Posts Tagged ‘Svart Records’

Portland, OR noisy metal duo Wizard Rifle who will release their 3rd album on 30th August through Svart Records, are streaming new track ‘Rocket To Hell’.

The band comment, “This sonic stew encompasses all the usual elements of Wizard Rifle: gut-punching, down-tuned sludge punk riffs interwoven with psychedelic overtones and triumphant builds with vocal harmonies and dual yells. Lyrically the song is much like a hangover from a thousand-year orgy of global greed. It deals with the shortcomings of mankind and the individual in the face of the apocalyptic consequences of its self-created extinction. Take the ride; strap in and blast off to this seven-minute rager.”

Stream ‘Rocket to Hell’ here:

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Wizard Rifle emerged from the metal groundswell of Portland Oregon in 2009 bent on annihilating the complacency of genre pigeonholes and throwback tropes. Their elusive sound contorts and leaps from sludgy and psychedelic, to thrash, noise and beyond, accented by vocal harmonies and shouts. On first listen, many scoff at the possibility that such a cacophony could be produced by just two band members, but seeing is believing the force that is Wizard Rifle, and skeptics become Kool-Aid guzzling disciples before the altar. Are you next?

Teaming with Nanotear Booking, Guitarist/Vocalist Max Dameron and Drummer/Vocalist Sam Ford have delivered frenzied live shows extensively across the US and Canada including appearances at SXSW, Psycho Las Vegas, Sabertooth, Hopscotch, Crucial Fest, and Musicfest NW. They have shared bills with the likes of The Melvins, High On Fire, YOB, Lightning Bolt, Nick Turner’s Hawkwind, Danava, and SubRosa, and hit the road with Bongzilla, Buzzov*en, Black Cobra and Church of Misery to name a few. Their two full length releases, 2014’s “Here in the Deadlights” and 2012’s “Speak Loud Say Nothing” have drawn great praise and kept critics and fans on their toes. Their upcoming self-titled LP, due out this summer via Svart, pushes the boundaries even further with the aid of metal mix guru Billy Anderson at the helm of the studio.

Wizard Rifle are preparing to join seminal psych metal band Acid King and rising nightmare grungers Warish for the Busse Woods 20th Anniversary Tour this summer in the U.S.

Acid King Busse Woods 20th Anniversary Tour Dates with Wizard Rifle and Warish

09/20 Portland, OR @ Star Theater – Hesh Fest

09/21 Seattle, WA @ Highline

09/23 Denver, CO @ Marquis Theater 

09/24 Omaha, NE @ Slowdown

09/25 Chicago, IL @ Reggies

09/26 Indianapolis, IN @ Black Circle

09/27 Cleveland, OH @ Grog Shop

09/28 Buffalo, NY @ Mohawk Place

09/29 Boston, MA @ Sonia

09/30 New York, NY @ Knitting Factory 

10/01 Philadelphia, PA @ Johnny Brenda’s

10/02 Richmond, VA @ Richmond Music Hall

10/03 Raleigh, NC @ Kings

10/04 Asheville, NC @ Mothlight

10/05 Atlanta, GA @ The 529

10/06 New Orleans, LA @ One Eye Jack’s

10/07 Dallas, TX @ Gas Monkey

10/09 Albuquerque, NM @ Sister

10/10 Mesa, AZ @ Club Red

10/11 Los Angeles, CA @ Satellite

10/12 San Francisco, CA @ Chapel

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Finnish noise rockers Throat who are set to release their highly anticipated and Aural Aggro approved second album, Bareback on August 31st via Svart Records have shared a second track. ‘Born Old’ is described by vocalist/guitarist Jukka Mattila as ’a deliberate effort to break some formulas we always fall into when writing music. To most people it might sound like the same drivel we always do and in spite of the fact that they’re probably right, we’re proud of our song. Lyrically, ‘Born Old’ is about feeling bad in every which way possible. Feeling good is overrated anyway. Plus there’s a Coil reference in the lyrics, see if you can spot that!’

Listen to ‘Born Old’ here:

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Svart Records – 31st August 2018

Christopher Nosnibor

I read ‘ffo Unsane, Jesus Lizard, Shellac, Blacklisters’ and practically jazzed my pants before I’d even opened the email, let along downloaded the promo. That was before I read the slick, sleazy, fluid-dripping pitch for Finland-based Throat’s sophomore album, as seeing the band plunging ‘head first into unprotected encounters with musical elements hardly even hinted at on their previous releases.’

‘Safe Unsound’ opens the album with a sparse into: just guitar and baritone croon that invited comparisons to Glenn Danzig. But then the guitar goes to picked notes and the atmosphere builds into more Neurosis territory… but they keep pulling back. You’re waiting for it to break, for something to happen… How long is it reasonable to hold back? I recall seeing Shellac-influenced Glasgow act Aereogramme circa 2003 and being bored to tears: there simply wasn’t enough reward for the patience of enduring the build-up. But then, Shellac can be masters of frustration: just listen to Terraform.Thankfully, Throat cut loose and hit the distortion pedals around the three-and-a-half minute mark during this eight-and-a-half minute epic. And the song has a sort of coda which is a repetitive, grinding loop worthy of early Swans, which culminates of two minutes of screeding feedback and noise. So far, so punishing. And there are still another seven songs left to go.

‘No Hard Shoulder’ justifies the Jesus Lizard/ Blacklisters comparisons, with its driving guitar and bass welded together and glued to pulverizing drums that forge a Melvins-ish take on grungy stoner rock. Gritty, shouty, unpolished, it also evokes the Touch ‘n’ Go vibe while also hinting at favourable parallels with contemporaries like Pissed Jeans. So far, my jizzed pants are justified, and the rest of the album doesn’t disappoint.

Things go a bit Techno Animal / Godflesh / NIN on ‘Shortage (Version)’ with its hefty, crashing beats, straining digital noise and thickly distorted vocals which, in combination, carve out a lugubrious, funereal piece. Dense and dark I equal measure, it provides a mid-album interlude of crushing, neogoth intensity that stands quite apart from the other tracks. and the sonorous, subsonic bass just kills.

‘Born Old’ slams back into 90’s T&G territory and sounds like Tar at their best. Obscure? Sure, but if you get the reference, the album’s for you. If you don’t, but are digging Throat, you need Tar in hour life. Really. ‘Rat Domain’ slams and churns hard, the jarring grunge riffery whipping up a churn that resonates in the gut, before closer ‘Maritime’ hammers home six minutes of brutally jarring noise-rock, which is angular, sinewy, and relentless in its abrasion, and even brings a hint of the gothic before piledriving into the home straight with a remarkably accessible, melodic finale. If it seems at odds with the rest of the album, it’s hardly a weak finish, and instead demonstrates that Throat aren’t all about the gnarly noise… just mostly.

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Svart Records – 1st December 2017

James Wells

This is a tough one. There’s a lot to like on the third album from Jess and the Ancient Ones, which is pitched as ‘a magical mystery trip to the dark side of the sixties as seen through the eyes of modern-day occult rock musicians’. It has energy, for a start, and tunes, to boot. Hooks? Yep, no shortage of hooks, and groove in abundance. But there’s also something that’s rather nigglesome, and it’s not just the excessively try-hard ‘weird’ collage colver art.

Their aim, according to the accompanying blurb, was to go for ‘an organic and human approach and produced a very old fashioned album, 9 songs and 31 minutes, recorded and mixed together with their live sound engineer’.

The Horse and Other Weird Tales is very much an ‘old fashioned album’, and from the opening bars, it’s the skippy, trippy, noodly, doodly, bouncy Hammond organ that stands out in both the mix and the arrangements. The first track is called ‘Death is the Doors,’ and if you cut the first two words, you’ve pretty much got everything you need to know. And therein lies the niggle: it’s pitched being a hybrid of ‘groovy, heavy, psychedelic beat music’ ‘hard death rock’ and ‘occult head-exploding meltdown’. How this actually translates is that ‘The Horse and Other Weird Tales’ is a less than subtle confluence of The Doors and Janis Joplin with a bunch of obvious interview and documentary samples about LSD and opening the doors of perception slung in for good measure. Subtle, it isn’t, and nor is it particularly imaginative.

Song title like ‘Radio Aquarius’, ‘Return to Hallucinate’ and ‘(Here Comes) The Rainbow Mouth’ reflect the dippy, trippy, hippy leanings of the album as a whole. None of the songs in themselves are awful, and there’s an energy, sincerity, and passion which radiates from every bar. But none of this is in question: the question is, why not? It’s all about the bigger picture. Retro is fine within reason. But hen the past becomes the primary focus (really? A sing about, prefaced with a sample discussing The Catcher in the Rye?) is starts to feel all too much like reconstructionalist pastiche. That is to say, parody without the irony: The Horse and Other Weird Tales marks the point at which admiration swings toward tribute.

Yet for all the fullness of the passion with which I dislike it, objectively, The Horse and Other Weird Tales contains some catchy, memorable tunes and demonstrates that Jess and the Ancient Ones know how to navigate a melodic hook underpinned by a stompalong riff. It’s as ersatz as hell, but The Horse and Other Weird Tales succeeds in capturing the spirit of the era which inspired it.

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Jess and the Ancient Ones – The Horse and Other Weird Tales

Psychedelic, occult rockers Jess and The Ancient Ones have shared the second track from their brand new album The Horse and Other Weird Tales  which is released on 1st December via Svart Records. You can take a listen to ‘Return to Hallucinate’ here:

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