Hey there! We’re embarking on a pretty busy week as far as new releases are concerned. I’ve already touched upon a couple records due out this Friday (here and here), with more on their way.
Including one of the two I’ll be sharing with you today! And if you enjoy that one I promise you also won’t want to miss the band’s previous release, which came out almost exactly six years earlier! Here we go…
Eight Bells – Landless (Tartarus Records, 23 March 2016)
Eight Bells – Legacy of Ruin (Prophecy Productions, 25 February 2022)
Moving right along — here are a couple albums that were each released a few years back, but caught my attention when they were given the vinyl reissue treatment in 2021.
One is a drone/doom/free-form jazz thing from the Netherlands and the other is a more goth-oriented troupe from Portlandia. Hopefully you’ll find one of these will be to your liking. Maybe both! Only one way to find out…
Bong-Ra – Antediluvian (digital/CD Svart Lava Records and cassette Tartarus Records, 23 October 2018; vinyl Tartarus Records, 25 June 2021)
Murderbait – When the Sun Goes Down, It Goes Down Forever (digital self-released 15 November 2019; vinyl Sentient Ruin, 15 October 2021)
Good afternoon! If you’ve been hanging around here for a bit, you’ve probably heard Disemballerina, whose 2014 and 2016 albums were covered here, and A Stick and a Stone who had a release we discussed back in 2017 and one just this past January.
But if you haven’t — both are musical projects that generally tend toward the folk/ambient, sometimes a bit on the experimental side with unusual instrumentations, but always highly expressive, cathartic responses to both inner and outer turmoil. And over the past few months each has released a new single or EP, both of which I’d like to point in the direction of your ears today. Enjoy!
Disemballerina – Fawn (Riff Merchant Records, 06 August 2021)
A Stick and a Stone – Root Shock (Spirit House, 03 November 2021)
Hey folks. I won’t waste my time or yours trying to introduce you to Red Fang, because obviously you are already familiar with them — American stoner rock band for the past decade and a half, aficionados of cheap beer and good times, probably as well-known for their goofy videos as for their music itself?
Well in case you missed it, earlier this year Relapse Records put out the band’s fifth album Arrows, and as par for the course, the band also filmed a video for the title track “Arrows” (which you can check out below if you haven’t seen it yet).
Once you’ve checked out these four-plus minutes of the bandmates whacking every imaginable object in half with swords, your initial reaction is likely to be how much fun this would be, and how much you would like to try it for yourself. If that’s true, well then you’re (somewhat) in luck…
Bi-coastal DOOM duo Insect Ark is made up of film music composer and animator Dana Schechter (Angels of Light, Wrekmeister Harmonies, Zeal & Ardor, Gnaw) on bass and lap steel, and electronics expert Ashley Spungin (Taurus, Purple Rhinestone Eagle, Negative Queen) on drums as well as various synths and analog noise pedals she created herself. With this unique arrangement (featuring zero electric guitars, in the traditional sense), the instrumental assembly has brought forth their latest sonic creation (through a combination of long-distance collaboration and in-studio cooperation).
Although nearly two months have passed since the record’s Profound Lore release, last night (Sunday, 15 April) was the celebratory release show in Brooklyn. Next up, the pair will be hitting the Roadburn stage later this week followed by a month-long tour through Europe. You can find a listing of all those dates at the bottom of the page, but first, check out Marrow Hymns!
A Stick and a Stone – The Long Lost Art of Getting Lost (cassette Sentient Ruin / Breathe Plastic, CD Spirit House; 21 July 2017)
Hey… remember several months back when Bandcamp donated all of their profits one day to the ACLU to aid in the fight for equal rights for all? Well apparently that was a big success, and they’ve decided to do something similar again, TODAY.
Their announcement earlier this week said, in part (read the whole thing here):
We support our LGBT+ users and staff, and we stand against any person or group that would see them further marginalized. This includes the current U.S. administration, and its recent capricious declaration that transgender troops will no longer be able to serve in the military.
In response, we will be donating 100% of our share of every sale on Friday, August 4th (from midnight to midnight Pacific Time) to the Transgender Law Center, a nonprofit organization that works tirelessly to change law, policy, and culture for the more equitable.
That announcement also included a list of featured artists of various gender identities, and they’ve also posted a follow-up detailing hundreds of bands and labels who’ve pledged to join in by donating all or part of THEIR profits from today as well.
Of course, our archives here at Valley of Steel are filled with releases that are available on Bandcamp as well, if you’re looking for something to buy today. And if you keep reading, here’s one more recent release you may wish to consider.
Disemballerina – Undertaker (Graceless Recordings, 28 June 2014)
Disemballerina – Poison Gown (Minotauro Records, 10 July 2016)
Moving right along with our theme of not-exactly-metal music, today we’re going to cover a pair of albums by Portlandian trio Disemballerina. This ensemble first came to my attention about two years ago when harp/viola player Myles Donovan had contacted me about their album Undertaker, which had been mixed and mastered by Tad Doyle and released via the Loss-owned Graceless Records. It was described as “something like doomed chamber music,” and had cover art that was taken from a series of images where the harpist had placed found bird carcasses (in this case, a blue heron) into the photocopier at Kinko’s. With a pedigree like that, of course I was instantly intrigued.
Disemballerina, it turns out, had been formed back in 2009 by Donovan and guitarist Ayla Holland. The two have worked with a number of other musicians over the years, but their line-up is currently set with the inclusion of cellist Jennifer Christensen. Last month, the “doomed chamber” group had another album emerge — Poison Gown — through Italian label Minotauro Records, and so today we’ll tackle both of those records.
High Fighter – The Goat Ritual (self-released, 28 October 2014)
High Fighter – Scars & Crosses (Svart Records, 10 June 2016)
Zirakzigil – World Builder (Prosthetic Records, 10 June 2016)
Hey folks, how are you? Thanks for stopping by. Are you ready for another dose of good stuff to listen to? I hope so, because once again I’ve got some here to share with you today.
Both of the bands we’ll be discussing today will have an album released on Friday: High Fighter from Hamburg, Germany, will see their first full-length put out by Svart Records, which we’ll talk about in addition to that band’s debut EP that was self-released a while back; Zirakzigil from Portland, Oregon, also have their first LP forthcoming, one which was originally released by the band last year but is now being repackaged (and etched onto vinyl for the first time) by Prosthetic Records.
Graves at Sea / Sourvein – Split EP (Seventh Rule Recordings, 13 May 2014)
Sourvein – Aquatic Occult (Metal Blade, 08 April 2016)
Hello and good afternoon, longtime friends and first-time visitors. I hope your Monday has been, at minimum, tolerable. From this side, “Today I didn’t even have to strangle anyone with their own phone cord or throw my computer through the cubicle wall out of frustration / I got to say it was a good day.”
Anyway, whatever kind of day you’re having, get ready for some positive, uplifting vibes to be coming your way from the music I have here to share with you. Now, that music is going to start with Graves at Sea, and for those who’ve heard the full-length they put out earlier this month (reviewed here), you’ll be able to tell right away that last statement was at least partly sarcastic. (For those who haven’t heard it, what the hell are you waiting for? Go read that review, or even better, check them out in person during their tour that starts tonight in Atlanta!)
The remainder of this article will be about material — some of it a couple years old, some from just a few days ago — by the southern sludgery cesspit Sourvein; although it may not seem that way, this is (supposedly) where the positivity comes into the equation. Or at least truthfulness and realism. Off we go …
Graves at Sea – The Curse That Is (Relapse Records, 01 April 2016)
After forming nearly fifteen years ago, taking some time off and then reforming with a number of line-up changes over the years, and recording a spattering of demos and EPs and singles and splits during all that time, TOMORROW (Friday, April 1st) the crushing doom entity that is Graves at Sea will finally drop its debut full-length record on an unsuspecting world. A preview copy of The Curse That Is showed up in my email inbox earlier this month, while I was away on vacation. I was pretty excited to check it out, so as soon as I found myself with a spare 75+ minutes to sit and listen to it, I made sure to seize the opportunity. Which happened to be on the plane ride back home. Honestly, the irony inherent in that situation — listening to a band called that while watching the flight attendants demonstrate the use of flotation devices and various other safety features — didn’t dawn on me at all until sometime later.
Anyway, like I said, the album comes out tomorrow, so I’d like to tell you a little more about it. And then, about a week and a half from now, the band will be heading across the country to take a trip up the east coast — their first time doing so in quite a few years — with Atlanta’s Order of the Owl (who, you may recall, put on a hell of a show themselves, as I had discussed here a couple of years ago). So once you reach the end of this article, keep on scrolling to the comments section, where I’ll include a list of dates and cities these two groups will be visiting.