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Morass of Molasses, The Ties that Bind: New Paths

Posted in Reviews on July 23rd, 2019 by JJ Koczan

morass of molasses the ties that bind

Reading, UK’s Morass of Molasses are former denizens of the unceremoniously defunct HeviSike Records — those bands should form a support group, or at very least make a patch for vests; “we were there” — and they emerge from that particular, well, morass of molasses, in order to deliver The Ties that Bind through Wasted State Records, a tight-knit collection of swinging heavy rock grooves punctuated by drummer Raj Puni (also some vocals) and bluesy licks from lead guitarist Phil Williams met with baritone guitar to provide low end and the post-hardcore vocalizations of Bones Huse, who seems to be in the real-time process of developing his approach as a singer. He and Puni seem to come together on the folkish side A finale “Legend of the Five Sons” — amid flute from Matt Ainsworth and guest backing vocals from Sian Greenaway of Alunah — in a quieter take, and the same happens, minus flute, plus percussion at the end of the record in “The Deepest Roots,” but in the louder material, Huse‘s style shows screamier roots he’s moving away from, resulting in a cleaner bark that reminds of Snapcase without some of the direct aggro attack.

The first Morass of Molasses album, 2017’s These Paths We Tread, also supports the argument of a progression underway in his vocals as well as the general breadth of arrangement, but as much as Morass of Molasses — who are not nearly so sluggish as their name would suggest, by the way — seem to delight in the contrast between subdued moments like the barely-there acoustic album intro “The Darkening” and the sudden crash-in of lead single “Woe Betide” (premiered here), it’s the latter that ultimately frames the primary impression of The Ties that Bind, and Huse‘s pushing himself vocally is a part of that. He sounds more confident here than on the debut, loud or quiet, and one expects the growth will continue across whatever the band do next from here. As it stands, songs like “Estranger” and “Persona Non Grata” arrive with all the more edge for what Huse brings to them as frontman.

Following “The Darkening,” “Woe Betide” and the catchy “Death of All” build considerable momentum in rockers-up-front fashion, the latter with a chugging, start-stopping riff that works its way into a kind of sludge boogie, with Puni‘s toms driving transition into and out of quick spoken-word parts en route to the next assault. A final run through the hook ends with an echoing shout and a moment of silence before “Estranger” crashes in on its bluesy lead guitar line from Williams, clearly taking a more patient approach from the outset. The vibe persists throughout most of the track’s six and a half minutes, though Morass of Molasses aren’t shy about the build that’s happening all the while any more than they are about the subsequent payoff thereof, which arrives announced by a single snare hit just past the 4:20 mark (obviously) in harder fuzz and harsher throat, culminating in a grungy nod backed by consistent kick drum before finally letting go into a drift of whispers and feedback.

morass of molasses

It’s from that natural but still thoughtfully done finish — the band clearly put emphasis on how one song feeds into the next as they were building The Ties that Bind, and indeed, the record all the more lives up to its name for those efforts — that the acoustic-led “Legend of the Five Sons” rises to cap side A with the contributions of Ainsworth and Greenaway, both contributions helping feed a sense of nature-worship that pulls away from some of the more interpersonal themes of songs like “Woe Betide” and “Estranger,” let alone “Persona Non Grata” still to come. But again, Morass of Molasses revel in the departure from one aspect of their sonic ideology to another, and they’re all the more able to pull off the sudden shifts in mood for that, each half of The Ties that Bind effectively framed in these folkish moments with bursts of aggression between. It’s like when you try really hard not to be mad but then you are anyway.

“Legend of the Five Sons” gives way easily to “As Leaves Fall,” with an interplay of electric and unplugged guitar, and soon enough, the feedback-soaked, shout-topped start of “Persona Non Grata” is underway. The longest of the album’s total nine tracks at just under seven minutes long — the record runs an LP-ready 38 minutes — it rolls out a righteous groove through much of the proceedings, pulling back to give Puni and Williams a bit of space during the bridge before the bigger-sounding finish, and then shifts, via feedback, into a concluding stretch of acoustic guitar, tying together with “As Leaves Fall” in a way that the tracks on side A seemed less interested in doing. Likewise, “In Our Sacred Skin” seems to push even further in bridging the gap between one side of their personality and the other, with a cleaner vocal style on display, acoustics layered in at various points, and still plenty of force surrounding to offer vicious counterpoint.

Still, that penultimate cut feels especially important in showcasing how Morass of Molasses might continue to draw the various sides of their approach together, and as they close out with “The Deepest Roots,” the proceedings still seem affected by the energy of the song prior, that tension overlapping in a way that underscores its resonant execution. I won’t profess to know where Morass of Molasses might be headed creatively after The Ties that Bind, but in a UK heavy underground that’s nigh on saturated with bands, their clear drive to distinguish themselves in terms of sound can only do them well as they keep moving forward. Most importantly, on The Ties that Bind, they come across like they want to do precisely that, and their willingness to push themselves into new styles of performance while also looking to others to bolster their own work in service to the songs likewise speaks to the proper placement of their priorities. With a firm sense of the earth under them, Morass of Molasses feel like they’re coming into their own here, and one hopes that’s precisely the case.

Morass of Molasses, The Ties that Bind (2019)

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Morass of Molasses Premiere “Woe Betide” from The Ties that Bind out June 7; Tour Dates Announced

Posted in audiObelisk, Whathaveyou on April 2nd, 2019 by JJ Koczan

morass of molasses

Morass of Molasses will release their second album, The Ties that Bind, on June 7 through Wasted State Records. The follow-up to the trio’s 2017 debut, These Paths We Tread is heralded by the premiere of “Woe Betide,” which you can stream at the bottom of this post, as well as a slew of live dates the band will undertake this and next month in the UK. Already veterans of Desertfest and HRH Doom vs. Stoner, the three-piece seem to solidify around a classic heavy rock sound tinged with just an element of noise to keep things dangerous.

I’m going by one track and it’s four minutes long, but even that has room for a stretch of progressive departure before the solo leads them back to the hooky verse and chorus from whence they came, so as to how the balance might shake out or if they want it to at all on the LP, I can’t say, but from the raucousness in “Woe Betide,” it certainly seems like it’ll be worth finding out.

Preorders soon. Art, info and audio now, courtesy of the PR wire:

morass of molasses the ties that bind

MORASS OF MOLASSES UNLEASH ALBUM DETAILS + FIRST SINGLE!

The Ties That Bind coming June 7th on Wasted State Records!

June 7th will see Swamp master generals of the Reading scene MORASS OF MOLASSES, return with their sophomore album on Wasted State Records. The low-tuned trio create the kind of lumbering heavy blues riffs which induce involuntary head nodding, now awake from a brief slumber, and emerge from the shadows to deliver their latest musical offering; The Ties That Bind. Taking on an altogether more earthly visage, this album is framed by themes of human connection, and delves into the deep-rooted interactions we share with each other and ourselves. The ‘Dark Forest’ motif that runs throughout this collection is the manifestation of these themes and uses familiar archetypes to guide us on this journey.

Today the band is not only sharing with us the hotly anticipated details with the album artwork and track list of The Ties That Bind, but also a first single to the track ‘Woe Betide’ Frontman Bones Huse says: ‘This song is about how quickly a relationship can change, and not allowing someone else to treat you without respect anymore. Regardless of how close you were in the past.’

The Ties That Bind Track list:

Side A
1. The Darkening
2. Woe Betide
3 . Death Of All
4 . Estranger
5 . Legend Of The Five Suns

Side B
6. As Leaves Fall
7. Persona Non Grata
8. In Our Sacred Skin
9. The Deepest Roots

In the lead up to the new album, the band will hit the road for their upcoming Goddess Shrine Tour, to allow audiences to catch a glimpse of the new material ahead of its release. Make sure to catch MORASS OF MOLASSES live at the following dates, to kick-off this Friday in their hometown Reading!

Goddess Shrine Tour:
05.04.19 – The Swamp, Reading
06.04.19 – The Black Heart, London
12.04.19 – Trash, Bradford
13.04.19 – Opium, Edinburgh
14.04.19 – West Street Live, Sheffield
15.04.19 – Rebellion, Manchester
16.04.19 – Lady Luck, Canterbury
24.05.19 – The Anvil, Bournemouth
25.05.19 – Firehouse, Southampton
26.05.19 – The Underground, Plymouth
31.05.19 – The White Horse, Tiverton
01.06.19 – Mothers Ruin, Bristol

www.facebook.com/MorassOfMolasses
www.morassofmolasses.bandcamp.com
www.wastedstate.com

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Quarterly Review: Blood of the Sun, Evoken, IAH, Asylum, Merlin, The Hazytones, Daily Thompson, Old Man Lizard, Tuskar, Space Coke

Posted in Reviews on December 11th, 2018 by JJ Koczan

quarterly-review

I had to think long and hard just now about what day it is. It’s Tuesday. — See how confident I was in saying that? A mask for insecurity, as always.

Anyway, the QR continues today with 10 more records and a pretty solid mix of whatnot. Some of this I’ve written about before here, but basically want to have another shot at the records themselves, so as we wind down 2018, it seems like the time to do that is now. As always, I hope you find something you dig. Seems pretty likely, frankly. If you go the entire 100 records with nothing but a “meh” to show for it, the problem isn’t likely to be the records. Not trying to insinuate anything, I’m just saying. 100 records is a lot. 10 records is a lot. And that’s what we’re doing today, so let’s get going.

Quarterly Review #61-70:

Blood of the Sun, Blood’s Thicker than Love

blood of the sun bloods thicker than love

Drummer Henry Vasquez (also Saint Vitus) returns to his ultra-Texan heavy rock roots with Blood of the Sun‘s first album in six years, Blood’s Thicker than Love (on Listenable). Driven by his own fervent rhythmic push, the six-song collection is given further classic heavy vibe through the prominent organ/keyboard work of Dave Gryder. Oh, and also the riffs from newcomer guitarists Wyatt Burton and Alex Johnson. Oh, and also bassist Roger “Kip” Yma‘s quick turns on bass. Oh, and also Sean Vargas‘ vocals. So yeah, pretty much the whole damn thing is classic uptempo heavy boogie, produced modern but making no mistake about where its heart lies. Vargas‘ voice has a pre-metal swagger that helps define tracks like “Livin’ for the Night” and the capper “Blood of the Road,” and while the follow-up to 2012’s Burning on the Wings of Desire (review here) is enough to make one wistful for the days when their contemporaries in Dixie Witch once also roamed the land, Blood of the Sun make classic rock their own and give it a vibrancy that’s nothing if not a show of love, regardless of how thick that may be.

Blood of the Sun on Thee Facebooks

Listenable Records on Bandcamp

 

Evoken, Hypnagogia

evoken hypnogogia

Unremitting. Unrelenting. Unforgiving. Whatever else one might say about New Jersey death/doombringers Evoken, it better start with the prefix “un-.” The negativity runs through the 60 minutes of their latest work, Hypnagogia (on Profound Lore), and one would expect no less than the ultra-mournful crush of “To Feign Ebullience” or the buzzing, resonant disdain of “Valorous Consternation,” the string sounds playing such a large role in crafting both the melodies and the relentless nature of their lung-deflating atmosphere. They may only break into speedier sections on rare occasion, but there’s no way to listen to Hypnagogia and call it anything other than extreme metal. It’s so cast down and so grinding that it not only conveys mood but affects it. Evoken are masters of the form, of course, and while Hypnagogia is their first full-length since 2012’s Atra Mors (review here), their history spans more than a quarter-century and time seems only to have made their miseries plunge even deeper.

Evoken on Thee Facebooks

Profound Lore Records website

 

IAH, II

iah ii

In part, the gift that Argentinian trio IAH give with their aptly-titled second outing, II — following their 2017 self-titled debut EP (review here) — is to allow their parts to flesh out naturally across the six-song/38-minute span, so that even as second cut “HH” turns to more weighted chug, that in turn evolves into something no less spacious than the drift brought to bear in the second half of the later “La Niña del Rayo,” which makes its way ultimately through similar interplay. This back and forth is exceptionally smooth throughout II, as the instrumental outfit blend heavy psychedelia and progressive metal with an unflinching cohesion of their songwriting. The longest inclusion is the penultimate “Pri” at 7:35, which caps with massive start-stops en route to closer “Sheut,” which serves as one last showcase of the cosmic doom dynamic burgeoning in the band’s sound, as much ready to depart the earth as leave impact craters on it.

IAH on Thee Facebooks

IAH on Bandcamp

 

Asylum, 3-3-88

asylum 3-3-88

The band who a short time later would evolve into Unorthodox, Asylum have long stood as a testament to the enduring power of Maryland doom. 3-3-88 is the second official issue of their material Shadow Kingdom has stood behind, following 2008’s reissue of 1985’s The Earth is the Insane Asylum of the Universe (review here), and it’s no less a document of the classic metal that’s still very much the foundation of what Maryland doom is. From the Sabbathian opening of “World in Trouble” and the later “Psyche World” to the kind of feeling-out-the-riff happening in “Funk 69” and the concluding instrumental “Unorthodox,” there’s a rawness to the sound that suits it well in the spirit of Pentagram‘s First Daze Here, but even in barebones form, Asylum‘s doomly vibes brook no bullshit and weed out the feint of heart. Straightforward working-class doom grit stripped to its essentials. Hard to ask for anything more when you actually hear it.

Unorthodox on Thee Facebooks

Shadow Kingdom Records website

 

Merlin, Dank Souls and Dark Weed: A Live Experience

merlin dank souls and dark weed

Kansas City doom rockers Merlin expanded to a six-piece early in 2018, and Dank Souls and Dark Weed: A Live Experience, as the title hints, captures this form of the band on stage. They’re playing a hometown gig at the Riot Room, and from the nodding groove that opens with “Abyss” from this year’s The Wizard (review here) to the extended reaches of a 19-minute take on “Tales of the Wasteland” that’s actually shorter than the studio version from 2016’s Electric Children (review here), the band explore reaches that are vast with a patience befitting their quickly-earned veteran status. The recording is remarkably clear and allows for the wash of “The Wizard Suite” to be discernible in its progressive rollout, and as they close with “Night Creep” from the 2016 LP, their energy comes through no less prevalent than the distortion driving it forward. The crowd are right to holler.

Merlin on Thee Facebooks

Merlin on Bandcamp

 

The Hazytones, II: Monarchs of Oblivion

the hazytones ii monarchs of oblivion

Touching on garage-doom influences, Montreal three-piece The Hazytones effectively sleek into the groove of “The Great Illusion” on their second Ripple LP, II: Monarchs of Oblivion, finding a balance between swing, melody and heft that pushes beyond the seemingly-requisite Uncle Acid influence to a place that isn’t shy about working in crisp tones or unabashed vocal harmonies. The title-track is a two-parter, and touches on theatrics-sans-pretense in the first piece while dedicating the second to following a central riff well worthy of the attention they give it toward a galloping solo finish. Opener “Empty Space” sets a creper vibe, and by the time they’re down to finishing out with the “Hole in the Sky”-style riff of “The Hand that Feeds,” that sensibility is reaffirmed as an essential component of The Hazytones‘ aesthetic. Whether it’s the chugging “Hell” or the way-blown-out “The Beast,” they hold firm to that central purpose and work with it to effect a sound that one can hear becoming their own all the more.

The Hazytones on Thee Facebooks

Ripple Music on Bandcamp

 

Daily Thompson, Thirsty

daily thompson thirsty

Three albums in, Dortmund’s Daily Thompson indeed sound Thirsty — or maybe it’s hungry, but either way, the Dortmund trio’s MIG Music offering captures a tight presentation based around nonetheless natural energy born of their time on tour, as the three-piece of guitarist/vocalist Danny Zaremba, bassist Mercedes, and drummer Stefan Mengel touch on Spidergawd-style classic heavy rock strut with “Brown Mountain Lights” and make their way through the semi-acoustic drift of “Stone Rose” and toward the later roll of “River Haze” with a trail of hooks behind them. Songwriting is central to what they do, but while Thirsty isn’t a minor undertaking at a CD-era reminiscent 10 songs/53 minutes, the band offer a chemistry between them and a fullness of sound that allows them to play to different sides of their approach, be it the fuzz-blues of “Gone Child” or the final summation “Spit out the Crap” that seems to shove all the more to its cymbal-wash finish. The title Thirsty brings to mind connotations of need, but Daily Thompson sound like they’ve got it all taken care of.

Daily Thompson on Thee Facebooks

MIG Music website

 

Old Man Lizard, True Misery

old man lizard true misery

A strong enough current of noise rock runs beneath Old Man Lizard‘s True Misery (on Wasted State) that leadoff track “Shark Attack” is enough to remind of Akimbo‘s Jersey Shores, and in under two minutes, the subsequent “Snakes” ties that into crawling-paced doom riffery such that the lumbering “Tree of Te?ne?re?” opens like the gaping jaws of some deep-sea trench. From there it unfolds a bit more uptempo than one might initially think, but it shows how fluidly Old Man Lizard shift from one impulse to the other. Accordingly, True Misery plays out with familiar-enough tones put to deceptively subtle and unpredictable purposes, making one-two highlights of the eight-minute back-to-backers “Cursed Ocean, Relentless Sea” and “Misery is Miserable” — which says it all, really — ahead of the finale, well titled “Return to Earth.” A better band than people know, Old Man Lizard bring a progressive touch to what from many others would just be sludge riffing — a bit of Elder on that closer — and manage to do so without losing touch with the righteousness of their groove. True Misery takes a couple listens to sink in, but well earns those and more besides.

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Wasted State Records website

 

Tuskar, The Tide, Beneath, The Wall

tuskar the tide beneath the wall

Tuskar‘s second offering through Riff Rock Records arrives titled for its three songs, “The Tide,” “Beneath” and “The Wall,” and comprises three tracks of largesse-minded sludge, burying its shouted vocals beneath mountainous low end. The Tide, Beneath, The Wall sets itself up through noisy churn and a roll that’s somehow misanthropic at the same time it seems well geared to have an entire bar headbanging. Either way, the feedback-worship in “The Wall” — sure enough a massive thing to slam into — makes a fitting end to the 20-minute release that seems to run so much longer, as “The Tide” and “Beneath” each set forth a grueling sprawl of malevolence that touches on the chaos to come without ever fully giving away what’s in store for the finale. At the same time this assault is cast, there’s an atmosphere to the proceedings as well such that Tuskar aren’t simply bludgeoning for the sake of bludgeonry, but finding a place for themselves within that in order to develop their attack. They do that successfully here and sound well up to the inevitable task before them of a debut full-length.

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Riff Rock Records website

 

Space Coke, L’Appel du Vide

space coke lappel du vide

I just about never do this, but I’m gonna go ahead and make the call: Space Coke‘s L’Appel du Vide is going to get picked up for a vinyl release in 2019. I don’t know who, how or when, but it’s basically a lock. The Columbia, South Carolina, organ-laced four-piece play classic-as-now heavy rock with right-on songcraft and a hard-hitting presentation that’s begging for some label with ears to hear it and press it to the platter it deserves. Be it the molten unfolding of the title-track or the fuzz-swirl of “Thelemic Ritual” or the cosmic stretch of “Kali Ma,” they’re locked in to a degree that utterly defies the notion that this is their first record, and from the vocal-effects smash in “Lucid Dream” and the samples laid over-top of “Interlude,” there’s never really a sense of where Space Coke — extra kudos for the Cheech & Chong reference — might go next, and yet their sound is cohesive, directed, and well aware of exactly what it’s doing and what it wants to do. Never a guarantee of anything in this world, but with Space Coke‘s take on modern stoner sprawl, I’d be amazed if someone didn’t grab this in the New Year, if not before. Eyes peeled on the PR wire for the announcement.

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Juniper Grave Premiere “The Forest” Video; Dec. UK Dates Announced

Posted in Bootleg Theater on November 13th, 2018 by JJ Koczan

juniper grave

Dec. 7 marks the release date of Juniper Grave‘s debut album, Of Hellions and Harridans, on Wasted State Records, and that same night the Edinburgh four-piece will play a hometown release show at St. Mark’s Unitarian Church. A church seems a fitting setting for their organ-laced sound, further distinguished as it is by the harmonies brought to bear by multiple vocalists, with Jenni in the lead position backed by guitarist Shonagh and bassist Sarah while Jason drums behind. The release show is the first of a three-night weekender, and they’ve got two weekenders in a row, winding up in Manchester on Dec. 15, which is as far south in the UK as they go. Fair enough for the band to celebrate the arrival of their tales of mischief and devilry in songs like the boogieing “A Trick of the Light,” the seven-minute prog-doom centerpiece “The Bridge Between Worlds” and the well-harmonized and classically metal closer “Rest with Your Dead (Faolitighearna),” which is a cause worthy of celebration both for the realization of these songs themselves and for the potential they represent.

“The Forest,” the video for which actually takes place indoors as well as outside in the woods, is the leadoff track on Of Hellions and Harridans, offers a rousing hook to capture the listener’s attention early, and as such, it makes a fitting juniper grave of hellions and harridansopener, but while it doesn’t have the same kind of charged harmonies as in the finale or even the penultimate “Lunar Calling” before it, it also does some essential work in setting up the linear flow of the album toward those ends. The organ is established for being the crucial element that it is. The rhythm section proves crucial to the weight and groove overall, and the melody brings forward the nascent sense of command in the vocals overall that speaks to one of the band’s great potentials for arrangement and melodic/harmonic interplay going forward. That’s getting well ahead of things, but it’s there in the song all the same and becomes a subsequent theme for Juniper Grave across the album’s 40-minute, LP-ready span.

This is the first audio from the album to be made public so far as I know, so please dig in and click the tour poster to enlarge the dates should you happen to be in the region early next month. Preorders for Of Hellions and Harridans are up now through Wasted State, and you’ll find that link along with more info under the video below.

Please enjoy:

Juniper Grave, “The Forest” official video premiere

juniper grave tour poster

From the dreich, winding closes of Edinburgh come Juniper Grave. Riding out under the banner of debut album Of Hellions and Harridans, these four harbingers of doom have distilled the influence of fellow occultists Blood Ceremony and Jex Thoth into the soundtrack to a Faustian bargain.

Video shot & edited by Richie Morgan

Taken from their debut album ‘Of Hellions & Harridans’, released 7th December 2018 through Wasted State Records.

Coming as Vinyl, CD and Digital Download, the album pre-order is now available at:
http://www.wastedstate.com/releases/juniper-grave-of-hellions-harridans/

Juniper Grave are:
Lead Vocals and Organ: Jenni
Guitar and Backing Vocals: Shonagh
Bass and Backing Vocals: Sarah
Drums: Jason

Juniper Grave on Thee Facebooks

Juniper Grave on Twitter

Juniper Grave on Instagram

Juniper Grave on Bandcamp

Juniper Grave website

Wasted State Records website

Wasted State Records webstore

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Juniper Grave Release Debut Album Of Hellions and Harridans Dec. 7

Posted in Whathaveyou on October 25th, 2018 by JJ Koczan

juniper grave

Scottish four-piece Juniper Grave formed in 2016 and issued a two-track demo in 2017 that featured the songs ‘Lunar Calling’ and ‘The Bridge Between Worlds.’ The cultish-leaning outfit have signed to Wasted State Records and both of those tracks will feature on their debut album, Of Hellions and Harridans, which is due out Dec. 7. There’s no audio from the record yet and the demo has been taken down from Bandcamp in place of a preorder page for the LP — fair enough — but the live clip below gives some sense of the band’s approach with guitarist Shonagh and bassist Sarah providing backing vocals for organist Jenni, and it seems likely those arrangements will factor heavily in the album (haven’t heard it, so can’t confirm that) along with the weighted grooves and eerie organ melodies. Also dig the purported themes of “warrior women and accursed souls.” Would be a nice change from all that horror-movie silly whatnot that seems to abound everywhere you look.

The PR wire has details:

juniper grave of hellions and harridans

JUNIPER GRAVE TO RELEASE DEBUT ALBUM THIS DECEMBER!

Edinburgh based witch-rock band JUNIPER GRAVE have announced the release of their hotly anticipated debut album titled ‘Of Hellions & Harridans’!

Formed in 2016 peddling their unique brand of occult rock with strong tinges of the doom, JUNIPER GRAVE have quickly grown their coven of fans at live shows, such as in support of Dystopian Future Movies or Church Of The Cosmic Skull, and progressed towards the album writing at the start of 2018.

This summer, JUNIPER GRAVE entered the Chamber Studio in Edinburgh to record their debut album ‘Of Hellions & Harridans’, which is set for a release with Wasted State Records on December 7th 2018!

“After two years of weaving and crafting we can’t wait to share our stories of warrior women and accursed souls with the world.“ Says the band. “The themes, although fantastical, embody our ethos of empowerment and sisterhood and we are really proud of these seven songs of ruin and revenge.”

The tracklist will read as follows:
1. The Forest
2. A Trick Of The Light
3. Daughters of the Waves
4. The Bridge Between Worlds
5. Dance of the Daemon Queen
6. Lunar Calling
7. Rest With Your Dead (Faoiltighearna)

Coming as Vinyl, CD and Digital Download, the album pre-order is now available at:
http://www.wastedstate.com/releases/juniper-grave-of-hellions-harridans/

Juniper Grave are:
Lead Vocals and Organ: Jenni
Guitar and Backing Vocals: Shonagh
Bass and Backing Vocals: Sarah
Drums: Jason

www.facebook.com/junipergrave
https://twitter.com/junipergrave
https://www.instagram.com/junipergraveband/
https://junipergrave.bandcamp.com/
www.junipergrave.com
www.wastedstate.com

Juniper Grave, “Daughters of the Bannermans” live in Edinburgh

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Old Man Lizard Set Nov. 30 Release for True Misery; Preorders Available Now

Posted in Whathaveyou on October 15th, 2018 by JJ Koczan

old man lizard

Suffolk, UK, three-piece Old Man Lizard appeared earlier this year at Desertfest London, and if you don’t believe me, just look at the column bifurcating the video at the bottom of this post. If that ain’t The Underworld in Camden Town, then it’s nowhere on this planet. Obstructed view notwithstanding, the trio look to have had a good time bringing their quirky, heavy sludge to the fdfdest, and they’ll no doubt do the same with the release of True Misery, the details of which have been newly unveiled along with preorders ahead of a Nov. 30 arrival. Late in the year, but anything with a song called “Misery is Miserable” is welcome by me. See also, the triple-exclamatory “Snakes!!!” As in, multiple of snake. I dig it.

Release is through Wasted State Records, and details on the thing come from the PR wire like so:

old man lizard true misery

OLD MAN LIZARD TO RELEASE BRAND NEW ALBUM!

‘True Misery’ Coming November 30th 2018 On Wasted State Records!

Inspired by the rural surroundings of their native Suffolk, OLD MAN LIZARD have been belting out their unique brand of stoner and sludge since 2011. The UK based power trio have proven themselves in the heavy rock scene, delivering a memorable live show alongside the likes of Elder, Conan or Fatso Jetson to name just a few. Slots at Desertfest Belgium, Hard Rock Hell – Doom vs Stoner, Desertfest London or a headline tour all over Europe have established OLD MAN LIZARD as a staple of the current stoner scene.

Their official releases have been highly praised by fans and critics alike and include their self-titled debut with Heavy Psych Sounds Records, ‘Lone Wolf vs Brown Bear’ (2014, Wickerman Recordings) as well as a split 7” with Earthmass on Big Riff Records. After years in the making, Jack Newnham (also in Slabdragger and Meadows), Gav Senior and Dan Beales have returned to the studio to record their third full length album titled ‘True Misery’. Set to be released by Wasted State Records, the album will be coming out on November 30th 2018!

Says the band: “It’s been three years since our last release and we are totally psyched to finally be unleashing “True Misery” via Wasted State Records soon! This album is a choice selection of material written over the last 5 years, covering a broad spectrum of influences while staying true to our sound; the overall feel of the album has been captured perfectly in the artwork, by “Sick” Mike Dicken. We had an absolute blast recording with the super-talented and eternally-patient Jason Frye (Century Audio and Harrowed) and we were lucky enough to have bluegrass hero, Pete Allen, drop in for a session and lay down some fiddle! Expect heavy, expect tone, EXPECT RIFFS!”

Just recently, OLD MAN LIZARD have announced the artwork and tracklist for ‘True Misery’:

The tracklist will read as follows:
1. Shark Attack
2. Snakes!!!
3. Tree of Ténéré
4. The Adventures Of Rupert Biggins
5. Trees Fall Down
6. Cursed Ocean, Relentless Sea
7. Misery Is Miserable
8. Return To Earth

Coming November 30th 2018 as CD, Vinyl and Digital Download, these brutal tales and banging riffs are vital listening for fans of Elder, Baroness, Kyuss, Harvey Milk and Taint! Pre-orders of ‘True Misery’ are now available at: www.wastedstate.com

Old Man Lizard is:
Jack Newham – Guitar & Vocals
Gav Senior – Bass
Dan Beales – Drums

www.facebook.com/oldmanlizard
https://oldmanlizard.bandcamp.com/
www.wastedstate.com
https://www.facebook.com/pages/Wasted-State-Records/111088732018

Old Man Lizard, Live at Desertfest London 2018

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DVNE to Release New Album in 2019; Playing Psycho Las Vegas

Posted in Whathaveyou on August 6th, 2018 by JJ Koczan

I’m not saying you’ll be telling your grandkids about it however many years from now — though one never knows — but DVNE‘s onstage debut in the US seems to me the kind of thing that you want to see if you can help it. They’ve got two — count ’em: one, two — dates booked Stateside. One is Psycho Las Vegas, which comes first, and second is a Psycho-affiliated San Diego gig at Brick by Brick with Elder and Red Fang. Nothing like being made to feel welcome in a new place.

Oh, and speaking of Psycho-affiliated, DVNE are also the first client for the fest-promoter’s new management wing. They’ll have a new album out in 2019 to follow-up last year’s much-lauded Asheran, which was released by Wasted State Records.

The PR wire brings tales of things to come:

dvne

DVNE: Progressive Metal/Sludge Collective To Make First-Ever US Appearance At Psycho Las Vegas; New Album In The Works

In just a few short weeks, Edinburgh-based progressive metal/sludge behemoths DVNE will make their way stateside to play Psycho Las Vegas in Las Vegas, Nevada, followed by a special show at Brick By Brick in San Diego, California with Elder and Red Fang. The two shows will mark DVNE’s first-ever US live performances!

Comments guitarist/vocalist Victor Vicart, “We’re gearing up for the US and couldn’t be more excited to play our first shows over there. Psycho is going to be mental; loads of bands we love and it looks like we’re going to have a three-day non-stop party too. We also have a show in San Diego with Elder and Red Fang the following Monday so our post festival blues are sorted!

“Following those shows,” he continues, “we’ll be back home in Edinburgh and the plan is to lock ourselves in the practice room and finish our next album. We’re really excited to enter the studio again and explore with new sounds and instruments; it’s going to be a blast!”

DVNE recently completed a UK tour supporting New Orleans icons Eyehategod. Lauded The Moshville Times of their performance in Glasgow, “I’ve seen [DVNE] a handful of times now, they’ve always impressed me live, and tonight they were at their best, flying through an absolutely blistering set focused on the Mastodonian Asheran. On yet another uncharacteristically hot Glasgow evening, Audio was stiflingly clammy so as the mellow segue music from Asheran filled the short gaps between songs the guys caught their breath and wiped sweat from their gear. On occasion, vocalist/guitarist Victor Vicart used these pauses to switch between his nine-string and six-string guitars. During the likes of ‘Thirst’ Victor’s vocals and guitar parts acted as lighter, emotive counters to Dudley Tait’s growled hollers and chunkier riffs. All the while Dan Barter’s swift fills and Allan Paterson’s rolling basslines kept the songs driving forward. The local(ish) boys done great!”

DVNE:
8/17/2018 Psycho Las Vegas @ The Hard Rock Hotel And Casino – Las Vegas, NV
8/20/2018 Brick By Brick – San Diego, CA w/ Elder, Red Fang

DVNE (pronounced dune) released the critically-lauded debut full-length, Asheran, last year via Wasted State Records. A sixty-minute epic narrative following the tale of the rise and fall of civilizations, the return of an empire thought millennia lost, and the world-spanning events that consequently unfold, Asheran is steeped in themes of science fiction, environmental issues, and both dystopic and utopic visions for the future of mankind. Asheran was captured at Chambers Studio in Edinburgh, and mixed and mastered by Tom Dring of Vagrant Studios (Dragged Into Sunlight, Venom Prison).

A special orange clear 2xLP edition of Asheran is currently available at THIS LOCATION where the record can be streamed in its stunning entirety.

DVNE features Victor Vicart (guitar, vocals, keys), Daniel Barter (guitar, vocals), Dudley Tait (drums), and Allan Paterson (bass). Forged in 2013, DVNE’s Scottish roots lie with Tait and Paterson, with Vicart hailing from France and Barter from England. DVNE’s debut EP Progenitor was released in December 2013 and was followed the next year by a second EP entitled Aurora Majesty. Both offerings were released via Wasted State Records. Thanks to the excellent critical reception, DVNE quickly began to tour the UK and around Europe sharing stages with the likes of such scene household names as Crowbar, Eyehategod, Inter Arma, Dragged Into Sunlight, and Black Tusk. DVNE unleashed their most ambitious album to date in August 2017. Titled Asheran, the offering was released on 2xLP vinyl, CD, and digitally again via Wasted State Records. Since Asheran’s release, DVNE took on a month-long European headlining tour and recently partnered with Psycho Entertainment, curators of the esteemed Psycho Las Vegas festivals, for management. The union marks Psycho Entertainment’s first ever management venture. DVNE will release their follow-up to Asheran next year with details to be announced in the coming weeks.

https://www.facebook.com/DvneUK
https://www.instagram.com/dvne_uk/
https://twitter.com/SongsOfArrakis
https://songs-of-arrakis.bandcamp.com/album/asheran
http://www.wastedstate.com/

DVNE, Asheran (2017)

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DVNE to Tour UK with Eyehategod; Asheran Repress out Next Month

Posted in Whathaveyou on May 21st, 2018 by JJ Koczan

dvne

Scottish heavy progressives DVNE are on the third vinyl pressing of their 2017 album Asheran. That they’d have sold through two is little surprise, considering the breadth and weight the band puts into their material. That should make an interesting pairing when they play with sludge magnates Eyehategod in July in the UK in preparation for their US debut this August at Psycho Las Vegas, where there’s little doubt they’ll turn even more heads in their direction. Every fest has that one band that surprises people, and it’s easy to think DVNE will be that band for many. I hope very much to find out for myself by, you know, being there to see them.

The PR wire brings all the latest on all the latest, and it goes like this:

dvne-asheran

DVNE: Progressive Metal/Doom Collective Issues Third Pressing Of Asheran On Limited Orange Clear 2xLP; UK Dates With Eyehategod Confirmed + Band To Make US Live Debut At Psycho Las Vegas

Edinburgh-based progressive metal/doom collective DVNE are pleased to unveil the third vinyl pressing of the critically-lauded Asheran full-length debut.

Released last year via Wasted State Records, Asheran is a sixty-minute tapestry of sound; an epic narrative following the tale of the rise and fall of civilizations, the return of an empire thought millennia lost, and the world-spanning events that consequently unfold. Steeped in themes of science fiction, environmental issues, and both dystopic and utopic visions for the future of mankind, Asheran was captured at Chambers Studio in Edinburgh, and mixed and mastered by Tom Dring of Vagrant Studios (Dragged Into Sunlight, Venom Prison).

The orange clear 2xLP edition of Asheran will be released on June 4th via Wasted State Records and is currently available for preorder at THIS LOCATION where the record can be streamed in its stunning entirety.

Since Asheran’s release, DVNE took on a month-long European headlining tour and recently
partnered with Psycho Entertainment, curators of the esteemed Psycho Las Vegas festivals, for management. The union marks Psycho Entertainment’s first ever management venture.

DVNE will bring their psalms to UK stages this July supporting Eyehategod. From there, the band will make their way stateside for their first ever US performance at Psycho Las Vegas followed by a special show at San Diego’s Brick By Brick with Elder and Red Fang with additional live dates to be announced soon.

Comments guitarist/vocalist Victor Vicart of the Psycho appearance, “We’re so stoked to play Psycho this year. It’s the kind of festival we’ve always wanted to be part of because it pushes bands to do something special and different from their regular live performance. We’ve played a lot of small venues and squats in Europe and love the DIY part of the scene, but with Psycho, we have the opportunity to do something with our show we’ve had in mind for a long time. We can’t wait for people to see what we’re working on for the occasion.”

DVNE w/ Eyehategod:
7/01/2018 The Exchange – Bristol, UK
7/02/2018 Brudenell Social Club – Leeds, UK
7/03/2018 Audio – Glasgow, UK
7/04/2018 Rebellion Rock Club – Manchester, UK
7/05/2018 The Underworld – London, UK
8/17/2018 Psycho Las Vegas @ The Hard Rock Hotel And Casino – Las Vegas, NV
8/20/2018 Brick By Brick – San Diego, CA w/ Elder, Red Fang

DVNE (pronounced dune) consists of Victor Vicart (guitar, vocals, keys), Daniel Barter (guitar, vocals), Dudley Tait (drums), and Allan Paterson (bass).

https://songs-of-arrakis.bandcamp.com/album/asheran
https://www.instagram.com/dvne_uk/
https://twitter.com/SongsOfArrakis
https://www.facebook.com/DvneUK
wastedstaterecords.bandcamp.com

DVNE, “Thirst” official video

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