Green Elder / Pensive Ceremony – Split (self-released, 11 August 2016)
Twilight Fauna – Fire of the Spirit (Ravenwood Recordings / Fragile Branch Recordings, 19 August 2016)
Hello, and happy Friday! Today I’d like to call your attention to a pair of releases you may enjoy, that just came out last month. The second one is an album called Fire of the Spirit, Twilight Fauna‘s sixth full-length record over the past several years, in addition to numerous other discographical items. (As you may or may not be aware, Twilight Fauna is a solo black metal project with strong Appalachian folk roots, with everything written and performed by sole member Paul Ravenwood of Johnson City, Tennessee.) But before that, in light of it having been released a week earlier, we’ll talk about a 12″ split record that features Green Elder — also a Ravenwood solo gig, but this one entirely eschews the black metal aspects in favor of a more somber, pure Appalachian folk style. The flip side of this split consists of yet another single-member ensemble — one that’s even more elusive than the others we’re discussing today, in terms of sharing any personal information. It’s called Pensive Ceremony, and everything here is done by an individual known only as Pythagumus, apparently from somewhere near Tacoma, Washington.
He Whose Ox is Gored – Rumors (Bleeding Light Records, 28 October 2014)
He Whose Ox is Gored – The Camel, the Lion, the Child (Bleeding Light Records, 09 October 2015)
Hey, guess what: there’s a great band on tour that’s scheduled to play in Pittsburgh tonight (Wednesday, 7 September 2016) — Seattle’s psychedelic doom quartet He Whose Ox is Gored! This is happening at The Smiling Moose, 1306 East Carson Street, South Side. Doors open at 5:30 and the show starts at 6 — also performing will be Retox, Silent, and Netherlands.
Have you heard about this? Perhaps not, because I haven’t been able to find a Facebook event or any other sort of mention of the show, ouside of a mention on the calendar section of the venue’s website, and this being included in lists of tour dates shared by the bands themselves.
It’ll really be a shame if folks miss out on this just because they didn’t know it was taking place, so this seems like a great time to share the following review of a couple HWOIG releases — specifically their debut EP from 2014, and first full-length album from 2015. These are both pretty incredible and I’ve been meaning to write about them for the past year or two anyhow, so here goes! If you like what you hear, please be sure to spread the word, especially if you live in Pittsburgh or near any of the band’s other remaining dates! (Those will be listed down in the comments section.)
Bell Witch – Four Phantoms (Profound Lore Records, 28 April 2015)
For those who may have missed the news, I’m very sad to report that yesterday we learned of a monumental loss to the music world, in the passing of Adrian Guerra, co-founder of Seattle doom duo Bell Witch, co-writer of all of that band’s material to date, and former drummer/vocalist (up through summer 2015).
After that time, his position behind the kit had been replaced by Jesse Shreibman, including on the band’s most recent tour where they pulled double duty — playing a full set of their own in addition to serving as the backing band for Wrekmeister Harmonies. But from the band’s inception through its formative years, it was Guerra and bassist/vocalist Dylan Desmond from their groundbreaking 2011 demo (incidentally, one of the very first reviews ever published on this website, back in December of that year) up through and including last year’s Profound Lore full-length Four Phantoms.
In honor and in memory of the co-creator of some of the greatest and most moving music to have reached my ears over the past five years, today I’ve decided to present you with a discussion about that latest album, the last one to feature the original Bell Witch line-up. Rest in peace Adrian, and our thoughts and sympathy are with your friends and family, colleagues and former band members.
The Second Coming of Heavy, Chapter One – Geezer / Borracho (Ripple Music, 26 July 2015)
The Second Coming of Heavy, Chapter Two – Supervoid / Red Desert (Ripple Music, 27 February 2016)
“Now it’s time for YOUR Classic Rock” says the title at the top of Ripple Music‘s website, and the slogan is fitting: since its formation back in 2010, the label has made a name for itself as one of the premier sources for stoner rock and metal, psychedelic rock, and all things fuzz-laden. We’ve talked about some of their releases in the past, for example here and also here, but more generally, the label has come to be known for putting out music of consistent quality, within the circles of those styles. And now (starting last summer), they have begun a brand-new series of 12″ splits called The Second Coming of Heavy, which so far has featured some pretty serious heavy hitters, with plenty more on the way. Today we’re going to take a look at the first two of these, Chapter One which came out nearly eight months ago, and Chapter Two which hit the streets at the end of February.
Hey, guess what. It’s Monday. Another weekend concluded, another work week begun. By now, you’re all surely well aware of my Garfieldian opinions about Mondays (also, mornings; also, lasagna), so I see little point to continue any interaction with that particular decreased equine.
So let’s change the subject, because we all know you’ve come here to hear some music, not to read my grumpy mutterings. It’s been over a year since we last checked in on our favorite D.C.-area stoner/fuzz rockers Borracho, so it’s probably about time for an update there.
As it turns out, around three months ago, the folks at Nashville’s Palaver Records launched the first entry in their new series of 7″ splits, which they’ve titled Sludgy Erna Bastard. (Slur the syllables together a bit when you say it out loud, and it should make more sense.) This inaugural edition pairs a Borracho song with a contribution from Brooklynites (and Palaver roster alums) Eggnogg. I suspect you’ll find each of them well worth taking the time to check out…
Monuments Collapse / Bréag Naofa – Split LP (Halo of Flies / Shove Records, 17 December 2013)
Good afternoon. On one hand, I’m pleased to note that this week is about halfway over. And on the other hand, it feels as though three or four weeks should have passed since Monday. I am so ready to be done working. I feel like if I don’t find something else to focus my attention and energy on for a little while, I’m seriously going to lose my shit here. And honestly, I don’t know if there’s anything that would fit the bill better than blasting some music through my headphones to drown out everything else (both externally and internally). I think it’s about time to take another dip into the pool of my favorite releases from last year.
You’ll want to pay attention to this — because what I’ve got for you today is the sort of release that too-often gets lost in the shuffle: a split record put out by a not-exactly-huge label (Wisconsin’s Halo of Flies for worldwide distribution, and Italian Shove Records in Europe), involving two not-that-widely-known bands (Monuments Collapse from San Francisco and Bréag Naofa from Seattle) who each had previously put out a self-titled album (each of which had a limited release of a few hundred copies, through smaller independent labels); and to make matters worse it was released in late December when most music publications and websites have already wrapped up their coverage for the year, compiled their year-end lists, and have already started looking ahead to the upcoming spring releases.
But I always try to be on the lookout for gems like this that might otherwise have fallen through the cracks, and then we pass the savings on to you. Or however that saying goes. Anyway, stay tuned for some great post-apocalyptic post-sludge-doom from a pair of west-coast bands you’ll likely want to get better acquainted with.
Good afternoon, everyone. Today I’ve got two different albums to introduce to you, which coincidentally have a common thread between them. Released just a week apart, one of these was conceived as the soundtrack to an imaginary western movie, while the other features incidental music that was recorded for the score of an actual western film.
Both of these are purely instrumental affairs, and they’re both more on the mellow side. If that sounds appealing to you, then there’s a pretty good chance one or the other may be right up your alley. So just pour yourself a tequila sunrise, grab a pack of rolling papers, kick off your boots and relax.