Review & Track Premiere: Arc of Ascent, Realms of the Metaphysical

Posted in audiObelisk, Reviews on April 6th, 2017 by JJ Koczan

arc of ascent realms of the metaphysical

[Click play above to stream ‘Eye of Sages’ from Arc of Ascent’s Realms of the Metaphysical. Album is out digitally and on CD April 11 via Astral Projection with vinyl to follow this June/July through Clostridium Records.]

It’s been just over half a decade since the release of the last Arc of Ascent album, but to listen to the six component tracks of Realms of the Metaphysical, one hardly gets a sense of time at all, let alone a span of years. The Hamilton, New Zealand, outfit boasts bassist/vocalist Craig Williamson, also of Lamp of the Universe and formerly of ready-for-reissue heavy rockers Datura, and together with rejoined guitarist Matt Cole-Baker — who did not feature on 2012’s The Higher Key (review here) but took part in Arc of Ascent‘s 2010 debut, Circle of the Sun (review here) — and drummer Mark McGeady, who makes his debut here (also handling the cover art), Williamson steers a winding course of cosmic riffing across 46 flowing, nod-worthy minutes.

Issued on CD through his own Astral Projection imprint with vinyl to follow from Clostridium RecordsRealms of the Metaphysical bears the hallmark shamanic circularity of Williamson‘s songcraft, as heard the last couple years in Lamp of the Universe offerings like late 2016’s Hidden Knowledge (review here) and 2015’s The Inner Light of Revelation (review here). That one-man project essentially picked up where Arc of Ascent last left off with its 2013 LP Transcendence (review here) and 2014 splits with Trip Hill and Krautzone (review here).

As Realms of the Metaphysical falls into place with the ongoing stream of output from Williamson, it’s easy as ever to read him as an auteur — and in the case of Lamp of the Universe having no other members, even easier — but the shift in context to Arc of Ascent and the contributions in fullness of sound from McGeady and Cole-Baker aren’t to be understated. Whatever lies at the core of “Eye of Sages” and “In the Light” in terms of songwriting, they are unmistakably the work of a complete band, and suitably weighted that it might require three people to carry them.

Rest assured, the heft comes accompanied by due spaciousness, and as Arc of Ascent seem to begin a return to activity with Realms of the Metaphysical, they do so not at all having lost the blend of craft, atmosphere and lumbering tonality that made their earlier records such riffy celebrations to start with. Repetition, groove and crash are factors right from the start of opener “Set the Planets Free,” and as songs regularly range past seven minutes — only the penultimate “Benediction Moon” is shorter, at 5:58 — there’s plenty of room for parts to flesh out as they will. Still, WilliamsonCole-Baker and McGeady don’t shy away from hooks, and before it moves into its echoing solo section circa the halfway point, “Set the Planets Free” establishes the first of them for them to return to later, which, to their credit, they do.

It seems odd to call something of such largesse straightforward, but part of Arc of Ascent‘s approach has always been their ability to conjure memorable impressions in vast reaches. In doing so, “Set the Planets Free” reclaims the modus, and “Eye of Sages” follows suit with “Hexagram” not far behind. Rolling verses and choruses typify “Eye of Sages,” a harder push emerging early en route to another midpoint spaceout, but it’s at 6:23, when the full plod returns, that the crux of the second track is truly revealed — a stomp and shove that comes to a fervent apex before rumbling out and fading into the layered guitar start of “Hexagram,” which gets underway with a resonant gong hit and takes a more psych-leaning bent overall.

The swirl is welcome, particularly with the clarity of Kenny MacDonald‘s mix and master — Dan Howard and Williamson engineered the recording — and as the side A finale moves into its chorus, it proves to be a vocal highlight from Williamson, who pushes himself to new limits of soulfulness without losing control, and seems all the more commanding as a frontman for that. Where “Set the Planets Free” and “Eyes of Sages” introduced swirling flourish only to return to their more grounded riffing, “Hexagram” chooses to keep pushing further out, with Cole-Baker‘s guitar fading in a lead past three minutes in that will come around again to close after one final chorus runthrough, capping the first half of Realms of the Metaphysical amid a wash of effects.

arc of ascent kelsi j photo

The album breaks neatly into two three-song halves, each on either side of 23 minutes, and with “In the Light,” the trio reengage the thickened nod of the opening duo while setting up a catchy landmark that summarizes much of what’s working best in Arc of Ascent circa 2017. A post-Sleep cadence of riff is immediate, but guitar and keys give an early preview of the broadness to come before Wililamson‘s vocals start the first verse, and “In the Light” lives up to the promise of both its tectonics and its breadth, enacting a march toward a shift after three minutes in that opens wide beneath a multi-stage guitar lead with choral keyboards and a steady forward rhythm.

As one of the three songs over eight minutes long along with “Set the Planets Free” and closer “Temple Stone” still to come, “In the Light” has plenty of time to flesh out this part before switching back to the verse and chorus, but it’s the ending that brings the two sides together — that keyboard line returning amid the full-brunt crash and stomp — that brings its payoff to that next level and makes it such a highlight of Realms of the Metaphysical as a whole. “Benediction Moon” opts for a relatively sans-frills approach, which sets up an effective contrast with “Temple Stone” while underscoring the raw songwriting proficiency of Arc of Ascent as a whole and reminding of the grunge influence tucked away under all that depth in the mix.

In a corresponding shift to the ethereal to “Hexagram” at the end of side A, “Temple Stone” rounds out with the most fervent push into psychedelia on the record. Where cuts like “Set the Planets Free,” “Eye of Sages” and “In the Light” had their psych breaks, beginning usually somewhere around the middle, the finale takes this ethic more to its root, and from its very start — with a layer of sitar resonating over a patient, subdued guitar figure — it sets a lysergic tone. Its verse riffs are still righteously heavy, but the chorus feels more open with a line of organ and keys coming into focus, and by the time the band are three minutes in, they’ve set themselves up to journey into whatever expanses they will. Another chorus finds Williamson again pushing his voice ably, and just past the four-minute mark, the drums and bass drop out and the sitar and guitar take hold.

What’s different about it this time is Williamson adds vocals to that melodic wash, and in so doing gives an impression right out of Lamp of the Universe, effectively tying the two outfits together in the span of one short verse. It’s there and gone to the point that if one isn’t careful it might be missed, but it definitely happens. Drums build back in and they make their way through another chorus en route to a soaking-wet crescendo that finds the lead guitar and organ aligned in their purposes, with the keys playing root notes as the strings solo around them. It’s the keys that ultimately provide the finish as the drums and bass again drop out (save for a tambourine) and the album ends on a long cycle of the organ line that has underscored the song all the while, fading out gradually and gracefully as it hits 9:40.

Realms of the Metaphysical may or may not mark a shift in focus for Williamson‘s creative energies. It could be he’ll work simultaneously on two projects, move back and forth between them as he has, or do something else entirely; pointless to speculate. What’s more important as regards the songs collected here and the flow Arc of Ascent create between them is they demonstrate in no uncertain terms that the band still had more to offer after The Higher Key and still has more to offer now, that there are further, deeper reaches for them to explore as a group, and that they’re willing to do the work of making that exploration a reality. Taken in combination with the quality of the finished product in its entirety, one can only hope their meditative and heavy-footed peripatetics continue to move forward. But if it’s five more years before we get another Arc of Ascent, at least Realms of the Metaphysical lets us know it’ll be worth the wait.

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Tomorrow’s Dream: 200+ of 2017’s Most Anticipated Releases

Posted in Features on January 23rd, 2017 by JJ Koczan

tomorrow's dream 2017

Looks like it’s going to be another busy 12 months ahead. It’s been a busy better-part-of-a-month already, so that stands to reason, but you should know that of the several years now that I’ve done these ‘Tomorrow’s Dream’ posts, this is the biggest one yet, with over 150 upcoming releases that — one hopes — will be out between today and the end of 2017.

Actually, at last count, the list tops 180. Do I really expect you to listen to all of them? Nope. Will I? Well, it would be nice. But what I’ve done is gone through and highlighted 35 picks and then built lists off that in order of likelihood of arrival. You’ll note the categories are ‘Gonna Happen and/or Likely Candidates,’ ‘Definitely Could Happen’ and ‘Would be Awfully Nice.’

Beyond that last one, anything else just seems like speculation — one might as well go “new Sabbath this year!” with zero info backing it up. The idea here is that no matter where a given band is placed, there has been some talk of a new release. In some cases, it’s been years, but I think they’re still worth keeping in mind.

Another caveat: You can expect additions to this list over the next week — probably album titles, band names people (fingers crossed) suggest in the comments, and so on — so it will grow. It always does. The idea is to build as complete a document as possible, not to get it all nailed down immediately, so please, if you have something to contribute and you’re able to do so in a non-prickish, “You didn’t include Band X and therefore don’t deserve to breathe the same air as me,” kind of way, please contribute.

Other than that, I think it’s pretty straightforward what’s going on here and I’ll explain the category parameters as we go, so by all means, let’s jump in.

— Tomorrow’s Dream 2017 —

Presented Alphabetically

1. Abrahma, TBA

Late last year, Paris heavy progressives Abrahma announced a new lineup and third full-length in progress. No reason to think it won’t come to fruition, and a follow-up to 2015’s Reflections in the Bowels of a Bird (review here) is an easy pick to look forward to. Even with the shift in personnel, it seems likely the band will continue their creative development, driven as they are by founding guitarist Seb Bismuth.

2. All Them Witches, Sleeping Through the War

all them witches sleeping through the warIf 2017 ended today, Sleeping Through the War would be my Album of the Year. Of course, there’s a lot of year to go, but for now, Nashville’s All Them Witches have set the standard with their second album for New West Records behind 2015’s Dying Surfer Meets His Maker (review here) and fourth overall outing. They’ve got videos up so far for “3-5-7” (posted here) and “Bruce Lee” (posted here). Both are most definitely worth your time. Out Feb. 24. Full review should be later this week.

3. Alunah, Solennial

Seems like UK forest riffers Alunah are on this list every year. Wishful thinking on my part. Nonetheless, their fourth LP and Svart Records debut, Solennial, is out March 17, and if the tease they gave already with the clip for “Fire of Thornborough Henge” (posted here) is anything to go from, its Chris Fielding-produced expanses might just be Alunah‘s most immersive yet.

4. Arbouretum, TBA

I asked the Baltimore folk fuzzers a while back on Thee Facebooks if they had a new record coming in 2017 and they said yes, so that’s what I’m going on here. The last Arbouretum album was 2013’s Coming out of the Fog (review here), and even with frontman Dave Heumann‘s 2015 solo outing, Here in the Deep (review here), factored in, you’d have to say they’re due. Keep an eye on Thrill Jockey for word and I’ll do the same.

5. Atavismo, Inerte

This is another one that already has a spot reserved for it on my Best-of-2017 year-end list. Spanish heavy psych rockers Atavismo up the progressive bliss level with their second full-length, Inerte, without losing the depth of style that made 2014’s Desintegración (review here) so utterly glorious. It probably won’t have the biggest marketing budget of 2017, but if you let Atavismo fly under your radar, you are 100 percent missing out on something special.

6. Bison Machine, TBA

In addition to the video for new track “Cloak and Bones” that premiered here, when Michigan raucousness-purveyors Bison Machine put out the dates for their fall 2016 tour, they included further hints of new material in progress. As much as I dug their earlier-2016 split with SLO and Wild Savages (review here) and 2015’s Hoarfrost (review here), that’s more than enough for me to include them on this list. Killer next-gen heavy rock.

7. Brothers of the Sonic Cloth, TBA

News of a follow-up to Brothers of the Sonic Cloth‘s 2015 Neurot Recordings self-titled debut (review here) came through in October, and it remains some of the best news I’ve heard about 2017 doings. Took them a while to get the first record out, so we’ll see what happens, but it kind of feels like looking forward to a comet about to smash into the planet and cause a mass extinction, and by that I mean awesome. Can’t get here soon enough.

8. Cloud Catcher, Trails of Kosmic Dust

cloud catcher trails of kosmic dustOkay, so maybe I jumped the gun and did a super-early review of Denver trio Cloud Catcher‘s second long-player and Totem Cat Records debut, Trails of Kosmic Dust, but hell, no regrets. Some albums require an early-warning system. Their 2015 debut, Enlightened Beyond Existence (discussed here), was a gem as well, but this is a band in the process of upping their game on every level, and the songwriting and momentum they hone isn’t to be missed.

9. Colour Haze, TBA

I’ve gotten some details on the upcoming full-length from Colour Haze. They do not include a title, artwork, audio, song titles or general direction. Less details, I guess, than word that the CD version of this answer to 2015’s To the Highest Gods We Know (review here) is set to come out next month, as ever, on Elektrohasch. That puts it out in time for Colour Haze‘s upcoming tour with My Sleeping Karma (announced here). Fingers crossed it happens. Colour Haze are perpetual top-albums candidates in my book.

10. Corrosion of Conformity, TBA

Signed to Nuclear Blast after being rejoined by guitarist/vocalist Pepper Keenan, North Carolina’s C.O.C. have been in the studio since last year. The lineup of Keenan, bassist/vocalist Mike Dean and guitarist Woody Weatherman and Reed Mullin on drums is the stuff of legend and last worked together on 2000’s America’s Volume Dealer, so no question this reunion makes for one of 2017’s most anticipated heavy rock records. They nailed the nostalgia factor on tour. Can they now add to their legacy?

11. Elder, TBA

I was incredibly fortunate about a month ago to visit progressive heavy rockers Elder at Sonelab in Easthampton, MA, during the recording process for their upcoming fourth album. I heard a couple of the tracks, and of course it was all raw form, but the movement forward from 2015’s Lore (review here) was palpable. That LP (on Stickman) brought them to a wider audience, and I expect no less from this one as well, since the farther out Elder go sound-wise, the deeper the level of connection with their listeners they seem to engage.

12. Electric Wizard, TBA

Could happen, could not happen. That’s how it goes. Announced for last Halloween. That date came and went. Word of trouble building their own studio surfaced somewhere along the line. That was the last I heard. Frankly, I wouldn’t be surprised if it showed up tomorrow, if it showed up in 2018, or if the band broke up and never put it out. They’re Electric Wizard. Anything’s possible.

13. John Garcia, The Coyote Who Spoke in Tongues

Out Jan. 28 on NapalmThe Coyote Who Spoke in Tongues (review here) is the first-ever acoustic album from former Kyuss frontman John Garcia, also of Unida, the reunited Slo BurnHermanoVista ChinoZun, etc. — basically the voice of desert rock. He does a couple Kyuss classics for good measure, but shines as well on the new/original tracks, and while it’s a piece for fans more than newcomers — that is, it helps if you know the original version of “Green Machine” — his presence remains as powerful as ever despite this new context.

14. Goya, Harvester of Bongloads

Riffs, dude. Goya seem to have them to spare. The Arizona-based wizard doomers have set a pretty prolific clip for themselves at this point, with at least two short releases out in 2016, one a 7″ of Nirvana covers (review here), and the The Enemy EP (review here). Set for a March 3 release through their own Opoponax Records imprint, Harvester of Bongloads continues the march into the abyss that 2015’s Obelisk (review here) and 2013’s 777 set in motion, finding the band coming more into their own as well. Creative growth — and bongloads! The best of both worlds.

15. Ides of Gemini, TBA

Ides of Gemini are set to record their yet-untitled third album with Sanford Parker early this year, and it will also mark their debut on Rise Above Records upon its release. They’ve also got a new lineup around vocalist Sera Timms and guitarist J. Bennett, so as they look to move forward from 2014’s Old World New Wave (review here), one can’t help but wonder what to expect, but to be honest, not knowing is part of the appeal, especially from a band who so readily specialize in the ethereal.

16. Kind, TBA

Three-fourths of Kind feature elsewhere on this list. Bassist Tom Corino plays in Rozamov. Drummer Matt Couto is in Elder. Vocalist Craig Riggs is in Roadsaw. And for what it’s worth, guitarist Darryl Shepherd has a new band coming together called Test Meat. How likely does that make Kind to release a second LP in 2017? I don’t know, but their 2015 Ripple Music debut, Rocket Science (review here), deserves a follow-up, and I know they’ve demoed some new songs. If it happens, great. If it’s 2018, at least these dudes will be plenty busy besides.

17. Lo-Pan, In Tensions

lo-pan in tensionsYes, Lo-Pan‘s In Tensions (review here) has already been released — CD/LP with an artbook on Aqualamb. It’s out. Limited numbers. You can get it now. Why include it on a list of most anticipated releases? Because that’s how strongly I feel about your need to hear it. The fruit of a shortlived lineup with guitarist Adrian Zambrano, it distinguishes itself from everything they’ve done before in style while still keeping to the core righteousness that one hopes the Ohio outfit will continue to carry forward. It’s more than a stopgap between albums. Listen to it.

18. The Midnight Ghost Train, TBA

It seems to have been a rough ride for hard-boogie specialists The Midnight Ghost Train since their 2015 Napalm debut and third album overall, Cold was the Ground (review here). They’ve never taken it easy on the road or in terms of physicality on stage, and between injuries and who knows what else, their intensity at this point veers toward the directly confrontational. Nonetheless, they’ve been writing for album number four, may or may not have started the recording process, and I expect that confrontationalism to suit them well in their new material.

19. Monster Magnet, TBA

I have it on decent authority that NJ heavy psych innovators Monster Magnet were in the studio this past autumn. I’ve seen no concrete word of a new album in progress from Dave Wyndorf and company, and I wouldn’t necessarily expect to until it was time to start hyping the release, but after their two redux releases, 2015’s Cobras and Fire (review here) and 2014’s Milking the Stars (review here), their range feels broader than ever and I can’t wait to hear what they come up with next.

20. Mothership, High Strangeness

A pivotal moment for Mothership arrives with High Strangeness, and the heavy-touring, heavy-riffing Texas power trio seem to know it. Their third record on Ripple Music pushes into new avenues of expression and keeps the energy of 2014’s Mothership II (review here) and 2012’s Mothership (review here), but thus far into their career, it’s been about their potential and what they might accomplish going forward. 2017 might be the year for Mothership to declare a definitive place in the sphere of American heavy rock.

21. The Obsessed, Sacred

On Halloween 2016, founding The Obsessed guitarist/vocalist and doom icon Scott “Wino” Weinrich announced a new lineup for the band, with his former The Hidden Hand bandmate Bruce Falkinburg on bass/vocals, Sara Seraphim on guitar and Brian Costantino continuing on drums. A genuine surprise. Their first album since 1994, Sacred (due on Relapse) was tracked as the trio of WeinrichCostantino and bassist/vocalist Dave Sherman, but clearly they’ve moved into a new era already. Wouldn’t even guess what the future holds, but hopefully Sacred still comes out.

22. Orange Goblin, TBA

When it was announced that London’s Orange Goblin were picked up by Spinefarm as part of that label’s acquisition of Candlelight Records last Spring, the subheadline from the PR wire was “Working on Ninth Studio Album.” I haven’t heard much since then, but even as 2014’s Back from the Abyss (review here) pushed them deeper into metallic territory than ever before, their songs retained the character that’s made the band the institution they are. Always look forward to new Orange Goblin.

23. Pallbearer, Heartless

pallbearer heartlessDoomers, this is your whole year right here. I haven’t heard Pallbearer‘s third album, Heartless (out March 24 on Profound Lore), but I have to think even those who haven’t yet been won over by the Arkansas four-piece’s emotive, deep-running style have to be curious about what they’ve come up with this time around. I know I am. These guys have been making a mark on the genre since their 2012 debut, Sorrow and Extinction (review here), and there’s little doubt Heartless will continue that thread upon its arrival.

24. Radio Moscow, TBA

Fact: Radio Moscow stand among the best classic heavy rock live acts in the US. They’re the kind of band you can watch upwards of 15 gigs in a row — I’ve done it — and find them putting on a better show night after night, in defiance of science, logic and sobriety. Word of their signing to Century Media came just this past week and brought with it confirmation of a follow-up to 2014’s stellar Magical Dirt (review here), and for me to say hell yes, I’m absolutely on board, seems like the no-brainer to end all no-brainers. Can’t wait.

25. Roadsaw, TBA

Nearly six full years later, it’s only fair to call Boston scene godfathers Roadsaw due for a follow-up to their 2011 self-titled (review here). Granted, members have been busy in KindWhite Dynomite, and other projects, but still. Their upcoming outing finds them on Ripple Music after years under the banner of Small Stone Records, and though I haven’t seen a solid release date yet, my understanding is they hit Mad Oak Studio in Allston, MA, this past fall to track it, so seems likely for sooner or later. Sooner, preferably.

26. Rozamov, This Mortal Road

Speaking of albums by Boston bands a while in the making, This Mortal Road (out March 3 on Battleground Records and Dullest Records) is the debut full-length from Boston atmospheric extremists Rozamov. Haven’t heard it yet, but I got a taste of some of the material when I visited the band at New Alliance Audio in Aug. 2015, and the bleak expanses of what I heard seem primed to turn heads. I’m a fan of these guys, but in addition, they’ve found a niche for themselves sound-wise and I’m curious to hear how they bring it to fruition.

27. Samsara Blues Experiment, TBA

It’s been a pleasure over the last couple months to watch a resurgence of Berlin heavy psych trio Samsara Blues Experiment take shape, first with the announcement of a fourth album in October, then with subsequent confirmations for DesertfestRiff Ritual in Barcelona, and a South American tour. Reportedly due in Spring, which fits with the timing on shows, etc., the record will follow 2013’s righteous Waiting for the Flood (review here) and as much as I’m looking forward to hearing it, I’m kind of just glad to have these guys back.

28. Seedy Jeezus, TBA

Work finished earlier this month on Melbourne trio Seedy Jeezus‘ second full-length. As with their 2015 self-titled debut, the band brought Tony Reed of Mos Generator to Australia to produce, and after their blissed-out 2016 collaboration with Earthless guitarist Isaiah MitchellTranquonauts (review here), it’s hard not to wonder what experimentalist tendencies might show in the trio’s style this time out, and likewise difficult not to anticipate what guitarist Lex “Mr. Frumpy” Wattereus comes up with for the cover art.

29. Shroud Eater, Strike the Sun

Not to spoil the surprise, but Feb. 1 I’ll host a track premiere from Florida’s Shroud Eater that finds them working in a different context from everything we’ve heard from them to this point in their rightly-celebrated tenure. They also recently had a split out with Dead Hand, and their second long-player, Strike the Sun, will be their debut through STB Records. It’s been since 2011’s ThunderNoise (review here) that we last got a Shroud Eater album, so you bet your ass I’m dying to know what the last six years have wrought.

30. Sleep, TBA

If Sleep were any other band, they’d probably be in the “Would be Awfully Nice” category. But they’re Sleep, so even the thought of a new record is enough to put them here. The lords of all things coated in THC are reissuing their 2014 single, The Clarity (review here), on Southern Lord next month, but rumors have been swirling about a proper album, which of course would be their first since the now-legendary Dopesmoker. If it happens, it’ll automatically be a heavy underground landmark for 2017, but it’s one I’m going to have in my ears before I really believe it.

31. Stoned Jesus, TBA

Even as they tour playing their second album, 2012’s Seven Thunders Roar (review here), to mark its fifth anniversary and continued impact, Ukrainian trio Stoned Jesus are forging ahead with a fourth record behind 2015’s The Harvest (review here). The capital-‘q’ Question is whether or not looking back at Seven Thunders Roar and engaging that big-riffing side of their sound will have an impact on the new material, and if so, how it will meld with the push of The Harvest. Won’t speculate, but look forward to finding out.

32. Stubb, TBA

Since reveling in the soul of 2015’s Cry of the Ocean (review here) on Ripple, London trio Stubb have swapped out bassists, and they were in Skyhammer Studio this month recording a single that may be an extended psychedelic jam. I’ll take that happily, but I’m even more intrigued at the prospect of a third LP and what guitarist/vocalist Jack Dickinson, bassist/vocalist Tom Hobson and drummer Tom Fyfe might have in store as the band moves forward on multiple levels. Might be 2017, might not.

33. Sun Blood Stories, It Runs Around the Room with Us

sun blood stories it runs around the room with usIt Runs around the Room with Us seems to find peace in its resonant experimentalist drones, loops, open, subdued spaces, but there’s always some underlying sense of foreboding to its drift, as if Boise’s Sun Blood Stories could anticipate the moment before it happened. Toward the end of the follow-up to 2015’s Twilight Midnight Morning (review here), they execute the 90-second assault “Burn” and turn serenity to ash. Look for it in April and look for it again on my best of 2017 list in December.

34. Ufomammut, TBA

Any new offering from the Italian cosmic doom magnates is worth looking forward to, and while Ufomammut have left the 15-year mark behind, they’ve never stopped progressing in style and form. To wit, 2015’s Ecate (review here) was a stunner after 2012’s two-part LP, Oro (review here and review here), tightening the approach but assuring the vibe was no less expansive than ever. They started recording last summer, finished mixing in November, so I’m hoping for word of a release date soon.

35. Vokonis, The Sunken Djinn

Born out of Creedsmen Arise, whose 2015 demo, Temple (review here), offered formative thrills, Swedish trio Vokonis debuted with last year’s Olde One Ascending (review here) and proved there’s still life in post-Sleep riffing when it’s wielded properly. They signed to Ripple in November and confirmed the title of their sophomore effort as The Sunken Djinn, as well as a reissue for the first album, which will probably arrive first. I don’t know how that will affect the timing on this one, but keep an eye out anyway.

Gonna Happen and/or Likely Candidates

Obviously some of these are more likely than others. Some have solidified, announced release dates — Dopelord‘s out this month, Demon Head‘s out in April, etc. — and others come from social media posts of bands in studios and hints at upcoming releases and so on. A big tell is whether or not a band has an album title with their listing, but even some of those without have their new albums done, like Atala and Royal Thunder, so it’s not necessarily absolute.

Either way, while I’m spending your money, you might want to look into:

36. Against the Grain
37. Amenra
38. Atala
39. Attalla, Glacial Rule
40. Ayahuasca Dark Trip, II
41. Beastmaker
42. Beaten Back to Pure
43. Blackout
44. Bretus
45. Buried Feather, Mind of the Swarm
46. The Clamps
47. Cold Stares
48. Coltsblood, Ascending into the Shimmering Darkness
49. Come to Grief, The Worst of Times EP
50. Cortez
51. Cruthu, The Angle of Eternity
52. The Dead-End Alley Band, Storms
53. Dead Witches, Dead Witches
54. Dealer
55. Death Alley, Live at Roadburn
56. Demon Head, Thunder on the Fields
57. The Devil and the Almighty Blues, II
58. Devil Electric
59. Doctor Cyclops, Local Dogs
60. Dool, Here Now There Then
61. Dopelord, Children of the Haze
62. Doublestone, Devil’s Own/Djævlens Egn
63. Dread Sovereign, For Doom the Bell Tolls
64. Drive by Wire
65. Elbrus, Elbrus
66. Electric Age
67. Electric Moon, Stardust Rituals
68. Endless Floods, II
69. Five Horse Johnson
70. Forming the Void, Relic
71. Funeral Horse
72. Greenbeard
73. Green Desert Water
74. Greenleaf
75. Grifter / Suns of Thunder, Split
76. Hair of the Dog, This World Turns
77. Heavy Temple, Chassit
78. Here Lies Man, Here Lies Man
79. Hollow Leg, Murder EP
80. Holy Mount, The Drought
81. Hooded Menace
82. Horisont, About Time
83. Hymn, Perish
84. Lecherous Gaze
85. Magnet, Feel Your Fire
86. Mastodon
87. Merlin, The Wizard
88. Merchant
89. Mindkult, Lucifer’s Dream
90. Mirror Queen
91. Moonbow, War Bear
92. Mos Generator
93. The Moth
94. MotherSloth
95. Mouth, Vortex
96. My Sleeping Karma, Mela Ananda – Live
97. Orango
98. Papir
99. PH, Eternal Hayden
100. Psychedelic Witchcraft, Magick Rites and Spells
101. Royal Thunder
102. Saturn, Beyond Spectra
103. Season of Arrows, Give it to the Mountain
104. Siena Root
105. Six Organs of Admittance, Burning the Threshold
106. Six Sigma, Tuxedo Brown
107. Sólstafir
108. The Sonic Dawn, Into the Long Night
109. Spelljammer
110. Spidergawd, IV
111. Steak
112. Stinking Lizaveta, Journey to the Underworld
113. Sula Bassana, Organ Accumulator
114. Summoner
115. Sun Voyager, Sun Voyager
116. Sweat Lodge, Tokens for Hell EP
117. Thera Roya, Stone and Skin
118. Toke
119. Troubled Horse, Revelation on Repeat
120. VA, Brown Acid The Third Trip
121. Weedpecker
122. Youngblood Supercult, The Great American Death Rattle

Definitely Could Happen

Maybe a recording process is upcoming (Gozu, Cities of Mars, YOB), or a band is looking for a label (The Flying Eyes), or they’ve said new stuff is in the works but the circumstances of an actual release aren’t known (Arc of Ascent, Dead Meadow, High on Fire), or I’ve just seen rumors of their hitting the studio (Freedom Hawk, La Chinga, Ruby the Hatchet). We’ve entered the realm of the entirely possible but not 100 percent.

So, you know, life.

Dig it:

123. The Age of Truth
124. Ape Machine
125. Arc of Ascent
126. At Devil Dirt
127. Bantoriak
128. Bask
129. BCAD
130. BoneHawk
131. La Chinga
132. Chubby Thunderous Bad Kush Masters
133. Cities of Mars
134. Crypt Sermon
135. Dead Meadow
136. Death Alley (Studio LP)
137. Dee Calhoun
138. Destroyer of Light
139. Devil
140. Devil Worshipper
141. Duel
142. Dustrider
143. Egypt
144. Electric Moon
145. Elephant Tree
146. Farflung
147. The Flying Eyes
148. Freedom Hawk
149. Gozu
150. The Great Electric Quest
151. Green Meteor, Consumed by a Dying Sun
152. High on Fire
153. Horrendous
154. Insect Ark
155. In the Company of Serpents
156. Iron Monkey
157. Jeremy Irons and the Ratgang Malibus
158. The Judge
159. Killer Boogie
160. King Dead
161. The Kings of Frog Island
162. Lords of Beacon House, Recreational Sorcery
163. Mangoo
164. Mondo Drag
165. Monolord
166. Mountain God
167. The Munsens
168. Naxatras
169. Never Got Caught
170. Ommadon
171. Orchid
172. Ordos
173. Pilgrim
174. Poseidon
175. Purple Hill Witch
176. Ruby the Hatchet
177. Sasquatch
178. Satan’s Satyrs
179. Serpents of Secrecy
180. Shabda
181. Shooting Guns
182. Sleepy Sun
183. Slow Season
184. Snowy Dunes, Atlantis
185. Spectral Haze
186. The Sweet Heat
187. Switchblade Jesus
188. Superchief
189. Tÿburn
190. YOB
191. Zone Six

Would be Awfully Nice

This last category is basically as close as I’m willing to come to rampant speculation. Endless Boogie have hinted at new material, and Queens of the Stone Age have talked about hitting the studio for the last two years. There were rumors about Om, and though Kings Destroy just put out an EP, they have new songs as well, though I doubt we’ll hear them before the end of 2017. I’ll admit that Across Tundras, Fever Dog, Lord Fowl, Lowrider and Hour of 13 are just wishful thinking on my part. A boy can hope:

192. Across Tundras
193. Eggnogg
194. Elephant Tree
195. Endless Boogie
196. Fever Dog
197. Fu Manchu
198. Halfway to Gone
199. Hour of 13
200. Kadavar
201. Kings Destroy
202. Lord Fowl
203. Lowrider
204. Masters of Reality
205. Om
206. Orodruin
207. Queens of the Stone Age

If you’ve made it this far, thanks for reading. Whatever this year brings, I hope it’s been great so far for you and I hope it continues to be so as we proceed inexorably to 2018 and all the also-futuristic-sounding numbers thereafter. At least we know we’ll have plenty of good music to keep us company on that voyage.

As always, comments section is open if there’s anything I’ve left out. I’m happy to add, adjust, etc., as need be, so really, have at it, and thanks in advance.

All the best.

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Cosmic Fall to Release First Fall Vinyl on Clostridium Records; Preorders Available

Posted in Whathaveyou on January 18th, 2017 by JJ Koczan

Let’s just assume that Berlin three-piece Cosmic Fall shook hands upon first getting together in June 2016 and immediately hit record to begin work on their debut full-length, First Fall, which surfaced in August. I’m not sure how else such a feat could’ve been accomplished and a drift as encompassing and molten as that of “Son of a Gun” executed by such a new band except as a result of off-the-bat productivity. To put anything together at that pace is impressive — and granted they’re jamming out; it ain’t exactly rock opera in terms of arrangements — let alone have it not fall completely flat upon its release. One might take being picked up by Clostridium Records as a definite sign that the plan, if there was one, worked out. Pretty much anything that makes you labelmates with Lamp of the Universe earmarks a win by my estimation.

The album is streaming in full now on Bandcamp and Clostridium has limited vinyl up for preorder now with patches and signed whatnots. Art, details and audio follow:

cosmic fall first fall

The band COSMIC FALL presents here their debut album “First Fall,” a mixture of classic Desert sound and original Psychedelic Stoner. Exciting and common are jam-like parts, which are attached to bands like COLOUR HAZE or EARTHLESS, with numerous guitar tunes, underpinned by their own charm. The trio, founded only in June 2016 in Berlin, already released their first work just two months later.

After the self-financed CD, the vinyl edition will now appear on Clostridium Records.

Cosmic Fall First Fall tracklist:
01 Sun of a Gun
02 Road to Ufa
03 I Must Obey
04 Jam I

COSMIC FALL “First Fall”
Limited to 500 copies
black poly-lined innersleeve
hand-numbered
200 x black – 180gr
200 x coloured 180 gr
100 x splatter/ DIE HARD edition
( + patch & signed/autographed card )
ALL copies will have a A-2 „ poster
pressed in Germany

Bio:
Whatever fell from the cosmic sky, it landed in our home town Berlin. And is ready to take your mind on a beautiful journey. Bringing Earthless-level Heavy Psych into the local scene! Taking you into the endless universe, the lonely desert and the depth of the ocean as relaxing sounds and moody melodies will go along with you on this journey. Do you smell it? It’s time for another take off!

https://www.facebook.com/cosmicfallband/
https://cosmicfall.bandcamp.com/album/first-fall
https://www.facebook.com/clostridiumrecords/
http://www.clostridiumrecords.com/product_info.php?products_id=76&MODsid=p741afdcgt5lu1bq51i8fmd9t5

Cosmic Fall, First Fall (2016/2017)

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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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Lamp of the Universe, Hidden Knowledge: Experience Beyond (Plus Full Album Stream)

Posted in audiObelisk, Reviews on October 14th, 2016 by JJ Koczan

lamp-of-the-universe-hidden-knowledge

[Click play above to stream Lamp of the Universe’s Hidden Knowledge in full. Album is out Oct. 15 on Clostridium Records.]

For those of us existing on a temporal plane, it’s been 15 years since the solo-project Lamp of the Universe made its debut with The Cosmic Union in 2001. Since then, Hamilton, New Zealand’s Craig Williamson, who at the time he started working under the extended alias was fresh off the 1999 final release from his prior band, Datura — more recently he’s worked in the trio Arc of Ascent — has largely stayed true to the outfit’s original intentions of tantric, meditative psychedelic folk. As his ninth album as Lamp of the Universe, Hidden Knowledge (on Clostridium Records and Astral Projection) demonstrates, neither has the project stagnated.

Even from where Williamson was on last year’s lush The Inner Light of Revelation (review here) — which teemed with life as the follow-up to splits with Trip Hill and Krautzone (review here) in 2014 and the 2013 LP Transcendence (review here), which, at the time, was Williamson‘s return to activity after four years since 2009’s Acid Mantra (review here) hinted at the direction Arc of Ascent would soon take — the four tracks/41 minutes of Hidden Knowledge show a forward step in their use of synth and the spaciness of their vibe overall.

It’s not just about drones and/or Eastern instrumentation — hell, I don’t think Williamson breaks out the sitar here at all — but about the space-folk swirl conjured across “Space Craft” (13:17), “Mu” (6:41), “Dawn of Nebula” (7:01) and “Netherworlds” (14:25) that makes them distinct from Williamson‘s past work while still remaining decidedly his own and recognizable as such.

It may seem like a fine line to some listeners, but for anyone who’s followed Lamp of the Universe for a while, the progression should be clear. Since coming back in 2013 after releasing the two Arc of Ascent albums, 2010’s Circle of the Sun (review here) and 2012’s The Higher Key (review here), Williamson has actively worked to expand the palette for Lamp of the Universe.

That doesn’t necessarily mean he’s not chanting by the time “Netherworlds” gets down to its final couple minutes, but he’s doing it over what sounds like backwards-looped e-bow electric guitar and what might be loops running through an Echoplex or otherwise synthesized droning. And, frankly, that is a difference. One can hear it mostly on the bookending opener and closer, “Space Craft” starting and “Netherworlds” ending, just how widened the path of Lamp of the Universe has become.

When Williamson‘s voice first arrives, it does so atop a dreamscape of keys and far-back percussive beats, plus some swirl and periodic washes of cymbals, and as the track develops over its first half, it winds up making its impression with a standout organ line and deeply-mixed electric guitar soloing, executed patiently — of course — as one of the many layers winding its way out at the time.

This immersive, hypnotic flow holds, backed by the same far-off beat well into the second half of the track, unfolding gracefully such that the start of “Mu,” the shortest track here, is jarring with its forward acoustic strum, which feels positively earthbound by comparison. No doubt that’s the intention of the side A finisher, but Williamson keeps the line of manipulated e-bow guitar (or whatever it is) consistent and with material so molten, it’s going to flow from one song to the next either way, so it’s not like “Mu” is out of place, it’s just a jump from one feel to another where “Space Craft” felt like it could’ve gone on perpetually.

lamp-of-the-universe

The jump, however, is effective, and “Mu” becomes a standout moment on Hidden Knowledge in signature Lamp of the Universe form. Granted, reading that signature over time has become like drawing lines between stars to make constellation pictures, so it’s hardly a case of Williamson doing the same thing across different records, but the intimate feel conjured even in the organ and percussion-laced “Dawn of Nebula” is his own.

Keyboard swirl and other background wash fills out the track, which remains instrumental, and the sound that carries between “Dawn of Nebula” and “Netherworlds” has a classic electronics style, almost like something one might hear from Sula Bassana — if there was ever a cross-continental collaboration that needed to happen, there it is — but it nonetheless makes for an effective transition.

Vocals return for the closer, but the hypnosis is long since complete. E-bow guitar, or again, what sounds like it, works its way in and out, but “Netherworlds” is further distinguished through its use of drums, which arrive after about three minutes and keep together a march behind a wah-drenched guitar solo and the already-there-where-did-it-come-from resurgent line of e-bow.

All of this, performed and recorded by Williamson, as ever, sets up Hidden Knowledge‘s final movement, which plays out with no less grace than anything before it, moving toward the already-noted chanting that ends the album in a languid experimentalist wash that includes the sounds of running water and an underlying bassline that, subtly, turns out to have been there all along.

One might liken Hidden Knowledge to Acid Mantra, if only because like that album it seems to signal a shift in approach and arrangement that will progress from here — the inclusion of more synth and keys and space-minded atmospherics — but what form that might take, be it another band, a return from Arc of Ascent, or further exploration from Williamson as Lamp of the Universe, I wouldn’t hazard a guess.

These songs are nonetheless a logical branching out from where The Inner Light of Revelation left off in their blend of elements, and Lamp of the Universe remains as much an invitation to a ritual as a personal contemplation. The cosmos the project inhabits only continues to grow.

Lamp of the Universe on Thee Facebooks

Lamp of the Universe on Bandcamp

Hidden Knowledge at Clostridium Records webstore

Clostridium Records on Thee Facebooks

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Quarterly Review: Swans, Virus, The Re-Stoned, Castle, Spirit Adrift, Robb & Pott, Family, Les Discrets, Liquido di Morte, Witchskull

Posted in Reviews on October 7th, 2016 by JJ Koczan

the-obelisk-fall-2016-quarterly-review

Last day. As ever, I am mentally, physically and spiritually exhausted by this process, but as ever, it’s been worth it. Today I do myself a couple favors in packing out with more familiar acts, but whatever, it’s all stuff I should be covering anyway, so if the order bothers you, go write your own 50 reviews in a week and we can talk about it. Yeah, that’s right. That’s what I said. Today we start with Swans. Everything’s a confrontation.

Once again, I hope you’ve found something somewhere along this bizarre, careening path of music that has resonated with you, something that will stick with you. That’s why we’re here. You and me. If you have, I’d love to know about it. Until then, one more time here we go.

Quarterly Review #41-50:

Swans, The Glowing Man

swans-the-glowing-man-700

Oh fucking please. You want me to try to summarize The Glowing Man – the culmination and finale of an era of Swans that Michael Gira began now more than half a decade ago – in a single review? Even putting aside the fact that the record two hours long, the notion is ridiculous. If there ever was a chart, the scope here is well off it. The material unfolds and churns and is primal and lush at once on “Cloud of Forgetting,” genuinely chaotic on the 28-minute title-track, and it ends with a drone lullaby, but seriously, what the fuck? Some shit is just beyond, and if you don’t know that applies to Swans by now, it’s your own fault. You want a review? Fine. I listened to the whole thing. It ate my fucking soul, chewed it with all-canine teeth and then spit it out saying “thanks for the clarity” and left me dazed, bloodied and humbled. There’s your fucking review. Thanks for reading.

Swans on Thee Facebooks

Young God Records website

 

Virus, Memento Collider

virus-memento-collider-700

Oslo trio Virus have long since established that they’re a band working on their own wavelength. Memento Collider (on Karisma Records) is the jazzy post-black metallers’ first album in five years and brings together adventurous rhythms, poetic declarations, dissonant basslines and – in the case of “Rogue Fossil,” the occasional hook – in ways that are unique unto Virus. Look at this site and see how often I use the word “unique.” It doesn’t happen. Virus, however, are one of a kind. Memento Collider makes for a challenging listen front to back on its six-track/45-minute run, but it refuses to dumb itself down or dull its progressive edge, bookending its longest (that’s opener “Afield” at 10:41; immediate points) two tracks around jagged explorations of sound like “Steamer” and “Gravity Seeker,” which engage and intrigue in kind after the melodic push of “Dripping into Orbit” and leading into “Phantom Oil Slick,” a righteous affirmation of the angular thrust at the core of Virus’ approach.

Virus on Thee Facebooks

Karisma Records webstore

 

The Re-Stoned, Reptiles Return

the-re-stoned-reptiles-return-700

In 2010, Moscow troupe The Re-Stoned issued their first EP, Return to the Reptiles, and being obviously concerned with evolution, they’ve now gone back and revisited that debut release with Reptiles Return, a reworking of the four studio tracks that made up the initial version – “Return,” “Run,” “The Mountain Giant” and “Sleeping World.” The opener is a straight re-recording, as is one other, where another is remixed and the other two remastered, and Reptiles Return – which is presented on limited vinyl through Clostridium Records and a CD box set with bonus tracks via Rushus Records – pairs them with more psychedelic-minded soundscape pieces like “Winter Witchcraft,” “Walnut Talks,” the proggy “Flying Clouds” and sweetly acoustic “Roots Patter,” that showcase where founding multi-instrumentalist Ilya Lipkin is taking the band going forward. The result is a satisfying side A/B split on the vinyl that delights in heavy riffing for its own sake in the first half and expands the scope in the second, which should delight newcomers as well as those who’ve followed The Re-Stoned along this evolutionary process.

The Re-Stoned on Thee Facebooks

Clostridium Records website

 

Castle, Welcome to the Graveyard

castle-welcome-to-the-graveyard-700

It may well be the fate of San Francisco’s hard-touring, ass-kicking, genre-refusing duo Castle to be terminally underappreciated, but that has yet to stop them from proliferating their righteous blend of thrash, doom and classic, fistpump-worthy metal. Their latest outing, Welcome to the Graveyard, arrives via respected purveyor Ván Records, and entices in atmosphere and execution, cohesively built tracks like “Hammer and the Cross” and the penultimate “Down in the Cauldron Bog” finding a balance of personality and delivery that the band has long since honed on stage. The Dio-esque barnburner riff of “Flash of the Pentagram” makes that cut a highlight, but as they roll out the cultish vibes of “Natural Parallel” to close, there doesn’t seem to be much on the spectrum of heavy metal that doesn’t fit into Castle’s wheelhouse. For some bands, there’s just no justice. Four records deep, Castle have yet to get their due, and Welcome to the Graveyard is further proof of why they deserve it.

Castle website

Ván Records

 

Spirit Adrift, Chained to Oblivion

spirit-adrift-chained-to-oblivion-700

One can hear a new wave of modern doom taking shape in Chained to Oblivion, the Prosthetic Records debut from Arizona one-man outfit Spirit Adrift. The work of Nate Garrett alone in the studio, the full-length offers five mostly-extended tracks as a 48-minute 2LP of soaring, emotional and psychedelic doom à la Pallbearer, but given even further breadth through progressively atmospheric passages and a marked flow in its transitions. To call it personal seems superfluous – it’s a one-man band, of course it’s personal – but Garrett (also formerly of metallers Take Over and Destroy) brings a palpable sense of performance to the songwriting, and by the time he gets to the 11-minutes-apiece finale duo of the title-track and “Hum of Our Existence,” it’s easy to forget you’re not actually listening to a full band, not the least because of the vocal harmonies. Calling Chained to Oblivion a promising first outing would be underselling it – this is a project with serious potential.

Spirit Adrift on Thee Facebooks

Prosthetic Records website

 

Robb & Pott, Once upon the Wings

robb-pott-once-upon-the-wings-700

Unpredictable from the start of opener “Flesh ‘n’ Steel,” Once upon the Wings is a first-time multinational collaborative effort from Robbi Robb of California’s 3rd Ear Experience and Paul Pott of Germany’s The Space Invaders. Its five tracks/42 minutes arrive through no less than Nasoni Records, and provide a curious and exploratory blend of the organic and the inorganic in sound, as one finds the 11-minute “Grass” no less defined by its percussion solo, guitar line and ‘60s-style vocal than the electronic drums that underscore the layered wash of noise in its midsection. Further definition hits with the 16-minute centerpiece “Prophecy #1,” which works in a space-rocking vein, but the shorter closing duo of the catchy “Looney Toon” and darkly progressive “Space Ear” show a creative bent that clearly refuses to be tamed. Robb & Pott, as a project, demonstrates remarkable potential throughout this debut, as they seem to have set no limits for where they want their sound to go and they seem to have the command to take it there.

Robb & Pott on Bandcamp

Nasoni Records website

 

Family, Future History

family-future-history-700

Most of the tracks on Brooklyn progressive noise rockers Family’s second album and Prosthetic Records debut, Future History, come paired with interludes. That cuts some of the growling intensity of winding pieces like “Funtime for Bigboy” and “Floodgates,” and emphasizes the generally experimental spirit of the record as a whole, broadening the scope in sound and theme. I’m somewhat torn as to how much this actually works to the 51:50 outing’s benefit, as shorter pieces like “Prison Hymn” and “Transmission,” while adding dynamic to the sound and narrative drama, also cut the immediacy in impact of “The Trial” or closer “Bone on Bone,” but it’s entirely possible that without them Future History would be an overwhelming tumult of raw prog metal. And while the play back and forth can feel cumbersome when one considers how effectively “Night Vision” bridges the gap between sides, I’m not sure that’s not what Family were going for in the first place. It’s not supposed to be an easy record, and it isn’t one.

Family on Thee Facebooks

Family website

 

Les Discrets, Virée Nocturne

les-discrets-viree-nocturne-700

France’s Les Discrets haven’t had a studio offering since 2012’s Ariettes Oubliées (review here), and while they released Live at Roadburn (review here) last year documenting their 2013 set at that festival, there’s little there that might presage the stylistic turn the Fursy Teyssier-led outfit takes on their new EP, Virée Nocturne (on Prophecy Productions). With four tracks – two new, complete recordings, one demo and the last a remix of the opener by Dälek and DeadverseLes Discrets attempt to find a stylistic middle ground between post-rock and trip-hop, and for the most part, they get there. “Virée Nocturne” itself leads off and can be jarring on first listen, but successfully blends the lush melodicism for which the band is known with electronic-driven beats, and both “Capricorni. Virginis. Corvi” and even the demo “Le Reproche” continue to build on this bold shift. The finale remix adds over two minutes to “Virée Nocturne,” but uses that time to make it even more spacious and all the more immersive. For anyone who thought they might’ve had Les Discrets figured out, the surprise factor here should be palpable.

Les Discrets on Thee Facebooks

Prophecy Productions website

 

Liquido di Morte, II

liquido-di-morte-ii-700

Presented across four tracks beginning with the 12-minute and longest-of-the-bunch (immediate points) “The Corpse of Dr. Funkenstein” (double points for the reference), II, the aptly-titled second album from Liquido di Morte expands the progressive atmospherics of the Italian four-piece’s 2014 self-titled debut (review here) without losing sight of the performance and spirit of exploration that helped bring it to life. Isaak’s Giacomo H. Boeddu guests on brooding vocals and whispers for “The Saddest of Songs I’ll Sing for You,” which swells in seething intensity as it moves forward, while “Rodents on the Uphill” casts a vision of post-space rock and closer “Schwartz Pit” rounds out with crash and wash that seems only to draw out how different the two halves of II actually are. Not a complaint. Liquido di Morte make their way across this vast span with marked fluidity, and if they prove anything throughout, it’s that they’re able to keep their command wherever they feel like using it to go.

Liquido di Morte on Thee Facebooks

Sstars BigCartel store

 

Witchskull, The Vast Electric Dark

witchskull-the-vast-electric-dark-700

Canberra, Australia, trio Witchskull initially released their debut full-length, The Vast Electric Dark, last year, and caught the attention of the cross-coastal US partnership between Ripple Music and STB Records, who now align for a reissue of the eight-tracker. Why is quickly apparent. In addition to having earned a fervent response, The Vast Electric Dark basks in quality songcraft and doomly, heavy vibes, keeping a consistent pace while rolling through the semi-metallic push of “Raise the Dead” or the later rumble/shred of “Cassandra’s Curse.” All the while, guitarist/vocalist Marcus De Pasquale provides a steady presence at the fore alongside bassist Tony McMahon and drummer Joel Green, and what’s ultimately still a straightforward rocker of an album finds a niche for itself between varies underground styles of heavy. Between the balance they strike across their 37 minutes and the energy that courses through their songs, Witchskull’s The Vast Electric Dark proves easily worth the look it’s getting.

Witchskull on Thee Facebooks

STB Records webstore

Ripple Music website

 

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The Re-Stoned Post “Return” Video; Reptiles Return out Now

Posted in Bootleg Theater on September 28th, 2016 by JJ Koczan

the-re-stoned-photo-by-ivan-balashov

Kind of hard to get a sense from the video for the track, but the leadoff and longest piece on The Re-Stoned‘s latest collection, Reptiles Return, is actually pretty colorful. And by that I mean the clip isn’t. Black and white for the duration, it nonetheless fades smoothly into and out of various shots mostly of founding guitarist Ilya Lipkin — also a mysterious robed figure in the woods — as it complements the song’s dreamy tones and heavy psychedelic warmth. The Moscow-based outfit released Reptiles Return in August on Clostridium Records and also have it out as a limited box edition through Rushus Records accompanied by the band’s first outing, 2010’s Return to the Reptiles.

The titular similarity is, of course, no coincidence. Return to the Reptiles was The Re-Stoned‘s first outing and Reptiles Return, if I read it right, seems to be Lipkin‘s way of going back to the start in an attempt to rebuild and expand on the foundation that release laid down. “Return” seems to have been one of the ones re-recorded entirely — it’s two minutes longer here than in the original version — but it works well opening the always adventurous instrumentalists’ first full-length since 2014’s Totems (review here), which came out on R.A.I.G. as the band’s fourth album overall. And to hear them tell it, as they do below, there’s much more to come as well in the form of a new double-LP, so all the better.

Not sure I’d call the video a cinematic masterwork, but it gets the job done and is a cool chance to check out the track, so either way, please enjoy:

The Re-Stoned, “Return” official video

Idea, Producing & Original graphics by Ilya Lipkin, Camera by Wolfsblood, Video Editing by Arkadiy Fedotov.

Special thanks to Vasily Arzamastsev, Wolfsblood, Arkadiy Fedotov, CSBR, Maltvormast and Andrey Kiselev.

Ilya Lipkin – guitars, bass
Ivan Fedotov – drums
Mixed by Ilya Lipkin, Mastered by Janne Stark and Ilya Lipkin. Released on the album “Reptiles Return” /Clostridium Records – CR 022/ Rushus records – RR 03 / 2016

“Reptiles Return”- vinyl release of 8 tracks LP (Clostridium Records – CR 022) and 10 tracks on limited edition CD-R with “Reptiles” BOX Set (Rushus records – RR 03). This time the Grandmaster of this Moscow psychedelic fuzz orchestra Ilya Lipkin and associates made an attempt to rethink the legacy of the primal days of the band – the very first EP “Return to the Reptiles” with one track remixed, two – re-recorded a new and two more – remastered. The new album also includes new songs (4 in vinyl version and 6 in digital) covering more broad sonic space – acoustic pieces and psychedelic soundscapes which have been composed and recorded over the period of the last three years. “Reptiles Return” is a good appetizer for those fans tired of waiting for the brand new double LP due to release in the nearest future.

The Re-Stoned on Bandcamp

The Re-Stoned on Thee Facebooks

Clostridium Records

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Lamp of the Universe to Release Hidden Knowledge in October

Posted in Whathaveyou on August 10th, 2016 by JJ Koczan

The fact that New Zealand tantric psych outfit Lamp of the Universe has returned to activity can really only make the cosmos a better place. Peopled solely by Craig Williamson, the ever-fluid and at this point long-running project released its latest album, The Inner Light of Revelation (review here), just last year through Clostridium Records and Williamson‘s own Astral Projection imprint, and both band and label have confirmed that a follow-up, titled Hidden Knowledge, is due out in October on limited-run vinyl, black, in color or splatter with a gatefold. No doubt well earned.

What I find particularly encouraging about the prospect of this new offering from Lamp of the Universe is that it’s made up only of four songs — “Space Craft,” “Mu,” “Dawn of Nebula” and “Netherworlds.” I don’t know how long each cut might be, but Williamson‘s done long-form work with Lamp of the Universe before — not so much on The Inner Light of Revelation, but a 2013 split with Krautzone (streamed here) consisted of a single, 22-minute Lamp of the Universe track, and the results were meditative and gorgeous in kind. If a similar exploratory feel were to be brought to Hidden Knowledge, well, I don’t think we’d lose out either way, but it’s certainly enough to add a layer of interest.

No audio from the album yet, sadly. The announcement came out a bit ago, so apologies for being behind the times on this one, but I wanted to make sure the info was posted here, if only as a reminder to myself to look forward to it.

Preliminaries go like this:

lamp of the universe hidden knowledge

Lamp of the Universe – Hidden Knowledge.

Release date October 2016. Clostridium Records. Artwork by Dale Simpson.

500 numbered copies
* 200 x black / 200 x col. & 100 x Splatter *
Gatefoldcover……
more info soon…

Tracklisting:
1. Space Craft
2. Mu
3. Dawn of Nebula
4. Netherworlds

https://www.facebook.com/lampoftheuniverse/
https://lampoftheuniverse.bandcamp.com/
http://www.clostridiumrecords.com/
https://www.facebook.com/clostridiumrecords/

Lamp of the Universe, The Inner Light of Revelation (2016)

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