Child Launch European Tour July 15

Posted in Whathaveyou on June 29th, 2017 by JJ Koczan

child

Come on, Europe. Get on this one. Aussie blues rockers Child return to your shores in a few short weeks and they still have a handful of dates TBA for the tour. Time to step up. The trio offered up some of the most kickass heavy blues roll this side of a slower Firebird on their late-2016 second album, Blueside (review here) — released by Kozmik Artifactz — and I’m not trying to tell anyone their business or say anybody owes anyone anything, but it’s only right that as they hit the capital-‘c’ Continent to support that hands-up righteous outing, they be met with due hospitality. You could book a show. Shit, have them play in your living room. I bet they’d do it and I bet that show would rule. Get video. I’ll post it — promise.

They’ve got a bunch of fest appearances anchoring the run, including Stoned from the Underground, which kicks things off on July 15, and other dates that find them paired with the formidable likes of Acid King, Elder and King Buffalo, so it seems to me that once the TBA gigs are locked up, they’ll be sitting pretty. Make it happen.

Here’s the info for the tour as it stands now:

child euro tour

CHILD European Tour July/August 2017

Following the successful release of our second LP ‘Blueside’ we are overjoyed to be crossing the pond once again!

The CHILD European tour 2017 covers some of our favourite festivals (including a little jaunt to the Arctic Circle) and includes a string of dates with US bands ELDER, ACID KING and KING BUFFALO.

Dates:
2017-07-15 GER – Erfurt, Stoned From The Underground
2017-07-16 POL – Pleszew, Red Smoke Festival
2017-07-17 DNK – Copenhagen, Pumpehuset *
2017-07-18 TBA
2017-07-19 TBA
2017-07-21 NOR – Oslo, Blå *
2017-07-22 NOR – Tromsö, Bukta Festival
2017-07-24 GER – Hamburg, Hafenklang *
2017-07-25 GER – Wiesbaden, Schlachthof *
2017-07-26 TBA
2017-07-27 GER – Berlin, Badehaus
2017-07-28 GER – Siegen, Vortex *
2017-07-29 BEL – Liege, Le Hangar * ~
2017-07-30 FRA – Paris, Glazart * ~
2017-07-31 GER – Munich, Backstage (Free & Easy) * ~
2017-08-01 ITA – Milano, Magnolia * ~
2017-08-02 TBA
2017-08-03 TBA
2017-08-04 GER – Beelen, Krach Am Bach Festival
2017-08-05 BEL – Waarschoot, Roadkill Festival
* with Elder/King Buffalo
~ with Acid King

Child is:
Mathias Northway – Guitars, Vocals
Michael Lowe – Drums, Percussion
Danny Smith – Bass Guitar

http://www.childtheband.com
https://www.facebook.com/childtheband
https://www.instagram.com/childtheband/
http://kozmik-artifactz.com/artist/child/
https://childtheband.bandcamp.com

Child, Blueside (2017)

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The Obelisk Presents: The Top 20 of 2017 So Far

Posted in Features on June 12th, 2017 by JJ Koczan

the obelisk top-20-2017-so-far

The time has come to take a look at some of the best albums of 2017 so far. I hardly know where to start. In some ways, this list is harder to put together than the end-of-year one that comes out in December, because by then not only do you have the full year to draw on, but it’s easier to sort of put a narrative to the course of events of 12 months, whereas in this case, obviously, the story is half told. So I guess if the list feels incomplete, that might be part of why.

Even with just six months to work from, the list has become fairly immense. I’ve been keeping track of 2017 releases since about September of last year, and the amount of stuff that’s come through has been staggering. Every year brings good music, and the basic fact of the matter is that if you don’t think so it’s because you’re either unwilling to find it or unwilling to let yourself hear it, but 2017 has been a multi-tiered assault of sounds from all over the world, and it seems like whatever you might be into, the universe stands ready to accommodate.

There’s a lot to say about that — is the market flooded? — but it’s a topic for a different post. I’ll keep it short here and just say that as always, it’s an honor to be covering the stuff that I cover and that I deeply appreciate you taking the time to read. I hope if there’s a release you feel deeply passionate about that you don’t see on my list below that you’ll please let me know about it in the comments.

Also, please note that in order to qualify for this list, a record had to come out on or before June 9. That’s the cutoff.

Okay, here goes:

The Top 20 of 2017 So Far

elder reflections of a floating world

1. Elder, Reflections of a Floating World
2. All Them Witches, Sleeping Through the War
3. Samsara Blues Experiment, One with the Universe
4. Colour Haze, In Her Garden
5. Atavismo, Inerte
6. Sun Blood Stories, It Runs Around the Room with Us
7. Cloud Catcher, Trails of Kozmic Dust
8. Vokonis, The Sunken Djinn
9. The Obsessed, Sacred
10. Mothership, High Strangeness
11. Spaceslug, Time Travel Dilemma
12. Electric Moon, Stardust Rituals
13. Alunah, Solennial
14. Arc of Ascent, Realms of the Metaphysical
13. Rozamov, This Mortal Road
14. Siena Root, A Dream of Lasting Peace
15. PH, Eternal Hayden
16. Geezer, Psychoriffadelia
17. T.G. Olson, Foothills Before the Mountain
18. Telekinetic Yeti, Abominable
19. The Devil and the Almighty Blues, II
20. Lord, Blacklisted

Notes

If you keep up with this site at all, there probably aren’t a lot of surprises in there. These are all records that have been discussed at great length over the last six months, reviewed, streamed, analyzed, whathaveyou’d all the way. If you don’t believe me, search any of the names. Still, as far as my personal picks go and who I think has crafted something special over the last six months, this feels pretty representative to me. I managed to live for a full week with the list as you see it above, without making changes. That’s usually my standard.

And as always, it’s a combination of what I’ve listened to most and what I feel has had the greatest impact thus far into the year. Between the two, there was little doubt Elder would take the top spot. I’ve probably listened to the All Them Witches record more than anything else this year, including Elder’s Reflections of a Floating World, but the truth is the Massachusetts trio are working at a level of their own making in terms of their sonic progression, and that they’ve emerged as one of if not the most pivotal American underground heavy rock bands going. The situation was much the same when they put out Lore in 2015 and claimed that year’s top-album spot, but even since then their sound has expanded and they continue to demand ultimate respect.

As for the All Them Witches album — absolute stunner. The increased depth of their arrangements on Sleeping Through the War came at no expense of songwriting, resulting in ultra-memorable material that could either wash over you with melody or shove you out of your seat with the force of its rhythm, and that band continues to be a treasure. No other way to put it.

From there, we move into what I think are the four best heavy psych offerings of 2017 so far, with Samsara Blues Experiment, Colour Haze, Atavismo and Sun Blood Stories, in that order. Samsara Blues Experiment’s return has been a joy to witness and their first album in four years lived up to the occasion. Colour Haze expanded the palette from their last album with In Her Garden and proved as immersive as always. I’m still getting to know that record. Atavismo’s second full-length upped the progressive influences without losing fluidity or cohesion in songwriting, and Sun Blood Stories’ hypnotic shoegaze offered expansive thrills and a sense of varied, beautifully crafted exploration.

A pair of exciting young bands thereafter in Colorado’s Cloud Catcher, whose boogie is right-on-right-on and whose development continues to hold much potential, and Vokonis, whose crushing riffs on The Sunken Djinn were met with an increased focus on structure and tightening of approach that maximized overall impact. The Obsessed’s unexpected return could only be called a triumphant one, and Mothership’s third long-player found them working in a richer sense of mood than previous outings, adding yet more character to what was still a blast of good-time rock and roll. They round out the top 10 in full command of who they are as players.

Granted, the next 10 releases are kind of all over the place, but I think that just shows the overarching quality of work being done across the board. From Spaceslug’s melodic stoner-psych to Electric Moon’s studio return — so, so, so good — to Alunah’s continued growth in nature-worshiping heavy and Arc of Ascent’s comebacker of rolling heavy riffs and metaphysical themes, there’s been so much to take in. I especially like the pairing of Rozamov and Siena Root as a sense of scope for 2017 so far; the former being so dark and crushing and the latter who lived up to calling their record A Dream of Lasting Peace. You want to know both ends of the spectrum? There they are.

PH’s Eternal Hayden gets a nod for its effective reset of the context of that band following the completion of their trilogy of albums, and Geezer’s Psychoriffadelia might have been something of a tossoff in the making, but the level at which the New York trio jams nonetheless assures it a spot here. Plus, a Nazareth cover. So duh.

I couldn’t help but include T.G. Olson’s Foothills Before the Mountain on the list as the Across Tundras frontman creeps closer to a full-band sound for his solo work, adding to his acoustic singer-songwriter foundations, and the crush of Telekinetic Yeti’s post-Sleep riffing evoked so many nods I thought they deserved one here as well. Placing The Devil and the Almighty Blues was difficult, but especially after seeing them live, I felt like I had a better idea of where they were coming from on II, so knew they belonged somewhere, even if it was tucked in at the end. And of course, Lord. Always killer, always experimenting, always chaotic. Never have grind and sludge sounded more cohesive together. They’re the band I wish Soilent Green had become, and yes, I mean that.

Honorable Mention

Let’s do another 10 releases, shall we?

21. Beastmaker, Inside the Skull
22. Arduini/Balich, Dawn of Ages
23. Brume, Rooster
24. John Garcia, The Coyote Who Spoke in Tongues
25. Six Sigma, Tuxedo Brown
26. Demon Head, Thunder on the Fields
27. Summoner, Beyond the Realm of Light
28. Steak, No God to Save
29. Six Organs of Admittance, Burning the Threshold
30. Dool, Here Now There Then

And just to make the point, here are even more worthy of note in this space:

Elbrus, Elbrus
Cortez, The Depths Below
Ecstatic Vision, Raw Rock Fury
Child, Blueside (a December 2016 release, maybe, but I think the vinyl was this year, so whatever)
Pallbearer, Heartless
Spidergawd, IV
Green Meteor, Consumed by a Dying Sun
Loss, Horizonless

There are of course other names as well that come to mind. Like I said at the outset, it’s a crowded field: Hymn, Arbouretum, Green Meteor, REZN, Demon Head, Galley Beggar, Devil’s Witches, Orango, Heavy Traffic, Coltsblood, Mt. Mountain, Vokonis, Solstafir, High Plains, on and on.

Also worth highlighting several really, really quality live records that have surfaced so far this year. I didn’t really know where to place them among the other studio offerings, but they deserve note for sure:

Causa Sui, Live in Copenhagen
Death Alley, Live at Roadburn
My Sleeping Karma, Mela Ananda – Live
Enslaved, Roadburn Live

More to Come

Of course, we’re still just barely halfway through the year, so keep on the lookout for more to follow. If you didn’t see my massive 200+ albums to watch for list in January, it has many that have come out and many more still to surface, but here are a few highlight names as well that you’re going to want to keep an eye on in the months ahead:

Queens of the Stone Age
Radio Moscow
The Atomic Bitchwax
Kadavar
Ufomammut
The Midnight Ghost Train
Moon Rats
Clamfight
Egypt
the Melvins
Bison Machine
Seedy Jeezus
High on Fire
Monster Magnet

Thanks for Reading

Before I check out, I’d like to give special mention to Lo-Pan’s In Tensions EP as the best short release of the year thus far. Along with EPs from Godhunter, Kings Destroy, Solace and Shroud Eater, it has assured those seeking a quick fix are handed their ass in return for asking.

Well, that’s about where I’m at with it. As per usual, I’m sure there are things I forgot and/or left off here, because I’m human and whatnot, so please if you have something to add, feel free to do so in the comments so long as you can keep it cordial. No name calling. I’m sensitive and you’ll ruin my whole day. I mean that.

Thanks again for being a part of this and here’s to an excellent rest of 2017.

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audiObelisk Transmission 060

Posted in Podcasts on December 22nd, 2016 by JJ Koczan

the obelisk podcast 60

Click Here to Download

 

Consider this your usual disclaimer that, like any of this site’s coverage of year-end whatnottery, this podcast is by no means attempting to capture all of 2016’s best tracks. It is, however, over four hours long, and frankly that seems like enough to ask. If you decide to take it on and sample what I found to be some of the best material to come down the line over the last 12 months, please know you have my thanks in advance. For what it’s worth, it was a lot of fun to put together, and that’s not always the case with these.

But about the length. I’ve done double-sized year-end specials for a while now. It’s always just seemed a fair way to go. And the last few at least have been posted the week of the Xmas holiday as well, which for me is of dual significance since it just so happens four hours is right about what it takes to drive from where I live to where my family lives, so when I look at this massive slew of 34 acts, from the riff-led righteousness of Wo Fat and Curse the Son to the crush of Mammoth Weed Wizard Bastard and SubRosa to the psychedelic reaches of Zun and Øresund Space Collective (who probably show up in podcasts more than anyone, oddly enough), I also think of going to see my family, which has become my favorite part of the holidays.

Whatever associations you might draw with it, I very much hope you enjoy listening. Thanks for taking the time.

Track details follow:

First Hour:

0:00:00 Wo Fat, “There’s Something Sinister in the Wind” from Midnight Cometh
0:09:35 Greenleaf, “Howl” from Rise Above the Meadow
0:14:57 Elephant Tree, “Aphotic Blues” from Elephant Tree
0:20:49 Brant Bjork, “The Gree Heen” from Tao of the Devil
0:26:27 Sergio Ch., “El Herrero” from Aurora
0:29:44 Child, “Blue Side of the Collar” from Blueside
0:35:31 Geezer, “Bi-Polar Vortex” from Geezer
0:43:59 Zun, “Come Through the Water” from Burial Sunrise
0:49:27 Baby Woodrose, “Mind Control Machine” from Freedom
0:54:11 Curse the Son, “Hull Crush Depth” from Isolator
0:59:31 Borracho, “Shot down, Banged up, Fade Away” from Atacama

Second Hour:

1:05:50 Scissorfight, “Nature’s Cruelest Mistake” from Chaos County
1:09:19 Truckfighters, “The Contract” from V
1:16:30 Spidergawd, “El Corazon del Sol” from III
1:21:24 Fatso Jetson, “Royal Family” from Idle Hands
1:26:13 Worshipper, “Step Behind” from Shadow Hymns
1:30:57 Mammoth Weed Wizard Bastard, “Y Proffwyd Dwyll” from Y Proffwyd Dwyll
1:39:42 Druglord, “Regret to Dismember” from Deepest Regrets
1:46:34 Moon Coven, “New Season” from Moon Coven
1:52:03 Gozu, “Tin Chicken” from Revival
1:59:49 Year of the Cobra, “Vision of Three” from …In the Shadows Below

Third Hour:

2:06:53 The Munsens, “Abbey Rose” from Abbey Rose
2:14:56 Lamp of the Universe, “Mu” from Hidden Knowledge
2:21:26 1000mods, “On a Stone” from Repeated Exposure To…
2:26:45 Church of the Cosmic Skull, “Watch it Grow” from Is Satan Real?
2:30:43 Vokonis, “Acid Pilgrim” from Olde One Ascending
2:37:35 Slomatics, “Electric Breath” from Future Echo Returns
2:43:02 Droids Attack, “Sci-Fi or Die” from Sci-Fi or Die
2:47:20 King Buffalo, “Drinking from the River Rising” from Orion
2:56:51 Comet Control, “Artificial Light” from Center of the Maze

Fourth Hour:

3:06:37 Øresund Space Collective, “Above the Corner” from Visions Of…
3:22:51 Naxatras, “Garden of the Senses” from II
3:33:14 SubRosa, “Black Majesty” from For this We Fought the Battle of Ages
3:48:23 Seedy Jeezus with Isaiah Mitchell, “Escape Through the Rift” from Tranquonauts

Total running time: 4:07:32

 

Thank you for listening.

Download audiObelisk Transmission 060

 

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Child, Blueside: Kindness and Cruelty

Posted in Reviews on December 2nd, 2016 by JJ Koczan

child-blueside

A sophomore outing poses a significant challenge to Melbourne-based heavy blues rockers Child perhaps more than it does to some other bands. Their self-titled debut, self-released in 2014 and snagged by Kozmik Artifactz for a CD/LP release a year later, had an advantage in the element of surprise. Call it the “where’d these guys come from?” factor. That album took Child to Europe and announced their arrival beyond Australia’s borders. More over, it set a high standard of naturalistic groove and jammy vibes for its follow-up to meet. Blueside, Child‘s second offering through Kozmik Artifactz, can’t necessarily rely on that same ability to blindside. While it will no doubt be some listeners’ first exposure to the band, you only get one full-length debut.

The good news is it doesn’t need novelty. The trio of guitarist/vocalist Mathias Northway, bassist Danny Smith and drummer Michael Lowe don’t fix what wasn’t broken last time out, and there’s a lot in common between their two to-date offerings in style and substance. Both records have five tracks, both carry a feel of having been recorded at least mostly live, both play to heavy rock traditionalism and blue-eyed soul, both carry striking cover art by Nick Keller — who’s also known for his work with New Zealand’s Beastwars and whose emphasis on blues with Blueside is hard to miss — and both succeed in casting a memorable impression without necessarily leaning on their choruses to a point of sounding contrived.

The latter is especially true of Blueside, and indeed one of the crucial factors arguing toward Child‘s overall progression across the album’s 39-minute span is the balance they strike between open-sounding jams and the underlying purpose that drives them forward. That’s not to say opener “Nailed to the Ceiling,” “It’s Cruel to be Kind,” “Blue Side of the Collar,” “Dirty Woman” or the 11-minute finale “The Man” aren’t catchy in a get-stuck-in-your-head kind of way, just that what’s likely to get stuck in your head could just as much be a section of bluesy noodling from Northway on guitar as a soulfully-delivered hook, and that rather than one standout part or line or chorus, Blueside feels more determined to deliver a full-album flow and experience. Child take great steps to hone an organic, classic, but still crisp sound.

At the beginning of “Dirty Woman,” for example, we hear an engineer, presumably Dav Byrne, who recorded, mixed and mastered, calling out the beginning of the take, followed by what sounds like a radio signal being picked up by one of the amplifiers. As Child dig into a gorgeous psych-blues jam, that interference seems to pop up again later in “The Man.” Likewise, before “It’s Cruel to be Kind” starts, we hear Lowe play a measure on drums (the room mics sound great) and Northway gives an “okay” that he’s ready to begin the song. What these details do is emphasize the point that Child are basically inviting their listeners into the session itself, as it’s happening.

child

It’s not that they’re working toward being raw — “It’s Cruel to be Kind” and “Dirty Woman” feature a righteous backing vocal guest performance from Harmony Byrne, while both “Dirty Woman” and “Nailed to the Ceiling” bring in Joe Cope to add organ to the proceedings — but in their way, the songs push at the core of an ideal of capturing the spirit of a performance without sacrificing the in-the-moment spontaneity that can come when players lock in on stage. They’re not the first to do it, but from Buffalo and earliest AC/DC to today’s vibrant and varied Melbourne heavy underground, Child are the beneficiaries of the lessons a rich rock history can teach, and no doubt Blueside will help them further cast their own place in it after grabbing so much attention their first time out.

One more thing Blueside has in common with its predecessor is that the deeper it goes, the further out it goes. After a relatively straightforward roll in its first half, “Dirty Woman” breaks in the middle into a hard-fuzz jam, bolstered by organ and backing vocals, that sets the stage for Northway — who shines across the album in standout, emerging-frontman fashion — to loose a final solo before backwards guitar and amp noise finish out the song. That sets up the extended finale “The Man,” which takes its time in a satisfyingly classic way, starting almost before the listener realizes it with its tinge of Hendrixian blues, blown-out vocals (doubled in places) and steady but patient build. No rush.

Only after they pass the seven-minute mark do Child really dig into the full-boar tones of Blueside at its heaviest, so that “The Man” — a kind of lyrical answer to the earlier “Blue Side of the Collar” — gracefully makes its way to the album’s apex as it pushes toward its long fade, one last emphasis placed on the dynamic in development between NorthwaySmith and Lowe, whose chemistry already is not to be understated. If Blueside is an indication of how Child will continue to grow as a band, settle in, because much like their sound itself, it seems like they’ve got more of a focus on exploring earthy vibes than willing themselves into forced-sounding leaps and bounds.

I can’t argue with the approach — it couldn’t be more fitting, actually — or with the results that come through in these five songs, and not to be discounted in Child‘s appeal is their lack of pretense and posturing. For a band who draw so much on the blues, it would be easy to get sidetracked into genre tropes and to lose individual identity for the sake of executing a cookie-cutter sonic idea. Child avoid this with a fluidity that is their own and so come out of their second offering with even more momentum than they went into it. An important step, and one they inarguably take in a commanding forward direction.

Child, Blueside (2016)

Child on Thee Facebooks

Child on Bandcamp

Child at Kozmik Artifactz

Kozmik Artifactz on Thee Facebooks

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Child to Release Blueside Dec. 2; “Blueside of the Collar” Video Posted

Posted in Whathaveyou on November 21st, 2016 by JJ Koczan

child-700

Melbourne heavy blues three-piece Child left little doubt to their boogie allegiance with their 2014 self-titled debut. So much so that respected German purveyor Kozmik Artifactz picked up the record for release early last year. Tracked live in its entirety and showcasing due vibrancy as a result, the follow-up is called Blueside, and it arrives via the same label on Dec. 2. You probably caught wind of the first record, because you’re hip like that, and I’d have sworn I reviewed it at some point but can’t find the link — hey, I’m human; sometimes a cool album falls through the cracks — but Blueside rolls out five new languid, jammy rockers marked out by the vocal performance of guitarist Mathias Northway and the rhythmic fluidity of bassist Danny Smith and drummer Michael Lowe in a manner no less grand than the Nick Keller (see also: Beastwars) cover art would suggest.

Shit is right on, is my point, and whether they’ve gone a-wonderin’ in a song like “It’s Cruel to be Kind” or the 11-minute closer “The Man” or get down on more straightforward vibes with centerpiece “Blue Side of the Collar” — for which you can see a newly-posted video at the bottom of this post — the flow holds up front to back for the 39-minute span. I’ll have a review up in the weeks to come, but preorders are up now through Kozmik Artifactz, and the short version is you might want to get on that.

Dig:

child-blueside-700

CHILD ‘Blueside’ LP/CD out December 2nd

CHILD is a trio of jam-obsessed first-class musicians, who met in 2012 in the rock underground of Melbourne. Between the three working class Australians Mathias (guitar/vocals), Michael (drums) and Jayden (bass), who can best be described as a blues fanatic with liquid steel as blood, grew as strong a musical band as a group of Musicians can only cultivate and nurture themselves by the unabated urge for intense jam.

It quickly became clear that songs here would not be created simply as architectural objects on the drawing board, but as a result of a deep dialogue between three conspiratorial individuals who have given their instruments speech.

From this dialogue, the self-titled debut resulted in the winter of 2014, which, in addition to the CD, also received a top-notch vinyl copy of the well-known cult label Kozmik Artifactz. On the bandcamp page of the band, this blues-doom hammer has since then entered the hearts of the buyers, which is evidenced by a steadily growing number of supporter reviews.

The enthusiasm for CHILD became so international in a short time that the band escaped the red continent in 2014 and 2015 and also crashed European clubs and festivals with their brutal sound. In these few but very busy years, CHILD have already contested 145 shows, among others. Also a tour of Indonesia. There they appeared in some places as the first internationally active band at all, which led to partly adventurous events.

In April 2017 it will be time again, and this time especially the German-speaking area will pay a lot of attention.

The “Blueside”

In the spring of 2016 CHILD’s dialogue was resumed, but with a new bassist, Danny Smith, also recruited from the circle of friends.

On the self-imposed goal of the band, nothing had changed: the magical intensity of the CHILD-Liveshows was to be transferred intimally and unbuilt to the new recordings, and a sluggish, sonorous power that made the good old Doom Metal pale was a perfect protoplasm, which Mathias was able to inoculate many very lively blues cells with his singing and guitar playing after black swamp blues…

The two-month recording process, a liverecording with just enough space for bluestypic improvisations, resulted in a refreshing contrast to the currently booming heavy blues rock, because, irrishingly, “Blueside” creates a very primordial blues full of expressive power even more strongly in the foreground and still to speak also of true doomfans, which the underlying cause of all instruments plays directly into the entrails.
Available as CD & limited vinyl

VINYL FACTZ
– Plated & pressed on high performance vinyl at Pallas/Germany
– limited 180g vinyl
– 166x marbled (exclusive mailorder edition)
– blue & black editions
– 300gsm gatefold cover
– special vinyl mastering

TRACKS
1. Nailed to the Ceiling
2. It’s Cruel to be Kind
3. Blue Side of the Collar
4. Dirty Woman
5. The Man

Child is:
Mathias Northway – Guitars, Vocals
Michael Lowe – Drums, Percussion
Danny Smith – Bass Guitar

Recorded live at Iridium Audio and TVOG by Dav Byrne
Mixed and mastered by Dav Byrne
Produced by CHILD and Dav Byrne
All songs written by CHILD

Original oil painting by Nick Keller
Photography by Stephen Boxshall

Backing vocals by Harmony Byrne and Neil Wilkinson
Organs by Joe Cope
Layout by James Tom

https://www.facebook.com/childtheband/
https://childtheband.bandcamp.com/
https://www.instagram.com/childtheband
http://www.childtheband.com/
http://shop.bilocationrecords.com/index.php?k=986
https://www.facebook.com/kozmikartifactz/

Child, “Blueside of the Collar” official video

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Various Artists, Electric Ladyland [Redux] & The Best of James Marshall Hendrix: Scope Worthy of the Source

Posted in Reviews on August 24th, 2015 by JJ Koczan

12inchJacket_offset

Even before you press play on Electric Ladyland [Redux] or its companion piece, The Best of James Marshall Hendrix, it’s hard not to admire the coordinating prowess of Magnetic Eye Records in making it all happen. Most people couldn’t corral three bands to put together a single show bill, and the label’s Mike Vitali has wrangled 20 acts from the US and European heavy rock underground to pay homage to Jimi Hendrix in time for what would’ve been the supra-legendary guitarist’s 75th birthday, topped it of with artwork by David Paul Seymour, whose piece for Electric Ladyland [Redux] easily stands among the best covers of 2015, and Caitlin Hackett, whose three-eyed-bird portraiture perfectly suits Hendrix‘s groundbreaking psychedelic blues. Packaged separately on 2CD and 2LP but clearly intended as complements, both tribute collections showcase staggering ambition on the part of the label putting them together, and the fact that Electric Ladyland [Redux] and The Best of James Marshall Hendrix materialized at all is an automatic, unqualified triumph. Here are the full tracklistings:

VA, Electric Ladyland [Redux]
1. Elephant Tree, “…And the Gods Made Love” 01:44
2. Open Hand, “Have You Ever Been (To Electric Ladyland)” 03:01
3. Superchief, “Crosstown Traffic” 03:32
4. All Them Witches, “Voodoo Chile” 14:59
5. Origami Horses, “Little Miss Strange” 03:52
6. The Heavy Eyes, “Long Hot Summer Night” 04:17
7. Earthless, “Come On (Let the Good Times Roll)” 05:03
8. Wo Fat, “Gypsy Eyes” 04:34
9. Mos Generator, “Burning of the Midnight Lamp” 03:34
10. Gozu, “Rainy Day, Dream Away” 08:07
11. Summoner, “1983… (A Merman I Should Turn to Be)” 12:56
12. Claymation, “Moon, Turn the Tides… Gently Gently Away” 01:24
13. Mothership, “Still Raining, Still Dreaming” 06:20
14. King Buffalo, “House Burning Down” 04:44
15. Tunga Moln, “All Along the Watchtower” 03:28
16. Elder, “Voodoo Child (Slight Return)” 07:08

VA, The Best of James Marshall Hendrix
1. Child, “In from the Storm” 04:57
2. Elephant Tree, “Manic Depression” 04:10
3. Wo Fat, “Machine Gun” 12:49
4. Stubb, “Little Wing” 04:18
5. Rosy Finch, “Foxy Lady” 05:17
6. Geezer, “Little Miss Lover” 04:50
7. Wo Fat, “Gypsy Eyes (Extended)” 07:13

As I said, staggering. Even more so in the case of Electric Ladyland [Redux], since not only do the usual comp and tribute album concerns apply of getting everything together and turning it into a cohesive listening experience, but also because in paying homage to a full-length album specifically, it’s also pivotal that Electric Ladyland [Redux] flows front to back while being comprised of 16 separate recordings taking place in 16 separate studios with 16 separate performances and treading on some of rock and roll’s most sacred, pivotal ground. Covering Hendrix? Unless you’re Stevie Ray Vaughan — and hell, even if you are — it’s a tricky proposition for one song, let alone a full record. It’s like someone asked Magnetic Eye if they wanted to go mountain biking and the label built a rocket, went to Mars, terraformed the planet and then decided to tackle Olympus Mons, on a Huffy.

va the best of james marshall hendrix

Okay, an exaggeration, but you take my meaning. And Electric Ladyand [Redux] mostly succeeds in its decidedly Herculean mission. There are one or two changes that come across choppy — an early one in the jump from the groovy vibes of Elephant Tree and Open Hand into the burlier Superchief, who give an able showing of what they do but ultimately feel out of place — but on the whole, it’s hard to argue with the results as they’re presented throughout, whether it’s King Buffalo‘s dreamy “House Burning Down” or groups making the material their own, like Wo Fat‘s “Gypsy Eyes,” Summoner‘s re-envisioned “1983… (A Merman I Should Turn to Be)” and Gozu‘s adventurous “Rainy Day, Dream Away,” which leads off the second CD of the collection after Mos Generator‘s “Burning of the Midnight Lamp” finds the Washington-based act showing the roots of their own approach to landmark hooks, as do Mothership with their “Still Raining, Still Dreaming.”

Hearing Earthless with vocals is something of a surprise, and their take on “Come on (Let the Good Times Roll)” (an Earl King cover) not only is true to their Hendrix influence, but is a decided showcase of just how influential they’ve been on the West Coast underground — there are a good number of bands out there striving to sound like Earthless covering Jimi Hendrix — and having Swedish rockers Tunga Moln perform “All Along the Watchtower” in their native language puts an unexpected spin on arguably Electric Ladyland‘s most recognizable piece. All Them Witches are right in their element jamming on “Voodoo Chile,” and Elder do justice to the album’s closer in their “Voodoo Child (Slight Return),” capping the tribute with one last highlight to round out the many before it.

There are several acts who reappear on The Best of James Marshall Hendrix, including Wo Fat and Elephant Tree, but as the latter only had the intro “…And the Gods Made Love” to lead off Electric Ladyland [Redux], it seems fair enough. In the case of Texas fuzz forerunners Wo Fat, I’m not at all going to fight with their extended jam on “Gypsy Eyes” as it closes out The Best of James Marshall Hendrix, and their 12:49 run through “Machine Gun” suits just as well. Leading off the companion tribute are Australian blues rockers Child, who give “In from the Storm” due soul and sway, and after Elephant Tree‘s “Manic Depression” and Wo Fat‘s “Machine Gun,” hearing Stubb take on the sweet melodies of “Little Wing” couldn’t be more perfect, especially leading into Rosy Finch‘s stomping “Foxy Lady,” which in turn gives way to Geezer‘s “Little Miss Lover,” coated in wah and right in the New York band’s wheelhouse, even as it gives way to a deconstructing long-form fadeout.

Wo Fat‘s extended “Gypsy Eyes” picks up from that silence with a bonus track-style vibe, but really, both releases feel like a bonus the whole time through. There are some variances in sound and style and some bands are more suited to the source material than others, but the effort that has been put into Electric Ladyland [Redux] and The Best of James Marshall Hendrix and the passion that bleeds from every second of each of these tracks are simply inarguable. It may be preaching to the choir to have heavy rock and psych bands covering Hendrix tracks, but the vibe throughout both of these tribute comps is much more of a genre paying homage to one of its founders who, sadly, didn’t live long enough to see the generation-spanning impact of his work realized. Equally admirable in mission and execution.

VA, Electric Ladyland [Redux] (2015)

VA, The Best of James Marshall Hendrix (2015)

Magnetic Eye Records on Bandcamp

Magnetic Eye on Thee Facebooks

Magnetic Eye website

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Desertfest Belgium 2015: Melvins Out; Ufomammut, Causa Sui, Valient Thorr, Carlton Melton, Child and Wheel of Smoke In

Posted in Whathaveyou on July 13th, 2015 by JJ Koczan

desertfest belgium 2015 banner

Am I crazy, or does demanding a refund after the Melvins drop off a festival bill seem completely over the top? I mean, I agree Desertfest Belgium 2015 should give their customers the chance to back out if they so desire, but who goes to a fest to see one band in the first place? And it’s not like the Melvins aren’t on tour nine months out of every single year. I guess it just wouldn’t occur to me to be like, “No Melvins? Fuck this!” but then, I’m not the hugest Melvins fan anyway. Maybe those people exist. Takes all kinds.

Desertfest Belgium 2015 looks pretty sweet with Orange Goblin and Fatso Jetson on top of the bill, and adding UfomammutCausa SuiValient ThorrCarlton MeltonChild and Wheel of Smoke, as they have today certainly doesn’t hurt their case any. I don’t have tickets, but if I did, I’d keep them.

Kind of a bummer situation that seems to have led to the Melvins backing out, though. You can read about it below, as sent down the PR wire:

desertfest belgium 2015 poster

MELVINS FORCED TO CANCEL DESERTFEST 2015

We have to start off this announcement with some very unfortunate news: Melvins will not be playing the 2015 edition of Desertfest Belgium.

The band was forced to cancel their appearance at the festival due to an exclusivity contract for their shows at the 2015 Incubate festival in Tilburg. This fact unfortunately only surfaced after our public announcement had been made. We have tried to negotiate a deal that would be satisfactory for both events, but to no avail. Desertfest Belgium has no choice but to accept there will be no Melvins at our 2015 edition.

We want to stress that we at Desertfest were not made aware of this exclusivity deal at the time the booking was confirmed. Please understand that the band also has no choice in the matter.

We can only offer you our sincere apologies, and we hope we have your understanding and support in this most unfortunate turn of events. But in the case this makes you reconsider your purchase of an early bird ticket, we want to offer our supporters the chance to demand a refund.

Tickets will be refunded for two weeks on from today (until 27/7), contact us through contact@desertfest.be.

However, before you make such a drastic decision, you may first want to read this first:

NEW NAMES confirmed for DesertFest 2015!

UFOMAMMUT
Ufomammut needs no introduction, as they have long established their status as one of the most potent, powerful and artistic contemporary doom artists in existence. They offer a unique brand of psychedelic sludge, blending primordial acid with sinister atmospheres and gloomy sounds of vintage electronics.

In fifteen years the band has performed at international music festivals like Roadburn, Hellfest, Dour Fest, Stoned from the Underground, Up in Smoke and many more… Their live show is supported by the internationally acclaimed video and graphic art of Malleus, whose visuals match the devastating impact of Ufomammut’s massive sound.
http://www.ufomammut.com/

VALIENT THORR
“My God they’re striking. All Hail Thorriors!” – Wayne Kramer, MC5. A wild-ass rock’n’roll band said to hail from the inner core of the planet Venus. Since crash landing on Earth in the year 2000 they’ve played well over 1500 shows all over the world, including stints at festivals like Download, Sonisphere, Hellfest, Graspop and Roskilde.
http://www.valientthorr.com/

CARLTON MELTON
They play live, loud, improvised, experimental, instrumental, psychedelic music that they record in a geodesic dome near the coast of Northern California. This should tell you everything you need to know about this bunch of rock royalty (including ex-members from cult band Zen Guerilla). Long Live Dome Rock!
http://www.carltonmeltonmusic.com/

CAUSA SUI
Causa Sui’s sound has been described as the sound of a giant wave rolling up through the last four decades of rock. Over the course of eight albums since 2005, they have developed an eclectic instrumental sound that owes as much to electric Miles Davis or Can as it does to more familiar stoner rock. They are now recording the follow-up to the highly acclaimed ‘Euporie Tide’ album from 2013.
http://elparaisorecords.com/artists/causa_sui

CHILD
Formed in the rock n roll underground of Melbourne, Australia in 2012, Child take pride in upholding the strong tradition of Australian rock that preceded them with the likes of AC/DC, The Easybeats, Rose Tattoo or Billy Thorpe and the Aztecs. Drawing influence from an ever growing sonic palette, you will find Child’s roots tightly entwined in and around the Blues whilst taking a heavier and more visceral approach.
https://childtheband.bandcamp.com/

WHEEL OF SMOKE
Wheel of Smoke (Leuven, BE) has been dwelling the Belgian underground rock scene with smoking mix of heavy, 70’s tinted rock, blended with a dash of grunge and postrock. They’ve shared the stage with many bands including Baby Woodrose, Hypnos 69, Sungrazer, The Machine, My Sleeping Karma…
https://wheelofsmoke.bandcamp.com/

https://www.facebook.com/desertfestbelgium
https://twitter.com/desertfestBE
http://www.desertfest.be/

Ufomammut, Live at Saint Vitus Bar, May 19, 2015

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Kozmik Artifactz Streams New Label Compilation Home of the Good Sounds Vol. 2; Free Download Available

Posted in audiObelisk on June 9th, 2015 by JJ Koczan

home of the good sounds vol 2 front

Over the last couple years, Kozmik Artifactz and its close cohort, Bilocation Records, have assembled one of the most enviable label rosters in the world for heavy rock and roll and psychedelia. Their commitment is to vinyl releases in limited quantities, and their stuff usually goes. It’s harder to get in the States with import prices, but their reach includes American acts like Ruby the HatchetBison MachineValley of the SunSpace God Ritual and The Dirty Streets, all of whom are featured alongside European groups Somali Yacht Club (Ukraine), Earthmass (UK), Sonora Ritual (Germany) and Domadora (France) as well as Australia’s Child on the new 18-track Home of the Good Sounds Vol. 2 label sampler, which is out today.

With new music from The Heavy Eyes — “Somniloquy” is the first I’ve heard of their upcoming third LP, He Dreams of Lions — as well as Buzzard, the new project from Place of Skulls and Pentagram drummer “Minnesota” Pete Campbell, and home of the good sounds vol 2 backUK trio Mammothwing, the sampler should have no trouble piquing interest among the converted while more familiar cuts from The Kings of Frog Island and Valley of the Sun reinforce a solid mixtape feel. I won’t belabor the point that you’re probably about to spend a decent portion of your afternoon head-to-head with these songs — it’s 18 tracks, after all — but there’s a decent flow from one to the next and it’s clear the label was looking to do more than just toss together something haphazardly. Anyone who’s ever held a piece of their vinyl can probably tell you that’s not how they roll.

Plenty of variety, plenty of heavy, and some brand new stuff to preview what they have coming hopefully before the end of 2015, there’s really no way to lose. If nothing else, you can’t beat the price. Kozmik Artifactz was kind enough to let me announce the comp’s arrival, and you’ll find it on the player below, courtesy of their Bandcamp, followed by their official word on today’s release.

Please enjoy:

Kozmik Artifactz and Bilocation Records are very proud to offer to their new and old followers the second label compilation ‘Home of the good sounds – Vol. 2’. The sampler features 18 bands from all over the planet including 12 tracks that are not published on vinyl yet, three of them are exclusively to be heard here: new stuff from The Heavy Eyes from their forthcoming third album ‘He dreams of lions’, mighty Buzzard (featuring Pete Campbell from Pentagram) with ‘Is you Is’ and Mammothwing with a new track from their upcoming epic album ‘Morning light’.

For further informations to bands and releases visit our website www.kozmik-artifactz.com and our shop at http://shop.bilocationrecords.com/.

Thanks to our artist for creating so exciting music and to our customers and friends for their endless support – It is the music that matters!

The Kozmik Crew.

Kozmik Artifactz on Bandcamp

Kozmik Artifactz on Thee Facebooks

Kozmik Artifactz website

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