The online symphonic metal collective Valcata have put out a teaser for their new standalone single Tower, which will be released on February 12th, 2021. The song is the first glance of new music since their debut album in 2019, and was mixed by the acclaimed engineer Jacob Hansen(Pyramaze, Volbeat, Amaranthe).
Watch the video below:
“We hope you’re as excited for this release as we are,” writes composer Oha Cade, “Please pre-save, follow us and stay safe!“
Pre-save the song on Spotify and follow the band here: valcata.com/links
Having been around for about half a
decade, the Austin-based duo of Cortége have put out a good
half-dozen releases. With the sci-fi flavor of their presentation,
and the doomed Western vibe to the music, it’s tempting to compare
them to the KC-based Merlin, of Christ Killer fame.
But with this new two-track EP, coming together at just over a
quarter of an hour, the band clearly shows their own distinctively
Texas-sun-scorched character, with morbidity and melancholy never
entirely deprived of stylish swagger.
Starting
off with some tone-setting engine cranking and radio-tuning
(including reports of a Texas-sized meteor), Cortége then slam into
a huge and moody funeral stomp, shift gears into a dirge-like gloom,
and rumbles on from there. Despite the rowdiness of the opening, a
considerable part of the song is focused on drifting tones and slow
riff grooving, simply relishing the details of the instrumental swamp
they’re exploring. It’s like a mix of the classic Italian film music
for low-budget but high-ambition flicks in the western and horror
genres, fused around dramatic and goosebump-raising foci.
The
break into the second half squeals through on rough tires, but
carries listeners smoothly into deeper and darker audio territory,
somehow almost somber in its bar-twang guitar and boot-step
percussion. As much as it tends to hang onto one riff for a while,
the musicians coax an amazing amount of nuanced characterization from
the wide-spaced clangs and chords. It helps that they’re willing to
experiment with instruments, bringing keyboards and bells to
prominence alongside the usual doom metal bass/drums/guitar. All
together, it’s a very impressive EP, and a concise, compelling
argument for the band’s skills across an open range. If you haven’t
checked the band out before, this makes for an excellent intro; and
if you have, it’s a welcome reminder of just how damn good they are.
Having been around for about half a
decade, the Austin-based duo of Cortége have put out a good
half-dozen releases. With the sci-fi flavor of their presentation,
and the doomed Western vibe to the music, it’s tempting to compare
them to the KC-based Merlin, of Christ Killer fame.
But with this new two-track EP, coming together at just over a
quarter of an hour, the band clearly shows their own distinctively
Texas-sun-scorched character, with morbidity and melancholy never
entirely deprived of stylish swagger.
Starting
off with some tone-setting engine cranking and radio-tuning
(including reports of a Texas-sized meteor), Cortége then slam into
a huge and moody funeral stomp, shift gears into a dirge-like gloom,
and rumbles on from there. Despite the rowdiness of the opening, a
considerable part of the song is focused on drifting tones and slow
riff grooving, simply relishing the details of the instrumental swamp
they’re exploring. It’s like a mix of the classic Italian film music
for low-budget but high-ambition flicks in the western and horror
genres, fused around dramatic and goosebump-raising foci.
The
break into the second half squeals through on rough tires, but
carries listeners smoothly into deeper and darker audio territory,
somehow almost somber in its bar-twang guitar and boot-step
percussion. As much as it tends to hang onto one riff for a while,
the musicians coax an amazing amount of nuanced characterization from
the wide-spaced clangs and chords. It helps that they’re willing to
experiment with instruments, bringing keyboards and bells to
prominence alongside the usual doom metal bass/drums/guitar. All
together, it’s a very impressive EP, and a concise, compelling
argument for the band’s skills across an open range. If you haven’t
checked the band out before, this makes for an excellent intro; and
if you have, it’s a welcome reminder of just how damn good they are.
The online symphonic metal collective Valcata will release a new standalone single Tower on February 12th, 2021. Pre-save the song on Spotify here: https://show.co/iN8Pcpg
The composer of the project Oha Cade is originally from Clonakilty, Ireland, but is now based in Brooklyn, New York. He has this to say regarding Tower,
“Tower is, like our debut in 2019, a remote online production. Several musicians who featured on the 2019 album have returned, but we’re also introducing new guests. Vocal-wise, on the returning side we have the incredible talents of Hadi Kiani(Gereh, The Frame, Deaton LeMay Project) and Angel Wolf-Black(Goditha, Alexandra Zerner, Vivaldi Metal Project), who reprise their roles as Hessabi and Hypatia. Our new guest is Joshua Morse from the band The Doubted, who appears as the new character Morbus, and delivers Valcata’s first ever harsh vocals.
Drummer Jonas Schütz(Sacrosanct, Sapiency, Eraserhead, Diësis, Condemned to Dream, First Encounter, Oceanrise) returns again to grace us with his hammer-hearted rhythms. Then we have three new maestros — João Miguel(Enblood, Tokyo Wanderer) on guitars, Chris Kollias(SL Theory, Serenity Broken, Persona Non Grata) on bass, and Nathaniel Wolkstein(Just Nathaniel, Gravity the Architect, Imagine the Moon) on strings — all of whom elevated this music with their creativity and unique contributions.
Last but certainly not least, this track was mixed and mastered by the legendary producer Jacob Hansen, who has brought to life the music of many bands that influenced us such as Volbeat, Amaranthe, Fleshgod Apocalypse, and Delain.
The artwork was done by Joshua McQuary(McMonster), who creates stunning watercolors. His style perfectly captures the song’s atmosphere.
Since our debut in October 2019, I’ve been feverishly working on new music. While my ultimate goal is to create another full-length album, some things just can’t wait. When you hear this song and the lyrical themes, you’ll see why.”
A teaser video is scheduled for next Friday, February 5th. Mailing list subscribers will receive the video in their inbox a couple days early.
MIXING AND MASTERING Jacob Hansen (Pyramaze, Volbeat, Amaranthe, Delain)
VOCALISTS Hadi Kiani (Gereh, The Frame, Deaton LeMay Project) — as Hessabi Angel Wolf-Black (Goditha, Alexandra Zerner, Vivaldi Metal Project) — as Hypatia Joshua Morse (The Doubted) — as Morbus
GUITARS João Miguel (Enblood, Tokyo Wanderer)
BASS Chris Kollias (SL Theory, Serenity Broken, Persona Non Grata)
DRUMS Jonas Schütz (Sacrosanct, Sapiency, Eraserhead, Diësis, Condemned to Dream, First Encounter, Oceanrise)
STRINGS Nathaniel Wolkstein (Just Nathaniel, Gravity the Architect, Imagine the Moon)
The online symphonic metal collective Valcata will release a new standalone single Tower on February 12th, 2021. Pre-save the song on Spotify here: https://show.co/iN8Pcpg
The composer of the project Oha Cade is originally from Clonakilty, Ireland, but is now based in Brooklyn, New York. He has this to say regarding Tower,
“Tower is, like our debut in 2019, a remote online production. Several musicians who featured on the 2019 album have returned, but we’re also introducing new guests. Vocal-wise, on the returning side we have the incredible talents of Hadi Kiani(Gereh, The Frame, Deaton LeMay Project) and Angel Wolf-Black(Goditha, Alexandra Zerner, Vivaldi Metal Project), who reprise their roles as Hessabi and Hypatia. Our new guest is Joshua Morse from the band The Doubted, who appears as the new character Morbus, and delivers Valcata’s first ever harsh vocals.
Drummer Jonas Schütz(Sacrosanct, Sapiency, Eraserhead, Diësis, Condemned to Dream, First Encounter, Oceanrise) returns again to grace us with his hammer-hearted rhythms. Then we have three new maestros — João Miguel(Enblood, Tokyo Wanderer) on guitars, Chris Kollias(SL Theory, Serenity Broken, Persona Non Grata) on bass, and Nathaniel Wolkstein(Just Nathaniel, Gravity the Architect, Imagine the Moon) on strings — all of whom elevated this music with their creativity and unique contributions.
Last but certainly not least, this track was mixed and mastered by the legendary producer Jacob Hansen, who has brought to life the music of many bands that influenced us such as Volbeat, Amaranthe, Fleshgod Apocalypse, and Delain.
The artwork was done by Joshua McQuary(McMonster), who creates stunning watercolors. His style perfectly captures the song’s atmosphere.
Since our debut in October 2019, I’ve been feverishly working on new music. While my ultimate goal is to create another full-length album, some things just can’t wait. When you hear this song and the lyrical themes, you’ll see why.”
A teaser video is scheduled for next Friday, February 5th. Mailing list subscribers will receive the video in their inbox a couple days early.
MIXING AND MASTERING Jacob Hansen (Pyramaze, Volbeat, Amaranthe, Delain)
VOCALISTS Hadi Kiani (Gereh, The Frame, Deaton LeMay Project) — as Hessabi Angel Wolf-Black (Goditha, Alexandra Zerner, Vivaldi Metal Project) — as Hypatia Joshua Morse (The Doubted) — as Morbus
GUITARS João Miguel (Enblood, Tokyo Wanderer)
BASS Chris Kollias (SL Theory, Serenity Broken, Persona Non Grata)
DRUMS Jonas Schütz (Sacrosanct, Sapiency, Eraserhead, Diësis, Condemned to Dream, First Encounter, Oceanrise)
STRINGS Nathaniel Wolkstein (Just Nathaniel, Gravity the Architect, Imagine the Moon)
Another heavily underrated local act, this Melbourne band
has been around for quite some time, and this is their second full-length
album.
Forgotten Ancestors finds them progressing strongly from their debut, 2017’s Pathways (which itself was excellent), winding out and really exploring their sound, and producing a highly cohesive work of bluesy-arse art that will appeal strongly to anyone who likes anything from Black Sabbath to Kyuss to Helm to Celtic Frost. And just about everything in between.
This album is seven tracks, although 40-odd minutes’ worth,
of pure ballsy stomp, with riffs aplenty, slamming drums, a chunky, chugging,
uber-tight rhythm section, wah-drenched lead breaks and powerful, soulful
vocals soaring over the top. There is not a single weak track among the seven
on offer, although they certainly saved the best til last: penultimate track Down
to the Stars is the record’s best cut. Its sense of down-tempo but dynamic
raunch is just enthralling. Then Backchat closes proceedings in epic,
grandiose and sometimes eerie and atmospheric style.
And arguably the best thing about it all is that there is a
real sense of boogie to their sound. You can move and groove to it while you
slam your fist to the sky and spill beer all over yourself while you stagger
around the pit in a happy drunken frenzy.
To tip it all off, the production is real, raw, powerful and
highly listenable all at once. You can hear every instrument with great clarity
as well as all the sweat, blood and tears that have obviously gone into this
album’s creation. Much kudos to everyone involved in this record’s engineering,
recording, mixing and mastering.
If you dig your rock ‘n’ roll with balls of steel and an
old-school aesthetic, then Forgotten Ancestors is your bag.
Band: El Colosso Album: Forgotten Ancestors Year: 2020 Genre: Heavy stoner/blues rock Label: Independent Origin: Australia
