Chrch – Light Will Consume Us All; Fister – No Spirit Within (2018)

ChrchLight Will Consume Us All (Neurot Recordings, 11 May 2018)

 

FisterNo Spirit Within (Listenable Records, 18 May 2018)

 

Hey! Remember that incredible split of DOOOOOOM between California’s Chrch and Missouri’s Fister, that came out last November? We just wrote about it at the beginning of this year. Well, both of those bands recently wrapped up a joint European tour, and coincidentally they are both beginning a series of U.S. tour dates TONIGHT (although those will all be separate shows). Also, they both signed to new labels in the recent past (Neurot and Listenable respectively), and both bands have just released their first album on those labels within the past month.

In this article we’re going to talk about both of those albums, and then at the end will be a list of upcoming performances for each band. Prepare yourselves.

 

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Body Void – Ruins (2017), I Live Inside a Burning House (2018)

Body VoidRuins (Crown and Throne Ltd/Dry Cough Records, 31 January 2017)

Body VoidI Live Inside a Burning House (Crown and Throne Ltd/Dry Cough Records/Seeing Red Records, 11 May 2018)

 

At some point throughout all these years of running this website, it has become apparent that it’s very difficult for someone to go back and remember everything they heard at the end of the year, pick out all the best things, and rank them in some kind of order. And as we’ve grown and attracted more attention, with the hundreds and hundreds of things submitted here each year, to do so nowadays would be downright impossible. So here’s a quick pro-tip: the start of each new year brings with it the start of a new list. For example, the first seventeen releases from 2017 would have made that year’s list by default. Once the eighteenth release rolls around, was it better than anything already listed? Then it gets slotted in there somewhere, and everything else gets bumped down a slot. And so on through the end of December.

Naturally there will be a need to revisit the listed items at year-end, to see how well they’ve held up to repeated listens and to solidify the order. Also, anything that just narrowly missed making the cut will be kept track of throughout the year, in case it feels like there need to be any substitutions made by that time. But for the most part, it’s been a pretty decent system.

Arriving at the actual point of all this nonsense — with a January release date, San Franciscan trio Body Void‘s debut LP Ruins would have been one of the earlier records to get ranked in the 2017 list, and whatever else came in throughout the following eleven months, it ended up hanging around in that top 10 the entire time. And now, their follow-up I Live Inside a Burning House has just been released this month, boldly demanding a spot in the current year’s list (and not looking likely to be unseated any time soon).

In this article we’ll give both albums a listen, and then at the bottom don’t miss the list of their June/July tour dates, all the way across the country and back again!

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King Goat – Debt of Aeons; Wolf King – Loyal to the Soil (2018)

King GoatDebt of Aeons (Aural Music, 20 April 2018)

 

Wolf KingLoyal to the Soil (Prosthetic Records, 27 April 2018)

 

Today we have two albums to present to you, by two different bands. Two VERY different bands in fact; pretty much the only thing they have in common is the word “King” along with some kind of animal in their names. Also the fact that they each released a new album last month. Plus the fact that we deemed each of these albums good enough to write about and share with you.

But besides that, very dissimilar. Having said that, though — if you came here as a fan of one of these bands, why not step out of your comfort zone a bit and give the other a quick spin? You may be pleasantly surprised!

 

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Wovoka – Saros (2015); LLNN/Wovoka – Traces/Marks (2017); LLNN – Deads (2018)

WovokaSaros (digital Locust Rising Music / CD Battleground Records, 14 April 2015)

LLNN/WovokaTraces/Marks Split LP (Pelagic Records, 16 June 2017)

LLNNDeads (Pelagic Records, 27 April 2018)

So a few years back — about three, actually — this Californian heavy sludge band called Wovoka reached out to let us know they were releasing their debut record. We really dug it at the time, and have been revisiting it often ever since then, but somehow never quite got around to writing anything about it. Then last year we got word that these guys were participating in a split LP with Danish band LLNN. And then sometime after that, we learned that THOSE guys would be issuing a new album themselves (their second). That will be hitting the streets tomorrow, but today we’re going to cover all three of those releases.

Also, earlier this week saw the start of a month-long European tour with LLNN joining Bison. After you’re finished reading, keep scrolling down to the bottom where we’ll fill you in on those dates!

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Fister / CHRCH – Split (2017)

Fister / CHRCHSplit (Crown and Throne Ltd / Battleground Records, 17 November 2017)

 

New year, new review! Here we have a split record between a pair of bands: Saint Louisian ugly-sludge architects Fister and fellow slow-doom-ahaulics CHRCH from Sacramento. While the first of these has been written about quite often on this site, up until this record’s release about a month and a half ago, that second name was brand-new to us here in the Valley. As it turns out, the name is (relatively) new to the band as well: their 2015 debut album was released under the name Church, and today’s subject is their first official recording with the abbreviated, vowelless moniker. It won’t be quite so long to wait until their next one, though: as of last month, word on the street says the band has signed with Neurot Recordings to put out another album this spring. But before we get ahead of ourselves, we’re supposed to be talking about this split 12″, containing exactly one gargantuan track by each of the two contributing bands.

 

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Neurosis – Fires Within Fires (2016)

NeurosisFires Within Fires (Neurot Recordings, 23 September 2016)

 

So Neurosis are heading out on tour RIGHT NOW. That news by itself will immediately be a huge deal to most people who read this sentence. They’re only hitting a handful of cities across the northeastern U.S. (and southeastern Canada) over the next week and a half, but this is a band that infreuquently performs live in the first place, and very rarely visits the east coast outside the context of a larger music festival (such as Baltimore’s Days of Darkness which they’ll be headlining in October). So, yeah.

But sometimes when it comes to bands that have been around seemingly forever (well over thirty years, in this case) and have achieved a near-universal legendary status (at least, for these guys, among the majority of fans of post-hardcore/sludge metal), it’s easy to forget that there are some folks out there who may not already be intimately familiar with them. Easy to just assume that everyone knows them, disregarding the fact that there’s always somebody who has yet to make that big discovery.

After all, though, that’s the whole point of writing about music: to help someone learn about something that could potentially be life-changing. The About page of this website describes exactly that — while also referencing a particular time period of exploration for myself, which in that narrative was described as “The Napster Years,” but frankly a huge part of my own rebirth as a metal music fan directly resulted from finding Relapse Records CD samplers (like this one and this one) at a local record store (more info here and here for the younger readers). Interestingly, three of the artists that had really jumped out at younger me and grabbed my attention are ones I have written about here, just this month: Today is the Day, Dying Fetus, and now, Neurosis.

Specifically, there were a couple of songs from the band’s then-new album A Sun that Never Sets which I bought not long afterwards, and which was — front-to-back — one of the most amazing things I’d ever experienced. So in light of all that, I’m pleased to present — to any of you who may not have heard this yet — their latest release, 2016’s Fires Within Fires.

 

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Body Count – Bloodlust (2017)

Body CountBloodlust (Century Media Records, 31 March 2017)

 

Some of our younger readers may recognize Ice-T as the curmudgeonly old guy in the “It’s Lemonade” commercials, or maybe they’ll recall his stints as a reality tv star (here and here). Perhaps he’ll even seem familiar from his portrayal of a police officer on Law & Order: SVU. But before he was gracing screens small and big (and by the way, his acting career has included roles as cops dating back more than a quarter-century), the man born as Tracy Marrow in New Jersey (and then raised in the Crenshaw district of Los Angeles) made quite a name for himself as a hugely influential part of the music industry.

Known primarily as one of the innovators who helped to shape the gangster rap genre, with songs like “6 ‘N the Morning,” he later formed the group Body Count with some high school friends who shared an affinity for hard rock music — introducing the band on a self-titled track on his 1991 album O.G. Original Gangster before they came out with a full-length self-titled album the following year.

They have been heavily influenced by fellow Californian contemporaries in the worlds of thrash (like Slayer) and especially crossover (like Suicidal Tendencies) — but for years I’ve seen a lot of negativity expressed towards these guys within the so-called “metal community,” from some of its more closed-minded individuals. Whether that’s a refusal to acknowledge rap or hip hop artists as genuine musicians, or a xenophobic reaction to a perceived “outsider” tresspassing into the “scene” — well, Ice-T‘s spoken-word intro to the original “Body Count” song can be applicable in both directions: “You know, as far as I’m concerned, music is music. I don’t look at it as rock or R&B, all that kind of stuff, I just look at it as music. […] But I do what I like, I happen to like rock ‘n roll. And I feel sorry for anybody who only listens to one form of music.”

 
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