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A wonder of the ancient world, The Colossus was constructed out of a single slab of marble and erected over the harbor in Rhodes. Alas, all things mighty must tumble, and the Colossus was mighty indeed. 'Twas a sad day when Colossus shattered into five pieces and sunk into the ocean. The floor of the Aegean is a violent place, and the five Colossus fragments took on new forms, the sea washing away old features and granting new ones. Colossus's head was no longer just a head, but an entire being; the Colossus's arms appeared to grow bodies and heads of their own. Then a truely strange thing happened. One day Poseidon was riding in his chariot driven by sea horses, and saw the five Colossus fragments, each now a complete statue of an individual man. "What a great tragedy," he said to himself "to leave these beautiful statues on the ocean floor to fall into decay." He raised them out of the water and set them softly onto the shore giving each of the fragments life and special powers. Yet the gods do not grant favors lightly. The five Mini-Colossoi are slaves to the power of the lord Poseidon, and must do his bidding. He commands us to rock unsuspecting American youth in your bars and houses, drinking your beer and crushing your skulls with thundering beats, baroque polyphony, galloping basses, and soaring vocals, all of which testify the awesome power of the mighty Poseidon. |
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1point3 is three piece band from Ohio that plays extremely loud and brutal form of rock and roll. nd soaring vocals, all of which testify the awesome power of the mighty Poseidon. "One.Point.Three is an interesting mix of gigantic guitars and spastic rhythms. At their heaviest they’re reminiscent of Indian, at their most hardcore they’re reminiscent of Breach." - Stonerrock.com |
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Lo-Pan is a powerful yet dynamic 4 piece with influences ranging from Kyuss to ZZ Top. Heavy riff based material is offset by strong yet melodic vocals and backed by a kick-you-in-the-face rhythm section. Sasquanaut is the second release from Lo-Pan. "Though the snarling guitar of Brian Fristoe, the thunderous bass of Skot Thompson, and the precise drumwork of J. Bartz all prove to be mighty weapons, the players are very patient in building a groove and seem to enjoy playing with a wide variety of tempos and dynamics. The emotive vocals of new lead singer Jeff Martin fit very well into this model, as his whisper is as effective as his howl. The lyrics bring to mind adventures, wars, and struggles that seem to independent of time and place. These ingredients mix into a swirling heavy stew that is part backwoods hesher jam and part outerspace boogie." - Donewaiting.com |
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It's not everyday a band like Rebreather comes along. With a sound that mirrors the complexity of the breathing process itself, the unit has been exhaling distorted, molten hymns since 1999. While often categorized as an offshoot of the doom metal genus, the fact remains that Rebreather has been developing into something far more intriguing. They draw from the thunderous volumes of Cavity and Floor as much as they do from Barkmarket's twitchy finesse and Hum's melodic rumble. To say that Rebreather simply mimics any of these acts is sorely missing the point. While some bands are happy to move small chunks of ground by following their contemporaries, Rebreather takes the tomes of the elder gods and completely rewrites them. Rebreather was built in Youngstown, Ohio, in 1999 with the introduction of Barley Rantilla (guitar/vocal) and Jake Harnett (guitar) to Chad Fondak (bass) and Jeremy Koerber (drums). In a commitment to make the simplest yet heaviest music possible, they soon recorded their first 4 song demo, which was immediately followed by their second demo, Longplay. After Jake left the band for the west coast, Infernal Racket Records (Philadelphia, PA) put out Rebreather's first national release, "Need Another Seven Astronauts". Deep Send Records (Hanover, MA) directly succeeded this by releasing the bands first two demos together as one album, "Half Speed Ahead", in 2003. 2004 brought a split ep on Twin Earth Records (GA). Between periodic chunks of downtime, Rebreather replaced their founding drummer with veteran player, Steve Gardner. "Sunflower", their newest full length album, was released on "Nice Life!" (Columbus, OH) in 2008, as was a vinyl release on "Heavy Slab Records" (Brooklyn, NY), featuring songs from each release and also including 3 never officially released tracks. Call it organized chaos. Rebreather shows that they are creating more than a barrage of stark noise and earthen sludge. They are creating songs; glorious, winding songs that allow dissonant, harmonic guitar/bass tones to soothe as well as strike, drumming to build as well as batter, and vocals to adopt a powerful sense of shimmering vulnerability as well as slice through concrete. This is music to enhance the senses. This is music to darken the mood as well as uplift it. This is attention to detailed melody within fury. This is Rebreather and they wouldn't have it any other way. |
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"The Slide Machine are a 4 piece now and are heavier/less “proggy”-I don’t believe/remember if i have seen The Slide Machine as a 4 piece before. Prior to the set I talked to Mark Slide Machine and asked what to expect from the “new band”. He told me the new Slide Machine will make you want to sacrifice something. HE WAS RIGHT I WANTED TO SACRIFICE MY EARDRUMS-seriously though-best set that i saw that night, the “new” Slide Machine is rad as fuck and YOU GO SEE THEM NEXT TIME THEY PLAY." ----by Kirk Kline |
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"Columbus isn't the sort of locale that brings to mind Gothic horror, otherwordly eeriness and the dark underbelly of Americana. But don't tell that to Church of the Red Museum. With its self-titled debut album, the band crafts a mounrful yet soulful blend of old-time murder balladry and dark country with British post-punk guitar rock and "penny dreadful" aesthetics. This melange of styles works like gangbusters as the band creates its own little world of sound that tells the tales trapped in the far recesses of the collective subconscious. Brian Travis is the head of the collective, and as lead vocalist and multi-instrumentalist, carries a lot of the weight of the band. His vocal chops are well-tuned to the needs of the Church--half smoky, hard-living gin-joint croon, half-dying gasp as the noose chokes out the last glimpse of his veil of tears. The band has little trouble keeping up with Travis in the creative-imagery department. Take "A Flush Never Felt So Bad," for example. The song opens with a droning, insistent organ tone left over from the opening number underneath a ghostly bowed saw. It's an aural combination that says, "Don't go into those woods" to anyone who's spent too much time with horror films--and is as delightful for that reason as it is emotionally weighty. On "After All," Leslie Jankowski's lovely violin works in conjunction with Travis's understated vocals and Bil Jankowski's tinkling xylophone in a combination that is both mournful and seductively simple-minded--before erupting into a guitar-rock chorus that showcases the howling caterwaul that is the other end of the band's spectrum. The opening instrumentation is similar on "The Road," likely the album's strongest track, blending the Old World sounds of the violin with Tom Butler's edgy, percussive guitar line. The band utilizes sound in creative, well-thought-out ways to construct a nervy, tension-filled album as familiar and engaging as it is intimidating and dangerous. From a Columbus band mainly composed of former members of noise-rock upstarts Go Evol Shiki!, Church of the Red Museum is a complete surprise--and a fascinating one to boot." --- Rick Allen, The Other Paper
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