https://www.high-endrolex.com/18

Quarterly Review: The Temple, Dead Man’s Dirt, Witchfinder, Fumata, Sumerlands, Expiatoria, Tobias Berblinger, Grandier, Subsun, Bazooka

Posted in Reviews on January 5th, 2023 by JJ Koczan

quarterly-review-winter 2023

Here’s mud in yer eye. How are you feeling so far into this Quarterly Review? The year? How are things generally? How’s your mom doing? Everybody good? Hope so. Odd as it is to think, I find music sounds better when you’re not distracted by everything else going to shit around you, so I hope you don’t currently find yourself in that situation.

Today’s 10 records are a bit of this, bit of that, bit of here, but of there, but I’ll note that we start and end in Greece, which wasn’t on purpose or anything but a fun happenstantial byproduct of slating things randomly. What can I say? There’s a lot of Greek heavy out there and the human brain forms patterns whether we want it to or not. Plenty of geographic diversity between, so let’s get to it, hmm?

Winter 2023 Quarterly Review #31-40:

The Temple, Of Solitude Triumphant

The temple of Solitude Triumphant

Though they trace their beginnings back to the mid-aughts, Of Solitude Triumphant (on the venerable I Hate Records) is only the second full-length from Thessaloniki doom metallers The Temple. With chanting vocals, perpetuated misery and oldschool-style traditionalism metered by modern production’s tonal density, the melodic reach of the band is as striking as profundity of their rhythmic drag, the righteousness of their craft being in how they’re able to take a riff, slog it out across five, seven, 10 minutes in the case of post-intro opener “The Foundations” and manage to be neither boring nor a drag themselves. There’s a bit of relative tempo kick in “A White Flame for the Fear of Death” and the tremolo guitar (kudos to the half-time drums behind; fucking a) at the outset of closer “The Lord of Light” speaks to some influence from more extreme metals, but The Temple are steady in their purpose, and that nine-minute finale riff-marches to its own death accordingly. Party-doom it isn’t, and neither is it trying to be. In mood and the ambience born out of the vocals as much as the instruments behind, The Temple‘s doom is for the doomly doomed among the doomed. I’ll rarely add extra letters to it, but I have to give credit where it’s due: This is dooom. Maybe even doooom. Take heed.

The Temple on Facebook

I Hate Records website

 

Dead Man’s Dirt, Dead Man’s Dirt

Dead Mans Dirt Dead Man's Dirt

Gothenburg heavy rockers Dead Man’s Dirt, with members of Bozeman Simplex, Bones of Freedom, Coaster of Souls and a host of others, offer their 2023 self-titled debut through Ozium Records in full-on 2LP fashion. It’s 13 songs, 75 minutes long. Not a minor undertaking. Those who stick with it are rewarded by nuances like the guitar solo atop the languid sway of “The Brew,” as well as the raucous start-stop riffing in “Icarus (Too Close to the Sun),” the catchy “Highway Driver” and the bassy looseness of vibe in the penultimate “River,” which heads toward eight minutes while subsequent endpoint “Asteroid” tops nine. It is to the band’s credit that they have both the material and the variety to pull off a record this packed and keep the songs united in their barroom-rocking spirit, though some attention spans just aren’t going to be up to the task in a single sitting. But that’s fine. If the last couple years have taught the human species anything, it’s that you never know what’s around the next corner, and if you’re going to go for it — whatever “it” is — go all-in, because it could evaporate the next day. Whether it’s the shuffle of “Queen of the Wood” or the raw, in-room sound of “Lost at Sea,” Dead Man’s Dirt deserve credit for leaving nothing behind.

Dead Man’s Dirt on Facebook

Ozium Records store

 

Witchfinder, Forgotten Mansion

witchfinder forgotten mansion

Big rolling riffs, lurching grooves, melodies strongly enough delivered to cut through the tonal morass surrounding — there’s plenty to dig for the converted on Witchfinder‘s Forgotten Mansion. The Clermont-Ferrand, France, stoner doomers follow earlier-2022’s Endless Garden EP (review here) and 2019’s Hazy Rites (review here) full-length with their third album and first since joining forces with keyboardist Kevyn Raecke, who aligns in the malevolent-but-rocking wall of sound with guitarist Stanislas Franczak, bassist Clément Mostefai (also vocals) and drummer Thomas Dupuy. Primarily, they are very, very heavy, and that is very much the apparent foremost concern — not arguing with it — but as the five-song/36-minute long-player rolls through “Marijauna” and on through the Raecke-forward Type O Negative-ity of “Lucid Forest,” there’s more to their approach than it might at first appear. Yes, the lumber is mighty. But the space is also broad, and the slow-swinging groove is always in danger of collapsing without ever doing so. And somehow there’s heavy metal in it as well. It’s almost a deeper dive than they want you to think. I like that about it.

Witchfinder on Facebook

Mrs Red Sound store

 

Fumata, Días Aciagos

Fumata Días Aciagos

There’s some whiff of Conan‘s riffing in “Acompáñame Cuando Muero,” but on the whole, Mexico City sludge metallers Fumata are more about scathe than crush on the six tracks of their sophomore full-length, Días Aciagos (on LSDR Records). With ambient moments spread through the 35-minute beastwork and a bleak atmosphere put in place by eight-minute opener and longest track (immediate points) “Orgullo y Egoísmo,” with its loosely post-metallic march and raw, open sound, the four-piece of Javier Alejandre, Maximo Mateo, Leonardo Cardoso and Juan Tamayo are agonized and chaotic-sounding, but not haphazard in their delivery as they cross genre lines to work in some black metal extremity periodically, mine a bit of death-doom in “Anhelo,” foster the vicious culmination of the bookending seven-minute title-track, and so on. Tempo is likewise malleable, as “Seremos Olvidados” and that title-track show, as well as the blasting finish of “Orgullo y Egoísmo,” and only the penultimate “No Engendro” (also the shortest song at 4:15) really stays in one place for its duration, though as that place is in an unnamed region between atmosludge, doom and avant black metal, I’m not sure it counts. As exciting to hear as it is miserable in substance, Días Aciagos plunges where few dare to tread and bathes in its own pessimism.

Fumata on Facebook

LSDR Records on Bandcamp

 

Sumerlands, Dreamkiller

sumerlands dreamkiller

Sumerlands‘ second album and Relapse debut, Dreamkiller finds Magic Circle‘s Brendan Radigan stepping in for original vocalist Phil Swanson (now in Solemn Lament), alongside Eternal Champion‘s Arthur Rizk, John Powers (both guitar), and Brad Raub (bass), and drummer Justin DeTore (also Solemn Lament, Dream Unending, several dozen others) for a traditional metal tour de force, reimagining New Wave of British Heavy Metal riffing with warmer tonality and an obviously schooled take on that moment at the end of the ’70s when metal emerged from heavy rock and punk and became its own thing. “Force of a Storm” careens Dio-style after the mid-tempo Scorpions-style start-stoppery of “Edge of the Knife,” and though I kept hoping the fadeout of closer “Death to Mercy” would come back up, as there’s about 30 seconds of silence at the finish, no such luck. There are theatrical touches to “Night Ride” — what, you didn’t think there’d be a song about the night? come on. — and “Heavens Above,” but that’s part of the character of the style Sumerlands are playing toward, and to their credit, they make it their own with vitality and what might emerge as a stately presence. I don’t know if it’s “true” or not and I don’t really give a shit. It’s a burner and it’s made with love. Everything else is gatekeeping nonsense.

Sumerlands on Facebook

Relapse Records store

 

Expiatoria, Shadows

EXPIATORIA Shadows

Shadows is the first full-length from Genoa, Italy’s Expiatoria — also stylized with a capital-‘a’: ExpiatoriA — and its Nov. 2022 release arrives some 35 years after the band’s first demo. The band originally called it quits in 1996, and there were reunion EPs along the way in 2010 and 2018, but the six songs and 45 minutes here represent something that no doubt even the band at times thought wouldn’t ever happen. The occasion is given due ceremony in the songs, which, in addition to being laden with guest appearances by members of Death SS, Il Segno del Comando, La Janera, and so on, boasts a sweeping sound drawing from the drama of gothic metal — loooking at you, church-organ-into-piano-outro in “Ombra (Tenebra Parte II),” low-register vocals in “The Wrong Side of Love” and flute-and-guitar interlude “The Asylum of the Damned” — traditional metal riffing and, particularly in “7 Chairs and a Portrait,” a Candlemassian bell-tolling doom. These elements come together with cohesion and fluidity, the five-piece working as veterans almost in spite of a relative lack of studio experience. If Shadows was their 17th, 12th, or even fifth album, one might expect some of its transitions to be smoothed out to a greater degree, but as it is, who’s gonna argue with a group finally putting out their debut LP after three and a half decades? Jerks, that’s who.

ExpiatoriA on Facebook

Black Widow Records store

Diamonds Prod. on Bandcamp

 

Tobias Berblinger, The Luckiest Hippie Alive

Tobias Berblinger The Luckiest Hippie Alive

Setting originals alongside vibe-enhancing covers of Blaze Foley and Commander Cody, Portland’s Tobias Berblinger (also of Roselit Bone) first issued The Luckiest Hippie Alive in 2018 and it arrives on vinyl through Ten Dollar Recording Co., shimmering in its ’70s ramble-country twang, vibrant with duets and acoustic balladeering. Berblinger‘s nostalgic take reminds of a time when country music could be viable and about more than active white supremacy and/or misappropriated hip-hop, and boozers like “My Boots Have Been Drinking” and the Hank Williams via Townes Van Zandt “Medicine Water” and “Heartaches, Hard Times, Hard Drinking”, and smokers like the title-track and “Stems and Seeds (Again)” reinforce the atmosphere of country on the other side of the culture war. Its choruses are telegraphed and ready to be committed to memory, and its understated sonic presence and the wistfulness of the two-minute “Crawl Back to You” — the backing vocals of Mariya May, Marisa Laurelle and Annie Perkins aren’t to be understated throughout, including in that short piece, along with Mo Douglas‘ various instrumental contributions — add a sweetness and humility that are no less essential to Americana than the pedal steel throughout.

Tobias Berblinger website

Ten Dollar Recording Co. store

 

Grandier, The Scorn and Grace of Crows

Grandier The Scorn and Grace of Crows

Based in Norrköping, Sweden, the three-piece Grandier turn expectation on its head quickly with their debut album, The Scorn and Grace of Crows, starting opener/longest track (immediate points) “Sin World” with a sludgy, grit-coated lumber only to break after a minute in to a melodic verse. The ol’ switcheroo? Kind of, but in that moment and song, and indeed the rest of what follows on this first outing for Majestic Mountain, the band — guitarist Patrik Lidfors, bassist/many-layered-vocalist Lars Carlberg, (maybe, unless they’re programmed; then maybe programming) drummer Hampus Landin — carve their niche from out of a block of sonic largesse and melodic reach. Carlberg‘s voice is emotive over the open-feeling space of “Viper Soul” and sharing the mix with the more forward guitars of “Soma Goat,” and while in theory, there’s an edge of doomed melancholy to the 44-minute procession, the heft in “The Crows Will Following Us Down” is as much directed toward impact as mood. They really are melodic sludge metal, which is a hell of a thing to piece together on your first record as fluidly as they do here. “Smoke on the Bog” leans more into the Sabbathian roll with megafuzz tonality behind, and “Moth to the Flames” is faster, more brash, and a kind of dark heavy rock that, three albums from now, might be prog or might be ’90s lumber. Could go either way, especially with “My Church of Let it All Go” answering back with its own quizzical course. Will be very interested to hear where their next release takes them, since they’re onto something and, to their credit, it’s not immediately apparent what.

Grandier on Facebook

Majestic Mountain Records store

 

Subsun, Parasite

Subsun Parasite

Doomers will nod approvingly as Ottawa’s Subsun cap “Proliferation” by shifting into a Candlemassian creeper of a lead line, but that kind of doomly traditionalism is only one tool in their varied arsenal. Guitarist/vocalist/synthesist Jean-Michel Fortin, bassist/vocalist Simon Chartrand-Paquette and drummer Jérémy Blais go to that post-Edling well (of souls) again, but their work across their 2022 debut LP, Parasite, is more direct, more rock-based and at times more aggressive on the whole. Recorded at Apartment 2 by Topon Das (Fuck the Facts), the seven-songer grows punkish in the verse of “Mutation” and drops thrashy hints at the outset of “Fusion,” while closer “Mutualism” slams harder like noise rock and punches its bassline directly at the listener. Begun with the nodding lurch of “Parasitism” — which would seem as well to be at the thematic heart of the album in terms of lyrics and the descriptive approach thereof — the movement of one song to the next has its underlying ties in the vocals and overarching semi-metal tonality, but isn’t shy about messing with those either, as on the lands-even-harder “Evolution” or the thuds at the outset of “Adaptation,” the relative straightforwardness of the structures allowing the band to draw together different styles into a single, effective, individualized sound.

Subsun on Facebook

Subsun on Bandcamp

 

Bazooka, Kapou Allou

bazooka Kapou Allou

The acoustic guitar of opener “Kata Vathos” transitions smoothly into the arrival-of-the-electrics on “Krifto,” as Athens’ Bazooka launch the first of the post-punk struts on Kapou Allou, their fourth full-length. Mediterranean folk and pop are factors throughout — as heard in the vocal melody of the title-track or the danceable “Pano Apo Ti Gi” — while closer “Veloudino Kako” reimagines Ween via Greece, “Proedriki Froura” traps early punk in a jar to see it light up, and “Dikia Mou Alithia” brings together edgy, loosely-proggy heavy rock in a standout near the album’s center. Wherever they go — yes, even on “Jazzooka” — Bazooka seem to have a plan in mind, some vision of where they want to end up, and Kapou Allou is accordingly gleeful in its purposed weirdoism. At 41 minutes, it’s neither too long nor too short, and vocalist/guitarist/synthesist Xanthos Papanikolaou, guitarist/backing vocalist Vassilis Tzelepis, bassist Aris Rammos and drummer/backing vocalist John Vulgaris cast themselves less as tricksters than simply a band working outside the expected confines of genre. In any language — as it happens, Greek — their material is expansive stylistically but tight in performance, and that tension adds to the delight of hearing something so gleefully its own.

Bazooka on Facebook

Inner Ear Records store

 

Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

The Obelisk Show on Gimme Metal Playlist: Episode 95

Posted in Radio on October 14th, 2022 by JJ Koczan

the obelisk show banner

This is me feeling like I can’t keep up, I suppose. Even in like the week, two weeks?, since the Quarterly Review ended, I’ve basically got another one full, and I’ve been feeling suitably overwhelmed as we move into Fall. The releases keep coming, keep being announced, and it’s just so much. I’m doing my best, and a lot of this stuff will be covered hopefully before December comes around, but I can’t promise that at this point. It would matter way less if records like Sky Pig, Smokes of Krakatau, Teverts, Deadly Vipers, Tons and Witchfinder, Grin, Grandier, Giant Mammoth weren’t as cool as they are.

I should’ve called the show ‘Punk Rock Guilt,’ but no one would get it anyway. I’m not sure anyone gets it now. I’m not sure why Gimme Metal continues to let me do this, but I’m happy they do. Anyway, for me personally this one’s all about the moment when it hits into Caustic Casanova’s “Bull Moose Against the Sky” from their just-released Glass Enclosed Nerve Center (review here) album, but I’m also reminding myself how much I dug that Ufomammut album and how just because Scott Kelly turned out to be a phony and a shit it doesn’t mean everything Neurot Recordings ever put out should be shunned like a mouthy Amish person. Also threw in some Kyuss, to remind myself I like them. Like, oh yeah, Kyuss. That’s a thing the internet and I agree on.

Bottom line is it’s a show with music I think will help your day, from All Souls and Sasquatch to Faith in Jane and the new Papir/Causa Sui collaboration Edena Gardens. If I’m going to take up two hours of Gimme Metal’s precious airtime — space on the internet may be unlimited and ever expanding, but time is still time — the least I can do is play good shit. So that’s what I’m doing.

Thanks if you listen and thanks for reading.

The Obelisk Show airs 5PM Eastern today on the Gimme app or at: http://gimmemetal.com.

Full playlist:

The Obelisk Show – 10.14.22 (VT = voice track)

Deadly Vipers Welli Welloo Low City Drone
Smokes of Krakatau Septic Smokes of Krakatau
Sky Pig Motionless It Thrives in Darkness
VT
Sasquatch Live Snakes Fever Fantasy
Ufomammut Psychostasia Fenice
Giant Mammoth Circle Holy Sounds
Teverts Road to Awareness The Lifeblood
Kyuss 100 Degrees Welcome to Sky Valley
Grin Transcendence Phantom Knocks
Tons A Hash Day’s Night Hashension
Grandier Viper Soul The Scorn and Grace of Crows
All Souls Roam Ghosts Among Us
Witchfinder Ghosts Happen to Fade Forgotten Mansion
Edena Gardens Hidebound Edena Gardens
Faith in Jane The Seeker Axe to Oak
VT
Caustic Casanova Bull Moose Against the Sky Glass Enclosed Nerve Center

The Obelisk Show on Gimme Metal airs every Friday 5PM Eastern, with replays Sunday at 7PM Eastern. Next new episode is Oct. 28 (subject to change). Thanks for listening if you do.

Gimme Metal website

The Obelisk on Facebook

Tags: , , , , , , , , , , , , , , , , ,

Witchfinder to Release Forgotten Mansion Nov. 18; New Song Posted

Posted in Whathaveyou on October 4th, 2022 by JJ Koczan

Witchfinder (Photo by Aurore Staiger)

Won’t lie: I’m feeling the keys in the new Witchfinder single. “Ghosts Happen to Fade” is one of five tracks on the Clermont-Ferrand, France-based now-four-piece’s impending full-length, Forgotten Mansion — out Nov. 18 through Mrs Red Sound — and if its blend of huge riffing and organ-ic grandiosity are anything to go by, the follow-up to 2019’s Hazy Rites (review here) LP and earlier-2022’s Endless Garden EP (review here) should offer an array of delights familiar and new for listeners to dig into. There’s plenty of space in their sound for everybody, in other words.

To say new keyboardist Kevyn Raecke adds atmosphere to the track feels more like cliché than insight, but it’s true just the same. The seven-and-a-half-minute piece unfolds from post-Electric Wizard/Monolord roll into harsher sludge, and the keys help very much to tie it together, adding to the foundation of guitar, bass and drums and creating not quite a wash of melody, but certainly a wall of sound that is full and suited to what Witchfinder — who made their self-titled debut in 2017 — have established as their prior modus.

You know the drill. Song’s at the bottom of the post, info follows here from the PR wire. Go, go:

witchfinder forgotten mansion

WITCHFINDER to reveal details on new album ‘Forgotten Mansion’ coming out this Fall via Mrs Red Sound : stream first single

France’s doom sludge oufit WITCHFINDER unveil track listing, artwork, recording details and first single off their upcoming album ‘Forgotten Mansion’ – out on November 18th 2022 through Mrs Red Sound. Enjoy spectral first excerpt “Ghosts Happen To Fade” now!

The ‘Forgotten Mansion’ that adorns the desolated garden pictured on the cover of WITCHFINDER’s latest EP has now its very own piece of music. This relevant visual and sonic follow-up features gloomy atmospheres, explores the horror topic and spreads a massive blast of fuzz. The addition of keyboardist Kevyn Raecke propels their already ultra-thick sounding into a cathedral-esque dimension; both theatrical and heavy. The psychedelic touch is cleverly highlighted here over a substantial doom cushion. One can appreciate some faster sections and a nicely worked heavy rock riffage which spices up this record and prevents it from drowning in any easiness. With their new album ‘Forgotten Mansion’, Witchfinder dust off the genre without flaying its foundations at any time.

Witchfinder’s new album ‘Forgotten Mansion’ was recorded, mixed and mastered at Monochrom Studio, Gniewoszów, Poland, by Haldor Grunberg (Behemoth, Dopelord, Belzebong) of Satanic Audio, who also sings on the second track “Marijuana”. Add the single “Ghosts Happen To Fade” to playlists HERE: https://ampl.ink/ghostshappentofade

WITCHFINDER new album ‘Forgotten Mansion’
Out November 18th 2022 on Mrs Red Sound Records

TRACK LISTING:
1. Approaching
2. Marijuana
3. Lucid Forest
4. Ghosts Happen To Fade
5. The Old Days

LINE-UP :
Clément Mostefai: vocals, bass
Stanislas Franczak: guitar
Thomas Dupuy: drums
Kevyn Raecke: keyboard

https://www.facebook.com/witchfinderdoom
https://www.instagram.com/witchfinderdoom/
https://witchfinder.bandcamp.com/

https://www.facebook.com/mrsredsound33/
https://www.instagram.com/mrsredsound/
https://marsredsky.bigcartel.com/category/mrs-red-sound

Witchfinder, “Ghosts Happen to Fade”

Tags: , , , , ,

The Obelisk Show on Gimme Metal Playlist: Episode 88

Posted in Radio on July 8th, 2022 by JJ Koczan

the obelisk show banner

Well, in the aftermath of reviewing 100 albums over the span of 10 days, there was just about no way I wouldn’t have enough to fill out a Gimme Metal playlist, and hey guess what? I was only like six days late turning it in! At least the playlist. Voice tracks I think I cut on Tuesday. I honestly have no idea.

But in any case, it didn’t feel as late as last time because it wasn’t, and I’m glad to be featuring a smattering of some of what stood out to me from the finished-today QR, plus a new Dreadnought track that I got excited about because the album announcement came in while I was putting the playlist together and I couldn’t not include it. Probably won’t be the last time.

But if you see/hear/want to dig more on any of this stuff, you can either look for the review or just tap and Google that shit. I think there were maybe two (maybe) bands who weren’t on Bandcamp easily accessible, so everyone else, it’s all right there for you. Plus here, all newly written up in my typical turnt-brain-to-goo Quarterly Review style.

Thanks if you listen and thanks for reading.

The Obelisk Show airs 5PM Eastern today on the Gimme app or at: http://gimmemetal.com.

Full playlist:

The Obelisk Show – 07.08.22 (VT = voice track)

Witchfinder The Maze Endless Garden
0N0 Clay Weight Unwavering Resonance
Church of the Sea Odalisque Odalisque
Dreadnought Midnight Moon The Endless
VT
Faeries Fresh Laces Faeries
My Diligence Celestial Kingdom The Matter, Form and Power
Supplemental Pills Freedom March Volume 1
Kaleidobolt Ultraviolent Chimpanzee This One Simple Trick
Black Lung Hollow Dreams Dark Waves
The Cimmerian Silver and Gold Thrice Majestic
Astral Pigs Our Golden Twilight Our Golden Twilight
Carson Dirty Dream Maker The Wilful Pursuit of Ignorance
Kadavermarch 1,000 Yard Stare Into Oblivion
Electric Mountain A Fistful of Grass Valley Giant
VT
Øresund Space Collective Deep Breath for the EARTH Oily Echoes of the Soul

The Obelisk Show on Gimme Metal airs every Friday 5PM Eastern, with replays Sunday at 7PM Eastern. Next new episode is July 22 (subject to change). Thanks for listening if you do.

Gmme Metal website

The Obelisk on Facebook

Tags: , , , , , , , , , , , , , , , ,

Quarterly Review: Church of the Sea, Gu Vo, Witchfinder, Centre el Muusa, 0N0, Faeries, Cult of Dom Keller, Supplemental Pills, Green Hog Band, Circle of Sighs

Posted in Reviews on June 30th, 2022 by JJ Koczan

THE-OBELISK-FALL-2020-QUARTERLY-REVIEW

I’ll find out for sure in a bit, but I think this might be one of those supremely weird Quarterly Review days where it’s a total mash of styles and it doesn’t make any sense whatsoever from one release to the next so that by the time the batch of 10 records is done we’ve ended up covering a pretty significant swath of heavy music’s spectrum. I ain’t out here trying to be comprehensive, you understand. I’m just doing my best to keep up. And in that, sometimes you hit a weird day.

In fact, I think “weird” might be the operative word for the Quarterly Review so far. I think about this music, who it’s for, why, and it’s weird and it’s for weirdos in my head. Both of those things are meant in a spirit of reverence for weirdness. Weird is interesting. Weird stands out. Weird is… also how I feel basically any time I’m out of the house among other adults unless I’m at a show. Weird is that beautiful thing that unites those people who don’t seem to fit anywhere else but in this.

So yeah, today’s weird. Strap in, kids.

Quarterly Review #31-40:

Church of the Sea, Odalisque

CHURCH OF THE SEA ODALISQUE

Electronic beats, live guitar, and a resonant human voice make for a fascinating blend on Church of the Sea‘s richly atmospheric Odalisque. The Athenian trio of vocalist Irene, guitarist Vangelis (a different Vangelis) and synthesist/sampler Alex conjure a deep sense of mood in songs like “Mirror” and the closer “Me as the Water, Me as a Tree,” operating from the weighted beginning of opener “No One Deserves” onward in a slow-moving, open-spaced take on heavy post-rock that staves off the shimmering guitar in favor of adding the rumble of distortion often as a backing drone to fill out the sound alongside the synth behind Irene‘s voice. There are shades of Author & Punisher‘s latest — but Odalisque is less about slamming impact than spreading out the landscape of its title-track and the personal examinations of its lyrics, though “Raindrops” doesn’t seem fully ready to commit to one or the other and it’s easy to appreciate that. A striking debut from a band whose individualized purpose sets them apart even within Greece’s crowded and wildly creative underground.

Church of the Sea on Facebook

Church of the Sea links

 

Gu Vo, Gu Vo

gu vo gu vo

Drummer Edu Escobar, bassist Raúl Burrueco and vocalist/synthesist Alejandro Ruiz are Gu Vo, and given their lack of guitar, it should come as little surprise that their Sentencia Records self-titled debut is a markedly rhythmic experience. Taking some example perhaps from Slift‘s uptempo space/krautrockism, the Spanish three-piece bring an avant garde vibe even to the ultra-smooth build of “Crab Ball Gate,” hypnotizing through repetition in the low end and drums while the keys weave in and out of prominence, “Little Lizard” arriving with storybook fanfare before toying with willful-sounding low- and high-end frequency imbalance — you go this way and I’ll go that, etc. — and vocals that are duly spaced. The nine-song/49-minute outing is ambitious, droning large in “USG Ishimura” and actually maybe-actually-sampling Altered Beast for the chiptunery of “Rise From Your Grave.” “TuunBaq” brings some of these impulses together at the end, but Gu Vo‘s Gu Vo is more about the trip you take than where you end up, and that’s much to its advantage.

Gu Vo on Facebook

Sentencia Records on Bandcamp

 

Witchfinder, Endless Garden

Witchfinder Endless Garden EP

Watch out for the slowdown in about the last minute and a half of “The Maze” (6:28) which is the first of two songs on Witchfinder‘s Endless Garden EP. Things are rolling along, some Acid King nod in that main riff, and then, wham, screams and meaner sludge pushes into the proceedings without so much as a s’il vous plaît from the Clermont-Ferrand-based four-piece. The keyboard later in the subsequent “Eternal Sunset” (10:41) running alongside the slower movement there calls to mind Type O Negative — though I understand it’s Hangman’s Chair holding down such vibes in France these days, so maybe or maybe not an influence — plays a similar function in distinguishing the ending from what’s come before, but it’s the overarching heft of Endless Garden that makes it such a fulfilling answer to 2019’s Hazy Rites (review here), the band perhaps pushing back against some of the more cultish tendencies of current heavy in favor of a more individual statement of fuzz and psych-doomer spaciousness. It’s been a hell of a three years since the album. A reminder of Witchfinder‘s growth in progress is welcome.

Witchfinder on Facebook

Mrs Red Sound on Bandcamp

 

Centre El Muusa, Purple Stones

Centre el Muusa Purple Stones

Imagine yourself having a dream about surfing and you might be on your way to Centre El Muusa‘s sound. The Estonian instrumentalist four-piece debuted on Sulatron with their 2020 self-titled (review here), and they cohesively explore various realms here, dream-beach among them, but also some twangy slide guitar in opener “Pony Road” and “Desert Song,” the band using the titles seemingly to drop hints of the vibes being captured. Sure enough, the dirty fuzz in “Boomerang” comes back around, “Keila Train” — it’s about a 15-mile trip from Talinn, where the band are from, to Keila — has a distracted line of keys over mellow jazz drumming and meandering guitar, and “Pilot on Board” brings a subtle kosmiche push with an undulating waveform drone that’s like the wind passing under and over the wings of an airplane. Each of these moments of (assisted) evocation can be experienced or not depending on how far in a given listener wants to plunge — or how high they want to float, in the case of “Pilot on Board” — but the abiding sense of exploration in sound remains vital just the same. Wherever it may want to take you at a given moment, it wants to take you. Let it.

Centre El Muusa on Facebook

Sulatron Records webstore

 

0N0, Unwavering Resonance

0N0 Unwavering Resonance

I’ll admit that Unwavering Resonance is my first exposure to Slovakia’s 0N0, but it won’t be the last. Their third full-length following 2016’s Reconstruction and Synthesis with an EP and a split between, the new outing collects four cuts across a manageable 36 minutes and begins with its longest track (immediate points) in the 12-minute declaration of purpose “Clay Weight.” Though reputed for more industrialized fare in the past — and still definitely utilizing programming for the ‘drums’ and other synthy sounds — one cannot ignore the chug that rises to prominence in the leadoff, or the malevolence of purpose in the deathly use to which it’s put. Post-metal and death-doom come together fluidly enough in “Clay Weight” and the subsequent “Shattering” (5:12) with a balance tipped to one side or another — the second track, shortest, blasts furiously — and one wouldn’t call what happens in the nine-minutes-each pair of “Unwavering Resonance” and closer “Wander the Vacant Twilight” an evening out, since they continue to lean to particular aspects of their crushing sound in a given stretch, but hell’s bells it’s heavy, and its catharsis is less about making your skin crawl than turning bones into powder. Methodical, not chaotic, but ready to bask in the chaos surrounding. More brutalism than brutal.

0N0 on Facebook

0N0 on Bandcamp

 

Faeries, Faeries

Faeries Faeries

Shit, that’s heavy. Released on cassette and download, the 2021 self-titled debut long-player from Savannah, Georgia’s Faeries is a beast working under suitably beastly traditions. Tapping into a tonal density and an and-yet-it-moves crush of riff that reminds of the earliest days of fellow Peach Staters Mastodon, there’s a more straight-ahead, heads-down, push-through-with-the-shoulder sensibility to David Rapp‘s solo outfit, an underlying sense of riff worship in “March March,” “Megadrone,” and the rest of the nine-song/45-minute outing that — much to Rapp‘s credit — are set for destructive purposes rather than self-indulgent progressivism. That’s not to say Faeries, the album, is dumbed down. It’s not, and even in the vocal gruel of “Fresh Laces” and “The Pain of Days” or the chug-‘n’-swing instrumental “The Volcano,” that can be heard in the structure of the songs — “Slurricane” deviates to somewhat lighter tone and also-instrumental closer “Traces” echoes that — but Rapp‘s clear intention here is to base his songwriting around the heaviest sounds possible, and while it’s exciting to think maybe he got there on this first outing, it’s even more exciting to think maybe he didn’t and is going to try again sometime soon. Either way, happy bludgeoning/being bludgeoned.

Faeries on Instagram

The Silver Box on Bandcamp

 

The Cult of Dom Keller, Raiders of the Lost Archives: Demos & Rarities 2007-2020

Cult of Dom Keller Raiders of the Lost Archives Demos & Rarities 2007-2020

Somewhat inevitable that a 100-minute collection of lost tracks, demos, alternate versions and live takes from UK psych adventurers Cult of Dom Keller would be something of a fan-piece. Still, as Raiders of the Lost Archives: Demos & Rarities 2007-2020 spans its 20-song run and multiple lineups of the band, its moving between years and methodologies has plenty of flow if you’re willing to open yourself to the essential fact that the band can do whatever. the. fuck. they. want. To wit, “Monarch” with its relatively forward verses and choruses and the lo-fi howling feedback of “QWERTYUIOP,” or 2020’s creep-into-wash “Dead Don’t Dream” and the garage-psych urgency of 2007’s “We Left This World Behind for a Place in the Sun.” Those who’ve followed Cult of Dom Keller on their merry path will dig the (again, relatively) efficient look at how far they’ve come and in how many different directions, while those unfamiliar with the band might want to find something less inherently uneven to dig on (start with 2020’s Ascend! (review here), then work back), but cuts like “Broken Arm of God” and “Jupiter’s Beard” are ready to catch ears either way, and if it takes time to digest, well heck, you’ll have all the time in the world if you quit your day job, so why not just go ahead and do that?

Cult of Dom Keller on Facebook

Cult of Dom Keller on Bandcamp

 

Supplemental Pills, Volume 1

Supplemental Pills Volume 1

The narrative — blessings and peace upon it — holds that Supplemental Pills got together at the behest of vocalist/guitarist Ezra Meredith when his main outfit, Hearts of Oak stepped back for pandemic lockdown. Fair enough. With Joel Meredith on guitar, bassist/synthesist Aron Christensen (also Hearts of Oak) and drummer/vocalist Mark Folkrod, these seven songs feel carved out of jams as the reportedly were, with “Feel It” blinking momentarily into Endless Boogie-sounding improv preach while mellower and more spacious pieces like opener “Run On,” the nine-minute drone-drawler “Floating Mountains Over Rivers” and the 11-minute fuzz-go repetitions of “Gonna Be Alright” — a decent mantra if e’er there was one — ooze deeper into vibe rock far-outreach. “Freedom March” is fairly active, with Ezra‘s vocals there and in “Run On” seeming to nod at the departed Mark Lanegan, and “The Wizard Was Right” has a sense of movement as well that suits its overlaid verses. If it feels right, it is right. Drone what thou wilt. And if this is what they’re coming up with essentially by accident, one shudders to think what might happen if they actually tried to write a song. It’s just crazy enough to work.

Supplemental Pills on Facebook

In Music We Trust Records on Bandcamp

 

Green Hog Band, Crypt of Doom

Green Hog Band Crypt of Doom

Some sonic coincidence brings Amorphis‘ “Forever More” to mind in hearing the winding guitar figure featured in Green Hog Band‘s instrumental-but-for-the-sample “Iron Horses,” but that’s not a direct influence. The Brooklynite trio’s third full-length, Crypt of Doom, follows last year’s Devil’s Luck (review here) and sees the self-recording trio of vocalist/bassist Ivan Antipov, guitarist Mike Vivisector (also lyrics) and drummer Ronan Berry weaving into and out of Russian-language lyrics on top of their thick-toned sludge rock, which they shove resolutely on “Sweet Tea, Banana Bread” and even give a little shuffle on the penultimate “New Year Massacre,” but which is invariably more suited to the doomly lurch of opener “Dragon” or its later giant-lizard-thing counterpart “Leviathan.” Still, that these guys can make that bubbling cauldron of sludge and are even vaguely interested in doing anything else is admirable, and as raw as Crypt of Doom is, even the air seems to be stale, never mind the bare walls of rock and dirt surrounding. Dig a hole, reside therein, riff.

Green Hog Band on Facebook

The Swamp Records on Bandcamp

 

Circle of Sighs, Alabaster

Circle of Sighs Alabaster

Most of all, one has to give kudos to Los Angeles experimentalist outfit for daring to cross the line between hard industrial music and the hip-hop it’s been summarily ripping off for the last quarter-century-plus. Alabaster is the third full-length from the unit not-so-secretly led by bassmaster/programmer/etc.-ist Collyn McCoy (also Night City, Aboleth, a bunch of others), and in addition to guest rappers A-F-R-O, Zombae and Kayee on cuts like “Anatomy Autonomy” (relevant) and the becomes-a-black-metal-onslaught “Copy Planet,” the nine-song/32-minute outing regurgitates genre expectations in a spew so willfully individual it can’t help but make its own kind of sense even unto the sound collage of “Segue-08” or “ec63294e-0dcf-4947-bb7c-965769967dbd,” which answers the freak-dance of “A Magical Journey of Love” with sentient-AI-knows-where-you-live moodsetting, which of course is an excellent precursor to the organ-laced cult extremity of “FLESHSELF: Abandon the Altars.” This is never going to be for everyone, but Alabaster‘s willingness to play with risk in sound makes just about everything that ‘fits in’ feel ridiculous. You think you’ve heard it all? Think you’re bored? Check this shit out and see how wrong you are.

Circle of Sighs on Facebook

Circle of Sighs on Bandcamp

 

Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Quarterly Review: Arð, Seremonia, The Quill, Dark Worship, More Experience, Jawless, The Heavy Co., Sound of Smoke, Red Mesa, Margarita Witch Cult

Posted in Reviews on April 5th, 2022 by JJ Koczan

THE-OBELISK-FALL-2020-QUARTERLY-REVIEW

Well then, here we are. Day two of the Spring 2022 Quarterly Review brings a few records that I really, really like, personally, and I hope that you listen and feel similar. What you’ll find throughout is a pretty wide swath of styles, but these are the days of expanded-definition heavy, so let’s not squabble about this or that. Still a lot of week to go, folks. Gotta keep it friendly.

Deep breath in, and…

Quarterly Review #11-20:

Arð, Take Up My Bones

ard take up my bones

Hard to know at what point Winterfylleth‘s Mark Deeks decided to send his historically-minded solo-project Arð to Prophecy Productions for release consideration, but damned if the six-song Take Up My Bones doesn’t feel quintessential. Graceful lines of piano and strings give way to massively-constructed lumbering funeralia, vocals adding to the atmosphere overall as the story of St. Cuthbert’s bones is recounted through song, in mood perhaps more than folk balladeering. Whatever your familiarity with that narrative or willingness to engage it, Deeks‘ arrangements are lush and wondrously patient, the sound of “Boughs of Trees” at the outset of side B building smoothly toward its deathly sprawl but unrelentingly melodic. The longer “Raise Then the Incorrupt Body” and “Only Three Shall Know” come across as more directly dramatic with their chants and so on, but Arð‘s beauty-through-darkness melancholy is the center around which the album is built and the end result is suitably consuming. While not incomplete by any means, I find myself wondering when it’s over what other stories Deeks may have to tell.

Arð on Facebook

Prophecy Productions website

 

Seremonia, Neonlusifer

seremonia neonlusifer

Oh, Seremonia. How I missed you. These long six years after Pahuuden Äänet (review here), the Finnish troupe return to rescue their cult listenership from any and all mundane realities, psych and garage-fuzz potent enough to come with a warning label (which so far as I know it doesn’t) on “Neonlusifer” and the prior opener “Väärä valinta” with the all-the-way-out flute-laced swirl of “Raskatta vettä,” and if you don’t know what to make of all those vowel sounds, good luck with the cosmic rock of “Kaivon pohjalla” and “Unohduksen kidassa,” on which vocalist Noora Federley relinquishes the lead spot to new recruit Teemu Markkula (also Death Hawks), who also adds guitar, synth, organ and flute alongside the guitar/synth/vocals of Ville Pirinen, the drums/guitar/flute/vocals of Erno Taipale and bass/synth/vocals of Ilkka Vekka. This is a band who reside — permanently, it seems — on a wavelength of their own, and Neonlusifer is more than welcome after their time out of time. May it herald more glorious oddness to come from the noisy mist that ends “Maailmanlopun aamuna” and the album as a whole.

Seremonia on Facebook

Svart Records website

 

The Quill, Live, New, Borrowed, Blue

The Quill Live New Borrowed and Blue

Swedish heavy rockers The Quill mark 30 years of existence in 2022 (actually they go back further), and while Live, New, Borrowed, Blue isn’t quite an anniversary release, it does collect material from a pretty broad span of years. Live? “Keep it Together” and an especially engaging take on “Hole in My Head” that closes. New? The extended version of “Keep on Moving” from 2021’s Earthrise (review here), “Burning Tree” and “Children of the Sun.” Borrowed? Iron Maiden‘s “Where Eagles Dare,” November‘s “Mount Everest,” Aerosmith‘s “S.O.S.” and Captain Beyond‘s “Frozen Over.” Blue? Certainly “Burning Tree,” and all of it, if you’re talking about bluesy riffs, which, if you’re talking about The Quill, you are. In the narrative of Sverige heavy rock, they remain undersung, and this compilation, in addition to being a handy-dandy fan-piece coming off their last record en route to the inevitable next one, is further evidence to support that claim. Either you know or you don’t. Three decades on, The Quill are gonna be The Quill either way.

The Quill on Facebook

Metalville Records website

 

Dark Worship, Flesh of a Saint

Dark Worship Flesh of a Saint

Though it’s just 20 minutes long, the six-song debut from Ohio’s Dark Worship offers dark industrial heft and a grim psychedelic otherworldliness in more than enough measure to constitute a full-length. At the center of the storm — though not the eye of it, because it’s quiet there — is J. Meyers, also of Axioma, who conjures the spaces of “Culling Song” and “We’ve Always Been Here” as a bed for a selection of guest vocalists, including Nathan Opposition of Ancient VVisdom/Vessel of Light, Axioma‘s Aaron Dallison, and Joe Reed (To Dust, Exorcisme). No matter who’s fronting a given track — Reed gets the lion’s share, Dallison the title-track and Opposition the penultimate “Destroy Forever (Death of Ra)” — the vibe is biting and dark in kind, with Meyers providing backing vocals, guitar, and of course the software-born electronic beats and melodies that are the core of the project. Maybe hindsight will make this nascent-feeling, but in terms of world construction, Flesh of a Saint is punishing in its immersion, right up to the howling feedback and ambience of “Well of Light” at the finish. Conceptually destructive.

Dark Worship on Facebook

Tartarus Records store

 

More Experience, Electric Laboratory of High Space Experience

More Experience Electric Laboratory of High Space Experience

Nature sounds feature throughout More Experience‘s 2021 third album, Electric Laboratory of High Space Experience, with birdsong and other naturalist atmospheres in opener “The Twilight,” “Beezlebufo,” closer “At the Gates of Dawn,” and so on. Interspersed between them is the Polish troupe’s ’60s-worship psych. Drawing on sonic references from the earliest space rock and post-garage psychedelics — think Hendrix, Jefferson Airplane, King Crimson’s “Epitaph” is almost remade here as the penultimate title-track — band founder Piotr Dudzikowski (credited with guitars, organs, synthesizers, backing vocals, harmonium, tambura, and cobuz) gets by with a little help from his friends, which means in part that the vocals of extended early highlight “The Dream” are pulled back for a grain-of-salt spoken word on “The Trip” and the later “Fairy Tale.” The synthy “The Mind” runs over nine minutes and between that, “The Dream” and the title-track (9:56), I feel like I’m digging the longer-form, more dug-in songs, but I’m not going to take away from the ambient and more experimental stuff either, since that’s how this music was invented in the first place.

More Experience on Facebook

More Experience on Bandcamp

 

Jawless, Warrizer

Jawless Warrizer

Young Indonesian riffers Jawless get right to the heart of heavy on their debut album, Warrizer, with a raw take on doom rock that’s dead-on heavy and classic in its mindset. There’s nothing fancy happening here other than some flourish of semi-psych guitar, but the self-produced four-piece from Bandung kill it with a reverence of course indebted to but not beholden to Sabbathian blues licks, and their swing on “Deceptive Events” alone is enough proof-of-concept for me. I’m on board. It’s not about progressive this or that. It’s not about trying to find a genre niche no one’s thought of yet. This is players in a room rocking the fuck out. And they might have a bleak point of view in cuts like “War is Come,” and one does not have to look too far to get the reference in “The Throne of Tramp,” but that sense of judgment is part and parcel to originalist doom. At 50 minutes, it’s long for an LP, but as “Restrained” pays off the earlier psychedelic hints, “Metaphorical Speech” boogie-jams and “G.O.D.” rears back with each measure to spit its next line, I wouldn’t lose any of it.

Jawless on Facebook

Jawless on Bandcamp

 

The Heavy Co., Shelter

The Heavy Co Shelter

Adding a guest guitar solo from EarthlessIsaiah Mitchell wasn’t going to hurt the cause of Indianapolis duo The Heavy Co., and sure enough it doesn’t. Issued digitally in 2020 and premiered here, “Shelter” runs a quick three minutes of psych-blues rock perfectly suited to the 7″ treatment Rock Freaks Records gives it and the earlier digi-single “Phoenix” (posted here), which had been the group’s first offering after a six-year break. “Phoenix,” which is mellower and more molten in its tempo throughout its six minutes, might be the better song of the two, but the twang in “Shelter” pairs well with that bluesy riff from guitarist/vocalist Ian Daniel, and Jeff Kaleth holds it down on drums. More to come? Maybe. There’s interesting ground here to explore in this next phase of The Heavy Co.‘s tenure.

The Heavy Co. on Facebook

Rock Freaks Records store

 

Sound of Smoke, Tales

Sound of Smoke Tales

All that “Witch Boogie” is missing is John Lee Hooker going “boom boom boom” over that riff, and even when opener “Strange Fruit” or “Dreamin'” is indebted to the Rolling Stones, it’s the bluesier side of their sound. No problem there, but Freiburg, Germany, four-piece Sound of Smoke bring a swagger and atmosphere to “Soft Soaper” that almost ’70s-style Scorpions in its beginning before the shuffling verse starts, tambourine and all, and there’s plenty of pastoral psych in “Indian Summer” and 10-minute “Human Salvation,” the more weighted surges of which feel almost metallic in their root — like someone between vocalist/keyboardist Isabelle Bapté, guitarist Jens Stöver, bassist Florian Kiefer and drummer Johannes Braunstein once played in a harder-focused project. Still, as their debut LP after just a 2017 EP, the seven-song/43-minute Tales shows a looser rumble in “Devil’s Voice” behind Bapté, and there’s a persona and perspective taking shape in the songs. It’ll be hard work for them to stand out, but given what I hear in these tracks, both their psych edge and that sharper underpinning will be assets in their favor along with the sense of performance they bring.

Sound of Smoke on Facebook

Tonzonen Records website

 

Red Mesa, Forest Cathedral

red mesa forest cathedral

Coming off their 2020 full-length, The Path to the Deathless (review here), Albuquerque-based trio Red Mesa — guitarist/vocalist Brad Frye, bassist/vocalist Alex Cantwell, who alternates here with Frye, and drummer/backing vocalist Roman Barham, who may or may not also join in on the song’s willfully lumbering midsection — take a stated turn toward doom with the 5:50 Forest Cathedral single. The grittier groove suits them, and the increasing sharing of vocals (which includes backing), makes them a more complex act overall, but there’s not necessarily anything in “Forest Cathedral” to make one think it’s some radical shift in another direction, which there was enough of on The Path to the Deathless to warrant a guest appearance from Dave Sherman of Earthride. Still, they continue to do it well, and honing in on this particular sound, whether something they do periodically to change it up, never touch again after this, or see as a new way to go all-in, I’m content to follow along and see where it goes.

Red Mesa on Facebook

Desert Records BigCartel store

 

Margarita Witch Cult, Witchfinder

Margarita Witch Cult Witchfinder

In keeping with the tradition of over-the-top weed-doom band names, Margarita Witch Cult crawl forth from the birthplace of sonic weight, Birmingham, UK, with their debut two-songer cassingle-looking CD/DL Witchfinder. That’s not the only tradition they’re keeping. See also the classic riffer doom they capture in their practice space on the not-tape and the resulting rawness of “The Witchfinder Comes” and “Aradia,” bot nodders preaching Iommic truths. There’s a bit more scorch in the solo on “Aradia,” but that could honestly mean the microphone moved, and either way, they also keep the tradition of many such UK acts with goofball monikers in actually being pretty right on. Of course, they’re in one of the most crowded heavy undergrounds anywhere in the world, but there’s a lot to be said for taking doom rock and stripping it bare as they do on these tracks, the very least of which is that it would probably work really well on tape. If I was at the gig and I saw it on the merch table, I’d snag and look forward to more. I’ll do the same with the Bandcamp.

Margarita Witch Cult on Facebook

Margarita Witch Cult on Bandcamp

 

Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Witchfinder to Release Hazy Rites Vinyl March 27 on Mrs Red Sound

Posted in Whathaveyou on February 3rd, 2020 by JJ Koczan

It’ll be just about a year since it was first released that Witchfinder‘s Hazy Rites (review here) sees vinyl issue. The CD and I guess digital version was handled through Black Bow Records. That, of course, is the label headed by Jon Davis from Conan. Mrs Red Sound (and I checked, there’s no ‘a’ in “Mrs”) is the label putting out the LP, and as the name might tell you, that’s the imprint run by the crew of French heavy psych progressives Mars Red Sky. Either way you go, these are not minor endorsements to get. Witchfinder would seem to be racking them up.

Hazy Rites is the second full-length from Witchfinder and they’re currently booking a European tour to support it. They would seem to have a few dates open, and the full thing has not yet been announced, so hit up their socials for updates or if you can provide a show. Because it’s the right thing to do.

I don’t know if the inking with Mrs Red Sound is on an ongoing basis, as in, for their third record too, but either way, good for them getting the LP out.

From the PR wire:

witchfinder

WITCHFINDER sign to Mrs Red Sound

Mrs Red Sound is stoked to welcome french doom trio Witchfinder: new LP “Hazy Rites” due out March 27th.

We are thrilled to announce the release of WITCHFINDER’s sophomore LP “Hazy Rites” on vinyl this March 27th. Preorders coming soon!

With “Hazy Rites” WITCHFINDER is throwing in plenty of hardcore and sludge influences to their already massive and doom-laden sound. A definitive must-ear!! This sophomore album was recorded, mixed, and masterized into the Polish Monochrom Studio by Satanic Audio in October 2018.

WITCHFINDER “Hazy Rites” – Out March 27th on Mrs Red Sound

French doom sludge destroyers WITCHFINDER took the metal scene by storm, spreading out their heavier-than-heavy mucky riffs with a highly psychedelic potential. Gloomy and haunted voices in the vein of Monolord or Windhand are mixed with saturated Bongzilla or Weedeater vocals like, and fat riffages. Since their formation in 2016, and off of the back of their debut eponymous full length, the Clermont-Ferrand-based doom occult trio quickly garnered a sizable following, with many prolific support slots opening for stoner and doom behemoths such as Red Fang, Corrosion Of Conformity, Dopethrone, Ufomammut, Conan, Monolord, Kadavar, The Flying Eyes, Hangman’s Chair, The Necromancers.

Witchfinder are:
Tom – Batterie
Clement – Basse / chant
Stan – Guitare

https://www.facebook.com/witchfinderdoom
https://www.instagram.com/witchfinderdoom/
https://witchfinder.bandcamp.com/
https://www.facebook.com/mrsredsound33/
https://www.instagram.com/mrsredsound/
https://marsredsky.bigcartel.com/category/mrs-red-sound

Witchfinder, Hazy Rites (2019/2020)

Tags: , , , , , ,

Review & Full Album Premiere: Witchfinder, Hazy Rites

Posted in audiObelisk, Reviews on March 29th, 2019 by JJ Koczan

witchfinder hazy rites

[Click play above to stream Hazy Rites by Witchfinder in its entirety. Album is out April 1 on Black Bow Records.]

Witchfinder‘s Hazy Rites isn’t so much a melting pot as it is a steaming cauldron of influences from the sphere of modern doom, sludge, and tonal onslaught. To listen to tracks like “Satan’s Haze” and “Covendoom,” two 10-minute riff-pushers stacked right at the front following opener “Ouija,” the Witchcult Today-era Electric Wizard-fandom comes through rolling and massive in the plodding riffs, vaguely cultish theme, resounding tonal murk and the vocals echoing up from it. Yet, the subsequent centerpiece “Sexual Intercourse” has a different focus on melody that calls to mind Elephant Tree before turning later into vicious screams and sludgy nod. The penultimate “Sorry” — just speculation, but I don’t think the apology is sincere — turns similarly caustic, and even “Ouija” back at the outset is working with different methods, a slow initial unfolding that soon enough gives way to Conan-style tonal dominance and melodic shouting.

All the more fitting, then, that Hazy Rites should arrive as the Clermont-Ferrand, France, trio’s first offering through Black Bow Records, owned by Conan‘s Jon Davis, whose Blackskull Services has also taken them on as a management client. Witchfinder made their self-titled debut in 2017 and were given a look last year from Kozmik Artifactz for a vinyl release, but Hazy Rites, at a willfully unmanageable seven songs and 60 minutes makes that 40-minute four-tracker seem almost like an EP, and what bassist/vocalist Clément, guitarist Stan and drummer Tom bring to bear across the mostly-lumbering beast they’ve conjured is broader than the preceding record and also more sure of itself, with “Wild Trippin'” unafraid to dig into heavy psychedelic doom in the vein of Windhand early before Stan‘s guitar turns from its utterly engrossing thickness to take flight and lead a spacious apex section ahead of the swinging finish en route to “Sorry,” which follows. All the while, Witchfinder seem to be casting the elements from which they comprise their sound as a burgeoning persona, aided by the subtle turns of influence and periodic fits of shroom doom or more vicious sludge.

Among its other strengths, Hazy Rites is a reminder to just about anyone who hears it what a difference an excellent drummer can make. It’s not about the technicality in Tom‘s playing, but even the force with which he hits the snare in the second half of “Ouija” comes through in the recording, and he proves well up to the task of holding together the album at its foggiest moments, as on “Satan’s Haze” or the turn from the speedier swing to the stomping finish of “Sexual Intercourse” where he deftly accents his crash hits with the kick drum, the ultra-slow march of “Covendoom” and “Sorry” or the malleability he shows in closer “Dans l’Instant,” holding onto the central rhythm for a moment even as the church organ that leads the way out for the last two minutes or so comes on and seems to consume the track in progress. He wouldn’t have that work to do without the context of the entire band, of course, so I’m not trying to take away from what Clément or Stan add to the record — it would be ridiculous to do so — but it’s plain to hear even as the vocals sing out over timed crashes in “Dans l’Instant” before the last roll ensues that Tom is the kind of player who brings a band to another level.

witchfinder

The production, handled at Satanic Audio in Poland, doesn’t hurt either, as the low end of bass and the alternatingly crushing and airy guitar become themes around which the songs function, and showcase not only a sense of what makes something heavy in terms of tone and groove, but how to use that as a foundation for exploration in songwriting. They’re not going so far out as to get lost — again, having those drums on the ground is a more than solid base to work from — but their style ends up being as much about atmosphere as about heft, and they don’t neglect either as the record plays out, whether it’s purposefully immersing the listener in “Satan’s Haze” and “Covendoom” back to back, or putting “Sorry” between “Wild Trippin'” and “Dans l’Instant” to add an element of the extreme amid Hazy Rites‘ most psychedelic fare. There’s consciousness at work here, addled though it might be.

Still, it’s the largesse that’s going to be the primary impression. The fact that Witchfinder sound huge as they roll their way through “Ouija” or “Sexual Intercourse” — the latter of which might also be the broadest-ranging cut they have here, with some touch of harmony to the vocals, an ethereal effects-wash of a solo, and then the turn before the five-minute mark to more forward-driving screamy sludge and the inevitable slowdown that ends it — is going to be the immediate standout factor. Echoing on Clément‘s voice adds to the sense of space in which the songs play out, and they dutifully fill that space with waves of distortion that seem bent only on pulling apart everything in their path.

But that’s not the end of Witchfinder‘s story, the deeper one digs in to Hazy Rites, the more one is likely to uncover, whether it’s in the melodies of “Wild Trippin'” or the brutality of the hits in “Sorry,” and the more satisfying the record ultimately becomes. Nod out if you must, but do so at the risk of missing the growth the band has undertaken in the couple years since their debut, and though it’s long at an hour’s runtime, that becomes part of the point of Hazy Rites in that it’s about creating the world this material inhabits even as the songs unfold. The converted will know what’s up — doom for doomers by doomers — and that would seem to be with whom Witchfinder are casting their lot here. Nothing wrong with that, certainly, and as France’s heavy underground continues to evolve, they seem primed to do just the same, whether that means more harmonies or tonal weight or screams or, preferably, all of it.

Witchfinder on Thee Facebooks

Witchfinder on Bandcamp

Black Bow Records website

Black Bow Records webstore

Black Bow Records on Bandcamp

Black Bow Records on Thee Facebooks

Tags: , , , , ,