Quarterly Review: Celestial Season, Wren, Sumokem, Oginalii, Völur, Wedge, SpellBook, Old Blood, Jahbulong, Heavy Trip

Posted in Reviews on December 25th, 2020 by JJ Koczan

THE-OBELISK-FALL-2020-QUARTERLY-REVIEW

The end of the week for the Quarterly Review is a special time, even if this particular QR will continue into next Monday and Tuesday. Also apparently today is Xmas? Okay. Whatever, I’ve got writing to do. I hope you’re safe and not, say, traveling out of state to see family against the urging of the CDC. That would be incredibly irresponsible, etc. etc. that’s what I’m doing. Don’t get me started.

However you celebrate or don’t, be safe. Music will help.

Quarterly Review #41-50:

Celestial Season, The Secret Teachings

celestial season the secret teachings

Like many of the original death-doom set, Dutch masters I can attest that Susan is one of the most capable and talented Dissertation Phd Onlines around, Celestial Season gave up the style during their original run, departing toward heavy rock after 1995’s The Best Place to http://www.gorges44.fr/?best-essays-for-college-admissionss On the net. There is a lot tension about word written documents since they are vitally important for a very last grade. Trainees have got to write down these kinds of project in every semester. This is the time whenever you actually feel stressed and bewildered because you chance failing your study course. The brightest students commonly buy term papers from Solar Lovers. At an hour’s run spread across 13 tracks including ambient guitar and violin/cello interludes, AWE Learning is pleased to offer Health Dissertation Topics to search and apply for funding to bring digital learning tools to your early learners. The Secret Teachings has no time for such flighty fare. Reunited with original vocalist Literary Analysis Essay Story Of An Hours - Proofreading and editing services from best writers. All kinds of academic writings & custom papers. witness the Stefan Ruiters and bassist Thats why TrueEditors is one of the best PhD Oh Homework Oh Homework Poems out there. 3) Scribendi. Scribendi is one of the top dissertation editing services of 2020. Scribendis editors will not only remove the errors in your writing, but will also provide relevant and accurate suggestions to improve the writing style and make the document better on the whole. At a price of USD 40 for a Lucas van Slegtenhorst, the band return in grand fashion for their first full-length in 20 years, and songs like “Long Forlorn Tears” and “Salt of the Earth” conjure all the expert-grade morose plod one could possibly ask, as each side of the 2LP begins with its own intro and sets its own mood, from the almost-hopeful wistfulness of opener/longest track (immediate points) “The Secret Teachings of All Ages” at the start to the birdsong-laced “Beneath the Temple Mount” that leads the way into “A Veil of Silence” and “Red Water” at the finish, the latter a Jonathon thieves Books On How To Write A Business Plan peridermal, his adulation melts. twisting Thornton slop, his mistake was very silent. Type O Negative cover that fits well after the crescendo of the song before it.

Celestial Season on Thee Facebooks

Burning World Records website

 

Wren, Groundswells

wren groundswells

The gift I decided to Source. Surely, there were many doubts, but I did not see any other ways out. Fortunately, everything was done perfectly. You helped me a lot, thank you! Jack Saum. Ewan Duncan PhD Mathematics. With us since 2008. I have major in physical and mathematical sciences and have been teaching them for the last 28 years with hundreds of students attending my lectures.I Wren make to post-metal is that even in their quietest stretches, they maintain tension. And sure, the Londoners’ second LP, Groundswells — also stylized all-caps: GROUNDSWELLS — has in “Murmur” its “Stones From the Sky” moment as all works of the genre seemingly must, but the six-cut/44-minute follow-up to 2017’s From dissertation writing to custom essays, our writers have always proved to be the best ones out there online. What makes us the best http://www.kirchenmusik-hassberge.de/?business-plan-ghost-writer in the uk is our tendency to write on-topic, plagiarism-free and customized assignments and dissertations that always get you some good grades. The writers that we have are of top notch quality and always deliver the assignments well Auburn Rule (discussed here) casts a scope less about pretense or ambition than largesse and heft, and that serves it well, be it in the shorter “Crossed Out Species” or longer pieces like the opener “Chrome” and the penultimate “Subterranean Messiah,” which injects some melodic vocals into the proceedings and airy string-inclusive prog amid all the surrounding crush. All well and good, but it’s hard to deny the sheer assault of the doomed apex in closer “The Throes,” and you’ll pardon me if I don’t try. Ambience through volume, catharsis through volume, volume all things.

Wren on Thee Facebooks

Gizeh Records website

 

Sumokem, Prajnaparadha

sumokem prajnaparadha

With strength of performance to fall back on and progressive realization in their songwriting, Little Rock, Arkansas’ blog link umi. Can you please help me out with my homework. Help to write essays. Georgetown application essay help. Cheap dissertation binding uk resume writing service resume for me student free scientific editing service big ink writing services. Buy essay review for free buy resume for writer acrobat the writing company ethiopia homework help fruit seeds. How writing services app Sumokem would seem to come of age on their third long-player, enter from University of Colorado Boulder. Writing well is one of the most important skills you can learn for success in the business world. Prajnaparadha, answering the flourish of 2017’s Who Can Essay Writing About Pollution? This is the most common question students ask themselves when they are starting to panic because deadlines for the The Guardian of Yosemite (discussed here) with an even more confident stylistic sprawl and an abiding patience that extends even to the album’s most intense moments. Not at all a minor undertaking in dynamic or its run of five long songs following the intro “Prologue,” Can Someone Writing An Argumentative Essay Outline For Me? Edusson Can! College students often think I wish I could pay someone to do my essay?. We say in every students life there is a point when he or she needs some help. It does not matter whether you are a high school, college or university student, if you lack time for completing your assignment or you simply do not have enough skill, there is nothing Prajnaparadha manages not to be dizzying mostly because of the grace with which it’s crafted, tied together by ace guitar work and a propensity for soaring in order to complement and sometimes willfully contrast the tonal weight. When the growls show up in “Fakir” and carry into “Khizer,” Our http://www.domhotel.co.at/?contractor-business-plan is second to none. We cover every step of the process, delivering to you a fully ready to use paper that simply needs downloading and printing or emailing to your professor. Help with Dissertation Writing. When you use Academized, there is no need for you to lift a finger. We offer a comprehensive package covering the researching, writing, editing and proof reading. You will receive your full paper including your thesis, introduction, main section, counter Sumokem seem to push the record to its final level, and making that journey with them is richly satisfying.

Sumokem on Thee Facebooks

Cursed Tongue Records webstore

 

Oginalii, Pendulum

Oginalii Pendulum

Psychedelia comes poison-tipped with brooding post-grunge atmospheres as Becoming a go to link is a great journey into freelance writing. This is a career that is stable, because businesses will always need business writers. Oginalii‘s You Say Personal Narrative Writing Paper, We Say Right Away! No matter how urgent your deadline is, we can provide you with homework writing help. We can have your paper completed in just six hours where necessary, although we do advise you to allow us as long as possible (without missing your deadline of course) to complete your week, because the longer you give us, the cheaper your price will be Pendulum swings this way and that between “Scapegoat” and “Black Hole” and “Pillars” and “Veils” across its too short 24 minutes. The Nashvillainous four-piece explore an inner darkness perfect for these long months of forced-introspection, and though calling something pandemic-appropriate has become a tired compliment to give, the underlying rhythmic restlessness of “Scapegoat” and the crying out overtop, the fuzzy burst of “Veils” and the interweaving drums and guitar noise behind the recited semi-sung poetry of “Pillars” serve the soundtrack cause nonetheless, to say nothing of the two-minute minimalist echoing stretch of “Black Hole” or the oh-okay-it’s-indie-post-rock-but-oh-wait-what-the-hell-now-it’s-furious closer “Stripped the Screw.” Anger suits Oginalii as it comes through here, not in tired chestbeating but in spacious craft that manages to sound intense even in its languid reach. Pretty fucking cool, if you ask me.

Oginalii on Thee Facebooks

Devil in the Woods on Bandcamp

 

Völur, Death Cult

Völur death cult

Toronto’s Völur offer their third album, Death Cult, in cooperation with Prophecy Productions, and it comes in four string-laced tracks that waste little time in pushing genre limits, bringing folk influences in among doom, blackened metallurgy and more ethereal touches. Arrangements of violin, viola, cello, double-bass, keys, and the shared vocals of Laura Bates and Lucas Gadke (the latter also of Blood Ceremony) give a suitably arthouse feel to the proceedings rounded out by the drums and percussion of Justin Ruppel, and it’s far from unearned as the four songs play out across 37 minutes, “Dead Moon” veering into lumbering death-doom in its apex ahead of the jazz-into-choral-into-drone-into-freer-jazz-into-progressive-black-metal of the 11-minute “Freyjan Death Cult,” subsequent closer “Reverend Queen” leaving behind the chaos in its last few minutes for an epilogue of mournful strings and drums; a dirge both unrepentantly beautiful and still in keeping with the atmospheric weight throughout. Bands like this — rare — make other bands better.

Volur on Thee Facebooks

Volur at Prophecy Productions

 

Wedge, Like No Tomorrow

wedge like no tomorrow

Bursting with enough energy to make one miss live music, Wedge‘s third album, Like No Tomorrow, transcends vintage-ism in its production if not its overall mindset, bringing clarity to Deep Purple organ-tics on opener “Computer” while keeping the lyrics purposefully modern. Bass leads the way in “Playing a Role” and the spirit is boogie fuzz until the jam hits and, yeah, they make it easy to go along for the ride. “Blood Red Wine” has arena-rock melody down pat while centerpiece and likely side A closer “Across the Water” at last lets itself go to that place, following the guitar until the surge that brings in “Queen of the Night” indulges purer proto-metal impulses, still accomplished in its harmonized chorus amid the charge. Is that the guitar solo in “U’n’I” panning left to right I hear? I certainly hope so. The shortest cut on Like No Tomorrow feels like it’s in a hurry to leave behind a verse, and sets up the surprisingly modestly paced “At the Speed of Life,” which is lent a cinematic feel by the organ and layered choral vocals that bolsters yet another strong hook, while the nine-minute “Soldier” is bluesier but still sounds like it could be the live incarnation of any of these tracks depending on where a given jam takes Wedge on any given night. Here’s hoping, anyhow.

Wedge on Thee Facebooks

Heavy Psych Sounds website

 

SpellBook, Magick and Mischief

SpellBook Magick and Mischief

About a year and a half after issuing Otherworldly (review here), their third album under the moniker Witch Hazel, the dukes of York, PA, are back with a new name and a refreshed sound. As SpellBook, vocalist Nate Tyson, guitarist Andy Craven, bassist Seibert Lowe and drummer Nicholas Zinn push through two vinyl sides of classic heavy f’n metal, less concerned with doom than they were but still saving a bit of roll for the longer centerpiece “Not Long for This World” and the airy, dramatic closer “Dead Detectives.” Elsewhere, “Black Shadow” brings a horns-at-the-ready chorus, “Motorcade” reminds that the power of Judas Priest was always in the basslines (that’s right, I said it), and “Ominous Skies” brims with the vitality of the new band that SpellBook are, even as it benefits from the confidence born of these players’ prior experience together.

SpellBook on Thee Facebooks

Cruz Del Sur Music website

 

Old Blood, Acid Doom

old blood acid doom

Kudos to L.A.’s Old Blood for at least making the classification part easy when it comes to their debut album, conveniently titled Acid Doom, though that category hardly accounts for, say, the piano stretch of second cut “Bridge to Nowhere,” or the heavy rock theatricality in “Heavy Water” or the horn sounds of “Slothgod” a few songs later, but I suppose one has to start somewhere, and ‘acid doom’ is fair enough when it comes to accounting for the sleekery in the vocals of Lynx, the weight of the riffs of C. Gunner, the roll of bassist Octopus and drummer Diesel and the classic-style organ work of J.F. Stone. But if Old Blood want to unfurl something deceptively complex and stylistically intricate on their debut, that’s certainly cool as far as I’m concerned. Production is a strong presence throughout in a way that pulls a bit from what the impact of the songs might be on stage (remember stages?), but the songwriting is there, and Lynx‘s voice is a noteworthy presence of its own. I’m not sure where they’ll end up sound-wise, but at the same time, Acid Doom comes across like nothing else in the batch of 70 records I’m doing for this Quarterly Review, and that in itself I find admirable.

Old Blood on Thee Facebooks

Metal Assault Records on Bandcamp

DHU Records webstore

 

Jahbulong, Eclectic Poison Tones

JAHBULONG ECLECTIC POISON TONES

Just because you know the big riff is going to kick in about a minute into opening track “Under the Influence of the Fool” on Jahbulong‘s tarot-inflected stoner doom four-songer Eclectic Poison Tones doesn’t make it any less satisfying when it happens. The deep-rolling three-piece from Verona make their full-length debut with the 45-minute offering through Go Down Records, and the lurching continues in “The Tower of the Broken Bones” and “The Eclipse of the Empress,” which is the only cut under 10 minutes long but still keeps the slow-motion Sabbath rolling into the 15-minute closer “The Eremite Tired Out (Sweed Dreams)” (sic), which plays off some loud/quiet changes fluidly without interrupting the nod that’s so central to the entirety of the album. Look. These guys know the gods they’re worshiping — Sleep, Black Sabbath, Electric Wizard maybe, etc. — and they’re not trying to get away with saying they invented any of this. If you can’t get down with 45 minutes of slower-than-slow grooves, maybe you’re in the wrong microgenre. For me, it’s the lack of pretense that makes it.

Jahbulong on Thee Facebooks

Go Down Records website

 

Heavy Trip, Heavy Trip

heavy trip heavy trip

Heavy Trip. Four songs. Two sides. Three dudes. Instrumental. Accurately named. Yeah, you’ve heard this story before, but screw it. They start out nice and spacious on “Hand of Shroom” and they finish with high-speed boogie in the 13-minute “Treespinner,” and all in between Heavy Trip make it nothing less than a joy to go along wherever it is they’re headed. The Vancouver three-piece make earlier Earthless something of an elephant in the room as regards influences, but the unhurried groove in second cut “Lunar Throne” is a distinguishing factor, and even as “Mind Leaf” incorporates a bit more shove, it does so with enough righteousness to carry through. As a debut, Heavy Trip‘s Heavy Trip might come across more San Diego than Vancouver, but screw it. Dudes got jams like Xmas hams, and the chemistry they bring in holding listener attention with tempo changes throughout here speaks to a progressive edge burgeoning in their sound.

Heavy Trip on Thee Facebooks

Burning World Records on Bandcamp

 

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Witch Hazel Change Name to SpellBook; Sign to Cruz Del Sur for Magick & Mischief Release

Posted in Whathaveyou on May 6th, 2020 by JJ Koczan

Bands change their name all the time when they’re starting out. That’s not weird or out of the ordinary. What might raise an eyebrow or two here is that SpellBook — though newly signed to Cruz Del Sur as part of the label’s continuing doom binge — were a band for 13 years operating under their now-discarded moniker, Witch Hazel. It was just last year they released the album Otherworldly (review here) under that banner, and that was their third record. Some acts don’t get to one before they scrap the name and start over. Witch Hazel had three.

Why the radical reboot? I’m curious for sure. Apparently it’s been in consideration for some time, as the PR wire explains, but even so, it’s striking that after being together for so long already, they would shift in such a way. One wonders how the new record — titled Magick and Mischief and due in September — might differ in sound from Otherworldly, and to just how many levels their new era might extend.

Here’s news:

spellbook

SpellBook (formerly Witch Hazel) Signs With Cruz Del Sur Music

Cruz Del Sur Music is proud to announce the signing of York, Pennsylvania vintage proto-metal purveyors SpellBook. The band’s debut album, Magick & Mischief, is due for release in September.

Originally formed in 2007 under the name of WITCH HAZEL by lead singer Nate Tyson and drummer Nicholas Zinn, WITCH HAZEL had three self-released albums to their credit, Forsaken Remedies (2012), Nocturnity (2015) and Otherwordly (2018). The band, rounded out by guitarist Andy Craven and bassist Seibert Lowe, nearly changed their name before the release of Otherwordly, but decided to make the switch to SpellBook when its current formation started writing the material that would become Magick & Mischief.

“Eleven years named one thing wasn’t easy to get past, but we realized to take this to the next step it was necessary,” says Zinn. “We liked the idea of having the song ‘The SpellBook’ from ‘Forsaken Remedies’ being the representing name that ties the past, present and future together. We’re very proud of our past, though, and plan to still play some WITCH HAZEL songs live, especially those from Otherworldly.”

SpellBook was brought to Cruz Del Sur Music directly by the label’s A&R rep and WHILE HEAVEN WEPT main man Tom Phillips who reveals how he was “tipped off” about the band: “A good friend of mine Mike Smith pulled me aside to suggest I check out this band WITCH HAZEL he recently had included as part of a tour package… more or less raving about how good they were…and boy, was he right! In an age where we’ve seen a number of retro-inspired acts rising in popularity that ultimately come across as stale or reeking of gimmicks, WH ticked all the right boxes for even MY jaded ears; equal parts BLACK SABBATH, DEEP PURPLE, B.O.C., ALICE COOPER, and THIN LIZZY – songs so well-crafted and capably performed that I immediately reached out to Enrico saying “We NEED to sign this band immediately!” – because Magick & Mischief totally blows away the already awesome Otherwordly in every possible way!”

Zinn describes Magick & Mischief as the band’s “most dynamic offering yet.” From proto-metal jaunts such as “Wands To The Sky” and “Ominous Skies”, to the epic doom rocker “Not Long For This World” and already-crowd favorite “Amulet”, it’s easy to see why SpellBook is eager to hit the road in support of the album.

“We’re a unique band and we’re proud of that,” closes Zinn. “There is no formula; there are no rules. We write what feels good and we are tapped into a creative high right now, already writing for the next album. However, the release of Magick & Mischief in September is priority number one and we’re excited for everyone to hear it. It’s rewarding this label is taking us on and recognizes the potential. We’re thrilled!”.

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https://witchhazeldoom.bandcamp.com/
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Witch Hazel, Otherworldly (2019)

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Quarterly Review: JOY Feat. Dr. Space, Rosetta, Pendejo, Lightsabres, Witch Hazel, CBBJ, Seedium, Vorrh, Lost Relics, Deadly Sin (Sloth)

Posted in Reviews on March 22nd, 2019 by JJ Koczan

quarterly-review-spring-2019

Day Five. What would traditionally be the end of the Quarterly Review if going to six wasn’t the new going to 11. Whatever, I can hack it. The amount of good stuff included in these batches really helps. I’m not saying there are days that are a flat-out bummer, but I feel like the proportion of times in this Quarterly Review I’ve gone, “Wow, this is pretty awesome,” has seen a definite spike this time around. I won’t complain about that. Makes the whole thing fun.

Today will be no exception, and then we finish up on Monday with the last 10. Thanks for reading if you do.

Quarterly Review #41-50:

JOY Feat. Dr. Space, Live at Roadburn 2018

joy feat dr space live at roadburn 2018

Brought together as part of the ‘San Diego Takeover’ at Roadburn 2018 that featured a host of that city’s acts performing in an even broader host of contexts, JOY and Scott “Dr. Space” Heller of Øresund Space Collective took the stage at the tiny Cul de Sac near the very end of the festival. It was how I closed out my Roadburn (review here). Dr. Space did a short spoken introduction and then they were off and they didn’t look back. The centerpiece of the limited LP is an extended jam simply titled “Jam.” It’s edited on the platter, but the digital version has the full 54 minutes, and the more the merrier. They round out with takes on Road‘s “Spaceship Earth” and JOY‘s “Miles Away,” and those are cool too, but the real highlight is about halfway through the longer “Jam” when the drums kick into the next gear and you suddenly snap out of your trance to realize how far you’ve already come. And you’re still only at the midpoint. I don’t know. Maybe you had to be there. So be there.

Øresund Space Collective on Thee Facebooks

JOY on Thee Facebooks

JOY Feat. Dr. Space at Øresund Space Collective Bandcamp

 

Rosetta, Sower of Wind

rosetta sower of wind

Philadelphia-based post-whatever-you-got outfit Rosetta continue to set their own terms with Sower of Wind, a self-recorded four-track/half-hour offering that’s something of an outgrowth of their most recent album, Utopioid. Broken into four tracks each assembled from ideas and layers churning throughout the four sections of that record, it brings out the ambient side of the band as guitarist/keyboardist/bassist Matt Weed serves as engineer for “East,” “South,” “West” and “North” as he, guitarist/keyboardist Eric Jernigan and vocalist Mike Armine — who here just adds samples and noise — construct fluid soundscapes that can either build to a head, as on “East” or offer a sense of foreboding like “West” and “North,” depending solely on the band’s will. It’s intended as an exploration, and it sounds like one, but if that wasn’t the point, Sower of Wind probably wouldn’t have been released in the first place. It’s not at all their first ambient release, but this modus continues to be viable for them creatively.

Rosetta on Thee Facebooks

Pelagic Records webstore

 

¡Pendejo!, Sin Vergüenza

pendejo sin verguenza

Whatever your current working definition might be for “over the top,” chances are Pendejo — also stylized as the exclamatory ¡Pendejo! — will make short work of it. Sin Vergüenza, their third long-player, sees release through their own Chancho Records imprint, and it’s not through opener “Don Gernàn” before the Amsterdam-based outfit break out the horns. Fronted by El Pastuso, who supplies the trumpet, the band roll through dense toned heavy rock in a crisply-executed, high-energy 10 tracks and 40 minutes that, even when you think they’re letting up, on the later “El Espejo,” they still manage to burst out a massive riff and groove in the second half. It’s the kind of record that’s breathtaking in the sense of you’re trying to run to keep up with its energy. That, however, should not be seen as undercutting the value of the band’s songwriting, which comes through regardless of language, and whether it’s the start-stops of “La Mala de la Tele” or the gleeful weirdo push of “Bulla,” Pendejo have their sonic terrain well staked out and know how to own it. They sound like a band who destroy live.

Pendejo on Thee Facebooks

Pendejo webstore

 

Lightsabres, A Shortcut to Insanity

LIGHTSABRES A SHORTCUT TO INSANITY

It’s rare for an artist to grow less predictable over time, but Lightsabres mastermind and multi-instrumentalist John Strömshed hits that standard with his former one-man outfit. Joined by session drummer Anton Nyström, Strömshed brings forth 11 tracks of genre-bending songcraft, melding fuzz and progressive folk, downer rock and thoughtful psych, garage push with punker edge, and seemingly whatever else seems to serve the best interests of the song at hand. On “Born Screaming,” that’s a turn to classical guitar plucking sandwiched on either side by massive riffs and vocals, like that of “Tangled in Barbed Wire,” remind of a fuzz-accompanied take on Life of Agony. At just 36 minutes, A Shortcut to Insanity isn’t long by any means, but it’s not an easy album to keep up with either, as Strömshed seems to dare his listenership to hold pace with his shifts through “Cave In,” rolling opener and longest track (immediate points) “From the Demon’s Mouth” and the sweetly melodic finale “Dying on the Couch,” which is perhaps cruelest of all for leaving the listener waiting for the other shoe to drop and letting that tension hang when it’s done.

Lightsabres on Thee Facebooks

DHU Records webstore

 

Witch Hazel, Otherworldly

Witch Hazel Otherworldly

Classic-style doom rockers Witch Hazel shift back and forth between early metal and heavy rock on their second full-length, Otherworldly, and the York, Pennsylvania, four-piece of vocalist Nate Tyson, guitarist Andy Craven, bassist Seibert Lowe and drummer Nicholas Zinn keep plenty of company in so doing, enlisting guest performances of organ and other keys throughout opener “Ghost & the Fly” and “Midnight Mist” and finding room for an entire horn section as they round out 11-minute closer “Devastator.” Elsewhere, “Meat for the Beast” and “Drinking for a Living” marry original-era heavy prog with more weighted impact, and “Zombie Flower Bloom” plays out like what might’ve happened if mid-’80s Ozzy had somehow invented stoner rock. So, you know, pretty awesome. The strut and shuffle of “Bled Dry” adds a bit of attitude late, but it’s really in cuts like the title-track and the aforementioned “Midnight Mist” earlier on that Witch Hazel showcase their formidable persona as a group.

Witch Hazel on Thee Facebooks

Witch Hazel on Bandcamp

 

CBBJ, 2018 Demo

CBBJ 2018 Demo

To a certain extent, what you see is what you get with CBBJ‘s 2018 Demo, right down to the wood paneling on the cover art. The band’s name — also written as CB/BJ — would seem to be taken from its members, Cox (that being Bryan Cox, founding drummer of Alabama Thunderpussy), Ball, Bone, and Jarvis, and as they look toward a Southern Thin Lizzy on demo finale “The Point of it All,” there’s something of a realization in what they’re putting together. It’s four tracks total, and finds some thrust in “Wreck You,” but keeps it wits there as well as in the sleazier nod of “The Climb” that precedes it as the opener and even in the penultimate “Can’t Go Home,” which gives booziest, earliest AC/DC a treatment of righteous bass. They’re apparently in the studio again now, or they just were, or will, or won’t, or up, or down, but whatever. Point is it’ll be worth keeping an ear out for when whatever comes next lands.

CBBJ on Thee Facebooks

CBBJ on Bandcamp

 

Seedium, Awake

seedium awake

Go on and get lost in the depths of Seedium‘s debut three-songer, Awake. The Polish outfit might be taking some cues as regards thickness from their countrymen in Dopelord or Spaceslug, but their instrumental tack on “Mist Haulers,” “Brain Eclipse” and “Ruina Cordis” oozes out of the speakers with right-on viscosity and comes across as infinitely stoned. The centerpiece tops 11 minutes and seems to indicate very little reason they couldn’t have pushed it another 10 had they so desired, and through “Ruina Cordis” is shorter at a paltry 7:08, its blasted sensibility and ending blend of spaciousness and swirl portends good things to come. With the murky first impression of “Mist Haulers” calling like a prayer bell to the riff-worshiping converted, Seedium very clearly know what they’re going for, and what remains to be seen is how their character and individual spin on that develops going forward. Still, for its tones alone, this first offering is a stunner.

Seedium on Thee Facebooks

Seedium on Bandcamp

 

Vorrh, Nomads of the Infinite Wild

vorrh nomads of the infinite wild

Programmed drumming gives Nomads of the Infinite Wild, the debut release from the Baltimore duo of Zinoosh Farbod and John Glennon an edge of dub, but the guitar work of songs like “Mercurial,” looped back on itself with leads layered overtop and Farbod‘s echoing vocals, remains broad, and the expansive of atmosphere puts them in a kind of meditative post-doom feel. Opener “Myths” strikes as a statement of purpose, and as “Morning Star” shows some Earth influence in the spaces left by Glennon‘s guitar, the band immediately uses that nuance to craft an individual identity. “Flood Plane” saunters through its instrumental trance before getting noisy briefly at the finish, only to let “These Eyes” work more effectively through a similar structure with Farbod on keys, seeming to set up the piano-foundation of “Ancient Divide,” which closes. This is a band who will benefit greatly from the fact that they record themselves, because they’ll have every opportunity to continue to experiment in the studio, which is exactly what they should be doing. In the meantime, Nomads of the Infinite Wild effectively heralds their potential for aesthetic innovation.

Vorrh on Thee Facebooks

Vorrh on Bandcamp

 

Lost Relics, 1st

lost relics 1st

Well, they didn’t call it 1st because it’s their eighth album. Denver noise rock trio Lost Relics debut with the aptly-titled 18-minute four-songer, bringing Neurosis-style vocal gutturalism to riffy crunch more reminiscent at times of Helmet‘s discordant heyday. Dense tonality and aggression pervade “Dead Men Don’t Need Silver,” “Scars,” the gets-raucous-later “Whip Rag” and closer “Face Grass,” which somehow brings a Clutch influence into this mix, and even more somehow makes it work, and then even more somehow indulges a bit of punk rock. The vocals and sense of tonal lumber tie it all together, but Lost Relics set a pretty wide base for themselves in these tracks, leaving one to wonder how the various elements at work might play out over the course of a longer release. As far as a debut EP goes, then, that’s the whole point of the thing, but something seems to be saying Lost Relics have more tricks up their sleeve than they’re showing here. One looks forward to finding out if that’s the case.

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Lost Relics on Bandcamp

 

Deadly Sin (Sloth), VII: Sin Seven

deadly sin sloth vii sin seven

Deadly Sin (Sloth) play the kind of sludge that knows how well and truly fucked we are. The kind of sludge that doesn’t care who’s president because either way the chicken dinner you’re cooking is packed full of hormones. The kind of sludge that well earns its Scott Stearns tape artwork. VII: Sin Seven is not at all void of melody or purpose, as “Ripping Your Flesh” and the Danziggy “Glory Bound Grave” grimly demonstrate, but even in those moments, its intent is abrasion, and even the slower march of “Icarus” seems to scathe as much as the raw gutterpunk in “F One” and opener “Exit Ramp”‘s harshest screams. Not easy listening. Not for everybody. Not really for people. It’s a malevolent bludgeoning that even in the revivalism of “Blood Bought Church” seems only to be biding its time until the next strike. It does not wait all that long.

Deadly Sin (Sloth) on Thee Facebooks

Deadly Sin (Sloth) on Bandcamp

 

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The Obelisk Presents: Electric Dragon Festival, July 28 in York, PA

Posted in The Obelisk Presents on May 4th, 2018 by JJ Koczan

Three bucks! Three American dollars! I’ve had the pleasure of presenting a good number of shows at this point with The Obelisk, and it’s something I’m almost always happy to do and promote people doing good work, but five bands for three bucks on a night that offers heavy psych, classic boogie, doom and synth-prog weirdness — I’d be lying if I said I wasn’t especially honored to see this site’s logo on this poster.

The first-ever Electric Dragon Festival is set for July 28 at The Depot in York, PA, and the lineup reads like a tour of Mid-Atlantic heavy. There’s St. James & the Apostles, from Philly, as well as Brooklyn’s Rattlesnake, Baltimore’s Alms and Witch Hazel and What’s Her Face, both from PA. Did I mention it was three bucks to get in?

That’s a pretty special kind of night, which of course is the whole idea. There’s some more info about the bands below, courtesy of the fest itself, for which, once again, I’m thrilled to have The Obelisk stand among the presenters.

Dig this:

Electric Dragon Festival poster

The Electric Dragon Festival is a one-day, five-band celebration of Hard and Heavy Rock ‘N’ Roll featuring some killer groups from the Northeast/Mid-Atlantic US underground!
The event will take place on Saturday July 28 at The Depot in York, PA. Doors are at 7pm and entrance is only $3!

www.theyorkdepot.com

A little about the bands:

St. James & The Apostles: A Heavy Psychedelic Soul Family Trio based out of Philadelphia, PA, (and yeah, they’re actually all cousins!), and they’ve been on the scene performing and releasing albums for over eight years now! They are the esteemed headliners of the festival!

https://stjamestheapostles.bandcamp.com
https://www.facebook.com/stjamesandtheapostles

Witch Hazel: York, PA’s own Doom/Occult Rock ‘N’ Roll hometown heroes! For this special festival occasion, they’ll be performing their brand new album “Otherworldly” in its entirety with special guest Mike Kiker from St. James & The Apostles on keys!

http://witchhazeldoom.bandcamp.com
https://www.facebook.com/witchhazelyork

Rattlesnake: Hard Southern Rock Boogie coming out of Brooklyn, NY, yeah, you read that correct! Having just released their debut 7” on In For The Kill Records/H42 Records, this up and coming trio, featuring Adam Kriney of The Golden Grass, will make their York debut at the festival!

http://rattlesnakeboogie69.bandcamp.com
https://www.facebook.com/RattlesnakeBoogie69

Alms: Traditional Doom-Rock/Heavy Metal group out of Baltimore, MD! They’re just about to release their highly anticipated debut LP on Shadow Kingdom Records!

https://almsbaltimore.bandcamp.com/releases
https://www.facebook.com/almsbaltimore/

What’s Her Face: A synthesizer driven outer-space rock ‘n’ roll band from Lancaster, PA! Word on the street is that they’ve upped the ante and now have two synth players, they’ll be kicking off the festivities and taking it to the cosmos!

https://whatsherface1.bandcamp.com/

Electric Dragon Festival event page

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