Beneath Oblivion * Funeral Horse

Rudyard’s presents Beneath Oblivion * Funeral Horse.

Beneath Oblivion (Cincinnati, OH)
http://www.beneathoblivion.info/
Beneath Oblivion is a band which started in 2003, recorded a demo in 2004, self- released their first full-length record ‘Existence Without Purpose,’ in 2006, released their split 10″ record with Sin of Angels through 43rd Parallel Records in 2007, and released their self titled 10″ record through Mylene Sheath Records in 2009, Released a 7″ split with Angel Eyes in 2011, and released FMtD on 2xLP in 2011 through the Mylene Sheath.

Funeral Horse (Houston, TX)
http://funeralhorse.bandcamp.com/
“They’ve gone close to perfecting their sound, a lo fi stoner stomp with an old punk head on its drooped shoulders. The vocals, instantly definitive are purposefully, don’t-give-a-fuck grainy and angry.

There’s a reminder of Drunk Horse here and there, married to some gorgeous tripped out mini-passages leaning towards Earthless territory, without fully submitting to the psych, the gravelly rock n roll containing a coarse hardcore attitude from decades past. It’s grittiness, a slight but detectable noise rock edge forced through a space rock filter, is what makes this so engaging and gives Funeral Horse an identity of their own. They have stepped up and released an album to hold aloft. As the bagpipes lead out the final track Gifts of Opium and Myrrh it feels like a fitting send off, a salute to a fantastic piece of work.” Pete – ninehertz (UK)

“A beautiful title for the second studio album of doom punk trio of Houston in twenty-seven minutes tells six stories and resumes historical ‘Working Man’ Rush. Listening to the initial ‘Until The Last Nation Falls’ would think the Green River and their lo-fi recordings but it does not. The mood could be that too but the specter of influences is much more varied and elements stoner and blues instrumental accompanying the plots on which there is the voice of Paul Bearer.

‘Communist’s Blues’ and ‘I Hear The Devil Calling Me’ are two other striking passages in which besides the talents of guitarist and frontman is highlighted a rocking rhythm section. Those responsible are Chris and Jason – that could be two neighbors as well as two patrons of Merlotte’s True Blood. I hate to think what would happen if this record fall into the hands of Aaron Beam of Red Fang or Brent Hinds of Mastodon. Certainly the growth of Texans is worthy of your attention.” Divine – Dagheisha (Italy)

“Trion Funeral Horse blandar friskt sludge, doom och punk med en smula garage, och får det tveklöst att fungera. En av de saker som sticker ut mest är cymbalerna som verkligen smäller och kraschar sig rakt in i förgrunden och nästintill river sönder den resterande ljudbilden på helt rätt sätt. Sinister Rites of the Master är ett mörkt album, men med sväng. Man dras fastkedjad till en häst igenom öknen helt utan anledning och har inget emot det.

Riffandet är smått fantastiskt och variationsrikt, och jag gillar att sången ligger i bakgrunden utan att direkt ta någon plats, för det ger musiken extra styrka och kraft att klamra sig fast och se till att man suktar efter mer när de dryga 29 spelminuterna är över. Gillar man smutsig sludge med inslag av ett flertal andra genrer i rock n’ roll-förpackning, så ska man definitivt plocka upp det här. Bara förpackningen är som sagt värt det, så allt annat är bara flera plus i kanten.” Lukin – Lukinzine (Sweden)

“Inclassable et qui ne cherche pas à être classé, Funeral Horse assène en 28 minutes, sept coups de butoir, dont une reprise vite pliée mais bien appropriée de « The Working Man » de Rush, qui leur ouvrent les portes pour faire ce que bon leur semble. Hâte d’entendre leur prochaine prédication.” Ain’t One Tackleberry – Desert Rock (France)

“Funeral Horse: that name should tell you all you need to know, but is somewhat misleading with regard to the second outing from this Texan trio. Instead of being the slowest, heaviest thing you’ve heard, this is a fuzz-drenched psych-stoner romp full of punk irreverence with a retro feel.

Opener ‘Until The Last Nation Falls’ comes out like The Ramones lost in a desert, whilst leads are layered and intricate, reminiscent of Robby Krieger’s later Doors moments. The ensuing ‘Amputate The Hands Of Thieves’ continues the stoner-punk ideal, the high-pitched yells accompanying veering riffs fired in brief blasts. These change weight to a heavy, pulsing throb at the coda and carry through to the sparing, almost seductive groove of ‘Communist’s Blues’, closing with a solitary harmonica drifting over an eerie atmosphere.” Paul Quinn – Powerplay Rock & Metal Magazine (UK)