Conan / Slomatics – Split (2018 Reissue)

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Conan / SlomaticsSplit (original release 2011 / to be RE-re-released by Black Bow Records, 01 June 2018)

 

Almost two years ago, the 2011 split record between these two bands, each of whom has been discussed multiple times on this website (Conan | Slomatics), got the re-release treatment on a really cool picture disc by Black Bow Records. We discussed that right here.

But in case you missed it (or if you DID manage to snag one of those copies, but you wish you had a second one to listen to!), Black Bow is doing it again! This time on 180g heavyweight vinyl (for the first time ever) in a peculiar shade of “ogre green” (also for the first time ever). Keep reading to revisit our review of these songs from the 2016 release, and then find where you can buy a copy of the new edition.

 

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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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Ommadon – V (2014), Empathy for the Wicked (2015), self-titled (2016), End Times (2018)

OmmadonV (Domestic Genocide Records, 05 August 2014)

 

OmmadonEmpathy for the Wicked (Golden Mantra, 15 July 2015)

 

OmmadonOmmadon (Medusa Crush Recordings/Dry Cough Records/Burning World Records, 08 April 2016)

 

OmmadonEnd Times (Dry Cough Records/At War with False Noise/DGRecords/Medusa Crush Recordings, 01 May 2018)

 

Today is going to be Ommadon day. All day long. And that’s really not an exaggeration: you’re going to need all day to plow through the massive heap of noise this Glaswegian duo (featuring David Tobin, guitars, and Ewan Mackenzie, drums/keyboards) has forged together over the past four years!

Fans of the two-minute pop ditty should probably just quit reading right here. But if you’ve ever listened to Ufomammut or Kongh and thought to yourself, “Wow this is great but I really wish all of the songs were way longer and way slower,” well… this just may be your lucky day!

 

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Boss Keloid – Melted on the Inch (2018)


 

Boss KeloidMelted on the Inch (Holy Roar Records, 27 April 2018)

 
Ok folks, let’s talk new music. Here’s one that just came out last Friday that you’ll surely want to acquaint yourself with. Two years ago, when north west England’s Boss Keloid released their second album Herb Your Enthusiasm, we described them by borrowing from a press release: “an eclectic mash of riffery, dirge, groove and sway that will leave you feeling heavy, warm and slightly damp in places.”

All of that remains true on this newer release Melted on the Inch, only more so. Very much more so…

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Employed to Serve – The Warmth of a Dying Sun (2017)

Employed to ServeThe Warmth of a Dying Sun (Holy Roar Records, 19 May 2017)

 

The last time I wrote about this ‘post-hardcore/powerviolence’ band from Woking, England (in Surrey County, just outside London), I explained how I had first discovered them when they emailed me about their 2012 EP Long Time Dead. I was absolutely infatuated by that release (and still am!) but for a variety of reasons never quite managed to write anything about it until just last year.

When I heard Holy Roar was releasing a brand-new EtS album (and some of the early press seemed to be hinting at an AOTY contender) I knew I needed to get my hands on it — and also that I wouldn’t let another four years pass before writing about it! So here, I present you with The Warmth of a Dying Sun. Enjoy!

 
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Unkirk – .burial (2017)

Unkirk.burial (Tartarus Records, 31 March 2017)

 

Hello,

There are a lot of new releases coming up.

Because of this I’m offering a 30% discount on all orders to make more space at Tartarus HQ.

This includes all of our latest titles and distro items.

Visit tartarusrecords.com and use the code KEEPINGITREEL before checking out to apply the discount.

This discount ends on Saturday June 10th.

Oh, and we priced all of our shirt designs down to 9 euros for the time being 🙂

 
Thus reads the press release that just came from Tartarus Records this week. Their sale of 30% off runs through TOMORROW, so we wanted to make sure you nice people heard about this and had the chance to take advantage of it. And if you need a suggestion of where to start shopping (aside from previous Tartarus releases we’ve already discussed), might I suggest this megalithic wall of noise from Scottish dirge-drone duo Unkirk?

 

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Conan – Blood Eagle (2014), Revengeance (2016)

ConanBlood Eagle (Napalm Records, 28 February 2014)

 

ConanRevengeance (Napalm Records, 29 January 2016)

 

Following our last article that covered a few of North‘s more recent releases, it only makes sense to talk about their current tour-mates Conan as well. The Merseysider trio has been around for over ten years — although the line-up has changed a few times: from 2011 (when their split record with Slomatics came out, which was the last release we discussed here) until the 2014 emergence of their second full-length Blood Eagle, Paul O’Neill had remained behind the drums, but Phil Coumbe had taken on bass/vocal duties; then by 2016 new drummer Rich Lewis had joined, and Chris Fielding (a prolific producer and engineer who had worked on all of Conan‘s previous releases) was added as bassist/vocalist. The only constant throughout the band’s career has been guitarist/vocalist Jon Davis, who also runs Black Bow Records in his spare time — oh and by the way, you may remember from when last year when we covered Boss Keloid‘s Herb Your Enthusiasm, which was a Black Bow release, Davis and Fielding both had guest spots on that record.

Well, it wouldn’t be accurate to say that Mr. Davis being part of the band continuously has been the only constant over the past decade-plus. The sound produced by this trio has perpetually been as savage and barbaric as the literary character from which their name was derived. To be specific, they identify themselves as “caveman battle doom” — and you’ll find, as we make our way through Blood Eagle and last year’s follow-up Revengeance, there really couldn’t be a more apt description …

 
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