Quarterly Review: Hum, Hymn, Atramentus, Zyclops, Kairon; IRSE!, Slow Draw, Might, Brimstone Coven, All Are to Return, Los Acidos

Posted in Reviews on October 7th, 2020 by JJ Koczan

THE-OBELISK-FALL-2020-QUARTERLY-REVIEW

Day three of the Quarterly Review. Always a landmark. Today we hit the halfway point, but don’t pass it yet since I’ve decided to add the sixth day next Monday. So we’ll get to 30 of the total 60 records, and then be past half through tomorrow. Math was never my strong suit. Come to think of it, I wasn’t much for school all around. Work sucked too.

Anyway, if you haven’t found anything to dig yet — and I hope you have; I think the stuff included has been pretty good so far — you can either go back and look again or keep going. Maybe today’s your day. If not, there’s always tomorrow.

Quarterly Review #21-30:

Hum, Inlet

HUM INLET

One has to wonder if, if Harris Cooper Homework can save your considerable amount of time and as well as money. Our article rewriting services is providing all kinds of Hum had it to do over again, they might hold back their first album in 23 years, find dissertation online jobs Admission College Application Essay Help Online Excellent how do you write a website in an essay do write a bibliography Inlet, for release sometime when the world isn’t being ravaged by a global pandemic. As it stands, the largesse and melodic wash of the Illinois outfit’s all-growed-up heavy post-rock offers 55 minutes of comfort amid the tumult of the days, and while I won’t profess to having been a fan in the ’90s — their last studio LP was 1997’s follow.com is tracked by us since April, 2011. Over the time it has been ranked as high as 186 299 in the world, while most of its traffic comes from Downward is Heavenward, and they sound like they definitely spent some time listening to Learn about working at Admission Essay Custom Writing Research. Join LinkedIn today for free. See who you know at Legal Writing Services, leverage your professional network Pelican since then — the overarching consumption We offer the best Research Papers Network Security & assignment help in UK. Our assignment writers are always there to help you out in your academic work. Inlet sets forth in relatively extended tracks like “Desert Rambler” and “The Summoning” and the manner in which the album sets its own backdrop in a floating drone of effects make it an escapist joy. They hold back until closer “Shapeshifter” to go full post-rock, and while there are times at which it can seem unipolar, to listen to the crunching “Step Into You” and “Cloud City” side-by-side unveils more of the scope underlying from the outset of “Waves” onward.

Hum on Thee Facebooks

Polyvinyl Records webstore

 

Hymn, Breach Us

Hymn Breach Us

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Hymn on Thee Facebooks

Fysisk Format on Bandcamp

 

Atramentus, Stygian

Atramentus stygian

Carried across with excruciating grace, Atramentus‘ three-part/44-minute debut album, Stygian, probably belongs in a post-Bell Witch category of extreme, crawling death-doom, but from the script of their logo to the dramatic piano accompanying the lurching riffs, gurgles and choral wails of “Stygian I: From Tumultuous Heavens… (Descended Forth the Ceaseless Darkness)” through the five-minute interlude that is “Stygian II: In Ageless Slumber (As I Dream in the Doleful Embrace of the Howling Black Winds)” and into the 23-minute lurchfest that is “Stygian III: Perennial Voyage (Across the Perpetual Planes of Crying Frost and Steel-Eroding Blizzards)” their ultra-morose procession seems to dig further back for primary inspiration, to acts like Skepticism and even earliest Anathema (at least for that logo), and as guttural and tortured as it is as it devolves toward blackened char in its closer, Stygian‘s stretches of melody provide a contrast that gives some semblance of hope amid all the surrounding despair.

Atramentus on Thee Facebooks

20 Buck Spin webstore

 

Zyclops, Inheritance of Ash

zyclops inheritance of ash

As it clocks in 27 minutes, the inevitable question about Zyclops‘ debut release, Inheritance of Ash, is whether it’s an EP or an LP. For what it’s worth, my bid is for the latter, and to back my case up I’ll cite the flow between each of its four component tracks. The Austin, Texas, post-metallic four-piece save their most virulent chug and deepest tonal weight for the final two cuts, “Wind” and “Ash,” but the stage is well set in “Ghost” and “Rope” as well, and even when one song falls into silence, the next picks up in complementary fashion. Shades of Isis in “Rope,” Swarm of the Lotus in the more intense moments of “Ash,” and an overarching progressive vibe that feels suited to the Pelagic Records oeuvre, one might think of Zyclops as cerebral despite their protestations otherwise, but at the very least, the push and pull at the end of “Wind” and the stretch-out that comes after the churning first half of “Rope” don’t happen by mistake, and a band making these kinds of turns on their first outing isn’t to be ignored. Also, they’re very, very heavy.

Zyclops on Thee Facebooks

Zyclops on Bandcamp

 

Kairon; IRSE!, Polysomn

Kairon IRSE Polysomn

It’s all peace and quiet until “Psionic Static” suddenly starts to speed up, and then like the rush into transwarp, Kairon; IRSE!‘s Polysomn finds its bliss by hooking up a cortical node to your left temple and turning your frontal lobe into so much floundering goo, effectively kitchen-sink kraut-ing you into oblivion while gleefully hopping from genre to cosmic genre like they’re being chased by the ghost of space rock past. They’re the ghost of space rock future. While never static, Polysomn does offer some serenity amid all its head-spinning and lobe-melting, be it the hee-hee-now-it’s-trip-hop wash of “An Bat None” or the cinematic vastness that arises in “Altaïr Descends.” Too intelligent to be random noise or just a freakout, the album is nonetheless experimental, and remains committed to that all the way through the shorter “White Flies” and “Polysomn” at the end of the record. You can take it on if you have your EV suit handy, but if you don’t check the intermix ratio, your face is going to blow up. Fair warning. LLAP.

Kairon; IRSE! on Thee Facebooks

Svart Records webstore

 

Slow Draw, Quiet Joy

slow draw quiet joy

The second 2020 offering from Hurst, Texas’ Slow Draw — the one-man outfit of Mark “Derwooka” Kitchens, also of Stone Machine Electric — the four-song Quiet Joy is obviously consciously named. “Tightropes in Tandem” and closer “Sometimes Experiments Fail” offer a sweet, minimal jazziness, building on the hypnotic backwards psych drone of opener “Unexpected Suspect.” In the two-minute penultimate title-track, Kitchens is barely there, and it is as much an emphasis on the quiet space as that in which the music — a late arriving guitar stands out — might otherwise be taking place. At 18 minutes, it is intended to be a breath taken before reimmersing oneself in the unrelenting chaos that surrounds and swirls, and while it’s short, each piece also has something of its own to offer — even when it’s actively nothing — and Slow Draw brims with purpose across this short release. Sometimes experiments fail, sure. Sometimes they work.

Slow Draw on Thee Facebooks

Slow Draw on Bandcamp

 

Might, Might

might might

It took all of a week for the married duo of Ana Muhi (vocals, bass) and Sven Missullis (guitars, vocals, drums) to announce Might as their new project following the dissolution of the long-ish-running and far-punkier Deamon’s Child. Might‘s self-titled debut arrives with the significant backing of Exile on Mainstream and earns its place on the label with an atmospheric approach to noise rock that, while it inevitably shares some elements with the preceding band, forays outward into the weight of “Possession” and the acoustic-into-crush “Warlight” and the crush-into-ambience “Flight of Fancy” and the ambience-into-ambience “Mrs. Poise” and so on. From the beginning in “Intoduce Yourself” and the rushing “Pollution of Mind,” it’s clear the recorded-in-quarantine 35-minute/nine-song outing is going to go where it wants to, Muhi and Missullis sharing vocals and urging the listener deeper into doesn’t-quite-sound-like-anything-else post-fuzz heavy rock and sludge. A fun game: try to predict where it’s going, and be wrong.

Might on Thee Facebooks

Exile on Mainstream website

 

Brimstone Coven, The Woes of a Mortal Earth

brimstone coven the woes of a mortal earth

Following a stint on Metal Blade and self-releasing 2018’s What Was and What Shall Be, West Virginia’s Brimstone Coven issue their second album as a three-piece through Ripple Music, calling to mind a more classic-minded Apostle of Solitude on the finale “Song of Whippoorwill” and finding a balance all the while between keeping their progressions moving forward and establishing a melancholy atmosphere. Some elements feel drawn from the Maryland school of doom — opener the melody and hook of “The Inferno” remind of defunct purveyors Beelzefuzz — but what comes through clearest in these songs is that guitarist/vocalist Corey Roth, bassist/vocalist Andrew D’Cagna and drummer Dave Trik have found their way forward after paring down from a four-piece following 2016’s Black Magic (review here) and the initial steps the last album took. They sound ready for whatever the growth of their craft might bring and execute songs like “When the World is Gone” and the more swinging “Secrets of the Earth” with the utmost class.

Brimstone Coven on Thee Facebooks

Ripple Music website

 

All Are to Return, All Are to Return

all are to return all are to return

Take the brutal industrial doom of Author and Punisher and smash it together — presumably in some kind of stainless-steel semi-automated contraption — with the skin-peeling atmosphere and grueling tension of Khanate and you may begin to understand where All Are to Return are coming from on their debut self-titled EP. How they make a song like four-minute centerpiece “Bare Life” feel so consuming is beyond me, but I think being so utterly demolishing helps. It’s not just about the plodding electronic beat, either. There’s some of that in opener “Untrusted” and certainly “The Lie of Fellow Men” has a lumber to go with its bass rumble and NIN-sounding-hopeful guitar, but it’s the overwhelming sense of everything being tainted and cruel that comes through in the space the only-19-minutes-long release creates. Even as closer “Bellum Omnium” chips away at the last remaining vestiges of color, it casts a coherent vision of not only aesthetic purpose for the duo, but of the terrible, all-gone-wrong future in which we seem at times to live.

All Are to Return on Bandcamp

Tartarus Records website

 

Los Acidos, Los Acidos

Los Acidos Los Acidos

I saved this one for last today as a favor to myself. Originally released in 2016, Los Acidos‘ self-titled debut receives a well-deserved second look on vinyl courtesy of Necio Records, and with it comes 40 minutes of full immersion in glorious Argentinian psicodelia, spacious and ’60s-style on “Al Otro Lado” and full of freaky swing on “Blusas” ahead of the almost-shoegaze-until-it-explodes-in-sunshine float of “Perfume Fantasma.” “Paseo” and the penultimate “Espejos” careen with greater intensity, but from the folksy feel that arrives to coincide with the cymbal-crashing roll of “Excentricidad” in its second half to the final boogie payoff in “Empatía de Cristal,” the 10-song outing is a joy waiting to be experienced. You’re experienced, right? Have you ever been? Either way, the important thing is that the voyage that, indeed, begins with “Viaje” is worth your time in melody, in craft, in its arrangements, in presence and in the soul that comes through from front to back. The four-piece had a single out in late 2019, but anytime they want to get to work on a follow-up LP, I’ll be waiting.

Los Acidos on Thee Facebooks

Necio Records on Bandcamp

 

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Brimstone Coven Post “The Inferno” Lyric Video; The Woes of a Mortal World Preorders Available

Posted in Whathaveyou on June 22nd, 2020 by JJ Koczan

brimstone coven

Aug. 21 is the release date of the fourth Brimstone Coven album, The Woes of a Mortal Earth, which will also be their first on Ripple Music. The richly melodic Wheeling, West Virginia, cult heavy rockers have a new lyric video up now for “The Inferno,” the and finds guitarist Corey Roth and bassist Andrew D’Cagna working in fluid harmonies on vocals no less than one has come to expect from the band, who proved there was life after Metal Blade and life after losing their lead singer with 2017’s declarative What Was and What Shall Be. The answer, as it happens, is that what was, was, and what shall be is a new record. Go figure.

Definitely hear some Mountain in “The Inferno” and that’s not at all a complaint.

Preorders are up for the album now, and the PR wire brings details:

brimstone coven the woes of a mortal earth

Occult rock trio BRIMSTONE COVEN unveil details for new album ‘The Woes of a Mortal Earth’ on Ripple Music; preorder and stream first single now!

US occult hard rockers BRIMSTONE COVEN share all details for their upcoming fourth album ‘The Woes of a Mortal Earth’, due out August 21st and available to preorder now on Ripple Music. Join the magic circle with “The Inferno” lyric video!

While summoning eerie forces from the past, from the timeless heaviness of Sabbath and Coven to the wholehearted rock force of Led Zeppelin, BRIMSTONE COVEN craft a timeless and wholehearted brand of sonic witchery that will hold any soul captive inside its magic circle. The past and future collide in a dazzling big bang, melding foreboding atmospheres with a bright and intoxicating vocals from Corey Roth and Andrew D’Cagna.

The West Virginians have recently signed a worldwide deal with Ripple Music, for the release of their fourth album ‘The Woes of a Mortal Earth’ on August 21st and available to preorder in the following formats:

– Rare Test Pressing LP
– Worldwide Edition Classic Black Vinyl LP
– Limited Edition Colored Vinyl LP (200 copies)

BRIMSTONE COVEN “The Woes of a Mortal Earth”
Out August 21st on Ripple Music – PREORDER

TRACK LISTING:
1. The Inferno
2. When The World Is Gone
3. Live With A Ghost
4. The Darker Half
5. Secrets of The Earth
6. Song of Whippoorwill

Hailing from eastern Ohio, the band was conceptualized by vocalist/guitarist/songwriter Corey Roth in 2011, quickly joined by John Williams (vocals), Andrew D’Cagna (bass) and Justin Wood (drums). A five song? EP was self-released in 2012, followed by a full length in 2013. 2014 saw the band signing a two-album deal with veteran underground label Metal Blade Records. The first two recordings were repackaged and released under Metal Blade as one album, followed by the album ‘Black Magic’ in early 2016. 2017 proved to be a transitional year for BRIMSTONE COVEN. The band parted ways with Metal Blade, as well as original vocalist John and drummer Justin. Dave Trik joined soon after to take over drumming duties and the band collectively decided to forge on as a trio. New songs were penned and the album ‘What Was and What Shall Be’ was released independently in 2018. Fans responded very positively to the lineup change and new material. Three successful US tours to promote the album soon followed, covering the Northeast, Midwest and Southern states.

The rest of 2019 was spent honing a new batch of songs and the band entered the studio in early 2020. The result would prove to be BRIMSTONE COVEN’s darkest sounding album to date, ‘The Woes of a Mortal Earth’. The new year also saw the trio signing a new deal with the venerable label Ripple Music. Despite the foreboding atmosphere of their new album, the future of Brimstone Coven has never looked so bright.

BRIMSTONE COVEN is
Corey Roth – Guitar & Vocals
Andrew D’Cagna – Bass & Vocals
Dave Trik – Drums

https://www.facebook.com/brimstonecoven/
https://www.instagram.com/brimstonecoven/
https://brimstonecoven.bandcamp.com/
https://www.facebook.com/theripplemusic/
https://www.instagram.com/ripplemusic/
https://ripplemusic.bandcamp.com/
http://www.ripple-music.com/

Brimstone Coven, “The Inferno” lyric video

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Brimstone Coven & Spillage Announce August Tour Dates

Posted in Whathaveyou on May 8th, 2019 by JJ Koczan

brimstone coven

spillage

This August, West Virginia’s Brimstone Coven and Chicago’s own Spillage will head out on tour together through Texas and various destination points in the Midwest. The run is 10 shows in 10 days, no nights off, and will begin on Aug. 8 as Brimstone Coven head out behind last year’s What Was and What Shall Be, which was their first offering as a three-piece after issuing their second album, Black Magic (review here), through Metal Blade in 2016. They also just appeared this past weekend at the New England Stoner and Doom Fest II in Jewett City, Connecticut, which by all accounts I’ve seen was a win.

Spillage meanwhile appeared at Maryland Doom Fest last year and in January released their second album, Blood of Angels, and their classic Chicago-style deep-dish doom/metal should make a fun pairing with Brimstone Coven‘s harmonies. The tour is presented by Mercyful Mike Management, which is long-since aligned with Spillage, having booked them as well as support for its Sheavy tour and featured the band on Days of the Doomed III way back when in Wisconsin. That was just about six years ago. Time flies and all that.

Texas gets its due here, but there’s plenty of non-TX dates as well for anyone not of a Lone Star persuasion. Cheers to the bands on getting out. An independent tour of 10 shows in a row could easily be a slog, but something tells me these guys will keep good company.

Dates follow:

brimstone coven spillage tour

Happy to officially announce all dates of the “Blood and Hellfire” tour featuring Brimstone Coven and SPILLAGE! See you all in August!

8/8 – Little Rock, Arkansas @ The White Water Tavern
8/9 – San Antonio, Texas @ Limelight
8/10 – Houston, Texas @ Dan Electros
8/11 – Austin, Texas @Beerland
8/12 – Kansas City, Missouri @ TBA
8/13 – Des Moines, Iowa @Lefty’s Live Music
8/14 – Bloomington, Illinois @ NIghtshop
8/15 – Indianapolis, Indiana @ Black Circle Brewing Co.
8/16 – Milwaukee, Wisconsin @ Club Garibaldi
8/17 – Lombard, Illinois @ Brauer House

https://www.facebook.com/brimstonecoven
https://brimstonecoven.bandcamp.com/

http://www.facebook.com/spillagerocks
https://spillage.bandcamp.com/

Brimstone Coven, What Was and What Shall Be (2018)

Spillage, Blood of Angels (2019)

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Brimstone Coven Touring the Midwest in July

Posted in Whathaveyou on May 19th, 2016 by JJ Koczan

brimstone coven

The show Brimstone Coven are playing on June 25 in Ohio that precedes their run through the Midwest in July is being called Wookfest 2K16. It also features Druid and Clay Otter. A couple dates into the July stint, Brimstone Coven will link up with Castle — on their own extensive tour — for a few shows. They’re out supporting their 2016 debut full-length, Black Magic (review here), released by Metal BladeBlack Magic came out in January and is the follow-up to a 2015 self-titled (track stream here) that was a long-player in runtime but compiled from two earlier EPs.

Shows kick off July 23 in Cleveland and the tour includes stops in Ohio, Indiana, Michigan, Wisconsin and Western Pennsylvania. Tour dates and some comment from the band, as well as a stream of the Black Magic title-track, follow here, courtesy of the PR wire:

brimstone coven tour poster

BRIMSTONE COVEN: Dark Occult Rockers Announce US Tour Dates

West Virginia-based dark occult rockers, BRIMSTONE COVEN, have confirmed their Summer tour plans which include a one off show in Athens, Ohio on June 25 before kicking off a nine-date mini tour from July 23rd through July 31st alongside Castle on select dates.

Bassist Andrew D’Cagna comments: “The response we’ve received since the release of Black Magic has been phenomenal. Our Coven is growing, but our mission is never ending. We can’t wait to hit the road and spread the word of the Coven to those who’ve not yet witnessed our live ritual… See you this Summer! Behold! Believe!”

BRIMSTONE COVEN:
6/25/2016 The Smiling Skull – Athens, OH
7/23/2016 Maple Grove – Cleveland, OH
7/24/2016 Realm – Toledo, OH
7/25/2016 5th Quarter Lounge – Indianapolis, IN
7/26/2016 Reggies – Chicago, IL **
7/27/2016 High Noon Saloon – Madison, WI **
7/28/2016 Frank’s Power Plant – Milwaukee, WI **
7/29/2016 Shakespeare’s Pub – Kalamazoo, MI **
7/30/2016 Corktown Tavern – Detroit, MI **
7/31/2016 Howler’s – Pittsburgh, PA **
** w/ Castle

Brimstone Coven is:
“Big John” Williams – vocals
Corey Roth – guitar
Andrew D’Cagna – bass
Justin Wood – drums

http://www.facebook.com/brimstonecoven
http://www.metalblade.com/brimstonecoven

Brimstone Coven, “Black Magic”

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Quarterly Review: Eight Bells, Öken, Brimstone Coven, Pants Exploder, Shallows, Monumentum, Famyne, Ethereal Riffian, Wet Cactus, Forming the Void

Posted in Reviews on March 29th, 2016 by JJ Koczan

the obelisk quarterly review spring 2016

I thought yesterday went pretty well, by which I mean I didn’t receive any complaints that somebody’s name was spelled wrong (yet), so I feel alright going into the second batch of releases for the Quarterly Review. Today mixes it up a bit, which is something I always enjoy doing with these, and while I’ll take pains to emphasize that the list of releases today, as with every day, isn’t in order, there was no way I wasn’t going to start with the first record below. Some albums just demand top placement.

Quarterly Review #11-20:

Eight Bells, Landless

eight bells landless

However you define the word “heavy” as it relates to music, Eight Bells are it. The Portland, Oregon, trio release their second album and first for Battleground Records in the form of the five-track Landless, and from the opening sprawl and lumber of “Hating” through the crawling-plus-blasting chaos of “Touch Me,” a strong progressive current underscores the material – most notably the 13-minute title-track, but really the rest as well, which flows gracefully even in its harshest moments, the blackened rush in the second half of “Landless,” for example, which follows psychedelic drones and harmonies just minutes before, or the similar thrust of centerpiece “Hold My Breath,” which works in tighter quarters but manages to span genres all the same. “The Mortal’s Suite” provides some respite in airy guitar and airier vocals, giving new drummer Rae Amitay a break while showcasing the harmonies of guitarist Melynda Jackson (ex-SubArachnoid Space) and bassist Haley Westeiner. As open atmospherically as the band is in their creative scope, there just isn’t a level on which Landless isn’t superb.

Eight Bells on Thee Facebooks

Battleground Records

 

Öken, Öken

oken oken

Swedish four-piece Öken do themselves huge favors by refusing to be easily categorized on their 2015 self-titled Ozium Records debut full-length, which runs an immersive 62 minutes and blends doom, classic heavy/desert rock and forest psych with subtle grace throughout its eight tracks, each of which is fleshed out in an overarching naturalist atmosphere. “Väktaren” dives headfirst into boogie only after initial minimalist teasing, and “Crimson Moon” bursts to life after a hypnotic psychedelic opening to find its crux in later runs of dueling guitars. The two closing cuts, “Under Vår Sol” and “Cuauhtémoc” are an album unto themselves, the former nodding initially at Sungrazer’s serene vibes before pushing into even more open psychedelic territory, and the latter proffering riffy largesse en route to a striking classic prog finish. That Öken make these elements work side-by-side and transition from one to the other fluidly is emblematic of the confidence at work in the band, and they carry their scope with organic-sounding ease.

Öken on Thee Facebooks

Ozium Records

 

Brimstone Coven, Black Magic

brimstone coven black magic

West Virginian roots doomers Brimstone Coven made their debut on Metal Blade in 2015 with a self-titled EP compilation (track stream here), and Black Magic is their first full-length. Its 10 tracks/54 minutes take cues varyingly from classic heavy rock, doom and the less majestic side of the NWOBHM, but Brimstone Coven’s approach is marked out by the extensive use of vocal harmonies on cuts like the prog-tinged “Beyond the Astral,” the later moments of raw-roller “Upon the Mountain” and “The Plague.” Black Magic’s production is barebones enough that this singing – credited solely to “Big John” Williams, while Corey Roth handles guitar, Andrew D’Cagna bass and Justin Wood drums – doesn’t really soar so much as nestle in and enhance the begging-for-vinyl analog-worship of the instruments surrounding, a proliferation of cultish themes distinguishing Brimstone Coven even as a song like “The Seers” finds them inheriting a trad-doom soulfulness from The Gates of Slumber.

Brimstone Coven on Thee Facebooks

Metal Blade Records

 

Pants Exploder, Pants Exploder

pants exploder pants exploder

Between its vicious aggression, inhumane chug and have-fun-enduring-this stomp, the self-titled, self-released debut LP from Pants Exploder could just as easily be definitive New York noise, but the low-end heft of their assault right from opener “It’s Ok, I’m Wiccan.” (punctuation included in title) has an element of early-Mastodonic lumber, and that’s a thread that continues throughout “End of the World” and “You Don’t Strike Me as a Reader,” which offsets its slab-of-concrete-on-your-chest push with moments of respite, but remains driving in its intensity. As in, driving your head into the ground. Also the ground is pavement. It’s fucking heavy, is the point. To wit, the mega-plod of “Um, I Curated an Art Show in College, So…” and thrust of “God Has a Plan for Me.” Capping with the seven-minute “You Smug Bastard,” Pants Exploder pays off the tension they build in a noise-wash fury that is as impressive as it is scathing.

Pants Exploder on Thee Facebooks

Pants Exploder on Bandcamp

 

Shallows, The Moon Rises

shallows the moon rises

The rather ominous The Moon Rises EP is the first non-demo offering from Asheville, North Carolina, four-piece Shallows, who blend heavy psychedelic and grunge influences across its five tracks, opener “Shimmering” and closer “Distance” mirroring each other’s spacious push while between, “Zero,” “A Mile Beneath” and the Earth-influenced “The Barn Burning” enact gorgeous vocal harmonies between Cameron Zarrabzadeh and HannahLynn Cruey atop atmospheric heavy rock, hitting into Alice in Chains-meets-Kylesa territory on the centerpiece, “A Mile Beneath,” which is a fair bit of ground to cover. That cut is the high point in showcasing Shallows’ potential, but the Western take with “The Barn Burning” and meandering post-rock echoes and organ of “Distance” only add to the breadth of this impressive, too-short collection. With a focus consistently kept on ambience throughout, The Moon Rises flows like a full-length album, and so bodes that much better for what Shallows will be able to accomplish when they get there. I’ll look forward to it.

Shallows on Thee Facebooks

Shallows on Bandcamp

 

Monumentum, The Killer is Me

monumentum the killer is me

Even before they get to the all the aggro fuzz riffing, there’s a distinct threat of violence in Monumentum’s The Killer is Me. Its four songs, “Noose,” “Whore,” “Fiend and Foe” and “Killer Me,” each seem to find the Norwegian band doling out noise-influenced heavy rock, driven by some underlying dissatisfaction on this, their first EP. Released on vinyl through Blues for the Red Sun Records, it offsets being so outwardly pissed off through groove, the starts and stops of “Killer Me” and the rolling seven minutes of opener and longest track “Noose” (immediate points) both marked out for both their tonal weight and the force with which Monumentum push their material forward – not speedy, though “Whore” is by no means slow, but dense and emitting a residual tension all the same. Somewhat unipolar in its mood, The Killer is Me still manages to give an initial impression of what Monumentum are about sound-wise, and provides them with a solid start to work from.

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Blues for the Red Sun Records

 

Famyne, Famyne

famyne famyne

While the UK isn’t at all short on doom or sludge at this point, Canterbury five-piece Famyne distinguish themselves on their self-titled first EP with a traditional take and the at-times theatric harmonies of vocalist Tom Vane. Along with guitarists Alex Tolson and Alex Williams, bassist Chris Travers and drummer Jake Cook, Vane nods at Alice in Chains on lumbering opener “Enter the Sloth” without going full-on “hey whoa momma yeah” and provides a considerable frontman presence, particularly for a debut recording. Comprising three songs with the speedier bonus track “Long Lost Winter” as an add-on download with the CD version, Famyne’s Famyne EP finds its crux in the nod and push of the 10-minute “The Forgotten,” which takes a cue atmospherically from The Wounded Kings but finds its own, less-cultish niche in bringing new energy to classic doom and setting in motion a progression that already puts an individual stamp on established tenets.

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Famyne on Bandcamp

 

Ethereal Riffian, Youniversal Voice

ethereal riffian youniversal voice

There’s patient, and then there’s Ethereal Riffian, whose riffy ritualizing and exploration nonetheless brims with some intangible energetic sensibility on their new live outing, Youniversal Voice. Heavy psychedelic wash, thick riffs, theatric vocals and guitar effects, stoner roll and the occasional fit of shredding, one might hear any of it at a given point in over-12-minute cuts like “Wakan Tanka” and “Anatman,” the latter which arrives as the penultimate of the eight-song/56-minute set. The clarity, for being a live album, is remarkable, and Ethereal Riffian add to the experience with a CD version that includes a candle, elaborate packaging and artwork, and tea, so the multi-sensory impression is obviously important, and where many live outings are throwaways or a means of bowing to contractual obligation, Youniversal Voice adds to Ethereal Riffian’s studio work a substantial ambassasorial feel, conveying an onstage vibe with a fullness of sound and clarity of mind not often heard.

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Ethereal Riffian on Bandcamp

 

Wet Cactus, Wet Cactus

wet cactus wet cactus

Desert rock trio Wet Cactus don’t make any bones about where they’re getting their influence from on their late-2015 self-titled second EP. By the time they get around to the penultimate “The Road” on the five-track/24-minute outing, they’ve dug themselves in deep into the worship of crunchy Kyuss-style riffing, and you can throw in looks for Unida, Queens of the Stone Age, Slo Burn and whoever else of that milieu, but Kyuss is at the root of it all anyway. Less grand in their production than UK outfit Steak, who operated in similar territory on their 2014 debut LP, Slab City, Wet Cactus keep it natural in the tradition of their forebears, and while there’s room for them to grow into a more individual approach, the hazy fuckall in closer “World’s Law” has a stoner charm before and after it kicks into a punkish push to close out. Cool vibe either way, and the tone is dead on. If these cats go jammier, watch out.

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Odio Sonoro

 

Forming the Void, Skyward

forming the void skyward

I won’t say a bad word about the artwork of David Paul Seymour in the context of this review or any other, but ultimately, Louisiana doomers Forming the Void are coming from someplace much more in line with progressive metal than the three-eyed goat and robed figures on the cover of their second album, Skyward, might represent. Again, that’s not a knock on Seymour, or for that matter, the band, just that the look of the record is deceptive, dogwhistling stonerisms even as moody cuts like the opening title-track and “Three Eyed Gazelle” – while thoroughly doomed in their vibe – prove more lucidly constructed. That holds true through the chugging centerpiece “Saber” as well, marked out by vocal harmonizing, and “Return Again,” which rolls through atmospheric metal and an ambient interlude to enact the record’s most memorable payoff and set up the linear course of the more patient closer “Sleepwalker.” Cohesive in mood and clearly plotted, Skyward is ultimately darker and more driven than it might at first appear.

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Brimstone Coven Release Black Magic Jan. 29; Title-Track Video Now Playing

Posted in Whathaveyou on December 9th, 2015 by JJ Koczan

brimstone coven

I guess you could call the forthcoming Black Magic from Brimstone Coven the West Virginian outfit’s first album. The band offered up a 70-minute self-titled last August as their debut on Metal Blade (track stream here), but that was two earlier EPs compiled together, so in a way, yeah, Black Magic — which Metal Blade has up for preorder now — is their debut full-length. Fair enough.

Either way, cultish chicanery rules the day, clearly, in the newly-unveiled video for the title-track, as Brimstone Coven transition back and forth between robe-clad incantations and more-of-a-t-shirt-kind-of-thing live footage. The groove remains fervent, which is essential for such weedian creepery.

Your friend and mine, the PR wire, sends art, info, the preorder link and that video, which you’ll find below:

brimstone coven black magic

Brimstone Coven reveals details for new album, ‘Black Magic’; launches video for title track

On January 29th, West Virginian dark occult rockers Brimstone Coven will release their first full-length album, Black Magic, via Metal Blade Records! Recorded at Andrew D’Cagna’s Sacred Sound Studios in Ohio, Black Magic was mostly written over a year period against a backdrop of candles, incense, solitude, and a thick air of ganja. The resulting record boasts gritty, groovy riffs (a la Black Sabbath, Pentagram, Led Zeppelin) with Pink Floydian psychedelic movements, and three-part vocal harmonies reminiscent of the Mamas and Papas, Yes, and The Byrds.

Black Magic can be pre-ordered in various formats now at: http://www.metalblade.com/brimstonecoven. See below for the album’s track-listing.

Black Magic track-listing:
1. Black Magic
2. Black Unicorn
3. Beyond the Astral
4. As We Fall
5. Upon the Mountain
6. Slow Death
7. The Seers
8. The Plague
9. Forsaken
10. The Eldest Tree

Formed only four short years ago in Wheeling, West Virginia, Brimstone Coven self-released Brimstone Coven and its follow-up II in 2013, before Metal Blade inked a deal and packaged both releases as a single set, entitled Brimstone Coven (2014). Inspired by the Appalachian’s darkness and mysticism (such as the Mothman, a winged creature that emerged in the ’60s; Screaming Jenny; and the Phantom of Flatwoods), the quartet’s heavy rock also pushes the atmospheric envelope when the mood fits. Brimstone Coven explains, “What sets ‘Black Magic’ apart to me is the genuinely eerie aura it invokes. We strove for a sound that makes you feel like you’re wandering through a shroud of mist, unable to see your own hand in front of your face. We want you to feel equally excited and creeped out, letting your imagination run wild and get the best of you.”

Brimstone Coven line-up:
“Big John” Williams – vocals
Corey Roth – guitar
Andrew D’Cagna – bass
Justin Wood – drums

https://www.facebook.com/brimstonecoven
http://www.metalblade.com/brimstonecoven
http://brimstonecoven.bandcamp.com/

Brimstone Coven, “Black Magic” official video

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Brimstone Coven Stream “Behold, the Anunnaki” from Metal Blade Debut

Posted in audiObelisk on July 16th, 2014 by JJ Koczan

On Aug. 5, West Virginian classic doom four-piece Brimstone Coven will make a self-titled debut on Metal Blade Records. The retro-fied, boogie-ritualized, 69-minute monster with which they’ll do it is available now to preorder and made up of 17 tracks — the sum total of their discography prior to inking the deal. Their original 2012 self-titled EP (which STB Records released as a 12″ last year) appears here as bonus tracks, and 2013’s II, comprises the meat of the album proper. But with the combination and a remaster comes a change of title, and Brimstone Coven‘s Brimstone Coven it is.

In whatever context one might want to view it, Brimstone Coven is an album that righteously engages the tenets of classic doom. There’s an early ’70s sway to the material, a looseness in the rhythm section of bassist Andrew D’Cagna and drummer Justin Wood, that gives the chugging, grooving riffs of guitarist Corey Roth both meat and movement, and vocalist “Big John” Williams meshes with this modus perfectly, the layers of his voice harmonizing and calling to mind the natural feel and melodic range of grandiose ’70s prog, working with the music surrounding to give cuts like “Behold, the Anunnaki,” “The Black Door” and “The Seance” a mystique without sounding overblown or needlessly theatrical. It’s a careful balance and Brimstone Coven execute it well.

While the newer material (which appears first on the new collection) has a clearer production value than the original EP — though the remaster and an intro track provide an easy flow from one section into the next — that only makes it easier to hear the progression Brimstone Coven have undertaken. As a summary of the album’s appeal, “Behold, the Anunnaki” holds up more than ably in giving a sense of their progressive side while nailing down a steady rolling groove and building to a bigger finish. If it’s your first taste of what Brimstone Coven have to offer, you’re likely in for a pleasant surprise.

Enjoy:

Brimstone Coven will release their self-titled full-length via Metal Blade Records on Aug. 5. The album is available to preorder here. They’ll also join Eric Wagner‘s Blackfinger for select shows on their upcoming tour, and on July 21, they’ll play with labelmates Mount Salem in their home state. More info from the PR wire and at the links below:

Brimstone Coven is a retro-hard rock / doom band that hails of out Wheeling, WV. They began brewing their own blend of “dark occult rock” in the early months of 2011. Corey Roth (Guitarist) wrote the first five songs, which would later become the band’s self titled album. Roth went on to handpick three seasoned musicians from the local scene. Andrew D’Cagna (Bass), Justin Wood (Drums), and “Big John” Williams (Vocals) were recruited to carry out Roth’s plan for sonic domination. Echoing the eerie reverberations of hard rock heavyweights such as Black Sabbath and Pentagram, mixed with the classic rock style of Led Zeppelin and Pink Floyd, Brimstone Coven strive to preserve a vintage rock sound mixed with a style all their own.

After many shows, one album, the band added new drummer Dan Hercules, released their second album, simply titled “II”, which was released in November of 2013, and signed with Metal Blade Records! Since signing with Metal Blade, original drummer Justin Wood has returned to the fold and has rounded out the seminal chemistry the band had been looking for. Metal Blade Records will begin their new partnership with Brimstone Coven by releasing the band’s latest album combined with their debut EP, complete with new mastering and brand new artwork. Artwork was completed by Creighton Hill, the same mind behind the band’s first two releases. The newly packaged and mastered set 17 tracks will serve as a solid introduction to Brimstone Coven for new fans. On August 5, the album will be available digitally and physically in North America.

Brimstone Coven at Metal Blade Records

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Brimstone Coven’s website

Metal Blade Records

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