"Hailed as the Hawkwind of doom.."
Heavy, heavy, heavy...
Check em' out here.
Feel the love.
20.11.09
Roll your head …
I must thank Huansoahn a.k.a Sjoerd (by mistake) for being very kind and very quick in replying to my request of Crack Up’s album “Heads Will Roll”!
So let’s share this treat with the rest of the Swamp …
“Imagine, if you will, an album with undeniably ass rocking grooves similar to those off Blood Duster's Str8 Outta Northcote, death vocals, inspiration like naked chicks and hotrods, and a cool sense of humor. What you have just envisioned is Crack Up's third effort Heads Will Roll. Through the 14 tracks, this German quartet challenges everyone to drive too fast, womanize too much and party too hard. Yeah, these guys have it right, and not only in the philosophies present on the disc. The music is as intelligently written as it is simple. Tracks like "Well Come", "So Far No Good" and "The Assassin" have choruses with hooks like the ones on whaling ships and groove that will keep your gas pedal on the floor while the speedometer passes triple digits.
Other interesting features on this album are killer cover tunes "Bad Mongo" and "Next Big Thing" Stierkampf and The Vikings respectively, and the best two tracks playing back to back "In A Hole" followed by the vicious yet lyrically silly "Modern Art." It is almost like listening to a really proficient punk band play death metal, and if this idea makes you wrinkle your nose, so be it. You will likely be one of those people really missing out on good music. Who cares what your stupid, fucking ignorant, elitist black metal poser friends will think if you like Heads Will Roll, you will know that you have the goods, and they can't tell you otherwise!” (review from www. deadtide.com)
Check the band here
Crack Up – Heads Will Roll (1998)
(Thanks to Huansoahn and to the original uploader from ganjacoreblog.blogspot.com)
So let’s share this treat with the rest of the Swamp …
“Imagine, if you will, an album with undeniably ass rocking grooves similar to those off Blood Duster's Str8 Outta Northcote, death vocals, inspiration like naked chicks and hotrods, and a cool sense of humor. What you have just envisioned is Crack Up's third effort Heads Will Roll. Through the 14 tracks, this German quartet challenges everyone to drive too fast, womanize too much and party too hard. Yeah, these guys have it right, and not only in the philosophies present on the disc. The music is as intelligently written as it is simple. Tracks like "Well Come", "So Far No Good" and "The Assassin" have choruses with hooks like the ones on whaling ships and groove that will keep your gas pedal on the floor while the speedometer passes triple digits.
Other interesting features on this album are killer cover tunes "Bad Mongo" and "Next Big Thing" Stierkampf and The Vikings respectively, and the best two tracks playing back to back "In A Hole" followed by the vicious yet lyrically silly "Modern Art." It is almost like listening to a really proficient punk band play death metal, and if this idea makes you wrinkle your nose, so be it. You will likely be one of those people really missing out on good music. Who cares what your stupid, fucking ignorant, elitist black metal poser friends will think if you like Heads Will Roll, you will know that you have the goods, and they can't tell you otherwise!” (review from www. deadtide.com)
Check the band here
Crack Up – Heads Will Roll (1998)
(Thanks to Huansoahn and to the original uploader from ganjacoreblog.blogspot.com)
Something mighty, insane and blackish …
This is not death’n’roll. However this is a super slab of powerful, primitive, hypnotic, atypical, insane yet groovy death/black metal, possibly one of the best releases in the extreme metal realm for this year.
The band is Weapon, from Edmonton, Canada, with roots in Bangladesh, where the founder and vocalist, Vetis Monarch, was living for a while. The band is young, started in 2003, released one demo and two EPs and the 2009 album Drakonian Paradigm is their debut album. The band actually got its first releases recorded in Bangladesh. The line-up included and includes members of other death/black and black metal bands from Canada, such as Warmarch and Ouroboros.
Here is a nice review which describes what to expect in a clean way:
“Playing 80s-era, early black metal with a mid-paced tempo and, initially, a primitive sound, Weapon are a nice throwback to the days of Hellhammer, early Sodom, Bathory, and the like. Taking a no frills approach to their attack, Weapon lay on plenty of rather sloppily played, mid-paced black metal with slimy atmosphere. Simple riffs, greasy rasps, a percussion that mostly takes on a mid-paced tempo, and a low-fi, deep production perfectly accompany the misanthropic disgust with which Weapon portray their music.
Not all of Weapon's chosen means of assault are purely vicious, though, as there are lots of surprising moments of melody with acoustical guitars, soloing, and the odd appearance of keyboards. In addition, although initially primitive sounding, the song structures are rather interesting with an atypical mix of all out black metal and the milder, introspective moments that incorporate older elements of just pure heavy metal. In short, Weapon have found a unique take on an old genre.
“Drakonian Paradigm” will certainly appeal to old hands such as myself that are looking for a throwback to the days of old, but the interesting mix of structures within songs will also appeal to those looking for atypical black metal. Recommended.” (review by Dschalek in metalrunsinmyveins.blogspot.com)
This album is on various blogs. The fact that it’s a superb album might be a good reason for such diffusion …
Check them here
Feel the love
The band is Weapon, from Edmonton, Canada, with roots in Bangladesh, where the founder and vocalist, Vetis Monarch, was living for a while. The band is young, started in 2003, released one demo and two EPs and the 2009 album Drakonian Paradigm is their debut album. The band actually got its first releases recorded in Bangladesh. The line-up included and includes members of other death/black and black metal bands from Canada, such as Warmarch and Ouroboros.
Here is a nice review which describes what to expect in a clean way:
“Playing 80s-era, early black metal with a mid-paced tempo and, initially, a primitive sound, Weapon are a nice throwback to the days of Hellhammer, early Sodom, Bathory, and the like. Taking a no frills approach to their attack, Weapon lay on plenty of rather sloppily played, mid-paced black metal with slimy atmosphere. Simple riffs, greasy rasps, a percussion that mostly takes on a mid-paced tempo, and a low-fi, deep production perfectly accompany the misanthropic disgust with which Weapon portray their music.
Not all of Weapon's chosen means of assault are purely vicious, though, as there are lots of surprising moments of melody with acoustical guitars, soloing, and the odd appearance of keyboards. In addition, although initially primitive sounding, the song structures are rather interesting with an atypical mix of all out black metal and the milder, introspective moments that incorporate older elements of just pure heavy metal. In short, Weapon have found a unique take on an old genre.
“Drakonian Paradigm” will certainly appeal to old hands such as myself that are looking for a throwback to the days of old, but the interesting mix of structures within songs will also appeal to those looking for atypical black metal. Recommended.” (review by Dschalek in metalrunsinmyveins.blogspot.com)
This album is on various blogs. The fact that it’s a superb album might be a good reason for such diffusion …
Check them here
Feel the love
Trans-European split …
No, it’s not a political or a “geological” earthquake across Europe, but it’s a SONIC earthquake! And the cause is the split between the crust punk band Auktion, from Umeå in Sweden, and the crust’n’roll band Black Panda, from La Coruña in Spain. Auktion is presently in hiatus.
“Hell bent R'n'R!! From Galizia (Spain) and Sweden, two bands of non-stop ROCKing hardcore. Black Panda formed a band of anti-cowboys assaulting trains and prisons as Europe turned to the Far-West. From Sweden with love comes Auktion, turning the party into a catfight, fast rocking punk, with solos here and there on a non-stop assault. Co-Release with Trabuc Records (Spain).” (release notes)
Check the bands here and here
Auktion-Black Panda - Split (2008)
“Hell bent R'n'R!! From Galizia (Spain) and Sweden, two bands of non-stop ROCKing hardcore. Black Panda formed a band of anti-cowboys assaulting trains and prisons as Europe turned to the Far-West. From Sweden with love comes Auktion, turning the party into a catfight, fast rocking punk, with solos here and there on a non-stop assault. Co-Release with Trabuc Records (Spain).” (release notes)
Check the bands here and here
Auktion-Black Panda - Split (2008)
(Thanks to Pusher Petya)
Those who ask will be given …
In this case I’m speaking about death’n’roll!
Here is a sweet dose of it by a great, and a bit underrated, German band, Crack Up.
The band, from North Rhine-Westphalia region, comprised four guys: Tim Schnetgöke (vocals/bass), Torben Voight (guitars, vocals), Dirk Oschatz (guitars) and Andi Nohlen (drums).
Their activity lasted until 2002, year of their last release. They started out in 1991 as a death metal band (Rotting Misery) and then they gradually evolved towards death’n’roll during the mid-late 90s, in the wave of the impact of death’n’roll by more famous groups as Entombed, Gorefest etc.
Crack Up guys were not as lucky in spite of the great tunes they produced, especially with acme albums “Heads Will Roll” (1998) and Dead End Run (2000).
Their music is made of grooving, ballsy riffs compiled into short, simple, catchy songs. The band draws heavily on punk as well as hard rock, and the riffs are played down-tuned with a thick tone over energetic rock beats. The vocalist has an excellent growl and rasp. Lyrics apparently are simple and repetitive but they are not the focal point of the tracks, as their aim is to induce hadbanging!
So, apart from citation of contemporary death’n’roll monsters, inspiration by bands such as Turbonegro is apparent. And they actually included a cover of the precursor band of Turbonegro (Stierkampf) in the album “Heads Will Roll”.
Here I’m posting the album Dead End Run (2000).
I have the other albums by Crack Up but unfortunately I don’t have “Heads Will Roll”.
So if there is some generous swamper who is willing to share it, well, please, send a smoke sign …. Thanks!
In the meantime, enjoy this!
Check the band here
Crack Up – Dead End Run (2000)
Here is a sweet dose of it by a great, and a bit underrated, German band, Crack Up.
The band, from North Rhine-Westphalia region, comprised four guys: Tim Schnetgöke (vocals/bass), Torben Voight (guitars, vocals), Dirk Oschatz (guitars) and Andi Nohlen (drums).
Their activity lasted until 2002, year of their last release. They started out in 1991 as a death metal band (Rotting Misery) and then they gradually evolved towards death’n’roll during the mid-late 90s, in the wave of the impact of death’n’roll by more famous groups as Entombed, Gorefest etc.
Crack Up guys were not as lucky in spite of the great tunes they produced, especially with acme albums “Heads Will Roll” (1998) and Dead End Run (2000).
Their music is made of grooving, ballsy riffs compiled into short, simple, catchy songs. The band draws heavily on punk as well as hard rock, and the riffs are played down-tuned with a thick tone over energetic rock beats. The vocalist has an excellent growl and rasp. Lyrics apparently are simple and repetitive but they are not the focal point of the tracks, as their aim is to induce hadbanging!
So, apart from citation of contemporary death’n’roll monsters, inspiration by bands such as Turbonegro is apparent. And they actually included a cover of the precursor band of Turbonegro (Stierkampf) in the album “Heads Will Roll”.
Here I’m posting the album Dead End Run (2000).
I have the other albums by Crack Up but unfortunately I don’t have “Heads Will Roll”.
So if there is some generous swamper who is willing to share it, well, please, send a smoke sign …. Thanks!
In the meantime, enjoy this!
Check the band here
Crack Up – Dead End Run (2000)
Smoke rings from Florida.....
I don't know what is in their water, or what kind of smoke is going around down there, but lots of great bands come out of Florida. This is one of them.. I want to thank Jean from the band Shroud Eater for sending me their Demo/EP. These guys take care of business with this 3 song Demo. The guitar sound is down-tuned, and fuzzy distorted driven. I love the drumming which is all out balls to the wall. The first song sets the mood with the chorus "We are Beasts!", and keeps moving till the killer last song which is an instrumental. This is great stoner music, with a little punk aggression in the vocals. I give them bongs up for the EP, and look forward to more. Please check em' out, and leave some comments.
"With the vibe of down-tuned, overdriven fuzz guitars cranked up, a powerful rhythm section laying down thunderous grooves, Shroud Eater erupts with gruff, raw vocals and an impassioned fury.
When Jeannie Saiz and Janette Valentine's previous band, The Righteous Devices, finally disintegrated in the summer of 2008, the two went on an introspective musical hiatus, writing and demoing new riffs and song ideas from their home. Their true passion, however, was in the sweaty, loud oscillations of a live-band format and eight months later they began their search for a drummer that could bring the heavy, pounding nature to life. Eventually their search led them to Felipe Torres - a Colombian born, double bass wielding power house who tightened his chops on the streets of Venice Beach, California. After being involved with a few bands on the west coast, Felipe relocated to Miami to find new musical inspiration. After a brief meeting and impromptu jam the three felt the chemistry was right, and decided to embark upon the dark, brooding, heavy nature of Shroud Eater. Within 6 months of their formation, the band recorded 3 tracks at Relax Bro! Studios in Miami, FL with long time friend Raul Valentine, while Torche's own Jonathan Nunez mixed and mastered the self titled, self released record.
Shroud Eater is currently playing locally with plans to tour Florida and beyond in the coming year."
Check em' out, and buy some swag here.
Shroud Eater - Demo/EP.
19.11.09
Trip trip trippity trip trip.....
Have been listening to Volume One going on a few years now and havnt tired of it yet. This is for you patient listeners out there. You will be rewarded. All I could find on this album was on another kick ass site, G.O.M.E......
"Another major discovery brought to you by your G.O.M.E. fellows, since BJ turn me into Colour Haze world, I looked for everything of them and I stopped when I bumped with this, this is sort of the Colour Haze own “desert sessions”, fucking rare, but also brilliant, it’s more psych than their full releases, and way more experimental as well, but has that desert felling we all enjoy, long tracks, a lot of instrumental variations and those guitar licks that makes you grab your guitar immediately. A very delightful and rewarding experience." (thanks Matias)
Swamp Sessions - Volume One: http://tinyurl.com/yang7wj
Sonic suffocation........
"Fans of ST.VITUS, CANDLEMASS, and Doom/Metal in general, gather round 'cause it's lesson time once again from the Texas masters of doom themselves -Solitude Aetunus- with their newest ADAGIO. I kind of knew what to expect with Solitude from their previous releases that I had somewhat abused in the past in my CD player. Double bass, vocal harmonies and wailing
guitar on top of the Doomiest/math riffs that only Solitude seems to have the balls to combine. Don't get me wrong, there is plenty of good metal out there, but it seems like Solitude Aeturnus is one of those bands that has the right combination and formula to make consistently good doom records. These guys are definitely one of my faves as far as this style goes.
Upon listening to this record the first time, the thing that sticks out in my head the most is the way Solitude seems to have a certain agenda with their albums as a whole. What I mean is to really get their records, it's best to listen to them from start to finish to get the point. They create a mood over the course of an album. Some of their songs are 7-10 minutes long, while others are just short bursts that link together tracks.
This albu holds a lot. Ranging from pounding double bass drum rhythms,to segway acoustic cuts. Don't be frightened by the acoustic mention though, 'cause it's still doom, no matter how you slice it.
With a lead guitar style that combines the speed and ability of shred heads like Satriani and Malmsteen and the soul from time to time of a great blues player, its easy for me to get sucked into this record. The only thing I don't like about the guitar is the sound. Kinda the sterile rack effect distortion that really turns me off. They make up for that with a rock solid rhythm
section and a very unique vocal approach that is kind of hard for me to compare to anything - very unique....yes! ...with vocal harmonies from time to time thrown in but not so much to overdo it. No King Diamond, or Rob Halford here, but definitely plenty of vibrato and plenty of well thought out- end of the world-lyrics.
The songs structures are very consistently good as well. Plenty of tempo/time changes and mixed meter to keep the flow interesting, but not so overbearing that you walk away confused. Solitude has a knack for doom and a knack for keeping the listener eager and wondering what's going tohappen next. Production is also a key element with Solitude. Every cross fade and
sweep is as thought out as the song writing itself. The song order is also an important factor.
I must say that I was also pleasantly surprised that these guys covered Black Sabbath's -Heaven and Hell-. Sort of a tip of the hat to a era of Sabbath that is most of the time overlooked and frowned upon. That's really too bad, but It's good to see others appreciate it as much as I do though.
If you like Candlemass, you'll appreciate what the boys in Solitude Aeturnus have to offer. If long hair and leather, Budweiser and sleeveless shirts don't scare you, than don't be scared of purchasing this CD. John Perez (guitarist) is also the guy behind -Brainticket- the distributor that has made the biggest effort to preserve and spread the word about -Candlemass- the
most forgotten and world's finest DOOM artists (aside from Sabbath, of course) to walk the earth. With that kind of effort, it's easy to see that these guys care about doom. They care more about doom than you or I do-and that's the truth.
Overall a very fine record-I recommend it for any doom fan on the planet.
-Did I mention DOOM?" (stonerrock.com)
Band Site: http://www.myspace.com/solitudeeternal
Solitude Aeturnus - Adagio: http://tinyurl.com/y9ljcqk
----------------
Now playing: Sonic Lord - The Fallen
via FoxyTunes
It's my turn.....
I haven’t had as much presence here at the Swamp as I did earlier this year, but life has come up and one must have their priorities in order. Phase one is complete. We just closed on our first house and joined Cheeto in the ranks of homeowners, 30years in debt. That being said, moving day is here and load out will commence all too soon. I’ll be off-line for a few days. I’ll be back next week, if not sooner. I hope to come back to some killer posts.
First order of business when I return is beginning to put together Swamp Comp II just in time for the Holiday season. My goal is to have it up before Christmas. Before I take my leave here, I have an idea I’d like to float…
I know there are some artistically talented Swampers out there. I’d like to ask for submission for the Swamp Comp Vol II cover. There are no restrictions or guidelines. You know what we are about, so make it appropriate for the Swamp. I’d love to have something original. Up until now, my covers for comps have all been lifted from the net in one form or another and then photo shopped. I’d like to have an all original cover. To date Swamp Comp Vol I has been downloaded 684 times! Here’s your chance to shine and be part of something big. I look forward to seeing what you have to offer. Submissions will be narrowed down to a lucky 3 that will then get voted on by the Sludge Swamp faithful. Thank you all in advance.
Send submission to me here.
Rock on! “See” you all once I am settled in.
Sincerely,
Zodiac Lung
Blackness shrouds the light.......
"Black Wreath was formed in Copenhagen, Denmark in the year of 2002 by Kim Larsen (Of The Wand & The Moon, The Loveless, Saturnus), Peter Mesnickow (Blazing Eternity) and Dave Müller (Chasing Eudaimonia) due to their common passion for heavy, depressive, monotonous doom metal.
However, it wasn’t until 2006 that the band found the time to create music and lyrics for their debut album “A Pyre of Lost Dreams”.
In july 2008, Black Wreath entered Soundscape Studios with engineer Louise Nipper to record the album, and the result was 4 tracks with a playing time of over 50 minutes of pure, bleak, desolate darkness.
The three epic songs “The Black Holes Of Your Mind”, “Nocturnal Dominion” and “Solitude Rising (Missing All Exits)” are all heavy, hypnotic journeys into the underworlds of death, solitude, depression, drugs, funerals and darkness, whereas album closer “Niddstäng ” is a very haunting atmospheric ambient piece. The songs however, does posses a big melodic touch thanks to the well-known signature sound of Kim Larsen. In general, a fine mixture of funeral doom, doom/death and more hypnotic, monotone soundscapes." (Release notes)
Check em' out, and buy the album here.
Feel the love.
(Thanx 2 Petya)
Not watered down......
Here's a request fill for Zodiac Lung. Enjoy, brother!
Check em' out here.
Spirit Caravan - Water Rats (Live) London 9-27-99.
Finnish raaaawwwwk ……
… although America is everywhere in this album …
Lately I’ve been posting on Finnish bands. Here is another one!
The band is Peer Günt, a veteran of the “hard’n’heavy” style which is aging well as an excellent wine. Their newest release, Buck The Odds, is out now and it rocks!
Peer Günt (joyfully deforming the name of that fine opera, Peer Gynt, by Edvard Grieg) are a trio from Kouvola, Finland. The line-up includes charismaticTimo Nikki (vocals and guitar), Pete Pohjanniemi (bass) and Sakke Koivula (drums).
They started in 1976 and became famous in the late 80’s with albums Peer Günt (1985), Backseat (1986) and Good Girls Don't... (1987). They play an energic and catchy rock’n’roll with a strong bluesy background, although Motörhead’s influence is very strong. Frontman Timo Nikki is the charismatic element of the band, with his gritty and powerful voice singing about typical rock themes: “on-the-road” ruthless life, smoke-filled bars, rock’n’roll, easy girls, …
Apparently the frequent recalls to “Old American style” is related to the “frontier-like” region where these musicians come from in Finland.
Well, years pass by but these guys still know how to raaaawwwwk!
So check them here
Feel the love
Lately I’ve been posting on Finnish bands. Here is another one!
The band is Peer Günt, a veteran of the “hard’n’heavy” style which is aging well as an excellent wine. Their newest release, Buck The Odds, is out now and it rocks!
Peer Günt (joyfully deforming the name of that fine opera, Peer Gynt, by Edvard Grieg) are a trio from Kouvola, Finland. The line-up includes charismaticTimo Nikki (vocals and guitar), Pete Pohjanniemi (bass) and Sakke Koivula (drums).
They started in 1976 and became famous in the late 80’s with albums Peer Günt (1985), Backseat (1986) and Good Girls Don't... (1987). They play an energic and catchy rock’n’roll with a strong bluesy background, although Motörhead’s influence is very strong. Frontman Timo Nikki is the charismatic element of the band, with his gritty and powerful voice singing about typical rock themes: “on-the-road” ruthless life, smoke-filled bars, rock’n’roll, easy girls, …
Apparently the frequent recalls to “Old American style” is related to the “frontier-like” region where these musicians come from in Finland.
Well, years pass by but these guys still know how to raaaawwwwk!
So check them here
Feel the love
Puzzled and pleased …
I’m stealing , and translating from Italian to English, the words of a song by an Italian lady singer to introduce this post.
The band involved in the post is called Gwynbleidd, whose member are Michal Kacunel (lead/rhythm guitars, clean vox), Maciej Kupiszewski (guitars/growled vox), Adam Romanowski (drums and percussion) and Jakub Kupiszewski (bass). As you can guess from their names, the band’s members are originally from Poland and then relocated to USA (Brooklyn, NYC).
I’m puzzled and pleased at the same time because I came to know this band guiltily only a few days ago by chance and since then I’m haunted by them almost in the same way as my absolutely favourite band on the planet, Opeth, does.
When I first read a short review on them (on Terrorizer magazine), I said to myself “OK, a clone of Opeth”. Then I heard their debut full-length album, Nostalgia (2009), and … wow!
The name of the album, Nostalgia, is explained by the band as related to the experience of leaving their homeland and starting from the scratch in another country far away.
Well, they sound very, very, very much like Opeth, especially early Opeth (without keyboard, like in My Arms Your hearse, Still Life, etc.).
Their music is “lush lanscapes of acoustic folkish guitars leading to crushing riffs, deep growls and the constant shift between complex death metal, harsh black metal, and lovely folk textures”.
Even the CD digipack artwork is made by Travis Smith (the same artist working with Opeth and Katatonia). Before Nostalgia, they released an EP, Amaranthine (2006) (I got hold of it as well).
“From the opening notes of the lead off title track, any progressive death metal fan will instantly be reeled in, as jangly, lilting guitar chords strum before giving way to crushing riffs, frantic rhythms, and deep growls. At around the songs midpoint, acoustic guitars lull you into a false sense of security, before the band lurches back into metal fury mode. All the while, things remain highly melodic despite the ferocity. Mix in some clean vocal passages and chanting, and you have an amazing epic to start Nostalgia. After the brief yet lovely instrumental acoustic folk piece "Egress", the band comes back full force for the dark & moody "New Setting", complete with furious, almost black metal styled riffing over complex rhythmic structures, Marciej's evil growls really working overtime and driving the song into extreme territories. Late in the song there are some seriously heavy headbanging moments, as well as a nice atmospheric folk outro. Expect brutal death metal on the bombastic "Stormcalling", another supercharged number that also finds time to drop in a lovely acoustic section to temper the ferocity, before closing with complex guitar lines and melodic thunder. "Adrift" is another instrumental folk piece, the acoustic guitars of Michel and Marciej complex and quite lovely, and they are laced with some tasty electric passages as well. A stunning piece that will thrill you for all it's near 3 minute length. This leads into the progressive metal number "Thawing Innocence", another brooding and intricate track with plenty of death metal, folk, and prog elements. Although much of this CD will remind you of Opeth's early work, it's "Stare Into the Sun" that really hones in on the Swedes trademark sound, this one a bubbling, boiling, concoction of complex yet earthy death metal, intoxicating guitar riffs weaving around each other, crashing rhythms, and deep growls all supporting intelligent arrangements and melodies. The use of clean vocal passages on this one are a nice touch as well. The CD closes with the dramatic folk & death metal sounds of "Canvas for the Departure", complete with crushing riffing, swirling lead guitar harmonies, and some breathtaking acoustic passages.” (review from www. seaoftranquility.org)
Gwynbleidd will be touring throughout 2009 and 2010. In the past two years, the band has played with the likes of Novembers Doom, Turisas, Kalmah, Bal-Sagoth, and Slough Feg. On myspace there are two live dates with Across Tundra and Sea Of Bones in New York City.
So I’m puzzled because they sound so much or even so exaggerately as Opeth but at the same time I’m really pleased to have discovered them because their sounds and this album are both stunning!
I mean, these guys are excellent musicians! And listening to them it seems as if there had been a new release by Opeth in this year devoid of new stuff by the Monsters.
As I can’t have enough of Opeth, I’m definitely adopting these guys as well, because they are far too good to be ignored!
Check them here
The band involved in the post is called Gwynbleidd, whose member are Michal Kacunel (lead/rhythm guitars, clean vox), Maciej Kupiszewski (guitars/growled vox), Adam Romanowski (drums and percussion) and Jakub Kupiszewski (bass). As you can guess from their names, the band’s members are originally from Poland and then relocated to USA (Brooklyn, NYC).
I’m puzzled and pleased at the same time because I came to know this band guiltily only a few days ago by chance and since then I’m haunted by them almost in the same way as my absolutely favourite band on the planet, Opeth, does.
When I first read a short review on them (on Terrorizer magazine), I said to myself “OK, a clone of Opeth”. Then I heard their debut full-length album, Nostalgia (2009), and … wow!
The name of the album, Nostalgia, is explained by the band as related to the experience of leaving their homeland and starting from the scratch in another country far away.
Well, they sound very, very, very much like Opeth, especially early Opeth (without keyboard, like in My Arms Your hearse, Still Life, etc.).
Their music is “lush lanscapes of acoustic folkish guitars leading to crushing riffs, deep growls and the constant shift between complex death metal, harsh black metal, and lovely folk textures”.
Even the CD digipack artwork is made by Travis Smith (the same artist working with Opeth and Katatonia). Before Nostalgia, they released an EP, Amaranthine (2006) (I got hold of it as well).
“From the opening notes of the lead off title track, any progressive death metal fan will instantly be reeled in, as jangly, lilting guitar chords strum before giving way to crushing riffs, frantic rhythms, and deep growls. At around the songs midpoint, acoustic guitars lull you into a false sense of security, before the band lurches back into metal fury mode. All the while, things remain highly melodic despite the ferocity. Mix in some clean vocal passages and chanting, and you have an amazing epic to start Nostalgia. After the brief yet lovely instrumental acoustic folk piece "Egress", the band comes back full force for the dark & moody "New Setting", complete with furious, almost black metal styled riffing over complex rhythmic structures, Marciej's evil growls really working overtime and driving the song into extreme territories. Late in the song there are some seriously heavy headbanging moments, as well as a nice atmospheric folk outro. Expect brutal death metal on the bombastic "Stormcalling", another supercharged number that also finds time to drop in a lovely acoustic section to temper the ferocity, before closing with complex guitar lines and melodic thunder. "Adrift" is another instrumental folk piece, the acoustic guitars of Michel and Marciej complex and quite lovely, and they are laced with some tasty electric passages as well. A stunning piece that will thrill you for all it's near 3 minute length. This leads into the progressive metal number "Thawing Innocence", another brooding and intricate track with plenty of death metal, folk, and prog elements. Although much of this CD will remind you of Opeth's early work, it's "Stare Into the Sun" that really hones in on the Swedes trademark sound, this one a bubbling, boiling, concoction of complex yet earthy death metal, intoxicating guitar riffs weaving around each other, crashing rhythms, and deep growls all supporting intelligent arrangements and melodies. The use of clean vocal passages on this one are a nice touch as well. The CD closes with the dramatic folk & death metal sounds of "Canvas for the Departure", complete with crushing riffing, swirling lead guitar harmonies, and some breathtaking acoustic passages.” (review from www. seaoftranquility.org)
Gwynbleidd will be touring throughout 2009 and 2010. In the past two years, the band has played with the likes of Novembers Doom, Turisas, Kalmah, Bal-Sagoth, and Slough Feg. On myspace there are two live dates with Across Tundra and Sea Of Bones in New York City.
So I’m puzzled because they sound so much or even so exaggerately as Opeth but at the same time I’m really pleased to have discovered them because their sounds and this album are both stunning!
I mean, these guys are excellent musicians! And listening to them it seems as if there had been a new release by Opeth in this year devoid of new stuff by the Monsters.
As I can’t have enough of Opeth, I’m definitely adopting these guys as well, because they are far too good to be ignored!
Check them here
the word according to your local Doombringer..
Two new tracks from the Netherlands' own, TEKHTON. This isn't your typical sludge band--more than crushing riffs slowly churned, it's blue enough to give you the (black and) blues too.
Go here to listen to "Clove Hitch" and "Auric Revelations", off of "Alluvial," due out 11/28 on Church Within Records.I'm heavily anticipating this album, personally, even more so after hearing those songs. Their first album, "Summon the Core" is in the archives here, in case you are intrigued. But this is an evolution of that album, and, well don't just take my word for it.
That is all.
-Mao
p.s. i am not dead.
p.p.s. for those who wish to see the entire band-listing for Maryland Death Fest (May 28-30, 2010--mark those calendars!), look at this.
18.11.09
My momma talkin to me tryin to tell me how to live....
"Olivelawn did a fine job in carrying the torch for the SoCal punk underground at a time when attention was being diverted in droves towards the Seattle alt-rock scene. With the aid of legendary grunge producer Jack Endino, the man behind Nirvana's Bleach and Mudhoney's Superfuzz Bigmuff, Olivelawn's Sophomore Jinx! if nothing else proves the merit of ambitious eight-track recordings. Partial to Fender guitars and speedy tempos, Johnny Donhowe and O lead the charge on short rockers such as "Hate" and "Burner." Drummer Eddie Glass and singer Mike Olson amply surf the guitarists' waves of feedback on an extended psychedelic jam called "A Season in Hell." Meanwhile a cover version of ZZ Top's "Heard It on the X" helps bring the fun out of all of the band's blatant aggression." (allmusicguide)Band Site: http://www.myspace.com/olivelawnwalevilo
Olivelawn - Sophmore Jinx!: http://tinyurl.com/yemgl8q
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Now playing: Scatterbrain - Earache My Eye
via FoxyTunes
Some more “xxxperimentalizm” …
I’m posting here some quite interesting stuff kindly shared by blog Sickness Abounds, a valuable blog burstling with a lot of entries on experimental heavy music in general.
The “stuff” is related to one of the legendary Peel Sessions on BBC 1, actually one of the last ones, as it took place in late March 2004, just before mighty John Peel’s death.
The type of music involved in this Peel Session is definitely of the “experimental” kind, or better it’s “an overly sweet Peel-y treat of post-riot grrrl, post-feminist, post-punk revival improv and knoisy rawk xxxperimentalizm”, as written by blogger \m/etal\m/inx.
One of the two US bands involved is known to the Swamp: Lightning Bolt (I’m sure I saw at least one post on them by DickWolf, although I wasn’t able to find it – must be on of the unnamed/feel the love posts …). The other band is Erase Errata.
Some news on these bands from myspace and the web.
Erase Errata is a three- to four-piece all-girl experimental, post-punk band from San Francisco, California. They often name experimentalists such as Captain Beefheart, The Fall, and The Minutemen as inspirations. As reported on a BBC review, they deal in intense scratchy sub Beefheart guitar lines and poinging over-exited bass. There are fast, jittery white funk rhythms and discordant climaxes in their music. The group favors improvisation as a compositional tool, claiming that they could improvise a whole set if they wanted to. Their albums: Other Animals (2001), At Crystal Palace (2003), Nightlife (2006).
Lightning Bolt is a noise rock duo from Providence, Rhode Island, known for their guerrilla-style live performances, where they typically play on the floor rather than a stage, with the crowd gathered around them. The band is presently composed of Brian Chippendale on drums & vocals and Brian Gibson on bass guitar, although they started as a trio in 1994. The band signed to Load Records in 1997, and released their self-titled debut the same year. In total, Lightning Bolt has released four full-length albums, numerous vinyl singles, and appeared on several compilations. The band's sound is typically loud and aggressive, though the group cites composers Philip Glass and Sun Ra as compositional influences.
Each of the two contributions, recorded on March 31 2004, appears as a single, >30 minutes-long track, although pauses are included and single sub-tracks may be separated.
Here is the track list:
Erase Errata - 03/31/2004 Peel Session @ BBC Maida Vale Studios
01. Improv'd versions of established songs (32:19)
Lightning Bolt - 03/31/2004 Peel Session @ BBC Maida Vale Studios
01. Intro / 2 Morro Morro Land / On Fire / Dracula Mountain / Dead Cowboy / 30,000 Monkeys / Rotator (38:22)
Check the bands here (ladies first) and here
Erase Errata - Lightning Bolt 03/31/2004 Peel Session @ BBC Maida Vale StudiosThe “stuff” is related to one of the legendary Peel Sessions on BBC 1, actually one of the last ones, as it took place in late March 2004, just before mighty John Peel’s death.
The type of music involved in this Peel Session is definitely of the “experimental” kind, or better it’s “an overly sweet Peel-y treat of post-riot grrrl, post-feminist, post-punk revival improv and knoisy rawk xxxperimentalizm”, as written by blogger \m/etal\m/inx.
One of the two US bands involved is known to the Swamp: Lightning Bolt (I’m sure I saw at least one post on them by DickWolf, although I wasn’t able to find it – must be on of the unnamed/feel the love posts …). The other band is Erase Errata.
Some news on these bands from myspace and the web.
Erase Errata is a three- to four-piece all-girl experimental, post-punk band from San Francisco, California. They often name experimentalists such as Captain Beefheart, The Fall, and The Minutemen as inspirations. As reported on a BBC review, they deal in intense scratchy sub Beefheart guitar lines and poinging over-exited bass. There are fast, jittery white funk rhythms and discordant climaxes in their music. The group favors improvisation as a compositional tool, claiming that they could improvise a whole set if they wanted to. Their albums: Other Animals (2001), At Crystal Palace (2003), Nightlife (2006).
Lightning Bolt is a noise rock duo from Providence, Rhode Island, known for their guerrilla-style live performances, where they typically play on the floor rather than a stage, with the crowd gathered around them. The band is presently composed of Brian Chippendale on drums & vocals and Brian Gibson on bass guitar, although they started as a trio in 1994. The band signed to Load Records in 1997, and released their self-titled debut the same year. In total, Lightning Bolt has released four full-length albums, numerous vinyl singles, and appeared on several compilations. The band's sound is typically loud and aggressive, though the group cites composers Philip Glass and Sun Ra as compositional influences.
Each of the two contributions, recorded on March 31 2004, appears as a single, >30 minutes-long track, although pauses are included and single sub-tracks may be separated.
Here is the track list:
Erase Errata - 03/31/2004 Peel Session @ BBC Maida Vale Studios
01. Improv'd versions of established songs (32:19)
Lightning Bolt - 03/31/2004 Peel Session @ BBC Maida Vale Studios
01. Intro / 2 Morro Morro Land / On Fire / Dracula Mountain / Dead Cowboy / 30,000 Monkeys / Rotator (38:22)
Check the bands here (ladies first) and here
(Thanks to \m/etal\m/inx for sharing)
Tasty as Belgian chocolates …
If I write "Belgian" I might mean either chocolate or beer or … rock’n’roll!
Yeah, tasty and refreshing, extremely catchy rock from Belgium, from a rather young band called Diablo Boulevard or better, Diablo Blvd.
The five-piece band, whose name stems from a Corrosion Of Conformity song, is fronted by Alex Agnew, a notorious Belgian comedian and musician who possesses an amazingly charming Danzig-like voice.
Their sounds are influenced by a wide range of big bands, from Danzig to to The Cult, Guns ‘N Roses to Black Label Society etc..
They started playing together in 2005, released a demo in 2007 and a split with Southern Voodoo in 2008.
Here is their excellent and powerful debut full-length album, The Greater God.
Very nice indeed!
Check them here
Feel the love
Yeah, tasty and refreshing, extremely catchy rock from Belgium, from a rather young band called Diablo Boulevard or better, Diablo Blvd.
The five-piece band, whose name stems from a Corrosion Of Conformity song, is fronted by Alex Agnew, a notorious Belgian comedian and musician who possesses an amazingly charming Danzig-like voice.
Their sounds are influenced by a wide range of big bands, from Danzig to to The Cult, Guns ‘N Roses to Black Label Society etc..
They started playing together in 2005, released a demo in 2007 and a split with Southern Voodoo in 2008.
Here is their excellent and powerful debut full-length album, The Greater God.
Very nice indeed!
Check them here
Feel the love
Let yourself drown in drone …
Cheeto’s impatience has come to an end eventually.
The Pusher is back and has brought gift like and better than Santa Claus!
Here is the long awaited split album between Nadja and the German band Kodiak, out now on the label Denovali.
The split is made up by two long, intense and complex tracks, or better, as in the release notes, “complex in the sense of combining atmospheric instrumental fields with very dark symphonies”.
“On this split, while Kodiak contribute a song full of tension, resembling the barren lands and the cold despair of the medieval plague, Nadja offer some dense drone tunes, rising slowly into celestial spheres like an abstract image of a Japanese mythological story.” (from Terrorizer)
“In doom and drone, genres where much of the stuff can sound remarkably similar, here is a band that stands apart as a beacon. Nadja have the deep drones and all the darkness of doom, but also have intricate melodies that permeate their long dirges...What's commendable about Nadja is the alchemical experimentation with the genres resulting in a unique concoction of doom metal, drone, shoegazer layering, and avant-rock explorations”.
Monster band Nadja is well known to the Swamp, so let’s spend a few more lines on the young band Kodiak from the Ruhrgebiet in the heart of Germany.
As the band reported from a review on myspace, their sound excels as a mixture of monolithic ultraheavy compositions with expressionistic poems. “Their algid songs consist of long monotonous build-ups (comparable to a long lonely haunting trip through the arctic) and some seldom parts of eruption, disembarrassment and hope. The perfect soundtrack for a picnic in the middle of nowhere.”
“Kodiak is not a band that you just play for enjoyment; i needs time and attention, but when it locks you in its slowly developing, pachyderm-paced punishing groove, Kodiak has a lot to offer, proving that monotony and monolithic heaviness are enough to make great songs, if you know how. Kodiak definitely know it.” (release notes)
The current split is their second release in 2009 but by far not the last, as another split with German doom heroes Black Shape Of Nexus is already in the pipeline. Kodiak have already played a bunch of shows around Europe and, as Terrorizer reports, it is amazing to hear how their sound grows and matures from month to month, from record to record.
In case you missed it, Kodiak’s self-titled debut has been posted on the Swamp by Mao (here).
Check the bands here and here
Feel the love
(Thanks to Petya the Pusher)
The Pusher is back and has brought gift like and better than Santa Claus!
Here is the long awaited split album between Nadja and the German band Kodiak, out now on the label Denovali.
The split is made up by two long, intense and complex tracks, or better, as in the release notes, “complex in the sense of combining atmospheric instrumental fields with very dark symphonies”.
“On this split, while Kodiak contribute a song full of tension, resembling the barren lands and the cold despair of the medieval plague, Nadja offer some dense drone tunes, rising slowly into celestial spheres like an abstract image of a Japanese mythological story.” (from Terrorizer)
“In doom and drone, genres where much of the stuff can sound remarkably similar, here is a band that stands apart as a beacon. Nadja have the deep drones and all the darkness of doom, but also have intricate melodies that permeate their long dirges...What's commendable about Nadja is the alchemical experimentation with the genres resulting in a unique concoction of doom metal, drone, shoegazer layering, and avant-rock explorations”.
Monster band Nadja is well known to the Swamp, so let’s spend a few more lines on the young band Kodiak from the Ruhrgebiet in the heart of Germany.
As the band reported from a review on myspace, their sound excels as a mixture of monolithic ultraheavy compositions with expressionistic poems. “Their algid songs consist of long monotonous build-ups (comparable to a long lonely haunting trip through the arctic) and some seldom parts of eruption, disembarrassment and hope. The perfect soundtrack for a picnic in the middle of nowhere.”
“Kodiak is not a band that you just play for enjoyment; i needs time and attention, but when it locks you in its slowly developing, pachyderm-paced punishing groove, Kodiak has a lot to offer, proving that monotony and monolithic heaviness are enough to make great songs, if you know how. Kodiak definitely know it.” (release notes)
The current split is their second release in 2009 but by far not the last, as another split with German doom heroes Black Shape Of Nexus is already in the pipeline. Kodiak have already played a bunch of shows around Europe and, as Terrorizer reports, it is amazing to hear how their sound grows and matures from month to month, from record to record.
In case you missed it, Kodiak’s self-titled debut has been posted on the Swamp by Mao (here).
Check the bands here and here
Feel the love
(Thanks to Petya the Pusher)
Good morning..........
"I send you tonight a masterpiece exhumed by Shadow Kingdom Records : Reactor "The Real World" contain 6 studio tracks and 8 live versions with raw sound and energy."
Review from Hellride : "I was eager to clasp ears around this Shadow Kingdom release as I had really enjoyed the battered cassette of Reactor that I had from back in tape trading days. Reactor was an 80’s DC area band featuring Steve Angel on bass and vocals and initially Ron Sharpe on drums and Richard Kueht and Paul Towbridge, both ex-late 70’s Pentagram, on guitars. Future line ups also featured Mike Reid on guitar, Colin Angel on drums and Joe Hasselvander on guitar and vocals. I’m not sure which line up my rehearsal tape has, but it was very good, solid 80’s metal with some throwback 70’s hard rock elements.
The Shadow Kingdom release begins with the actual studio recordings from 1987. “Meltdown” gets the ball rolling with some good old fashion heads down metal chock full of guitar flourishes and chugging rhythm. The lyrics set the tone for the vast majority of the material with social ills and dangers the focus. The vocals and the rhythm section are solid, but not exemplary, it’s really the guitar leads exploding everywhere that leave a mark on the listener’s ears. Next up is “The Terrorist” where the 70’s hard rock vibes come full forward, with an almost bouncy groove overlaid with metal/rock hybrid riffing and some great wailing solo work. Despite not being the heaviest thing on offer, it is a well written song and conveys a feeling present elsewhere on this album also, that of a band both fully comfortable with and invested in their material.
“(When Your) Numbers Up” doesn’t start so much as a power ballad as it does a moody, brooding statement of hopelessness before kicking it up into something quite reminiscent of early NWOBHM. Once more, very nice guitar work compliments the head banging core of the song and the vocals here sound more confident and spot on, recalling Biff Byford’s phrasing a bit. “War Machine”, in my estimate one of the strongest tracks here, brings the menace with a pulsating, threatening rhythm supporting some of the heaviest riffing to be heard from Reactor. “Greenhouse” shows that Reactor were quite on top of environmental issues long before those issues became well known to the general public. A good solid workmanlike song, not the pick of the litter, but worth giving an ear to. “Real World” closes out the studio set with another 70’s inspired rocker; this one a fairly pedestrian anti-corporate rant.
The live set of 8 tunes from 1985 contains only “Meltdown”, “War Machine” (both worth having again as these versions, though rougher sound quality, are heavier and more energetic) and “The Real World” are from the studio set, leaving room for five other songs. Of these, the three in a row killers of “Ten Years Past” with it’s pounding metal menace (this could have been a Pentagram tune by the sound of it!), “Death By Electrocution” with its burning metal tells the tale of soon to be burnt flesh nightmare tale and the surging fury of ”Fight or be Killed” are the definite standouts. “Blacklist” is nearly there and probably had the heads at the Silver Fox banging, as I’m sure closer “Waste Not – Die Not” did also.
It is a minor gripe I guess, but I was somewhat bummed that some of my favorite Reactor tracks from the tape, namely “Live Wire”, “Skin Tight” and “Blown Ourselves Away” are not present here, but you can’t have it all. File this one under formerly really difficult material to find that is now both easy and worthwhile to pick up. If you are a fan of metal/hard rock hybrid material done very well then this needs to be on your list. Given that other material is apparently out there, hopefully this is not the last we’ll hear from Reactor."
Find it here.
Feel the love.
(Thanx 2 Doomaniac)
Thick like a brick......
It always gives me a warm feeling inside when i discover a lost gem from the early grunge era. These guys would be right at home on the bill with Soundgarden and the Sub-Pop label of that era."San Diego's Olivelawn gloried in brutal, sludgy SoCal punk, releasing two full-length albums in the early '90s before the members parted ways. The group's muscular sound was powered by singer Mike Olson's fierce delivery, the guitars of O (a.k.a. Otis Barthoulameu) and the rhythm section of drummer Eddie Glass and bassist Jonny Donhowe. The short-lived unit released their debut, Sap, on Nemesis Records in 1991, following that with the Headhunter release Sophomore Jinx in 1992. The latter was produced by Jack Endino (Nirvana, Mudhoney, Soundgarden). The group's sound displayed a clear debt to such predecessors as the Stooges, Black Sabbath, and the MC5. In retrospect, Olivelawn is important primarily because of O's membership. He would go on to form Fluf, a more successful punk combo that benefited from O's songwriting chops and heavy guitar sound. O was a pervasive presence on the '90s San Diego scene. Besides his membership in Olivelawn and Fluf, he also produced records, served as roadie for the Muffs, and was a published skateboard photographer, among other things." (allmusicguide.com)
Band Site: http://www.myspace.com/olivelawnwalevilo
Olivelawn - Sap: http://tinyurl.com/ylcnvos
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Now playing: Olivelawn - Future Now
via FoxyTunes
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