Quarterly Review: Beastmaker, Low Flying Hawks, CHVE, Brujas del Sol, Mammoth Weed Wizard Bastard, The Shooters, Boss Keloid, Hors Sujet, Warchief, Seedship

Posted in Reviews on March 31st, 2016 by JJ Koczan

the obelisk quarterly review spring 2016

It seems like a day doesn’t go by that I don’t find something in one of these piles (metaphorical, sometimes literal) of records that keeps me coming back. Today is once again spread across a pretty wide stylistic swath, and that’s by design to keep my brain from going numb, but if there’s a unifying theme across all of it, let it be a sense of scope and bands and artists who are trying to take what’s been done before and push it forward or in some new direction. That’s not universal — nothing is — but today might be the most adventurous of the days included this quarter, so I hope you’ll keep open ears and an open mind as you make your way though.

Quarterly Review #31-40:

Beastmaker, Lusus Naturae

beastmaker lusus naturae

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Beastmaker on Thee Facebooks

Rise Above Records

 

Low Flying Hawks, Kofuku

low flying hawks kofuku

If you’re hand-picking dream rhythm sections, getting Welcome to Write A Masters Thesiss Kenya, the leading Kenyan custom writing company based in Nairobi with years of experience on the market. With a team of Trevor Dunn to play bass while Homework Is Harmful Not Helpful UK voted the #1 business plan writing & consulting service in London. Business plan writing services with unparalleled success rate. Dale Crover drums would probably be the picks of any number of players, but initials-only core duo http://www.eco-h.ru/?how-to-write-an-essay-about-nutrition block - Quality essays at reasonable prices available here will make your studying into pleasure Forget about those sleepless EHA and Get Pay Someone To Do Assignments in Texas for dissertation writing, data analysis, proposal writing and proofreading services via our expert dissertation writer. AAL of Los Angeles’ research papers using multiple regression analysis - professional writers, top-notch services, instant delivery and other benefits can be found in our writing service 100% non-plagiarism Low Flying Hawks actually went out and got the Mr. Bungle and Melvins personnel to play on their Toshi Kasai-produced Magnetic Eye Records debut LP, Kofuku. Aside from keeping good company, the album’s 10 tracks/53 minutes are marked by a spaciousness that not even the tonal heft of early cut “Now, Apocalypse” seems to fill as EHA and AAL balance post-rock, doomed lurch and darker psychedelics with blackened screams and fervent rhythmic push – see “White Temple” and “Wolves Within Wolves.” They round out with the lumbering 11-minute “Destruction Complete,” a heavy rock march topped by airborne, dissonant leads that keeps its head even as it plods onward into oblivion. Not as unipolar as it might first appear in terms of sound, but the mood of Kofuku points consistently downward.

Low Flying Hawks on Thee Facebooks

Magnetic Eye Records

 

CHVE, Rasa

chve rasa

The crux of CHVE’s Rasa is in resonance. Amenra frontman Colin H. van Eeckhout (his solo-project’s name derived from his initials) constructs a flowing half-hour of fluid drone, intermittent percussion – first tribal, then a straightforward kind of march, slow but not still – and atmospheric vocal on the single track that comprises the work, seeming to take influence from calls to prayer as much as atmospheric noise. At higher volumes, the piece is consuming, his voice surrounds with the almost constant wash of tone, but even at more reasonable levels, the sense of purpose and ritual remains. Of course, Amenra are noted for the use of the word “mass” in their album titles, and while Rasa departs from the direct tonal heft of much of what van Eeckhout does in his main outfit, there is a sense of mass here in terms both of presence and in terms of the worship being enacted.

CHVE on Thee Facebooks

Consouling Sounds

 

Brujas del Sol, Starquake

brujas del sol starquake

How do you fit an 11-minute track onto a 7” release? Easy, you break it in half. Such is the method of Ohio instrumentalists Brujas del Sol, who follow their Moonliner EP trilogy with the late-2015 single Starquake, presented on the limited H42 Records platter as “Starquake Pt. I” and “Starquake Pt. II” but comprising nonetheless a single piece that backs airy, post-rock-tinged guitar with a decided forward rhythmic motion, resulting in an overarching build that, while there’s a natural moment for the split, is hypnotic front to back, a swirl of effects calling it mind space rock improvisation even as the plotted momentum of drums and bass resumes. Starquake is enough to make one imagine what kind of variety and spontaneity Brujas del Sol would bring to a debut full-length, so in that it very much does its job, but it makes a good case for standing on its own as well as it hits its second apex and finishes in a residual wash of cosmic noise.

Brujas del Sol on Thee Facebooks

H42 Records

 

Mammoth Weed Wizard Bastard, Noeth ac Anoeth

mammoth weed wizard bastard noeth ac anoeth

Offered through New Heavy Sounds, Noeth Ac Anoeth is the debut full-length from Welsh cosmic doom four-piece Mammoth Weed Wizard Bastard. It is comprised of three songs and incorporates the half-hour-long “Nachthexen,” which was also the title-track of the band’s prior 2015 EP (review here), their rumble brought to bear through the capable knob-turning of Conan’s Chris Fielding at Skyhammer Studio. The vocals of Jessica Ball manage to cut through the ensuing tonal murk of her bass and the guitars of Paul Michael Davies and Wez Leon, and James Carrington’s drums live up to the near-impossible task of making “Les Paradis Artificiels,” “Slave Moon” and “Nachthexen” go, each developing its own plodding momentum amid the purposeful thickness overdose and atmospheric sensibility enhanced both by Davies’ work on keys and Ball’s vocals. “Slave Moon” winds up at a gallop and almost operatic, but there’s no way the highlight wasn’t going to be “Nachthexen,” which offers chug dense enough and spaces wide open enough to easily get lost in. Time well spent, all around.

Mammoth Weed Wizard Bastard on Thee Facebooks

New Heavy Sounds

 

The Shooters, Dead Wilderness

the shooters dead wilderness

Spanish heavy rock four-piece The Shooters present their third album, Dead Wilderness (on Red Sun Records/Nooirax Producciones), as two sides even on the CD pressing, each half of the record ending with an extended cut over the 10-minute mark. All told it’s six songs/49 minutes of solidified, mostly straightforward Euro-style riff-led heavy grooves, tapping into some Dozer influence on “War on You” but offering more spacious burl on “Lucifer’s Word,” which starts side B after the push of “Roots” rounds out side A. There’s little by way of letup, but moments like the quiet start and bridge of “Black Mountain” do a lot of work in adding complexity to The Shooters’ hook-minded approach, and 11-minute finale “Candelabrum” builds on that with a patient linear unfolding that casts off some tonal heft in favor of a more atmospheric take. That ultimately lets Dead Wilderness bring an individual edge to established stylistic parameters, from which it greatly benefits.

The Shooters on Thee Facebooks

The Shooters on Bandcamp

 

Boss Keloid, Herb Your Enthusiasm

boss keloid herb your enthusiasm

Granted, a title playing off Curb Your Enthusiasm and, well, herb, might make you think the band is just goofing around, but UK riffers Boss Keloid offer more substance with their second album, Herb Your Enthusiasm, than they do wackiness. The sound – captured by Chris Fielding at Skyhammer Studio – is positively massive, bolstered by guest appearances from Fielding himself and his Conan bandmate, Jon Davis, who also owns Skyhammer and Black Bow Records, the imprint releasing the LP, and given to swells of largesse and huge rolling grooves that still remain righteously fuzzed, as on “Escapegoat” or “Lung Valley” the quieter complement to opener “Lung Mountain.” Vocalist Alex Hurst assures any quota of burl is met, but has more to his approach melodically than riff-following chestbeating, and guitarist Paul Swarbrick, bassist Adam Swarbrick and drummer Stephen Arands present instrumental flow and turns behind that give the record a sense of personality beyond its weedian play. Not a minor undertaking at an hour long, but satisfying in tone and execution.

Boss Keloid on Thee Facebooks

Black Bow Records

 

Hors Sujet, Nous N’y Trouvons que le Doute

hors sujet nous ny trouvons que le doute

I guess it’s fair to call late 2015’s Nous N’y Trouvons que le Doute the debut full-length from Toulouse-based one-man outfit Hors Sujet, though multi-instrumentalist/atmosphere-conjurer Florent Paris has done a variety of soundtrack work and released numerous other textures in EPs and a variety of other offerings, so take that for what it’s worth. More important is the rich sense of ambience Paris brings to Hors Sujet in the seven included songs, from the dystopian doom of “Au Plus Loin, la Mer / L’hiver Peureux” to the wistful drone wash of “Le Souffle, Peu Ă  Peu (Pt. 2),” which has its companion piece earlier in the album. Of special note should be 27-minute closer “Et Maintenant, le Ombres,” acting as a summary of the proceedings as much as expansion thereupon, concluding an often quiet outing with a stark cacophony that gorgeously builds from the minimalism before it to a raucous finish worth of the breadth Paris shows in his work throughout.

Hors Sujet on Thee Facebooks

Hors Sujet on Bandcamp

 

Warchief, Warchief

warchief warchief

Initially released by the band in summer 2015, the self-titled debut from Finnish progressive heavy rockers Warchief sees vinyl issue through Phonosphera Records, its two sides consumed by organic execution across four tracks moving beyond traditional structure in favor of a more varied approach, from the rumbling heft that emerges in opener “Give” through the goes-anywhere near-psychedelia of 21-minute closer “For Heavy Damage.” Warchief, the JyvĂ€skylĂ€-based four-piece of Teemu PellonpÀÀ, Juho Saarikoski, Esa PirttimĂ€ki and Tommi Rintala, feel right at home working in longer-form material, whether it’s that closer or the nine-minute “Life Went On” preceding, and given their breadth I wouldn’t be surprised if they would up with a single-song album sometime in the future. With that in mind, perhaps most encouraging about their self-titled is the fact that it seems so exploratory, very much like the beginning of creative growth rather than a finished product on display. One hopes they continue to flesh out stylistically and build on the foundation they’ve set here.

Warchief on Thee Facebooks

Warchief on Bandcamp

 

Seedship, Demo 2015

seedship demo 2015

Riffing their way into the post-Electric Wizard league of rumble purveyors, Minneapolis newcomers Seedship avoid any cultish trappings on last fall’s Demo 2015, their first release. A marked tonal thickness is nearly immediate, but along with the slow-motion nod and overarching density, melodic vocals cut through the morass to give a human aspect to the groove. Of the three tracks, “The Edge of Expiry,” “The Condemned Adrift” and “The Desperate Odyssey,” not a one is under eight minutes long, and as they plod their way through the opener (also the longest track; immediate points), Seedship enact a sci-fi theme that carries through the release as a whole, which scuffs up the approach some in the closer, but always keeps its spacier elements intact, even as it kicks the pace in the ass at around six minutes in and lets loose a release for all the tension built up prior before a final slowdown ends out. They seem to have a lot already worked out sound-wise, so should be interesting to hear where they go with it.

Seedship on Thee Facebooks

Seedship on Bandcamp

 

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Process Black Issues First Demo

Posted in Whathaveyou on January 22nd, 2015 by JJ Koczan

process black

Any new endeavor from Aaron Edge is welcome by me. The many-banded guitarist — Roareth, iamthethorn, Rote Hexe, etc. — was last heard from in 2013 when he joined forces with YOB‘s Mike Scheidt and his former Brothers of the Sonic Cloth bandmate Tad Doyle for Lumbar‘s The First and Last Days of Unwelcome (review here), Edge has a new project going (always, it seems) with vocalist Tim Singer of Deadguy and Kiss it Goodbye. The band is called Process Black. Edge first discussed teaming with Singer here around the time the Lumbar was released, and today, Demo 2015 has made its way to the public as the first audio from the band.

You can buy a download if you have an extra $666 handy, but more likely you’ll want to keep it to streaming, which you can do via a Bandcamp page set up with astronaut-centric design work from Edge himself. As for the sound of the demo’s three tracks, it’s raw noise rock with Edge on guitar and bass, Singer on vocals (go figure) and Brock Lowry (Craft Spells) on drums, but tonally thick enough to stand up, and the recording quality is way more “album” than “demo.” Reportedly there’s more to come.

Until then, here’s info and audio:

process black demo 2015

Process Black, we have liftoff!

This, a demo of our first three songs, is done. We are going to pass this ’round to a few record labels and see what kind of trouble it stirs up. It’s heavy, dynamic, and jarring… and there’s seven other unheard tracks in the bag and ready for the next record.

Guitar and bass recorded by Aaron D.C. Edge at AlphaBaphomet Studios in Portland, OR. Drums recorded by Derek Moree at The Red Room in Seattle, WA. Vocals recorded by Joe Boldizar at Retro City Studios, Philadelphia PA. Demo cover designed by Aaron Edge.

released 22 January 2015

Process Black:
Tim Singer: throat
Brock Lowry: percussion
Aaron Edge: strings

Members of:
Kiss it Goodbye, Craft Spells, Roareth, Deadguy, iamthethorn, No Escape, Lumbar, Cascabel.

More news when more news is known. Thank you.

https://processblack.bandcamp.com/releases
https://www.facebook.com/thelumbarendeavor

Process Black, Demo 2015

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The Obelisk Radio Adds: Black Pussy, Time Rift, The Dust Bowl, The Sorrows and Einstein-Rosen

Posted in Radio on January 16th, 2015 by JJ Koczan

the obelisk radio

If I told you it was a varied bunch of stuff added to the server today, would you believe me? Seems I say the same thing every time I do one of these posts, but it applies each time, anyhow. This is the second round of adds of 2015, which means I’m two-for-two on weeks for the year. I doubt very much I’ll be able to keep that pace until we get to 2016 — which sounds like a distant and horrifying future in which cars fly and people work diligently to cure Martians of chicken pox — but it’s good for now. I’m trying to keep more of a handle on reviews than I did last year, and things like this help.

Though it’s only been a week and files haven’t had too much time to pile up — again, that’s the whole idea — there are still 11 records new to the playlist as of this afternoon, so please feel free to hit up the Updates and Playlist Page and check out the full batch for yourself. And with that link plugged, let’s get to it.

The Obelisk Radio adds for Jan. 16, 2015:

Black Pussy, Magic Mustache

MAGICMUSTACHE-cover

After an interim split with Biblical Proof of UFOs that boasted the 20-minute jam “Galaxies,” Portland, Oregon’s Black Pussy return with their second full-length, Magic Mustache, which takes the hazy heavy psych of 2012’s On Blonde and gives it focus around natural tones, brazen hooks and diligently fuzzed variety, tripping out with synth and guitar effects on cuts like “Protopipe” and the brief-but-nod-worthy “Farrah Fawcett” while going full-on Queens of the Stone Age bounce on lead-single “For the Sake of Argument,” motorik space-rock on “Happy” and upping the lysergic swirl on the seven-minute closing title-track. It’s a quality record from a band with a rich sound, engaging songwriting and a well-honed psychedelia, a molten flow on “Lion’s Breath” and “On Top of the World” and others, and while every time I listen to it I can’t help but be bummed out by their moniker — which, despite being Black Pussy is so white and so male in its appropriation; no less so now than when The Rolling Stones picked it as the original title of “Brown Sugar” — I won’t discount the vibe that’s melted all over this material. Still, the distraction takes away from an otherwise righteous listening experience, and at least in my view, hurts a killer band. I wonder if it’s worth it. Black Pussy on Thee Facebooks, on Bandcamp.

Time Rift, Demo 2015

time rift demo 2015

But for the portraiture of the cover art, one might be tempted to call Demo 2015 a humble beginning for Portland trio Time Rift, whose launch represents a restart for vocalist/bassist Levi Campbell, guitarist Justin Kaye, and drummer Matt Amott, a three-piece formerly operating under the moniker Doomsower. To their credit, Time Rift is a better name, but more than just a switch, Demo 2015 presents them as an entirely new band, more rock-based, rawer in a ’70s-style presentation and less outwardly doomed. Even the seven-minute “The Cimmerian,” which dives headfirst into pre-NWOBHM early metal idolatry (and, yes, gets fairly doomed), keeps a melodic focus, and if there was a need to redirect their approach, at least Time Rift was able to do so while building on the chemistry already developing between them. The short, swing-heavy “Dusty Shelf” and layered vocal chorus of “Demon Hex” and proto-catchiness of “Starcrossed” legitimately sound like Campbell, Kaye and Amott have gone back to the start, and the exploration they’re embarking on seems like one well worth pursuing. One hopes they’re in a place sound-wise where they want to be, because it suits them. Time Rift on Thee Facebooks, on Bandcamp.

The Dust Bowl, Sangre Grande

the dust bowl sangre grande

Spanish heavy rockers The Dust Bowl released their second album, Sangre Grande, late last year and with it, they revel in grunge and desert rock atmospherics. Produced and mixed by guitarist CĂ©sar Royo (also organ, percussion, harmonica, etc.), it’s a vigilantly straightforward offering, delving into pop showmanship on “Bad Feeling,” but otherwise nestling cleanly into the post-QOTSA milieu of crunchy tones, strong hooks and melodic vocals. “Flow down this River” might be its most “the ’90s” moment, but there’s some stiff competition in that regard, while the quietly pulsing “Aqua de 1000 Cactus” brings to mind Kyuss‘ “Space Cadet” before the title-track finishes out in more raucous instrumental fashion. Touches of acoustic guitar, percussion, djembe, organ, backing vocals, and so on give their arrangements more depth than they might otherwise have, but at their core, The Dust Bowl — Royo, vocalist JosĂ© Ángel Navarro, bassist Alejandro “Vilo” Viloria and drummer Manuel Navarro — are well rooted in the tenets of their genre, and they bring forth an able execution thereof. The Dust Bowl on Thee Facebooks, on Bandcamp.

The Sorrows, Gonna Find a Cave

the sorrows gonna find a cave

Some lines it’s hard to make sound cool, but I firmly believe that if The Sorrows can sell, “Wanna be your ever-lovin’ caveman,” they can do just about anything. The reactivated UK group had a couple of singles out in the ’60s, but the three-song Gonna Find a Cave 7″ is brand new, though you’d hardly know it from the sound of the ultra-catchy title-track, or “Don’t Do That” and “Doin’ Alright Tonight,” which follow. The last of them has some touches of what could be an acknowledgement that the ’70s or anything thereafter happened and is so immediately familiar that it has me wondering if it’s a cover and I just can’t place it (any help in that regard is appreciated), but otherwise vocalist Don Fardon and company revel in pure 1965, pre-psychedelic pop rock, right at that moment after the British Invasion but before all the freakout that came next. It’s a place just about nobody these days dares inhabit, and the fact that they were there the first time around only makes Gonna Find a Cave more of a curio. Rise Above Records has unearthed some fascinating releases with roots in this era (see also their Rog & Pip compendium, issued last year), and The Sorrows bring it to life with unquestionable realism on these tracks. The Sorrows at Rise Above Records, Rise Above on Soundcloud.

Einstein-Rosen, Le Pont Noir

einstein-rosen le pont noir

Acoustic intro “Prologue” sets a brooding tone for Le Pont Noir, the debut full-length from Quebecois prog metal instrumental outfit Einstein-Rosen, a solo-project from Louis-Alexandre Jacques, who doubles as guitarist in stoner metallers Grand Morne. Jacques plays all the instruments on Le Pont Noir, which is all the more impressive when he gets down to the shifting tempos and blastbeats in “VĂ©nĂ©rable Vestige,” but the entirety of the album proves more dynamic than one might think for being executed by just one player, breaking into two sides as “Isthme” leads the way into the solo-topped “Neptune” at the start of the second half, the alternating thrash and plod of “Vortex” giving over to cinematic ambience as the nine-minute “Brume Quantique” closes out. Shred-prone stretches like those of “Ruinam” and “Vortex” tell the story of Jacques‘ underlying metal influence, but he seems no more likely to be kept to one single style as to one single band, and Einstein-Rosen‘s first outing only heralds development of an even broader reach. Einstein-Rosen on Bandcamp, Grand Morne on Thee Facebooks.

There you have it. Don’t forget that to see what’s been played today and what else got added, you can always check out The Obelisk Radio Playlist and Updates Page. It wants to be your friend.

Thanks for reading and listening.

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