense in listening that for Mikael Monks, the Burning Saviours founder working under the moniker of Heathen Rites for the first time, the idea of Heritage for which the album is titled is as much about doom itself as the Scandinavian folk elements that surface in “Gleipner” or in the brief, bird-song and mountain-echo-laced finish “Kulning,” not to mention the Judas Priest-style triumphalism of the penultimate “The Sons of the North” just before. Classic doom is writ large across Heritage, from the bassline of “Autumn” tapping into “Heaven and Hell” to the flowing culmination of “Midnight Sun” and the soaring guitar apex in “Here Comes the Night.” In the US, many of these ideas of “northern” heritage, runes, or even heathenism have been coopted as expressions of white supremacy. It’s worth remembering that for some people it’s actually culture. Monks pairs that with his chosen culture — i.e. doom — in intriguing ways here that one hopes he’ll continue to explore.

Heathen Rites on Facebook

Svart Records website

 

Unimother 27, Presente Incoerente

Unimother 27 Presente Incoerente

Some things in life you just have to accept that you’re never going to fully understand. The mostly-solo-project Unimother 27 from Italy’s Piero Ranalli is one of those things. Ranalli has been riding his own wavelength in krautrock and classic progressive stylizations mixed with psychedelic freakout weirdness going on 15 years now, experimenting all the while, and you don’t have to fully comprehend the hey-man-is-this-jazz bass bouncing under “L’incontro tra Phallos e Mater Coelestis” to just roll with it, so just roll with it and know that wherever you’re heading, there’s a plan at work, even if the plan is to not have a plan. Mr. Fist‘s drums tether the synth and drifting initial guitar of “Abraxas…il Dio Difficile da Conoscere” and serve a function as much necessary as grooving, but one way or the other, you’re headed to “Systema Munditotius,” where forward and backward are the same thing and the only trajectory discernible is “out there.” So go. Just go. You won’t regret it.

Unimother 27 on Facebook

Pineal Gland Lab website

 

Oxblood Forge, Decimator

Oxblood Forge Decimator

Not, not, not a coincidence that Massachusetts four-piece Oxblood Forge — vocalist Ken Mackay, guitarist Robb Lioy, bassist Greg Dellaria and drummer/keyboardist Erik FraĂĽnfeltĂ«r — include an Angel Witch cover on their third long-player, Decimator, as even before they get around to the penultimate “Sorcerers,” the NWOBHM is a defining influence throughout the proceedings, be it the “hey hey hey!” chanting of “Mortal Salience” or the death riders owning the night on opener “Into the Abyss” or the sheer Maidenry met with doom tinge on “Screams From Silence.” Mackay‘s voice, high in the mix, adds a tinge of grit, but Decimator isn’t trying to get one over on anyone. This blue collar worship for classic metal presented in a manner that could only be as full-on as it is for it to work at all. No irony, no khakis, no bullshit.

Oxblood Forge on Facebook

Oxblood Forge on Bandcamp

 

Wall, Vol. 2

wall vol 2

They keep this up, they’re going to have a real band on their hands. Desert Storm/The Grand Mal bandmates and twin brothers Ryan Cole (guitar/bass) and Elliot Cole (drums) began Wall as a largely-instrumental quarantine project in 2020, issuing a self-titled EP (review here) on APF Records. Vol. 2 follows on the quick with five more cuts of unbridled groove, including a take on Karma to Burn‘s “Nineteen” that, if it needs to be said, serves as homage to Will Mecum, who passed away earlier this year. That song fits right in with a cruncher like “Avalanche” or “Speed Freak,” or even “The Tusk,” which also boasts a bit of layered guitar harmonies, feeling out new ground there and in the acousti-handclap-blues of “Falling From the Edge of Nowhere.” The fact that Wall have live dates booked — alongside The Grand Mal, no less — speaks further to their real-bandness, but Vol. 2 hardly leaves any doubt as it is.

Wall on Facebook

APF Records website

 

Boozewa, Deb

Boozewa Deb

The second self-recorded outing from Pennsylvania trio Boozewa, Deb, offers two songs to follow-up on Feb. 2021’s First Contact (review here) demo, keeping an abidingly raw, we-did-this-at-home feel — this time they sent the results to Tad Doyle for mastering — while pushing their sound demonstrably forward with “Deb” bringing bassist Jessica Baker to the fore vocally alongside drummer Mike Cummings. Guitarist Rylan Caspar contributes in that regard as well, and the results are admirably grunge-coated heavy rock and roll that let enough clarity through to establish a hook, while the shorter “Now. Stop.” edges toward a bit more lumber in its groove, at least until they punk it out with some shouts at the finish. Splitting hairs? You betcha. Maybe they’re just writing songs. The results are there waiting to be dug either way.

Boozewa on Instagram

Boozewa on Bandcamp

 

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Wall Set July 30 Release for Wall Vol. 2

Posted in Whathaveyou on June 1st, 2021 by JJ Koczan

wall

Immediate and well-deserved points to the Brothers Cole for not calling the second Wall release Wallume 2. That temptation could not have been easy to resist, but that they managed to do so makes the world a better place. New song, preorders, all that stuff. Note that the band, who made a debut with their self-titled EP (review here) last year through APF remain refreshingly honest in acknowledging their influences, with Elliot and Ryan Cole this time paying homage to Will Mecum of Karma to Burn in “Nineteen” whereas last time out it was Black Sabbath‘s “Electric Funeral.” If you can find argument with either, you’ve probably stumbled onto this site by accident. Welcome. Try the riffs. Hope you like run-on sentences.

Wall have UK tour dates up for August, which it looks like just might happen. How about that? Wall Vol. 2 will be out before then, arriving July 30, again through APF Records.

The following came down the PR wire:

wall vol 2

Wall – Vol. 2 – July 30, 2021

APF Records is delighted to announce the release of WALL’s sophomore EP Vol. 2 on 30th July 2021. First single The Tusk hits Spotify on 1st June.

Pre-orders commence 1st June. Links:
https://apfrecords.co.uk/bands/wall
https://wallbandrocks.bandcamp.com

Elliot and Ryan Cole have been stalwarts of the international stoner doom scene since they formed Desert Storm almost 15 years ago in their home town of Oxford, releasing five albums with that band and touring Europe like dogs ever since. They are two parts of the quintet which is The Grand Mal, also signed to APF Records, whose self-titled debut was released in 2019.

Their latest project Wall was conceived during lockdown. Frustrated at not being able to tour, and stuck at home together, Elliot and Ryan found themselves seeking a substantially creative way to kill the boredom. The debut eponymous five track EP was released by APF Records on 15th January 2021, chock full of Iommi-worshipping instrumental sludge doom. The homage to Black Sabbath was manifest in an electrifying cover of Electric Funeral, featuring vocals by The Grand Mal’s Dave-O. Wall entered the Doom Charts at number 10, and was met with acclaim in the stoner doom underground.

Now, a mere six months later, Wall unleash Vol 2. Once again recorded with Jimmy Hetherington at Shonk Studios, this second effort leans more towards the classic US rock the lads grew up on. It features a cover of Karma To Burn’s Nineteen, released as a tribute to Elliot and Ryan’s friend Will Mecum who sadly passed away in May. The Cole twins other band Desert Storm and Karma To Burn had toured the UK together on several occasion, becoming firm buddies on the road.

About Nineteen, the Cole Brothers say “We recorded it a few months ago in lockdown as a way of saying thanks, and showing our appreciation for one of our favourite bands – true pioneers of the genre and an inspiration to many. It feels right to share it now with the sad news of his passing. It’s been an honour knowing you, Will. Rest in peace”.

Tracklisting:
1. Avalanche
2. The Tusk
3. Speed Freak
4. Nineteen
5. Falling From the Edge of Nowhere

Wall tour the UK with The Grand Mal in August:
12.8.21 : Banbury – The Wheatsheaf
13.8.21 : Glasgow – Ivory Blacks
14.8.21 : Bolton – The Alma Inn
15.8.21 : Blackpool – Waterloo Music Bar
16.8.21 : Hull – Gorilla Studios
17.8.21 : Bradford – Al’s Juke Bar
18.8.21 : London – The Black Heart
19.8.21 : Gloucester – The Dick Whittington
20.8.21 : Swansea – The Bunkhouse
21.8.21 : Oxford – The Wheatsheaf

Wall is:
Ryan Cole – guitar / bass
Elliot Cole – drums

https://www.facebook.com/wallukrock/
https://www.instagram.com/wall.band_rocks/
https://wallbandrocks.bandcamp.com/
https://www.facebook.com/apfrecords
https://www.instagram.com/apfrecords/
https://apfrecords.bandcamp.com/
http://www.apfrecords.co.uk/

Wall, “Nineteen” (Will Mecum tribute)

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