Yeah, I’m late on this news from last week. I talked about it on Friday; only so many hours in the day and a lot a lot a lot of music coming down the line in the next few months. Horseburner‘s Voice of Storms will be their fourth full-length upon its arrival as June makes ready to give over to July’s swelter, and I’d say their urgency, melody, and progressive angularity will make a fitting accompaniment to that time of year’s sweating-while-doing-nothing sunscorch, even if it’s not themed around the climate crisis.

Actually, as regards theme, I’m curious how much the narrative described below — girl slays oppressors, in shorty-short — frames the songs, and how the album came together around the central story. With a ‘concept record’ of any sort, I always tend to want to know whether the idea was first or the music, but I guess there’s time for digging in between now and June. The single/video, “The Gift,” can be found at the bottom of this post, and for anyone who dug on 2019’s Ripple-issued The Thief (review here), it well lives up to its title. If you watch the clip, it looks like they had a good time in the studio.

The Brian Mercer cover art — dude nails it, as he will — album details and live dates follow, courtesy of the PR wire:

US progressive sludge unit HORSEBURNER to release new album “Voice of Storms” on Blues Funeral Recordings; stream new single “The Gift”!

West Virginia progressive sludge stalwarts HORSEBURNER have signed to Blues Funeral Recordings for the release of their new album “Voice of Storms” this June 21st, with the roaring first single “The Gift” streaming on all platforms now. The band also announced a string of US live shows in support of the release.

Blasting out loud and surgical riffs, driving grooves and fire-driven vocal harmonies, HORSEBURNER’s new single “The Gift” is a massive-sounding heavy rock rager that perfectly encapsulates the West Virginia foursome’s knack for uncompromisingly technical yet strikingly melodic anthems.

Watch Horseburner’s brand new video “The Gift” + listen to the official single at this location: https://lnkfi.re/thegift

HORSEBURNER blasted onto the scene in 2009 amid comparisons to Mastodon and Baroness, with an iteration of high-energy sludge metal informed by their Appalachian industrial background and elevated conceptual themes. And, from the impact of galloping full-length “Dead Seeds, Barren Soil” to their growth into a tremendous live force to the watershed leap of 2019’s acclaimed “The Thief”, Horseburner have not only endured, they have progressed.

HORSEBURNER distinguish themselves from their stoner-psych contemporaries with staggering musicianship. Gear-shifting from hard-charging to restrained to urgent and angular, these musical flexes find Horseburner invoking a broader range of tools to craft their driving, soaring, obliterating mini-epics than a lot of bands have in their bags. Never concerned with proving what they can do, they sweep us up in the ease of their brilliance and go places a lot of heavy rock doesn’t.

Their new album “Voice of Storms” is an allegorical commentary on the mistreatment of women across history. It’s the story of a girl being sold into child marriage who is imbued with the spirit of ancient Greek hunt goddess Diana, unleashed and wreaking havoc on a society that regards females as objects or currency. Sonically, the record is a sludge-prog triumph, ready to grab listeners by the throat and immerse them in a fluid amalgam of blistering tempos, fearless hooks and burly crush, like a more brutal Torche or a more adept High on Fire. This is HORSEBURNER blazing into sonic territory that few bands ever reach, pushing forward, challenging their abilities and always progressing as far as their ambition can take them.

The album was recorded and engineered by Neil Tuuri at Amish Electric Chair Studio, and mastered by Billy Joe Bowers. Artwork by Brian Mercer with a layout by Jacob Dunn.

New album “Voice of Storms”
Out June 21 on Blues Funeral Recordings (LP/CD/digital)

Preorder via Bandcamp: https://horseburner.bandcamp.com/album/voice-of-storms

Preorder via Blues Funeral store: https://www.bluesfuneral.com/search?q=horseburner

TRACKLIST:
1. Summer’s Bride
2. The Gift
3. Heaven’s Eye
4. The Fawn
5. Hidden Bridges
6. Palisades
7. Diana
8. Silver
9. Widow

HORSEBURNER on tour:
4-19 – Philadelphia, PA – Century
4-20 – NYC – Saint Vitus presents at Main Drag Music
5-17 – Cleveland, OH – 5 O’ Clock Lounge
6-20 – Columbus, OH – Spacebar *
6-21 – Parkersburg, WV – Tracey’s Pub *
6-22 – Johnson City, TN – Capone’s *
6-23 – Raleigh, NC – The Pour House *
6-28 – Buffalo, NY – Area 54/Amy’s Place
6/29 – Youngstown, OH – Westside Bowl
*release weekend with Howling Giant

HORSEBURNER is:
Jack Thomas – guitar, vocals, keys
Adam Nohe – drums, vocals, percussion
Matt Strobel – guitar
Ryan Aliff – bass, upright bass

https://www.horseburner.com/
https://www.facebook.com/Horseburner/
https://horseburner.bandcamp.com/
https://www.instagram.com/horseburner/

https://www.facebook.com/bluesfuneral/
https://www.instagram.com/blues.funeral/
https://bluesfuneralrecordings.bandcamp.com/
bluesfuneral.com

Horseburner, Voice of Storms (2024)

Horseburner, “The Gift” official video

Today — I think maybe right now — Mos Generator release Forging Behind 2002-2012, a compilation LP of material taken from the decade listed. That covers the era from their 2002 self-titled debut (reissue review here) through 2005’s Nasoni-issued The Late Great Planet Earth, 2007’s Songs for Future Gods (which was on Roadburn Records and Small Stone), and their 2012 Ripple Music post-hiatus resurgence, Nomads (review here). Also included is the harmony-laced “Dyin’ Blues” from the 2007 10″ EP Tales From the Vault, which saw new life in 2021 as The Lantern (review here) on Argonauta Records. Long and winding road, as the fella said.

Its tracks assembled and newly mastered by founding guitarist/vocalist, producer and bandleader Tony Reed, the stated intention of Forging Behind 2002-2012 is to simplify Mos Generator‘s back catalog a bit for people just getting to know their work. In 2020, the Strange Powers comp LP did likewise for 2014’s Electric Mountain Majesty (review here), 2016’s Abyssinia (review here) and 2018’s Shadowlands (review here) — all three of which first came out on Listenable Records — which took them into the Mk. II lineup of Reed, bassist Sean Booth and drummer Jono Garrett. On Forging Behind, it’s all the original trio: Reed, bassist Scooter Haslip and drummer Shawn Johnson.

OKAY… That’s a lot of info. A lot of text in bold. A lot of ‘review here’ links. I get it. Densely packed. But something else you need to know going into Forging Behind is that the original trio lineup — the band that first made these songs; Mk. I — is still active. In the promo info below, Reed says all these songs are in rotation for the current live set. The Mk. II lineup? Also still active. That’s right, kids. Mos Generator have split the timeline. My understanding is both incarnations of Mos Generator are writing for new studio albums, which is a dizzying thought even in the context of Reed‘s generally furious work ethic. Their most recent studio LP, Time//Wounds (review here), came out in Dec. 2022.

So what Forging Behind 2002-2012 is also doing is giving background to whatever it might ultimately be that surfaces from the Reed, Haslip, Johnson three-piece, and providing a gateway for those who discovered the band after they came back in the 2010s to dig into the output from their original run. How it differs from 2008’s 2LP/CD comp Destroy! The Mos Generator 2001-2008 is of course the years it covers — Nomads didn’t exist yet and it’s become a landmark for them — the new master, and the idea of being curated around the songs they play now as a single-LP/DL release. 300 vinyls.

And if you do get the download version, one last thing to note is that it’s Reed‘s own vinyl rip, not a straight digital transfer. Probably took a little longer to get together, but a cool idea that not everybody would think of doing.

They remain a treasure of the American heavy rock underground:

Mos Generator Forging Behind 2002 – 2012

Forging Behind is a compilation of songs released between 2002 and 2012 and is kind of a “young person’s guide” to the early years of the band. Forging Behind can also be considered a companion album to Strange Powers released in 2020. Strange Powers was a compilation of songs from the three albums released on Listenable Records between 2014 and 2018 and together, these two albums make a comprehensive overview of highlights from the band’s career. All of the songs on Forging Behind are still in rotation in the current live set so this makes it easy for fans to choose an album to buy if they liked the set but aren’t familiar with the band.

Label: Music Abuse Records
Units pressed: 300
Vinyl colors: Black (no variants)

All sonic manipulations by Reed at ‘Vault’, Temple Sound, & HeavyHead Recording Co. between 2001 and 2012. Mastered by Reed at HeavyHead January 2024. Front cover art by Lex Waterreus. Artwork layout by #3. All songs written by Reed. Arranged by Mos Generator.

Side A
1. SILVER OLYMPUS (3:58)
(from the album Songs for Future Gods released September 2007)
2. DYIN’ BLUES (4:53)
(from the album Tales from the Vault released May 2007)
3. LONELY ONE KENOBI (single version) (4:28)
(from the album Nomads released October 2012)
4. ON THE EVE (promo edit) (5:44)
(from the album The Late Great Planet Earth released October 2005)

Side B
1. LUMBO ROCK (3:57)
(from the album Mos Generator released April 2002)
2. STEP UP (4:51)
(from the album Nomads released October 2012)
3. NANDV (3:37)
(from the album Songs for Future Gods released September 2007)
4. THIS IS THE GIFT OF NATURE (7:25)
(from the album Nomads released October 2012)

Mos Generator on Forging Behind:
TONY REED – guitar / vocals / keys
SHAWN JOHNSON – drums
SCOOTER HASLIP – bass

http://www.facebook.com/MosGenerator
https://www.instagram.com/mos_generator
http://www.mosgenerator.bandcamp.com
https://heavyheadsuperstore.storenvy.com/

Mos Generator, Forging Behind 2002-2012 promo video

Mos Generator, Forging Behind 2002-2012 (2024)

Gurt‘s fourth full-length, Satan Etc., will be released June 7, and to go with announcing that happy and foreboding prospect, the London-based party sludgers are premiering a lyric video for the new song “Knife Fever” that you can see below. With chasm screams and no shortage of aural crush, you’ll be glad to know that the five years since their last outing, 2019’s Bongs of Praise (review here), does not seem to have dulled their impact. But to coincide with its raw push, “Knife Fever” reminds that Gurt have always also been able to make caustic sounds memorable for more than just, well, being caustic, and as frontman Gareth Kelly repeats the lines, “I’ve never done this before/Can you tell?,” don’t be surprised if you end up with those screams stuck in your head after the fact.

Satan Etc. — not their first brilliant title, hopefully not their last — is a welcome reminder of the band’s dual penchants for hooks and aural slaughter, and some of the efficiency-uptick in their delivery as referenced by the PR wire below can indeed be heard in the structural clarity throughout the sub-four-minute runtime of “Knife Fever.” How that might play out across the album as a whole is something that probably requires hearing said thing in its entirety, and as I’ve not yet done that, can’t necessarily speak to it — but if they’re pushing a more pointed attack, “Knife Fever” embodies one in more than just the conveniency of a pun that I assure you was all the way intended.

And as Gurt approach their 15th year in 2025, perhaps you’re thinking this all a sign of maturity, grown-up-Gurt, and so on. Could be, but I mean, they did call the record Satan Etc., so I feel decent in the assumption that there’s further chicanery to follow. Here’s looking forward.

Info from the aforementioned PR wire follows here. Please enjoy:

Gurt, “Knife Fever” lyric video premiere

Preorder: https://gurt.bigcartel.com

It’s been five long years since “party doom” riff merchants GURT released their last crushing opus “Bongs of Praise”, now on June 7th 2024 they are set to return with their latest, crushing-ist opus yet, “Satan Etc”.

A lot has happened in the band members lives since 2019, some suffered tragic losses, some welcomed new life into the world, some grew awesome skullets. Not to mention that global event in 2020 that kept us all inside.

Left to ferment in frustrating circumstances has led to the new material being more aggressive and abrasive than previous offerings, whilst still retaining that signature GURT silliness and swagger.

In January 2024 GURT took these new songs into the mighty Monolith Studios in London and under the watchful eye of Steve Sears, they birthed the magnificent, monstrous “Satan Etc”. This album marks GURT’s 5th collaboration with Sears, who always coaxes the best out of the band with a healthy mixture of positive support and scathing insults.

When asked about the influences and inspiration behind this album vocalist Gareth Kelly states “it’s about survival in the very fucked up world we live in, but of course delivered in the bands tongue in cheek style”. Drummer Bill Jacobs says ” we wanted shorter punchier songs to go with the new aggro vibe, nothing to do with us being older and fatter” whilst bassist David “Spicy” Blakemore enigmatically adds “I’ve been listening to lots of Slavic hardcore!”.

Delving into varied topics, from bodged vasectomies to the beauty of brown cars, from self pleasure on Arrakis to the wholesome matter of how damn much Gareth loves his kids, “Satan Etc” is the sound of the band ready to get back to doing what they love most: having a great big sludgy party with their rabid fans. PARTY DOOM HAS EVOLVED.

“Satan ETC” is released on 7th June via When Planets Collide and is available to pre-order from: https://gurt.bigcartel.com

GURT are:
Gareth Kelly – Vocals
Rich Williams – Guitar
David Blakemore – Bass Guitar
Bill Jacobs – Drums

Band photo by Mithun.

Gurt on Facebook

Gurt on Instagram

Gurt on YouTube

Gurt on Bandcamp

Gurt BigCartel store

Darsombra released their plague-chronicle 2LP Dumesday Book (review here) last August — Crucial Blast has a double-tape out as of March — and, well, maybe it’s time to start thinking of the go-forth-from-Maryland two-piece as more of a longform art project than a band. If they were more pretentious, less inclined to roam and had more money, they’d probably be able to cast themselves as ‘arthouse,’ but the fact is their work isn’t really meant for gallery walls or any other kind. It’s too open in itself to be so contained. Free-drone.

From the sirens of “Call the Doctor (Pandemonium Mix)” and the chants of “Everything is Canceled,” from the drumless guitar prog and oddball vocals repeating the title of “Gibbet Lore” as it comes to a head to the serene reaches where the near-18 minutes of “Azimuth” end up, there’s not much that feels off limits to the duo of Ann Everton and Brian Daniloski. Synthesized, organic, programmed or pulsed, the material is defined in part by the whims it chooses to follow, and while that can at times lead to a kind of willful disjointedness — because not everything connects and not everything is supposed to; you’re not in an ’80s sitcom — Dumesday Book is an encompassing memoir of a time that at least many would rather forget than learn from. They’re not much for percussion and never have been, but neither do pieces like the empty-space strum and blown-out preach of “Plague Times” or the foreboding reprise “Still Canceled” lack movement. As they do, Darsombra are just tracing the patterns of their own math.

I won’t lie to you and say it isn’t helpful having a stated and discernible theme to latch onto in listening to Dumesday Book — the tracks themselves more ‘of the time’ than ‘about’ it — but their keys-and-guitar-based explorations have rarely been unwelcoming in the past, at least to those able to let go of expecting things like verses and choruses in their music. As regards the video premiering below for opening track “Shelter in Place,” the visual fluidity of movement of wind through the dark fabric that becomes ghostly, cosmic, colorized, and so on, is somewhat ironic given the title’s inherent stillness, but I’m not sure that isn’t the idea or that the spectral figure reminiscent of Death itself isn’t the story of the covid pandemic arriving at the shores of humanity’s collective helplessness at the outset of this downhill decade. And you know what? It’s Darsombra, so it’s also okay to not be sure. Not like they’re judging.

Everton and Daniloski begin their next European tour at Roadburn 2024 this Friday, and they’ll hook up with Stinking Lizaveta for the UK portion of the run to hit Desertfest London after playing the anniversary party for Exile on Mainstream in Germany. They’re abroad through the end of May and into June, and it likely won’t be long before they announce the next month-plus tour after this one because that’s how it goes with Darsombra‘s have-noise-will-travel nomadic tendencies. No coincidence that comes paired with such a resonant sense of sonic adventurousness.

“Shelter in Place,” at just three minutes, is the opening to the world portrayed throughout Dumesday Book. On its own, it provides a sample of Darsombra‘s aural dimensionality without necessarily encapsulating the whole. It leads you in, in other words.

Please enjoy:

Darsombra, “Shelter in Place” video premiere

Music by Darsombra
Video directed and edited by Ann Everton
Camera work by Brian Daniloski

“Shelter In Place” is the first track on Darsombra’s 2023 double album, “Dumesday Book”, available at darsombra.com.

Shot on location at Assateague Island, USA. No ponies were harmed in the making of this film.

The latest video from Dumesday Book arrives with “Shelter In Place,” the album’s opening track. “Shelter In Place” is an ominous, majestic introduction to the album’s uncertain journey of the deep range of human emotions characteristic during plague times. The track is quaking, vast, and full of portent; the video, filmed and edited by Everton, gives the tsunami of precarious fear a doleful, baleful visage. Welcome to the trip.

Dumesday Book is available on CD, 2xLP, and digitally on DARSOMBRA’s Pnictogen Records. Physical formats include a twelve-page booklet, a sticker, and a download code with access to bonus material.

Place orders at the band’s webshop HERE: https://www.darsombra.com/

Bandcamp orders HERE: https://darsombra.bandcamp.com/album/dumesday-book

Additionally, Crucial Blast just released the record in a limited double-cassette box set, available HERE: https://crucialblast.bandcamp.com/album/dumesday-book

This week, DARSOMBRA will make their return to the Roadburn Festival alongside The Jesus And Mary Chain, Chelsea Wolfe, Khanate, Blood Incantation, and dozens more. Roadburn is followed by shows across Germany, Poland, Holland, and Belgium, on their way to play Exile On Mainstream 25 Festival dates in both Berlin and Leipzig – the 25th anniversary of the diverse label for which DARSOMBRA is an alumni act – with Ostinato, A Whisper In The Noise, Caspar Brötzmann Massaker, Conny Ochs, and many others also on the four-day/two-city bill.

In the wake of EOM25, they’ll join up with their allies Stinking Lizaveta for shows across the UK, including Desertfest London with Godflesh, Suicidal Tendencies, Ufomammut, Bongripper, Acid King, Monolord, and many more. DARSOMBRA will then make their live debut in Ireland, playing three shows across the country. See all confirmed dates below and watch for additional tour dates for the Summer and Fall months to be announced.

DARSOMBRA Tour Dates:
4/19/2024 Roadburn Festival – Tilburg, NL
4/24/2024 Kunstverein Hintere Cramergasse e.V – Nuremberg, DE
4/25/2024 Kalambur – Wroclaw, PL
4/26/2024 Lot Chmiela – Poznan, PL
4/27/2024 Awaria – Krakow, PL
4/28/2024 Mlodsza Siostra – Warsaw, PL
5/03/2024 Het Alternatief – Nijmegen, NL
5/05/2024 De Loft – Herent, BE
5/09/2024 Exile On Mainstream 25 Fest – Berlin, DE
5/10/2024 Exile On Mainstream 25 Fest – Leipzig, DE
5/14/2024 The Gryphon – Bristol, UK w/ Stinking Lizaveta
5/16/2024 Puzzle Hall Inn – Sowerby Bridge, UK w/ Stinking Lizaveta
5/17/2024 The Cellar – Cardigan, UK w/ Stinking Lizaveta
5/19/2024 Desertfest – London, UK w/ Stinking Lizaveta
5/22/2024 The Lubber Fiend – Newcastle, UK w/ Stinking Lizaveta
5/23/2024 BLOC – Glasgow, UK w/ Stinking Lizaveta
5/24/2024 St. Vincent’s Chapel – Edinburgh, UK w/ Stinking Lizaveta
5/25/2024 Tooth & Claw – Inverness, UK w/ Stinking Lizaveta
5/30/2024 Coughlan’s – Cork, IE
5/31/2024 Kasbah/Dolan’s – Limerick, IE
6/01/2024 Saturday Anseo – Dublin, IE

Darsombra, Dumesday Book (2023)

Darsombra on Facebook

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Darsombra on Bandcamp

Darsombra website

Pnictogen Records on Instagram

Crucial Blast on Facebook

Crucial Blast on Instagram

Crucial Blast website

As is the case here, I often ask bands for quotes about songs, new albums, tours, whatever the news is, really. I think Ten Ton Slug might be the first outfit who’ve ever sent back a blurb about a new single and ended it with an all-caps “OUGH,” in the fine tradition of one Tom G. Warrior. Since the song the Irish burlbringers are unveiling from their upcoming Colossal Oppressor is the aggro-shoving “Ancient Ways,” this could hardly be more appropriate.

“Ancient Ways” brings five-plus minutes of overarching groove, layered growls, shouts and screams, and a largesse-bent approach that, if it was sloppier, you could probably call sludge, but that here stands astride your soon-to-be-hammer-smashed skull with poise in its own violence. It’s a big groove, big tone, big riffs, and the vibe is punishment, but almost certainly the kind of punishment inflicted on one’s neck after a night of headbanging, however ominous the threat of the album’s title.

Ten Ton Slug journey to the US in June for Maryland Doom Fest, and they’ve got dates in Limerick and Dublin before they travel. More on that, the quote, and of course the song follow here, courtesy of the PR wire:

Ten Ton Slug on “Ancient Ways”:

The album ‘Colossal Oppressor’ concerns itself primarily on the theme of oppression in its many guises, and on the many ways it is inflicted on humanity by the world and by the Slug. ‘Ancient Ways’ is one of two tracks on the album (along with the Irish language track – ‘Mallacht an tSloda’) which deals with this theme not from the perspective of the oppressor, but instead from the perspective of those under the yoke of unbearable hardship. More specifically it reveals the mindset and determination needed to overcome seemingly insurmountable obstacles, to face the monster and beat it to the earth, to ultimately summon your power, and move forward.

The track is blues inspired with a stoner feel, featuring big dirty riffs and colossal drums.
OUGH.

Ten Ton Slug release the 2nd single from the upcoming album ‘Colossal Oppressor’ which releases everywhere on May 1st on Vinyl, CD and Digital

Stream it here: https://tentonslug.bandcamp.com/track/ancient-ways

The song ‘Ancient Ways’ is more stoner/blues/melody driven than the previous single yet contains all the elements one has come to expect from the Slug and more. Huge riffs, pummelling drums and grooves and melodies that stick in your head.

Subjugation approaches.

Catch the Slug live in Ireland this May:
May 3rd Dolans Limerick (ticket link)
May 5th The Grand Social Dublin (ticket link)

And in the USA this June:
June 23rd Maryland Doom Fest, Maryland, USA (ticket link)

Merch available here:
tentonslug.bandcamp.com

Ten Ton Slug:
Rónán Ó hArrachtáin – Vocals
Pavol Rosa – Bass
Sean Sullivan – Guitars/Vocals
Kelvin Doran – Drums*
*All drums written and arranged by Mícheál Ó Súilleabháin

https://www.facebook.com/TenTonSlug/
https://www.instagram.com/tentonslug/
https://tentonslug.bandcamp.com/
https://tentonslug.com/

Ten Ton Slug, Colossal Oppressor (2024)

With a quick round of lineup adds and the announcement of how the pre-show and three days of the festival-proper will play out, SonicBlast Fest 2024 continues to take shape, and golly it looks like fun. Germany’s Daily Thompson will make the trek westward to herald their new album, Chuparosa, and the everywhere-in-Europe-this-year-apparently duo Earth Tongue from New Zealand will appear in support of their upcoming sophomore LP, Great Haunting. Also new to the bill are Canadian psych-prog forebears Black Mountain and thrash outfit Fugitive, because sometimes you just need a punch in the face.

There are still some names to add, as you can see on the poster below. The day splits put Daily Thompson on the pre-show, and that will be a party. I’d expect at least one of the TBCs there, if not both, to be Iberian bands, as SonicBlast runs deep in support for its own regional underground, and given how packed the fest-Friday (Aug. 9) is, they could go just about anywhere in mixing it up, more thrash, hardcore, noise, psych, doom, stoner, whatever, and make it work. There’s a lot to like, even before you find yourself sitting on the beach in Âncora waiting for whoever to go on.

The below was culled from a couple different social posts, so if it reads weird, that’s why, but I expect you get the idea. Here you go:

Daily tickets are already on sale! Check the daily line-ups here 🔥 Looking forward for August!

*this is not in the order of performance

Psychedelic rockers @blackmountainarmy, thrashers supergroup @fugitive_tx (with members of Power Trip and Creeping Death), heavy psych rockers @earthtongue and sonic fuzzers @dailythompson_ will join us in this insane party, this August at Praia da Duna dos Caldeirões

🔥 Daily and full festival tickets are already on sale at BOL (Fnac, Worten, Ctt…), at https://garboyl.bol.pt/ and at https://www.masqueticket.com/entradas/sonicblast-fest-2024

Check all the news at www.sonicblastfestival.com
Artwork by @branca_studio

https://www.facebook.com/sonicblastmoledo/
https://www.instagram.com/sonicblast_fest
https://sonicblastfestival.com/

Daily Thompson, “I’m Free Tonight” official video

Earth Tongue, “Bodies Dissolve Tonight!” official video

The tab’s been open for the last week in my browser, and that’s as long as Temple Fang‘s Live at Krach Am Bach has been out. I exhausted however many streams were allotted listening through the two-song/52-minute set the Amsterdam psych-of-spirit four-piece played at the June 2023 edition of the Krach Am Bach Festival in Beelen, Germany, and, well, April is tax season here in the US, so I was thinking maybe I could write off the three-euro download if I classify The Obelisk as a failed business venture. Yes, I do consider “failed business venture” a compliment.

There is a cassette pressing of Live at Krach Am Bach as well, 100 copies. It looks pretty sweet, with Maaike Ronhaar‘s on-stage photo of guitarist/vocalist Jevin de Groot as seen from behind mid-testimony printed on a black and white j-card, kind of a bootleg vibe, but pro-shop, as is the recording by Niek Manders for which guitarist Ivy van der Veer handled the mix. To be honest, I just didn’t have the €10 for it this morning or I’d have picked that up, but you take what you can get, and that Temple Fang — de Groot, van der Veer, bassist/vocalist Dennis Duijnhouwer and drummer Daan Wopereis — are able to put together an enticing live record at this point should come as little surprise. Live at Krach Am Bach is their sixth one in the last two years.

One might extrapolate from that some idea where the band’s priorities are generally when setting six live releases against their lone studio LP, Fang Temple (review here), which first arrived in 2021 and was pressed the next year through Stickman Records, and its later-2022 EP follow-up, Jerusalem/The Bridge (review here), but if Manders has a penchant for recording off the board while doing front-of-house sound for the band, that has only to this point served them well. To wit, Live at Krach Am Bach is — I believe — the third release from the tour they were doing at the time in 2022. It follows Live at Schlachthuis and Live at Freak Valley (review here), both released last April (the former on tape, the latter a CD/LP on Stickman), and as with those, the narrative around the performance is part of the character that emerges from listening.

I don’t want to just cut and paste the story from their Bandcamp, but the summary is that, as documented elsewhere, they were somewhat winging the tour as they got settled in with Daan Wopereis taking over on drums for Egon Loosveldt, playing different material. It started to rain before they went on. Between songs on the recording, you can hear Duijnhouwer say to the crowd, “Amazing view from here — you guys look good in plastic.” If you had no idea what was going on at the time — if you didn’t know that the audience had either put on ponchos or otherwise tried to cover themselves to keep the water off so they could enjoy the show — you could be forgiven for being confused. Is he on acid? Is he a serial killer? “You look good in plastic?” What the hell is that supposed to mean? It’s ponchos. Chill out.

By then, de Groot has already professed to being on the verge of tears and called the crowd “fucking beautiful, all of you,” before singing out “Take me to the place I have always been” ahead of “Gemini” (21:46) moving into its final phase in the last third, a build that starts with mellow bass, drums and guitar and resolves its extended flow with a striking and memorable chorus, de Groot, Duijnhouwer and maybe van der Veer sharing vocals. Both “Gemini” and “Not the Skull” (32:22) featured on 2020’s Live at Merleyn and the recorded-in-2019/released-in-2022 Live at Ocii and Live at Vera, but in different forms with “Silky Servants” included in “Gemini” and “The Radiant” between the other two pieces in the non-festival setting. If your eyebrow went up at Live at Krach Am Bach being the third offering from a single tour, I’ll note that the sets from Live at Schlachthuis and Live at Freak Valley were each comprised of one track only, “Grace,” which to the best of my knowledge, like “Gemini,” has yet to feature on a studio recording.

In addition, both “Gemini” and “Not the Skull” have evolved since those earlier 2019 recordings. That turn back to the chorus of “Gemini” in the back end doesn’t happen with “Gemini/Silky Servants” on Live at Occii, and “Not the Skull” at Krach Am Bach was 11 minutes longer than the studio version that appeared on Fang Temple. What one can glean from this is an ethic of openness to the moment. Standing on stage, the members of Temple Fang are in conversation with each other musically — not just with the “Yeah” at 29:33 into “Not the Skull” to mark the change as the band aligns around Duijnhouwer‘s boogie-shove bassline for a finish likewise raucous and rocking — and the amorphous character of the material that’s been revealed over time comes across as purposefully not definitive. This is what these songs were this day, in the rain, in Germany. The next day it might have been a completely different experience.

The underlying message might be that we limit our reach when we impose rules and definitions on ourselves, of style or substance. If Temple Fang went out and delivered the same set every night in the same way, well, they’d probably still be pretty cool because they play well individually and as a group, but the personality would be different, and by not limiting themselves, they are inspiring on a level that goes beyond the meditative aspects of their exploratory psych or the outright soul with which de Groot tears into a given solo. The songs aren’t completely shapeless by any means — as noted, “Gemini” lands a hook, and “Not the Skull” is all the more encompassing for its plotted movement toward that ending — but on Live at Krach Am Bach, it’s clear they’ve been allowed to breathe and become what they will. Along with the basic audio of the thing, that’s also part of what’s being preserved here. They capture it vividly, and it is an idea worthy of the reminder.

Which I guess is how you get to six live records in a two-year span.

They’re doing a weekender now and have another booked for later in April, two German and one Dutch show for each, and have been confirmed for Sound of Liberation‘s Lazy Bones Festival 2024 this October in Hamburg. I wouldn’t be surprised if more dates surface around that, or if they have another offering or two to make before they next hit the road, reveling as they do in the universe of infinite possibility.

As always, I hope you enjoy. Thanks for reading.

—

My sister called a few minutes ago. My mother fell. She’s 77, needs new knees, is figuratively and literally crippled by fear at the prospect of surgery. No serious injury — this time — but it’s a stirring reminder of her advancing age and of course of my own. My father is dead and they didn’t live together, and my sister, who lives in the same house with her own husband and two kids, is primary. I’m of course glad she didn’t get hurt. Takes the day down a peg.

But the whole week was a mess, really. The Patient Mrs., The Pecan and I started out Sunday on a four-plus-hours trip to somewhere in New York’s Finger Lakes — which it turns out are gorgeous; go figure — to see Monday’s eclipse in totality. We stayed somewhere in Pennsylvania on Sunday night, and one skinned Pecan knee from running by the motel pool later, continued the ride north Monday to meet up with family friends and their kids who had likewise made the trip from their home in Brooklyn.

Did we see the eclipse? Nope. Cloudy. It got dark, then it got light. It was weird, nowhere near as cool as we all tried to sell it to the children as being, and if the question is whether or not it was worth the five-hour drive home (The Patient Mrs. did the outbound trip; credit where it’s due) listening to The Pecan whining about not being able to play mahjongg on The Patient Mrs.’ phone, let alone the money for gas, food and lodging, my answer is a resounding no. Some you win, some you lose.

Tuesday I wrote all day. Following on from Spring Break all last week, this Wednesday was another day off from school for The Pecan. Most of the day was rainy and I chose to forego her ritalin since it was just the two of us and the dog, and I firmly believe that made her morning, afternoon and evening harder. She was a mess all day, and even after The Patient Mrs. came home from work to take her to her afternoon ice skating lesson while I did my remote-learning Hungarian language class upstairs, I could hear screaming from the ground floor. Something or other. Nothing that mattered for more than an intense four seconds, certainly.

I had gotten less than half of the Heavy Temple review that went up yesterday written in the morning before The Pecan woke up, and since I had homework to do before class, that was the sum total of my writing time for the entire day. It’s never enough, I know, but Wednesday was particularly spare. More so than I’d prefer, whatever the surrounding circumstances.

I’m still behind from that. I have the Horseburner album announcement — which was in my notes as DONE and which I’ve already fucking referenced in a post as a past event — waiting to be finished so it can go up. WyndRider got signed to Electric Valley for their second LP. That’ll be up Monday too I guess. I know this entire endeavor is small stakes, that nobody really cares about these things except me, and that I’m doing my best, but it is frustrating to put everything you can into a thing and come up short of where you want to be. That’s all.

So maybe Temple Fang closing the week is my way of telling myself to be less rigid. Or maybe they’re on my mind because next week is Roadburn and I’m actually going to be there for the first time in five years. That’s where I first saw Temple Fang, as well as Death Alley, of which Dennis Duijnhouwer was a founding member, and his prior band with Jevin de Groot, the cosmic-doom proposition Mühr, whose performance remains among the best live music experiences I’ve ever had.

I’m nervous to be back in Tilburg. I’m older. I’m worn down. I’m out of shape physically and mentally in ways that I just wasn’t in 2019. I’m tired all the time. Running in circles around my brain is the mantra that when the music starts it’ll all be okay.

Have a great and safe weekend. Have fun, watch your head, hydrate, all that stuff. See you back here Monday for a Darsombra video premiere and all the rest of it. For now I think I might head up the hill and check on my mom.

FRM.

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To be perfectly honest, I know nothing about this band beyond what I read — because yes, sometimes I do actually skim over the various press releases posted in this space — and what I’ve heard in the 30-second teaser posted below. Nada. Haven’t heard the record, didn’t catch their 2023 demo, Dusk, that’s now gone from their Bandcamp. None of it. Still, as I found myself the other day racking my brain to think of exciting new bands in the sphere of sludge/sludge metal separate from the over-the-top shenanigans and naked tone worship of what’s been called ‘bong metal’ here and elsewhere (elsewhere first, I’m sure), word of Carnwennan‘s debut album, Lotus, showed up in my email as if on cue. And you don’t get much in the teaser, but you do get a strong hint dropped of nastiness set to unfold.

Set to deliver May 31 — the Bandcamp page set up through Darkest Records (also home to NJ’s Oldest Sea) has it as June 1, a day later; I’m listing the earlier date because, well, better sooner than later — there’s more catharsis in the single riff currently streaming from the four-part single-song work, but almost certainly plenty of space in not-that-half-minute for such things. And if it turns out that extremity rules the day, fine. I wouldn’t say I’m tired of all the psychedelic bliss and harmonies and this and that of the modern heavy underground, but sometimes you just want to hear something that hurts too.

Heads up on this, and the live shows around release time, and the video to come:

CARNWENNAN: Albany, New York-Based Meditative Sludge/Doom Metal Band To Release Debut LP, Lotus, On Darkest Records May 31st; Album Art, Teaser, And Preorders Posted

Albany, New York-based sludge/doom metal quartet CARNWENNAN arrives with their debut LP, Lotus, confirmed for late May release through Darkest Records, the label formed by members of fellow Hudson Valley sludge stalwarts Hush.

Born out of sorrowful introspection, CARNWENNAN seeks to put forth a relentless dirge of misery by combining their wall of sound with projected images of woe and suffering. Formed in 2020 as a means of escape for its members, CARNWENNAN’s droning despair coagulated into a four-piece act of meditative penance by pulling together members of the local hardcore and metal scenes influenced by bands like Earth, Sunn O))), Primitive Man, and Sleep.

CARNWENNAN’s forthcoming debut album, Lotus plays as one continuous track subdivided into four movements, an album created with great restraint and tension, resulting in a slow-motion, seamless evolution. The wooded surroundings of the band’s upstate surroundings indisputably influence the lush, organic sounds of growth and decay, life and demise, themes which are exemplified in the lyrical and visual delivery of the album.

Lotus was recorded by Ryan Slowey at the Darkest Records headquarters outside of Hudson, New York, and mastered by Brad Boatright at Audiosiege (Locrian, Iron Monkey, Mournful Congregation). CARNWENNAN’s bassist, Alex Waters, is an acclaimed painter and created the album’s cover art. Vocalist/guitarist, Jack Jackal, also does design work for many underground artists and curates Castle Jackal Magazine, contributed artwork to the album layout. Amps and pedals used on the album were conceived and built by lead guitarist Alexandria Ashpond. Since recording the album, the band’s original drummer James Leshkevich has left and been replaced by former drummer of The Acacia Strain, Kevin Boutot. An official video directed by Cam Damage has been filmed for one of the tracks, from which the teaser from the album has been sampled.

Darkest Records will release Lotus on LP and digital formats on May 31st. Preorders have been posted at Bandcamp HERE: https://carnwennan.bandcamp.com/album/lotus

Watch for an official video and additional content from Lotus to drop over the weeks ahead. Fans of Earth, Khanate, Hush, Om, Bell Witch, Primitive Man, Conan, and Old Man Gloom should not ignore CARNWENNAN’s Lotus.

Lotus Track Listing:
1. I
2. II
3. III
4. IV

CARNWENNAN is booking shows throughout the Northeast surrounding the release of Lotus, with more widespread touring in the works for later in the year. See all currently confirmed shows below and watch for updates to post throughout the coming months, including a release show for the LP.

CARNWENNAN Live:
5/04/2024 Culture Club – New Milford, CT w/ Afghan Haze, Cadmium, Bajzelle
6/09/2024 Collar City Mushrooms – Troy, NY w/ Radiation Blackbody, Compress
6/08/2024 No Fun – Troy, NY w/ Horse Grave, Flatwounds, King Mob

Recorded by Ryan Slowey at Darkest Records in Hudson, NY.
Mastered by Brad Boatright at Audiosiege.
Artwork by Alex Waters and Jack Jackal.

CARNWENNAN:
Alexandria Ashpond – lead guitar
Alex Waters – bass
Jack Jackal – guitar, vocals
Kevin Boutot – drums

https://www.facebook.com/profile.php?id=61558104848170
https://www.instagram.com/carnwennan.ny
https://carnwennan.bandcamp.com

https://www.facebook.com/profile.php?id=100092238186261
https://www.instagram.com/darkestrecords
https://darkestrecords.bandcamp.com/

Carnwennan, Lotus album teaser