All Them Witches, Effervescent: Forward and Back

Posted in Reviews on August 7th, 2015 by JJ Koczan

all them witches effervescent vinyl and lp

Nashville four-piece http://khaled-abed.com/?get-someone-write-my-paper UK writing service and Dissertation checking service UK writing Help Dissertation checking service UK Introduction Checking All Them Witches initially released their Retirement Plan For Small Business Owner from our reputable company at any time convenient for you! Our talented writers will compose a fascinating piece of writing for you. Be sure Effervescent EP last June with about as little fanfare as possible, depositing it on YouTube for anyone who might be interested in finding it. A free digital version (review here) followed about a month later, and it’s to the credit of both the band and the self-recorded material that even after making it universally available digitally, there was enough of a response to warrant a self-released physical version. The available-at-shows-only 12″ Looking to pay someone for Benefits Of Economic Sanctions? Hire MyAssignmentHelp for write my assignment for me services at best price. British Assignment Writers at Effervescent is still technically an EP, though if you were to take both tracks included and put them side by side, the runtime would be a little over 50 minutes. This is because the single song that makes up Acquire custom recommended you read via one of the experts of the Essay-Ace which offers affordable writers assistance and essay writing service online in Effervescent appears once on each side. The second time around, it’s backwards. Yes, backwards.

The really terrifying part about it is that it works. Sure, write my essays for free College Essay Online paper for beginner writers help with write college application essay effective All Them Witches — who are newly signed to news - Proofreading and proofediting aid from top professionals. Essays & dissertations written by top quality writers. Get to know New West Records for their impending third album and the follow-up to 2013’s essay writing service college admission winnings online from trusted custom writing service. BuyEssayClub is a perfect place to purchase custom papers and make your academic life easier. Lightning at the Door (review here), also digitally issued first with a physical version later — probably could’ve taken a live track, or their version of “Born under a Bad Sign” or some other rarity, and stuck it on side B and been done with it, but since the 25-minute instrumental “Effervescent” was released, its greatest appeal has been its hypnotic, molten psychedelic vibe, a classy, dreamy jazz that doesn’t even need to sample a rainstorm to make you think you might be hearing one while it plays out, and the band are right in their assumption that the vibe is maintained when “Effervescent” on side A is answered by “Tnecsevreffe” on side B. By then, consciousness is long gone anyway.

And the shift from forward to back is made easier by the fact that “Effervescent” has a decent amount of backward layers anyway. The song is comprised of two larger movements at the front and back and one shorter in between — you can see the change in the patterning of the LP, but for keeping track, the first jam is roughly 13 and a half minutes long, there’s a minute-long transitional march, and then the second jam picks up right before the 15-minute mark to build from the ground up across the remainder of the runtime — and since that midsection piece is backwards on the original, it makes a weird sort of sense to have the band play off that in this reworking. In “Tnecsevreffe,” that part takes on an eerie, almost industrial quality around Describes academic programs and courses, admissions and registration, online and television courses, and. help writting a narrative essay. Find out more. Robby Staebler‘s drumming, long departed from the smooth bass work of We looked at all the best and compared their features and pricing. Here is our in depth comparison and recommendations. Michael Parks, Jr. or the interplay of Not confident that you are able to handle all those stages on your own? Then consider using our online Philosophy Papers Essays Online service Ben McLeod‘s guitar and Alpha best site provides you the best in class, plagiarism free and value for money Creative Writing at your convenient time from experts. Allan van Cleave‘s Fender Rhodes that makes the second part of “Effervescent” (or the first part of “Tnecsevreffe,” if you’re keeping track of the reverse) so memorable in its nod.

Still, coming from the opening movement of “Tnecsevreffe,” which more or less begins with the somewhat more bombastic backwards version of the apex of “Effervescent,” it’s not as if a context for “weird” hasn’t already been playing out for the last 11 minutes or so. The last 13 minutes of “Tnecsevreffe” have their weirdo shakeout as well, but are less structured overall — not that any of it sounds particularly structured backwards — whereas in “Effervescent,” the central guitar figure that emerges in the back half feels more grounded than the opening movement, which comes across if not more improvised than at least more laid back. Though the whole thing is pretty laid back. And groovy. And psychedelic. And deep. Man, that mix runs deep. It’s not lush in the sense of being overblown, but the moody sensibility that takes root in the first part of “Effervescent” — much bolstered by  http://sovetsky.info/?business-assignment-help.com is tracked by us since April, 2011. Over the time it has been ranked as high as 186 299 in the world, while most of its traffic comes from Van Cleave‘s ambient keys — is a huge part of what has given the track such return-listen appeal over the last year.

That said, there is a point throughout “Effervescent”‘s 25-minute run at which one could point to any individual member and say, “That guy makes the band,” because the truth is that whether it’s  The best Live Homework Help Orange County from Australian pro experts. Exceptional quality that ensures the highest scores. It's totally affordable service for every student Parks‘ nestled-in groove and tonal warmth,  Our Visit Website is available online to give your admissions officers a sense of who you are. Choose top preferred college essay help to showcase your Staebler‘s ghost-noting snare,  Have you ever found the best 250 word personal statement service? The answer is Yes, you just have. We are one click away ready to help you round-the-clock. Our McLeod‘s ability to step forward for a lead and then melt back into the overarching jam or the pervasive atmosphere that  Van Cleave seems to cast at will, it’s all necessary as a part of the whole affect. One knew prior to Effervescent that All Them Witches were more than competent jammers — both Lightning at the Door and their 2012 debut, Our Mother Electricity (review here), demonstrated that plainly enough — but Effervescent was an outright sampling of the kind of fluidity they could work solidly within and the chemistry that was coming together between them. I’d argue that chemistry, which makes Effervescent the more-than-a-stopgap release that it is, is still in its formative stages.

As All Them Witches have begun to tour and are moving toward their New West debut this fall, they’re by no means a band that has stopped growing either in terms of their songwriting or in terms of how they collaborate instrumentally on stage and in the studio. For the already considerable achievements they’ve claimed sonically at this point in their career, Effervescent proved when it first came out that they were by no means ready to stagnate or fall into a formulaic approach, and it seems fair enough to read the fact that they paired the song with a backwards version of itself on this vinyl as only one more signal that those who might think they know what to expect from the band are bound to be mistaken. All the better.

All Them Witches, Effervescent (2014/2015)

All Them Witches on Thee Facebooks

All Them Witches website

All Them Witches on Bandcamp

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The Obelisk Presents: The Top 20 Singles, EPs, Splits and Demos of 2014

Posted in Features on December 23rd, 2014 by JJ Koczan

top-20-short-releases-of-2014-Samuel-Palmer-1805-1881-Morning-of-Life-1861

Please note: These are not the results of the Readers Poll. That’s still going on. Please feel free to submit your list.

I did this last year mostly as a result of not having somewhere to put Elder‘s Spires Burn/Release EP in 2012, but it went pretty well, so I thought we’d do another round for 2014. The 2013 list covered demos, singles, EPs and splits — basically everything that’s not a full-length album — and the same rules apply here. It’s a pretty basic idea, but it makes sense to me to consider short releases apart from full-lengths because very often they’re trying to accomplish different things.

For example, if an album is trying to tell a story or describe a central theme, either blatantly in its lyrics or atmospherically through the music itself, a demo might just be the work of a band trying to feel their way into their sound. It doesn’t strike me as fair to judge the two on the same standard. Likewise, if a band releases a single, should that really be judged alongside an hour-long release? Granted, some bands’ singles actually are an hour long, but that’s another category entirely. “The ‘Dopesmoker’ Awards” will be handed out at another date.

No, not really. At least not this year.

If you didn’t see the full-albums Top 30 of 2014, please feel free to check it out and think of this and the year-end podcast as companion pieces, albeit both a little more casual. Let’s get to it:

sleepsingle

The Top 20 Short Releases of 2014

1. Sleep, The Clarity
2. Fatso Jetson/Herba Mate, Early Shapes
3. All Them Witches, Effervescent
4. Cortez/Borracho, Split 7″
5. Naam/White Hills/Black Rainbows/The Flying Eyes, 4-Way Split
6. Heavy Temple, Heavy Temple
7. Death Alley, Over Under/Dead Man’s Bones 7”
8. Geezer, Live! Full Tilt Boogie
9. The Sun, the Moon and the Witch’s Blues, The Sun, the Moon and the Witch’s Blues
10. Demon Head, Demo 2014
11. Gold & Silver, Azurite and Malachite
12. The Proselyte, Our Vessel’s in Need
13. Hull, Legend of the Swamp Goat
14. Lamp of the Universe/Krautzone, Split
15. The Ultra Electric Mega Galactic, Through the Dark Matter
16. The Heavy Co., Uno Dose
17. Wren, Wren
18. He Whose Ox is Gored, Rumors 7”
19. Lewis and the Strange Magics, Demo
20. Godhunter/Secrets of the Sky, Gh/0st:s
21. Lord, Alive in Golgotha

Some honorable mentions to the Young Hunter/Ohioan split tape (the Young Hunter portion of which was included last year, otherwise it would probably be number two on this list), Inter Arma‘s The Cavern 40-minute single-song EP/LP, Harvest Bell‘s debut EP, Goya and Wounded Giant‘s split, Fuzz Evil and Chiefs‘ split, Cruthu‘s demo, Disenchanter‘s second EP, the White Dynomite/Hey Zeus split 7″, Humo del Cairo‘s EP, The Golden Grass‘ Realisations EP, Dune‘s ProgenitorGodflesh‘s comeback EP, and Blackwitch Pudding‘s reinterpretations/covers EP, Covered in Pudding.

A couple notes: The Sleep single was a given. I don’t think anything could’ve topped it one way or another, even if I hadn’t listened to it 100 times since its release in July as part of the Adult Swim Singles Series. In any case, there was no debate about where to place it. You might notice on the other end the list goes to 21. I thought that being the element of chaos suited Lord well, and since I’m not entirely sure their Alive in Golgotha EP has been officially released, they warranted inclusion just in case.

One thing that struck me in putting this list together was the amount of splits included. You’ll notice Fatso Jetson and Herba Mate‘s Early Shapes right in behind Sleep. That one was an utter joy, as far as I’m concerned, and made me wish both of them would get on putting out full-lengths as soon as possible. Not far behind is Cortez and Borracho‘s split single, which had killer tracks from both bands, and the Naam/White Hills/Black Rainbows/The Flying Eyes split from Heavy Psych Sounds that, even with four bands involved, managed to keep a flowing atmosphere front to back, which was impressive enough in and of itself, never mind the individual contributions of those four acts, which were also top quality. The Krautzone/Lamp of the Universe split also provided a considerable psych blissout, and Godhunter‘s split/collaboration with Secrets of the Sky earned extra points for its adventurous spirit and the payoff its risk-taking brought to bear.

Like their Lightning at the Door LP, All Them Witches‘ Effervescent 25-minute jam figured heavily in my 2014 listening habits, as did Heavy Temple‘s self-titled debut EP. Dutch garage/heavy punkers Death Alley earned spins with their debut 7″, a lack of pretense in melding proto-thrash and heavy rock impulses allowing them to quickly find a niche that one hopes they continue to develop. Their debut single, along with Demon Head‘s Demo 2014 (and, indeed, that band’s follow-up single) and the Lewis and the Strange Magics demo were an allay to concerns retro-minded rock might be stagnating.

Geezer featured on the Short Releases list last year as well. I wasn’t sure what to do with their Gage 12″, since it was released in 2013 as an EP and 2014 as an LP, but either way, their Live! Full Tilt Boogie tape effortlessly recalled classic blues rock performances and demonstrated the fluid chemistry at work in the New York trio, I hope it’s not the last live release they do. Along similar bluesy lines, The Heavy Co.‘s Uno Dose found the Hoosier three-piece dipping into heavy jams more than their last full-length, and if that’s the direction they’re headed, you won’t hear me argue. Hailing from Sweden and arriving as an offshoot of Asteroid, the single-song EP from The Sun, the Moon and the Witch’s Blues had more than a touch of heavy blues to it too, and made me look forward to that project’s development from here on out.

There’s little I’m going to complain about less than hearing Ed Mundell bust out Miles Davis-inspired solos, so yeah, The Ultra Electric Mega Galactic‘s Through the Dark Matter EP gets a nod. Impressive guitar work ran a current through Boston duo Gold & Silver‘s debut EP, Azurite and Malachite, but the proggy feel was what ultimately sold me on the two extended instrumentals included there, whereas with fellow Beantowners The Proselyte, it was the catchy songwriting and variety they showed in just four tracks. The He Whose Ox is Gored 7″ was likewise modern and satisfyingly weighted, though obviously shorter, and last but not at all least, the progressive sludge of Wren‘s self-titled EP seemed to fly under a lot of people’s radar but was a markedly individual take on a well established form that portended of good things to come.

As with everything, I’m sure there’s something in this mix that I forgot. If you’ve got a call you want to make on something, please let loose in the comments. Thanks for reading.

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The Obelisk Radio Adds: All Them Witches, Rainbows are Free, Idre, Nyarlathotep, Panopticon

Posted in Radio on July 11th, 2014 by JJ Koczan

Click here to listen.

There doesn’t seem to ever be a break with this stuff. 16 records joined The Obelisk Radio playlist today, and that’s still got me behind on checking out more to add. I don’t know what the state of that hard drive is, but I might not be far off from needing to add a second one. It’s become an archive for me.

Diligent and admirable bastard that he is, Slevin is working on an automatically refreshing script that will allow listeners to see what was played over the last 24 hours, which will be a big help if a file is missing its ID3 tags — that being how the player identifies the songs — as I know things sometimes are. I get asked regularly what was played at a specific time, so hopefully this will be able to answer that question.

So things are in the works, but of course there’s a ton of music to talk about in the meantime, and that’s the fun part anyway.

The Obelisk Radio Adds for July 11, 2014:

All Them Witches, Effervescent EP

There are at least two distinct jams at work in the 25-minute single track that makes up Effervescent, the 2014 EP from Nashville psych-blues rockers All Them Witches. The Fender Rhodes of Allan Van Cleave and airy guitar of Ben McLeod feature heavily in both, as bassist Michael Parks, Jr., and drummer Robby Staebler (interview here) provide a foundation on which to space out, and the two pieces find a bridge in hypnotic, psychedelic stretching and backwards noise beginning at around 13 minutes in before building back up. All throughout, the vibe is central, there is movement, and the four-piece demonstrate that the chemistry they showed burgeoning on last year’s brilliant Lightning at the Door (discussed here) was no fluke, but the beginning of a grand and creative exploration that finds its next installment here. It may be a stopgap — formerly their primary means of release, they’ve recently pulled their full-lengths down from Bandcamp; one expects big, got-signed-type news from them at any moment — but Effervescent is fluid and rich, and as deep as you want to go in listening to it, it’s willing to take you there and further. All Them Witches on Thee Facebooks, on Bandcamp.

Nyarlathotep, The Shadow over Innsmouth

Some six years after releasing their initial The End is Always Near demo, New Jersey black metal outfit (whom, in the interest of full disclosure, I know personally) Nyarlathotep follow-up with the Lovecraftian full-length, The Shadow over Innsmouth. Based around the  short story of the same name, the album breaks down into five extended tracks plus an intro of rage-fueled atmospherics. Using programmed drums to their advantage on “Old Zadok Allen” — the only proper song here under 10 minutes — they add an industrial feel with a keyboard-led midsection backed by vague, ambient screams. The density in the material is striking, but even at their most unbridled — as on the blasting, solo-topped early moments in the title-track — Nyarlathotep hold their commitment to setting a mood firm, and the blown-out, distorted soundscape they create across the release is grim and otherworldly enough to be worthy of its subject matter. It is a complex, biting execution that won’t be for everyone, but that seethes in its quiet parts and gnashes its pointed teeth with monstrous force. Nyarlathotep on Thee Facebooks, on Bandcamp.

Idre, Idre


Oklahoma City trio Idre specialize in ambient fluidity and deeply-weighted tonal crush. Their self-released, self-titled debut long-player is comprised of two extended cuts — “Factorie” (26:41) and “Witch Trial” (13:17) — that each impress with their patience, their impact and their ability to contrast the generally claustrophobic feel of post-metal with an open-spaced, salt-of-the-earth pulse. Within its first 10 minutes, “Factorie” has moved from undulating waves of riffing to vast, strumming, Across Tundras-esque roll, and never does it seem to be meandering without purpose in the noisy stages to come. It builds and collapses, and when they seem the most gone, the clean, twanging vocals return to finish out, leading to the parabolically constructed “Witch Trial,” which marries Earth-style drone and galloping drums effectively to create a decidedly Western feel while still building toward, and eventually moving through a sonically pummeling apex. Once again, vocals are sparse, but perfectly placed almost as if to remind the listener of how small a human being can be in so wide a space as the Midwest. Like that landlocked region, Idre‘s Idre is expansive and lets you see for miles. Idre on Thee Facebooks, on Bandcamp.

Rainbows are Free, Waves ahead of the Ocean

Led by the substantial pipes of vocalist B. Fain Kistler, Norman, Oklahoma, four-piece Rainbows are Free seem keen on finding the place where classic doom and heavy rock meet, and on their second full-length, Waves ahead of the Ocean (released by Guestroom Records), they just about get there. Kistler is a singer worthy of comparison to Grand MagusJB Christoffersson, but Rainbows are Free are less grandiose overall, early songs like “The Botanist,” the title-track and the cumbersomely-titled opener “Speed God and the Rise of the Motherfuckers from a Place beyond Hell” nestling into heavy, engaging grooves marked out by the choice riffing of Richie Tarver, the bass work of Chad Hogue and drums of Bobby Onspaugh. Unpretentious and professional in their presentation, they doom up an otherwise Clutch-style boogie in “Cadillac” before going full-on trad metal in “Snake Bitten by Love,” and ably making their way through a Dio Sabbath push on “Burn and Die,” which works well despite feeling a long way from the upbeat rockin’ of earlier highlight “Sonic Demon” and leads smoothly into closer “Comet,” the six-and-a-half-minute spacier thrust of which seems to be seems to be where Rainbows are Free most choose to harken to the psychedelia one might expect from their moniker. They most drive toward the epic in their finale, and the payoff there is churning and insistent in a way that more than justifies the song’s position on the 37-minute record, but even then have a keen eye for structure and holding the attention of their audience. An impeccably put together album from a band more than ready to turn heads. Rainbows are Free on Thee Facebooks, Guestroom Records on Bandcamp.

Panopticon, Roads to the North


Despite the bluegrass influence and liberal inclusion of banjo amidst its blackened onslaught, Panopticon‘s Roads to the North (released on Bindrune) is perhaps most American of all for its pulling together seemingly disparate elements in defiance of European traditionalism. Billed as and creating the standard for American folk metal, it nonetheless is in conversation with European black metal — a conversation that in my head looks something like it’s being chased à la Benny Hill for its heresies — while purposefully working against its tenets. Roads to the North is the fifth full-length from the one-man project of Kentucky’s Austin Lunn, and made in collaboration with Krallice‘s Colin Marston (among others), it elicits a sprawl through both its metallic extremity and its devotion to the aesthetic it pioneers. It makes for a heady 74-minute listen, but Panopticon are cohesive throughout — five records deep, they should be — and one doesn’t embark on an album like Roads to the North lightly or without wanting full immersion into an evocative and blistering landscape. That’s just what you get. Panopticon on Thee Facebooks, Bindrune Recordings.

For the full list of albums added to The Obelisk Radio this week and to see the latest updates, click here.

Thanks for reading and listening.

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All Them Witches Post Effervescent EP for Free Download

Posted in Whathaveyou on July 1st, 2014 by JJ Koczan

I was hoping this would happen sooner or later. Last month, when All Them Witches released their new EP/single Effervescent — a single instrumental jam spanning over 25 minutes — the Nashville four-piece only put it up on YouTube. Not the worst thing in the world, at least it was out there, but for those of us who might like to, say, add the mp3 to an online radio playlist that already includes All Them Witches‘ two albums, Our Mother Electricity (review here) and Lightning at the Door (discussed here), it made things a little more difficult. Fortunately, the band has rectified the situation and posted Effervescent on their Bandcamp page for a free download.

And by “free,” I don’t mean “name your price.” I mean they’re not charging for it. And they probably could. Yeah, it was recorded on a four-track, and yeah, it’s basically the dudes the band noodling out for nearly half an hour, but the fact of the matter is simply that there are people who undoubtedly would shell out some cash to hear what All Them Witches sound like in the rehearsal space. It doesn’t sound like the worst way to blow a couple bucks. Nonetheless, this one’s on the house. If you haven’t heard it yet, “Effervescent” is an engaging, hypnotic and psychedelic affair that still maintain’s the band’s connection to the blues. There isn’t a huge wash of effects, but a feeling of raw exploration throughout that makes it a pleasure to get lost in as

You can download All Them Witches‘ Effervescent EP via the Bandcamp player below. The band will be touring this fall with Rochester, NY, outfit King Buffalo on the East Coast in advance of heading to Europe to play the Keep it Low festival and Desertfest Belgium, and will reportedly have Lightning at the Door out on vinyl prior to hitting the road. Dates follow the player.

7/30-Atlanta, GA – The Drunken Unicorn
7/31-Chattanooga, TN – JJ’s Bohemia
8/1-Birmingham, AL – Secret Stages
8/21-New York, NY – Mercury Lounge w/ KING BUFFALO
8/22-Philadelphia, PA – MilkBoy Philadelphia w/ KING BUFFALO
8/23-Stroudsburg, PA – Sherman Theater Living Room w/ KING BUFFALO
8/24-Richmond, VA – Strange Matter w/ KING BUFFALO
8/26-Ithaca, NY – The Dock w/ KING BUFFALO
8/27-Rochester, NY – Bug Jar w/ KING BUFFALO
8/28-Nashville, TN – TBA

https://www.facebook.com/allthemwitches
http://allthemwitches.bandcamp.com/
https://twitter.com/AllThemWitches

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