Doomstress Touring to Descendants of Crom, Doomed & Stoned and Heavy Mash Fests

Posted in Whathaveyou on September 21st, 2018 by JJ Koczan

doomstress

Science tells us that if you’ve got three festival appearances in the span of about two weeks, you should probably just make a tour of it. Accordingly, Texas heavybringers Doomstress are setting out on Sept. 25 for a round of shows that will take them to Descendants of Crom in Pittsburgh, Doomed and Stoned in Indianapolis and Heavy Mash in their home state. They’ll start out in Connecticut on the run and head into the Midwest for gigs in Michigan and Wisconsin and Missouri en route to finishing Oct. 13 in Arlington. Having had the chance earlier this year to see them at Maryland Doom Fest (review here), I’ll confirm they put on a killer set, though to be honest with the amount of touring they’ve put in at this point for a band who don’t yet have a full-length out, they damn well better.

And speaking of — Hey Doomstress, how ’bout a record, one of these days?

Maybe we’ll get there in 2019. Until then, there are fests to hit:

doomstress tour dates

Doomstress fall tour run will see the band playing 3 fests as well as dates w/Windhand, Satan’s Satyrs, Come to Grief & Sierra. The band continues to expand their tour reach and will play their 1st shows in the upper northeast.

Doomstress is also officially announcing the inclusion of touring guitarist Matt Taylor as a full member of the band on this tour and the trio will be joined by Spike the Percussionist (of Fiddle Witch & the Demons of Doom) handling drum duties for this tour.

9/25 New London, CT @ 33 Golden St.
9/27 Scranton, PA w/ Come to Grief & Curse the Son
9/28 Pittsburgh, PA @ Descendants of Crom Fest
9/29 Detroit, MI @ w/Sierra & Lucid Furs
9/30 Grand Rapids, MI @ w/Sierra
10/2 Milwaukee, WS @ Cactus Club
10/4 St. Louis, MO @ The Sinkhole
10/5 Indianapolis, IN @ Doomed & Stoned Fest 3
10/10 Houston, TX @ White Oak Music Hall w/Windhand & Satan’s Satyrs
10/13 Arlington, TX @ Division Brewing – Heavy Mash Fest

www.doomstress.com
www.doomstress.bandcamp.com
www.doomstress.bigcartel.com
https://www.facebook.com/DoomstressBand/
instagram.com/Doomstress_band
twitter.com/Doomstress
www.darkhedonisticunion.bigcartel.com
https://www.facebook.com/DHURecords/
https://twitter.com/dhu_records

Doomstress, “Bitter Plea” official video

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Review & Double Track Premiere: UFO Över Lappland, UFO Över Lappland

Posted in audiObelisk, Reviews on September 21st, 2018 by JJ Koczan

ufo over lappland self titled

[Click play above to stream ‘JaEDeJaE’ and ‘Lemmy on the Beach’ from UFO Över Lappland’s self-titled debut. Reissue available to order now from Sulatron Records.]

Lappland is located in the north of Sweden. All the way up. It is home to the country’s largest nature preserve, and while I don’t know if there’s a particular history of flying saucer sightings, in 1959, a slice of sci-fi cheese called Rymdinvasion i Lappland — “Space Invasion of Lappland” — was released and maybe that’s where psych-jamming four-piece UFO Över Lappland got their name from. Or maybe they’re aliens. The latter would explain the extraterrestrial vibes of their self-titled debut, originally released in 2016 by Fluere Tapes in a glittery translucent blue-green pressed in an edition of 50 copies. 50 copies. Brutal. Long gone, of course.

Sulatron Records — helmed by Dave “Sula Bassana” Schmidt of Electric Moon, Zone Six, et al — has stepped in to reissue UFO Över Lappland‘s UFO Över Lappland on CD and LP, turning the original three-track digital outing from guitarist Krister Mörtsell, bassist Christer Blomquist, synthesist Peter Basun and drummer Andreas Rejdvik into a five-song/50-minute instrumentalist sprawl that includes “Lemmy on the Beach,” which featured as a bonus track on the original tape, and the oddly-capitalized “JaEDeJaE.” The UFO may be over Lappland, but space is for sure its final destination, and the band gives it well enough thrust to get there. Opener and longest track (immediate points) “Keep on Keepin’ on Space Truckin'” begins its 12-minute cast with tense, proggy lines of looped guitar as a and a solid forward drumbeat as a bed for the lead line. Swirl comes and goes via synth and the bass makes itself felt in low end swells working on their own wavelength to underscore the groove. It’s all on the beat, all working together toward the same end, which is the thorough and early immersion of the listener to be sustained over the course of the proceedings. Bridge to engine room: take us to full impulse.

I don’t think UFO Över Lappland have the intent of reinventing space rock or heavy psychedelia, but what they do exceedingly well throughout their first album is to balance fluidity and drift in their jams with a subtle outward push. The only time they really go full-on with a Hawkwindian rhythm is, suitably enough, in “Lemmy on the Beach,” but even in “Keep on Keepin’ on Space Truckin'” there’s an underlying movement happening that carries through the track such that when it hits into its fuller-toned payoff in the second half, the shift is natural. Tied to the earlier stretch via synth, they return soon enough to the bouncing rhythm and airy guitar to close out, giving way to “JaEDeJaE,” which begins with a rumble and feedback for the first minute of its total 6:52. The shortest track on UFO Över Lappland, it continues the modus of the opener in patiently building repetitions, but there’s a keyboard line that takes forward position early and is met by fuzzy lead guitar that stands it out among its companion cuts.

ufo over lappland

Obviously there isn’t time for the same kind of stretch as in the opener, but UFO Över Lappland still find room for a suitable payoff, with the drums signaling the change with tom runs and a switch to crash-cymbal timekeeping, adding to the overall wash. Noise and a few seconds of silence make a fitting enough bed for the lead into “Podzol” (10:40), which dedicates itself to the most patient and hypnotic unfolding on the record. Not a minor distinction, given the context of what surrounds. But even with the drums setting forth a progressive motion, that itself is gradual too. It opens minimal, then synth and guitar, then bass and drums, the latter just with toms, then snare, then cymbals. It all happens in stages, and it’s not until they’re about halfway through that the full breadth of the song comes to bear. “Podzol” has a payoff of its own, but the sense is that it’s more about the trip than where they wind up, though I won’t discount the dissolution into noise that happens in the last minute either, nor how it bleeds into the subsequent “Nothing that Lives Has… Such Eyes!…,” continuing the cosmic thread forward as it gracefully takes hold.

By this point they’ve set the parameters and the coordinates are locked in. “Nothing that Lives Has… Such Eyes!…” nonetheless marks itself out with its noisy second half and a slower-rolling finish, leaving little question as to why it originally was intended as the pre-bonus track capstone of the album. There is a feeling of waiting for that payoff to arrive that’s set up through the similar structures that run throughout the first three songs, but UFO Över Lappland make sticking it out worthwhile, and “Lemmy on the Beach” resolves itself in a space rock blast that’s true to form in a way the rest of UFO Över Lappland only hinted at being, so there’s a showing of some freakout genre fluidity as well following that closer’s early going, which again pairs active rhythms with spacious guitar work and synth, finding an atmosphere outside the atmosphere but still wearing mag-boots to stay grounded.

Again, it’s that balance that’s so crucial to UFO Över Lappland‘s first outing, and while they’ve given themselves room to grow and expand their style in terms of structure, there’s a tonal reach from top to bottom in the mix that proves to be height as much as depth. It might be for the converted, but the converted won’t complain at its arrival, and especially given the here and vanished nature of the original pressing — a second round of tapes is reportedly available from the band — there’s plenty of reason to see why Sulatron would invite listeners to get lost in its vastness. It’s a pleasure to do so, and considering the original release was two years ago, one hopes it won’t be that much longer before UFO Över Lappland offer a follow-up. It would only be welcomed, however it might ultimately be beamed in.

UFO Över Lappland on Thee Facebooks

Sulatron Records webstore

Sulatron Records on Thee Facebooks

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Killer Moon to Release Nocturne into Nebula Oct. 28 on Kozmik Artifactz

Posted in Whathaveyou on September 20th, 2018 by JJ Koczan

killer moon

Listening to the 14-minute ‘Dazed’ from Nocturne into Nebula, the third album from swirlbringing outfit Killer Moon, it’s kind of astounding to discover they’re from Chicago and not the West Coast. The band first issued the noise-laced, gnarly-as-you-please collection on their own just before the dawning of the dark age in which we now dwell, and they’re putting it out through Kozmik Artifactz at the end of next month. That in itself is a rager of an endorsement, but man, the album just smokes. I didn’t hear it when it came out because I’m terrible at this, but yeah, if you’ve got a little time to let your mind wander, dig in. It’s streaming from the band’s Bandcamp page at the bottom of this post, and whether you call it a reissue or a first official release, it’s pretty easy to see why all parties would agree it belongs on a 12″ platter.

I don’t want to turn it off. So I won’t.

From the PR wire:

killer moon nocturne into nebula

Killer Moon – Nocturne into Nebula – Out 28th September!

As the late great timothy Leary once said “turn on, tune in and drop out “This is the manifesto of Killer Moon, expanding consciousness through experience. Pushing the boundaries of what is real and what is not what is whole and broken what is and is not. To perform as a singular entity together and separate to invoke feelings of the great ones and act as a conduit , to become a beacon of light and guide the seeker to the edge of reality. Killer Moon exists in the space between the in-between, transcendental beings only here for a moment reminding us that life is not limited to the five senses we have been force feed our entire lives.

Killer Moon sound mixes the melancholic beauty and noise of Amaris Aviles and amazingly melodies with baroque flourishes of Jesse Garza held together by the fierce passionate drumming of Anthony Macias. Killer Moon spills every inch of their soul on these songs, reflecting the joys, sorrows, and the complications of love and life. It’s their sound, many will come to recognise soon as they embark the journey into other worldly adventures.

WE ARE A REINCARNATION OF WHAT IS A FOREVER CHANGING ENERGY. WE ARE LIGHT AND LOVE. WE TRAVEL THROUGH THIS LIFE BEING INFLUENCED AND TAKING IN WHAT WILL MAKE US BETTER HUMAN BEINGS. WE RELATE ALL THE BEAUTY INTO WHAT IS OUR PUREST FORM OF EXPRESSION.

Nocturne into Nebula will be released on heavyweight vinyl and CD on the 28th of September on Kozmik Artifatcz.

VINYL FACTZ
– Plated & pressed on high
performance vinyl at
Pallas/Germany
– limited & coloured vinyl
– 300gsm gatefold cover
– special vinyl mastering

TRACKS
1. TEMPLE OF THE SON
2. LIVE FAST DIE YOUNG
3. DAZED
4. AFRICANS FROM SPACE
5. DEATH TRIP
6. BLIND
7. TRANSMITTING
8. BROKEN BLUES
9. AS ABOVE SO BELOW

Killer Moon are:
Jesse Garza – Lead Guitar and Vocals
Amaris Aviles – Bass Guitar
Anthony Macias – Drums
Zak Bronson – Keys & Outer Space Sounds

https://www.facebook.com/Killer-Moon-302877409880303/
https://killermoonmusic.bandcamp.com/
http://kozmik-artifactz.com/
https://www.facebook.com/kozmikartifactz

Killer Moon, Nocturne into Nebula (2016)

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Review & Track Premiere: We Hunt Buffalo, Head Smashed In

Posted in Bootleg Theater, Reviews on September 20th, 2018 by JJ Koczan

we hunt buffalo head smashed in

[Click play above to stream the premiere of We Hunt Buffalo’s lyric video for ‘The Giant’s Causeway.’ Their new album, Head Smashed In is out Oct. 26 on Fuzzorama Records and New Damage Records.]

As images go, ‘head smashed in’ is as vivid as it is succinct and violent. We Hunt Buffalo, who made their debut on Fuzzorama Records in 2015 with their second album, Living Ghosts (discussed here), return with Head Smashed In as a nine-song/43-minute collection of beefed-up modern progressive-styled heavy, bordering often on metal in songs like “Angler Must Die” with the popping snare of drummer Brandon Carter backing the dual-vocal hook from guitarist Ryan Forsythe and bassist Cliff Thiessen, or in the lumbering moments of finale “God Games.”

Those stretches, though, aren’t without contrast, and We Hunt Buffalo wind up with a sneakily dynamic style that takes on heavy rock directly in cuts like “Keep it Refreshing,” which to my New England-dwelling ears seems to have a bit of Roadsaw in its chorus, and centerpiece “Industry Woes,” which engages harsher vocals but has a classic round of starts and stops that not only shows a tightness on the part of the band instrumentally, but easily crosses genre lines in a way that sounds natural and familiar while still remaining stylistically nuanced. That nuance is in part thanks to the production, which is crisp and brings out a tension in a way that Living Ghosts seemed more open and looser on the whole, but is full in its overall affect and massive sounding especially in the guitar and bass tones.

Big choruses pay off dug-in movements, and from opener “Heavy Low” through “Angler Must Die” and “Prophecy Wins” and into the instrumental “Get in the Van,” the balance between proggy detail-making, weighted force of tone and rhythm and traditional-feeling earwormery makes Head Smashed In true to its titular sense of impact without necessarily the direct one-on-one violence that “smashed” brings to mind. In the end, there are many ways to cave in a skull.

we hunt buffalo

The shouts in “Industry Woes” feel well-enough earned by that song’s theme, and they have a likewise well-placed effect on the context of the record as a whole, speaking to roots in the Mastodon-informed sphere of modern underground thrust, but for the most part, Head Smashed In works at a comfortable pace. Later, “God Games” takes on an almost post-rocking feel in its subdued verses, but even “Prophecy Wins” — the longest cut at 6:12 and the last chapter of the opening salvo — has a steady, obviously-in-control rollout that never flies too far off the handle on its way to its engaging melodic finish. “The Giant’s Causeway” finds Carter double-timing his ride cymbal in the chorus, and that adds a sense of urgency, but in that song as well there’s no danger of We Hunt Buffalo losing their way. They might be at their speediest on “Get in the Van,” but the same applies, and ultimately, the range on Head Smashed In is more about volume and melody than about tempo.

That’s not to say there’s no changing it up, as the back-to-back run of “Anxious Children” into “God Games” demonstrates, just that the impression the tracks make draws more from the trades between Forsythe and Simpson on vocals and the shifts between louder and quieter parts than playing grind on one track and doom on another. Their pacing helps draw the material together and create a flow that moves the listener from start to finish, and it’s in how they work within that sphere that We Hunt Buffalo emanate a maturity in their approach that even just three years ago they simply didn’t have. It might not come across as such on a first time through, but Head Smashed In is actually pretty classy. The performances are sharp, the mix is deep and allows for emotional resonance in the melodies that are so crucial to the memorable nature of the songs, and there is an overarching groove that results in an all-the-more coherent vibe. Very much a third album. Very much the product of a group who know what they want to do, who are steady in their approach, confident in the studio, working how they want to work and able to bring a sense of energy to their output regardless of the outward push. It’s not the kind of record a band could make their first time out.

And maybe that’s part of the idea behind the title — to mask some of that intricacy in a notion of brute force. Fair enough. Influences from the likes of Elder situate We Hunt Buffalo in a forward-thinking heavy sphere with the likes of Forming the Void, and like the lines in its cover art, which also features a smashed head or two, it’s the pinpoint details in the songs that make their third LP succeed in the manner it does. They bolster the strong choruses of cuts like “Prophecy Wins” and “The Giant’s Causeway” and “Keep it Refreshing,” while giving those who’d rightfully return for multiple listens all the more reason to keep coming back. It’s songwriting. But just like one might look at the name of the album and prejudge an expectation of what’s coming, there’s more to the proceedings in the individual pieces than their plus-sized riffs and stories about monsters. Though there’s plenty of that too for anyone who’d readily take them on.

We Hunt Buffalo, Head Smashed In (2018)

We Hunt Buffalo on Thee Facebooks

We Hunt Buffalo website

We Hunt Buffalo on Bandcamp

Fuzzorama Records website

Fuzzorama Records on Thee Facebooks

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When the Deadbolt Breaks Sign to Desert Records for Angels are Weeping… God Has Abandoned… LP Release

Posted in Whathaveyou on September 20th, 2018 by JJ Koczan

After hooking up with Sliptrick Records earlier this year in order to issue their latest album, the well-ellipsed Angels are Weeping… God Has Abandoned…, on ye olde compact(e) disc, Connecticut-based dark-psych doomers When the Deadbolt Breaks have inked a deal with Desert Records to press the outing to vinyl. It’s the first LP release in a 14-year tenure for When the Deadbolt Breaks, so by no means a minor occasion to consider. Founding guitarist/vocalist Aaron Lewis — who also toured this past Spring playing bass for Earthride — mentions the CD as being imminent, and I don’t have an exact release date for the vinyl, which I expect will also drop one of the five 10-plus-minute tracks that comprise the record (though anything’s possible in this horrifying age of wonders), but Desert Records says it’ll be the soundtrack to your winter, so I’ll assume it’s not that far off.

Good news in bleak sounds, whenever it arrives. The album is also streaming in full at the bottom of this post. If you’re up for a little twist of your psyche, have at it:

when the deadbolt breaks

When the Deadbolt Breaks – Desert Records

Desert Records would like to welcome When The Deadbolt Breaks to the family. This album brings you Psychedelic at its most beautiful, with Doom at its most darkest and crushing. Angels are Weeping will be your soundtrack for the coming winter.

Says the band, “We are very excited to sign with Desert Records for the vinyl release of our new album, “Angels are weeping… God has abandoned…”. We feel that this is going to be a great partnership and look forward to what the future will bring.

“The album is currently available digitally (and CD as soon as customs releases them to us) through our bandcamp, and is scheduled to be released on CD and digital worldwide via SlipTrick Records this month.

“We have wanted to do a vinyl release for some time, and feel that this is the perfect release to do that with. Thanks to Desert Records, it will happen.”

When The Deadbolt Breaks are:
Aaron Lewis – Guitars/Vocals | Mike Parkyn – Bass/Backing vocals | Randall Dumas – Drums

https://www.facebook.com/WhentheDeadboltBreaks/
https://whenthedeadboltbreaks.bandcamp.com/
https://www.youtube.com/user/Deadbolt6669
https://www.facebook.com/desertrecordlabel/
https://www.facebook.com/sliptrickrecords/

When the Deadbolt Breaks, Angels are Weeping… God Has Abandoned… (2018)

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Eternal Black to Record New Album in November; New Song Posted

Posted in Whathaveyou on September 20th, 2018 by JJ Koczan

New York doom torchbearers Eternal Black play Descendants of Crom next weekend in Pennsylvania, and they’ve got a date locked in for Brooklyn near the end of October, but one assumes the rest of their time will be spent putting the finishing touches on their sophomore full-length before entering the studio in November to put the thing to tape. They’re giving a kind of barebones here’s-a-riff-dig-it preview of what’s to come in a rehearsal room clip of the track “The Ghost.” The album will be recorded with the same team that helmed their 2017 debut, Bleed the Days (review here), and they’re currently looking for a label to help them put it out. Frankly it’s hard to imagine someone won’t pick them up for the release, which would presumably be in 2019, because, well, it’s almost 2019 anyway and these things take time.

They sent the following update down the PR wire:

eternal black

Eternal Black Return To The Studio In November 2018 To Record Follow-Up To Their Debut Full-Length Album, Bleed The Days

Preview Of New Track “The Ghost,” Seeking Record Label

Brooklyn-based doom band ETERNAL BLACK will begin recording their second full length album in November 2018. Comprised of seven new songs, the as-yet untitled album is the follow-up to their debut album, Bleed the Days. Rehearsal footage of a new track, “The Ghost,” is now available on YouTube.

Eternal Black will once again be working with the production team of Joe Kelly and Kol Marshall (Mercyful Fate, King Diamond, Ministry) at Suburban Elvis Studios. The duo has produced all of Eternal Black’s studio recordings including Bleed the Days and their self-titled EP. “We are fired up and ready to head North to reconvene with our brothers Joe and Kol,” the band comments. “The material for this new album is a big step forward in the evolution of the E.B. sound. The dark parts are darker, the groovy parts are groovier. As before we are dragging doom back to its roots while still driving it forward. But this time around the songwriting is more concise and punchier.”

The band is seeking a record label to work with them on the release of the new album. Interested parties should contact the band via eternalblackdoom@gmail.com or their Facebook page (https://www.facebook.com/blackhanddoom).

Formed in late 2014, Eternal Black is made up of Joe Wood on drums (Borgo Pass, Bloody Sabbath), Hal Miller on bass, and Ken Wohlrob (End of Hope) on guitar and vocals. The group came together out of a desire to create dark songs driven by fuzz-drenched riffs and old-school heavy grooves.

Eternal Black live:
Sep 23
Eternal Black, Mountain Tamer, Matte Black, EDGE Gigging Crew
PIANOS · New York, New York

Sep 28
Descendants of Crom 2018
Sep 28-29 · Cattivo · Lawrenceville, Pennsylvania

Oct 26
Eternal Black – Yatra – It’s Not Night It’s Space – Seasick Gladiator
Lucky 13 Saloon · New York, New York

http://eternalblackdoom.com
https://eternalblack.bandcamp.com
https://www.facebook.com/blackhanddoom
https://instagram.com/eternalblackdoom/
https://soundcloud.com/eternalblackdoom
https://www.amazon.com/gp/product/B07476RQL8/
https://itunes.apple.com/us/album/bleed-the-days/1263331681
https://open.spotify.com/album/4AgiDSE4pDn4nSc9CsqxZG

Eternal Black, “The Ghost” rehearsal room demo

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Child Announce European Tour; Playing Up in Smoke, Desertfest Belgium, Keep it Low, Into the Void and Rockpalast

Posted in Whathaveyou on September 20th, 2018 by JJ Koczan

I guess when you’re crossing over Asia to go tour Europe from Australia, you want to make it worth the trip, but even so, the upcoming European jaunt from Melbourne-based heavy blues traditionalists Child is striking in its efficiency. Arriving ahead of Up in Smoke in Switzerland, the trio will spend just under three weeks on the road in the EU and finish in the UK, making stops at Desertfest Belgium 2018, Keep it Low and Into the Void festivals along the way. Of note as well is the date at Rockpalast Crossroads, which will of course be filmed and aired and is likely to make its way online as those videos regularly do. And oh yeah, a goodly portion of the dates are with Acid King, so fucking a, this is a really good god damn tour.

Child go carrying the last copies of their limited 45RPM 12″ vinyl EP, titled simply I, which was released earlier this year on Kozmik Artifactz and is another one of those outings I lost on my stolen laptop back in May before I could give it a writeup. Never too late, I suppose, with a Quarterly Review coming in the next couple weeks. Onto the list they go.

They sent the following down the PR wire:

child euro tour poster

Child – European Tour Oct. 2018

CHILD are returning to Europe in October 2018 to play ROCKPALAST CROSSROADS on German TV station WDR with US chart toppers BLACKBERRY SMOKE. Alongside this will be a selection of autumn festivals, a run of club shows with our legendary friends ACID KING and headline club shows. Remaining vinyl copies of our recent EP “I” are only available from shows and will almost certainly be sold out by the end of the tour.

Details and tickets available at www.childtheband.com

Supported by Marshall Amplification and Roger Mayer Effects Pedals

Dates:
10.04 AUT – Vienna, Szene *
10.05 DEU – Ulm, Hexenhaus
10.06 CHE – Pratteln, Z7 Konzertfabrik, Up In Smoke
10.07 DEU – Dresden, Chemiefabrik *
10.08 DEU – Hamburg, Hafenklang *
10.09 DNK – Copenhagen, KB 18 *
10.10 SWE – Gothenburg, The Abyss *
10.11 NOR – Oslo, John Dee *
10.13 DEU – Bonn, Harmonie, Rockpalast Crossroads w/ Blackberry Smoke
10.14 BEL – Antwerp, Trix, Desertfest
10.15 DEU – Cologne, MTC *
10.16 DEU – Freiburg, White Rabbit Club
10.17 ITA – Milan, Ligera *
10.18 ITA – Bologna, Freak Out Club *
10.19 DEU – Munich, Feierwerk, Keep It Low
10.20 NLD – Leeurwarden, Neushoorn, Into the Void
10.21 NLD – Utrecht, Db’s *
10.23 GBR – London, The Black Heart
* with Acid King

https://www.facebook.com/childtheband
https://www.instagram.com/childtheband/
http://www.childtheband.com
https://childtheband.bandcamp.com
https://www.youtube.com/childtheband
http://kozmik-artifactz.com/artist/child/

Child, I EP (2018)

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Randall Dunn to Release Beloved Nov. 9; “Something About that Night” Video Posted

Posted in Whathaveyou on September 19th, 2018 by JJ Koczan

randall dunn

Holy mackerel. If you’ve got six minutes or thereabouts, go ahead and plug yourself into Randall Dunn‘s video for ‘Something About that Night’ at the bottom of this post. If you need to go fullscreen because it’s a super thin aspect ratio — cinematic is the whole idea, top to bottom — it’s worth it. The music is affecting, the drama palpable in the soundscape, and the vocals of Frank Fisher give the track a soulful sensibility that works amazingly well with the synthesized worldmaking behind. It’s gorgeous and troubling in the best way.

Dunn, noted for his collaborations with SunnO))) and others, for his participation as a founding member of Master Musicians of Bukkake, and for his production work for Earth, the aforementioned SunnO))), Akron/Family and many more, will release his first solo album, Beloved, on Nov. 9 through Figureight Records. Considering a revolving cast of personnel, I wouldn’t expect “Something About that Night” to speak for the whole album in mood or arrangement, but it certainly stands on its own and the video, directed by Mu Tunç, more than earns its worry beads.

From the PR wire:

randall dunn beloved

RANDALL DUNN ANNOUNCES HIS FIRST SOLO ALBUM, BELOVED (FIGUREIGHT, 9TH NOVEMBER)

FEAT CONTRIBUTIONS FROM PAST COLLABORATORS TIMM MASON, FRANK FISHER (ALGIERS) AND ZOLA JESUS

Randall Dunn, the musician, producer and engineer renowned for his work with Sunn0))), Earth, Tim Hecker, Six Organs of Admittance, Anna Von Hausswolff and so much more, finds his own voice on his first solo album, Beloved, which is set for release on vinyl and digital formats via figureight on November 9th (pre-orders now live).

Following a turbulent period of change and loss, the esteemed producer channeled his energies into a seven song meditation on “anxiety, paranoia, different shades of love, different realisations of mortality, how it can make you feel the stages of your life more deeply.”

Such sentiments are reflected across this beautiful video for the album track “Something About That Night” directed by Mu Tunc, a filmmaker from Istanbul, which we’re delighted to share alongside the album announcement. About the video Randall remarks “I found a common ground in our two cultures current socio-political climates and in the themes of the song – loneliness, loss, and the feeling of human connection’s absence. Mu expressed these sentiments through a compassionate character study of two people who are making their way through a lonely night with all of the pressures of our current age.”

On Beloved Dunn shifts his knack for emphasising the human component of music toward mining emotional resonance, and wrangling a new earthly language from the subtle details and textures generated from early digital and analog synthesisers. “I wanted to make something more like prose or a Gerhard Richter painting with sound,” Dunn says of the album. “Being someone that composes with sound, I wanted to find a voice in it that felt personal, that felt human, especially with electronics, something that didn’t feel too mechanical.” Though electronics can often feel rigid and cold, Dunn sought to find the poetry in their oscillations and a heartbeat in a rhythm outside the grid. “It’s the first time a language hit me and it felt like it was mine,” Dunn says in summation.

Across Dunn’s career as an engineer and producer he has also proven to be a valuable studio asset as a collaborator. He’s lent his arrangement ideas to SunnO))) on Monoliths and Dimensions and Earth on The Bees Made Honey in the Lion’s Skull and gone beyond producing to provide instrumentation for Six Organs of Admittance, Anna von Hausswolf, Tim Hecker, and longtime colleague Stephen O’Malley. All of which led to a pivotal invitation to engineer and produce Icelandic composer Jóhann Jóhannsson’s original score for the stylised horror film Mandy. During the project, Jóhannsson encouraged Dunn to explore his synth-driven sound designs. Jóhannsson’s unexpected passing in early 2018 also added to what Dunn refers to as “powerful moment of change.” The gentle encouragement of Eyvind Kang and Jóhann Jóhannsson, and the affirming creative contributions across the album by past collaborators like Timm Mason, Frank Fisher (Algiers), and Zola Jesus were all crucial to the birth of Beloved.

Tracklisting:
1. Amphidromic Point
2. Lava Rock and Amber
3. Something About that Night
4. Theoria : Aleph
5. Mexico City
6. Virgo
7. A True Home

Pre-Order Link: https://lnk.to/RandallDunnBeloved

https://www.facebook.com/RandallDunnMusic/
https://randalldunn.bandcamp.com/
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Randall Dunn, “Something About that Night” official video

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