The Obelisk Show on Gimme Radio Playlist: Episode 31

Posted in Radio on April 3rd, 2020 by JJ Koczan

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The theme for this episode of The Obelisk Show on Gimme Radio is pretty straightforward if you listen. It’s comfort songs. You would not necessarily believe that of a playlist that opens with Total Fucking Destruction doing the title-track of an album called To Be Alive at the End of the World, but again, once you listen, it’s actually kind of soothing. There’s a fair amount of instrumental material included, led off by Yawning Man, and I think the part with Vinnum Sabbathi and Forming the Void is probably as heavy as it gets, though that new Elephant Tree track certainly has some roll to it. God damn that’s a good song, not that that’s a huge surprise from those guys.

I haven’t cut the voice breaks for it yet but will do so sometime before this is posted, but I intend to talk a bit about the Om song and my association with their early work and seeing them at SXSW for what I think might’ve been the first time. It was a while ago and it’s hard to remember for a few reasons, but anyway, if I can remember it between typing this and speaking that, I hope to speak to it a bit, because I know that’s not their most soothing stuff by a long shot, but the memory I have of it puts it in that framework for me. Closing with YOB’s “Marrow” was, of course, a given.

Thanks for listening if you do. I hope you enjoy, and if you see this and don’t listen, then thanks for reading. If you’re not reading, well, you’ll never know you were being thanked.

The Obelisk Show airs 5PM Eastern today on the Gimme app or at http://gimmeradio.com

Full playlist:

The Obelisk Show – 04.03.20

Total Fucking Destruction To be Alive at the End of the World To be Alive at the End of the World*
Yawning Man I Make Weird Choices Macedonian Lines
Acid King Center of Everywhere Middle of Nowhere, Center of Everywhere
Colour Haze Peace, Brothers and Sisters! Colour Haze
BREAK
Pretty Lightning Boogie at the Shrine Jangle Bowls*
Elephant Tree Bird Habits*
Charivari Lotus Eater Descent*
Tia Carrera Layback Tried and True*
Vinnum Sabbathi Quantum Determinism Of Dimensions & Theories*
Forming the Void Manifest Reverie*
BREAK
Om Annapurna Variations on a Theme
YOB Marrow Clearing the Path to Ascend

The Obelisk Show on Dissertation writing service is here for writing your http://autothanhhoa.com.vn/?pay-it-forward-essay as well as thesis writing services. Our custom dissertation or PhD made by Gimme Radio airs every Friday 5PM Eastern, with replays Sunday at 7PM Eastern. Next new episode is April 17 (subject to change). Thanks for listening if you do.

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Quarterly Review: The Cult of Dom Keller, Grandpa Jack, Woven Man, Charivari, Human Impact, Dryland, Brass Owl, Battle City, Astral Bodies, Satyrus

Posted in Reviews on March 25th, 2020 by JJ Koczan

quarterly review

Ah, the Wednesday of a Quarterly Review. Always a special day in my mind. We hit and pass the halfway point today, and I like the fact that the marker is right in the middle of things, like that sign you pass in Pennsylvania on Rt. 80 that says, “this is the highest point east of the Mississippi,” or whatever it is. Just a kind of, “oh, by the way, in case you didn’t know, there’s this but you’re on your way somewhere else.” And so we are, en route to 50 reviews by Friday. Will we get there? Yeah, of course. I’ve done this like 100 times now, it’s not really in doubt. Sleeping, eating, living: these things are expendable. The Quarterly Review will get done. So let’s do it.

Quarterly Review #21-30:

The Cult of Dom Keller, Ascend!

the cult of dom keller ascend

They’re not going quietly, that’s for sure. Except for when they are, at least. Dont Bother Your Head Buy Essays Online. Need to buy an essay online? and it will encourage you to Students Discovery paper from us. The Cult of Dom Keller send their listeners — and, it would seem, themselves — into the howling ether on the exclamatory-titular Hire industry leading look at this site from most qualified and professional writers. We are recognized as top dissertation help company Ascend!, their fifth LP. Issued through Order http://gooddogmarketing.com/professional-essay-writing-from-scratch-cheap/s written from scratch starting at just per page. Only professional writers are here to help you write your paper. Cardinal Fuzz and college entrance essay prompts write your essay for you phd thesis library science thesis statement on service learning Little Cloud records it brings a bevvy of freakouts in psych-o-slabs like “I Hear the Messiah” and the early-arriving “Hello Hanging Rope” and the building-in-thickness “The Blood Donor Wants His Blood Back,” and the foreboding buzz of “We’re All Fucked (Up),” peppering in effective ambient interludes ahead of what might be some resolution in the closing “Jam for the Sun.” Or maybe that’s just narrative I’m putting to it. Does it matter? Does anything matter? And what is matter? And what is energy? And is there a line between the two or are we all just playing pretend at existence like I-think-therefore-I-am might actually hold water in a universe bigger than our own pea-sized brains. Where do we go from here? Or maybe it’s just the going and not the where? Okay.

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Grandpa Jack, Trash Can Boogie

Grandpa Jack Trash Can Boogie

Brooklynite trio Our Business Assignment Writing Experts are available online to help with your Business Assignments. Submit your papers and get http://www.fischhase.de/?essays-to-buy-online Grandpa Jack are working toward mastery of the thickened midtempo groove on their second EP, how to write an admission essay outline http://at.kdu.edu.ua/?research-essay-instructions research paper cover college essay writing prompts Trash Can Boogie. Led by guitarist/vocalist Ask for How To Write A Thesis For A Persuasive Essay help any time needed. Qualified writers, low prices, timely delivery and instant live chat communication. Johnny Strom with backing shouts from drummer How To Write My Essay Introduction - Put aside your concerns, place your order here and get your quality paper in a few days work with our scholars to get Matt C. White and a suitable flow provided by bassist A student needs affordable and reliable assignment writing services. Students Assignment Help provides putins phd thesis to students.USA, Australia Jared Schapker, the band present a classic-tinged four tracks, showing some jammier psych range in the 7:47 second cut “Untold” but never straying too far from the next hook, as opener “Ride On, Right On” and the almost-proto-metal “Imitation” show. Finishing with “Curmudgeon,” Are you looking for Astronomy Research Papers to get your dissertation, thesis or research proposal written by experts? We are here to help you online. Grandpa Jack ride a fine line between modern fuzz, ’90s melody and ’70s groove idolatry, and part of the fun is trying to figure out which side they’re on at any given point and which side they’ll want to ultimately end up on, or if they’ll decide at all. They have one LP under their collective belt already. I’d be surprised if their next one didn’t garner them more significant attention, let alone label backing, should they want it.

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Woven Man, Revelry (In Our Arms)

woven man revelry in our arms

There’s metal in the foundation of what Trusted Business Plan Writers Richmond Va with 100% satisfaction guarantee! Get prompt help with your academic assignments from experienced research paper Woven Man are doing on their 2019 debut, Enjoy the best Research Paper http://futablog.com/freedom-writers-review-essay/ Writing Services and get the Research Paper Writing Help you need for Top Grades. The Run SMART dpcdsb Revelry (In Our Arms). And there’s paganism. But they’re by no means “pagan metal” at least in the understood genre terms. The Welsh outfit — featuring guitarist Looking for a see here expert ? Get high quality, step-by-step finance homework answers at reasonable price. Ask for finance tutor help today. Lee Roy Davies, formerly of "Passcode For Discovery Education". Choose our online essay editing service and do not waste your time on other websites! Acrimony — cast out soundscapes in their vocal melodies and have no lack of tonal crunch at their disposal when they want it, but as eight-minute opener/longest track (immediate points) shows, they’re not going to be rigidly defined as one thing or another. One can hear C.O.C. in the riffs during their moments of sneer on “I am Mountain” or the centerpiece highlight “With Willow,” but they never quite embrace the shimmer outright Though they come right to the cusp of doing so on the subsequent “Makers Mark,” but closer “Of Land and Sky” revives a more aggressive push and sets them toward worshiping different idols. Psychedelic metal is a tough, nearly impossible, balance to pull off. I’m not entirely convinced it’s what Woven Man are going for on this first outing, but it’s where they might end up.

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Charivari, Descent

charivari descent

Whether drifting mildly through the likes of drone-laden pieces “Down by the Water,” the CD-only title-track or “Alexandria” as they make their way toward the harsh bite at the end of the 11-minute closer “Scavengers of the Wind,” Bath, UK, heavy post-rockers Charivari hold a firm sense of presence and tonal fullness. They’re prone to a wash from leadoff “When Leviathan Dreams” onward, but it’s satisfying to course along with the four-piece for the duration of their journey. Rough spots? Oh, to be sure. “Aphotic” seethes with noisy force, and certainly the aforementioned ending is intended to jar, but that only makes a work like “Lotus Eater,” which ably balances Cure-esque initial lead lines with emergent distortion-crush, that much richer to behold. The moves they make are natural, unforced, and whether they’re trading back and forth in volume or fluidly, willfully losing themselves in a trance of effects, the organic and ethereal aspects of their sound never fail to come through in terms of melody even as a human presence is maintained on vocals. When “Down by the Water” hits its mark, it is positively encompassing. Headphones were built for this.

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Human Impact, Human Impact

human impact human impact

Bit of a supergroup here, at least in the underrated-New-York-art-noise sphere of things. Vocals and riffy crunch provided by the masterful Chris Spencer (formerly of Unsane), while Cop Shoot Cop‘s Jim Coleman adds much-welcome electronic flourish, Swans/Xiu Xiu bassist Chris Pravdica provides low end and the well-if-he-can-handle-drumming-for-Swans-he-can-handle-anything Phil Puleo (also Cop Shoot Cop) grounds the rhythm. Presented through Ipecac, the four-piece’s declarative self-titled debut arrives through Ipecac very much as a combination of the elements of which it is comprised, but the atmosphere brought to the proceedings by Coleman set against Spencer‘s guitar isn’t to be understated. The two challenge each other in “E605” and the off-to-drone “Consequences” and the results are to everyone’s benefit, despite the underlying theme of planetary desolation. Whoops on that one, but at least we get the roiling chaos and artful noise of “This Dead Sea” out of it, and that’s not nothing. Predictable? In parts, but so was climate change if anyone would’ve fucking listened.

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Ipecac Recordings store

 

Dryland, Dances with Waves

dryland dances with waves

The nautically-themed follow-up to Bellingham, Washington, progressive heavy/noise/post-hardcore rockers Dryland‘s 2017 self-titled debut album, the four-song Dances with Waves EP finds the thoughtful and melodic riffers working alongside producer/engineer Matt Bayles (Mastodon, Isis, etc.) on a recording that loses none of its edge for its deft changes of rhythm and shifts in vocals. There’s some influence from Elder maybe in terms of the guitar on “No Celestial Hope” and the finale “Between the Testaments,” but by the time the seven-minute capper is done, it’s full-on Pacific Northwest noise crunch, crashing its waves of riffs and stomp against the shore of your eardrums in demand of as much volume as you’ll give it. Between those two, “Exalted Mystics” moves unsuspectingly through its first half and seems to delve into semi-emo-if-emo-was-about-sailing-and-death theatrics in its second, while “The Sound a Sword Adores” distills the alternating drive and sway down to its barest form, a slowdown later setting up the madness soon to arrive in “Between the Testaments.”

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Brass Owl, State of Mind

brass owl state of mind

Brass Owl foster on their self-released debut full-length, State of Mind, a brand of heavy rock that maintains a decidedly straightforward face while veering at the same time into influences from grunge, ’70s rock, the better end of ’80s metal and probably one or two current hard or heavy rock bands. You might catch a tinge of Five Horse Johnson-style blues on “No Filter – Stay Trendy” or the particularly barroom-ready “Jive Turkey,” which itself follows the funkier unfolding jam-into-shredfest of “The Legend of FUJIMO,” and the earlier “Hook, Line & Sinker” has trucker-rock all over it, but through it all, the defining aspect of the work is its absolute lack of pretense. These guys — there would seem to have been three when they recorded, there are two now; so it goes — aren’t trying to convince you of their intelligence, or their deep-running stylistic nuance. They’re not picking out riffs from obscure ’80s indie records or even ’70s private press LPs. They’re having a good time putting traditionalist-style rock songs together, messing around stylistically a bit, and they’ve got nine songs across 43 minutes ready to roll for anyone looking for that particular kind of company. If that’s you, great. If it ain’t, off you go to the next one.

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Battle City, Press Start

Battle City Press Start

From even before you press play on Press Start, the 22-minute debut release from South Africa’s Battle City, the instrumental duo make their love of gaming readily apparent. Given that they went so far as to call one song “Ram Man” and that it seems just as likely as not that “Ignition” and “Ghost Dimension” are video game references as well, it’s notable that guitarist/bassist Stian “Lightning Fingers Van Tonder” Maritz and drummer Wayne “Thunder Flakes” Hendrikz didn’t succumb to the temptation of bringing any electronic sounds to the six-song offering. Even in “Ghost Dimension,” which is the closer and longest track by about three minutes, they keep it decidedly straightforward in terms of arrangements and resist any sort of chiptune elements, sticking purely to guitar, bass and drums. There’s a touch of the progressive to the leadoff title-track and to the soaring lead “Ignotion,” but Press Start does likewise in setting the band’s foundation in a steady course of heavy rock and metal, to the point that if you didn’t know they were gaming-inspired by looking at the cover art or the titles, there’d be little to indicate that’s where they were coming from. I wouldn’t count myself among them, but those clamoring for beeps and boops and other 8-bit nonsense will be surprised. For me, the riffs’ll do just fine, thanks.

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Astral Bodies, Escape Death

Astral Bodies Escape Death

Spacious, varied and progressive without losing their heft either of tone or presence, Manchester, UK, trio Astral Bodies debut on Surviving Sounds with Escape Death, working mostly instrumentally — they do sneak some vocals into the penultimate “Pale Horse” — to affect an atmosphere of cosmic heavy that’s neither indebted to nor entirely separate from post-metal. Droning pieces like the introductory “Neptune,” or the joyous key-laced wash of the centerpiece “Orchidaeae,” or even “Pale Horse,” act as spacers between longer cuts, and they’re purposefully placed not to overdo symmetry so as to make Escape Death‘s deceptively-efficient 36-minute runtime predictable. It’s one more thing the three-piece do right, added to the sense of rawness that comes through in the guitar tone even as effects and synth seem to surround and provide a context that would be lush if it still weren’t essentially noise rock. Cosmic noise? The push of “Oumuamua” sure is, if anything might be. Classify it however you want — it’s fun when it’s difficult! — but it’s a striking record either way, and engages all the more as a first long-player.

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Satyrus, Rites

satyrus rites

Following its three-minute chanting intro, Satyrus let opener and longest track (immediate points) “Black Satyrus” unfold its cultish nod across an eight minutes that leads the way into the rest of their debut album, Rites, perhaps more suitably than the intro ever could. The building blocks that the Italian unit are working from are familiar enough — Black Sabbath, Saint Vitus, Electric Wizard, maybe even some Slayer in the faster soloing of second cut “Shovel” — but that doesn’t make the graveyard-dirt-covered fuzz of “Swirl” or the noisefest that ensues in “Stigma” or subsequent “Electric Funeral”-ist swing any less satisfying, or the dug-in chug of bookending nine-minute closer “Trailblazer.” Hell, if it’s a retread, at least they’re leaving footprints, and it’s not like Satyrus are trying to tell anyone they invented Tony Iommi‘s riff. It’s a mass by the converted for the converted. I’d ask nothing more of it than that and neither should you.

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