A band’s early days are often a mishmash of releases, songs cobbled together from rehearsal recordings and put out as demos with live tracks from shows or different sessions. A few songs are copied for friends one week, and the next a demo is professionally pressed under the same title. That’s just part of promoting a new band. You try and get as much out there as possible. As such, when I opened the mail and found this surprise copy of Dozer‘s 1998 demo, Universe 75– the tape gifted to me unexpectedly by Lansing, MI’s Postman Dan, who’s come up around these parts a few times over the years and will again before the next week is out — it wasn’t a shock to discover that its tracklisting differed from what’s largely been settled on as being Universe 75.
I know the story behind this tape, know that Dozer guitarist Tommi Holappa sent it to Dan when Dozer were putting out their early material, that it came with an orange flyer that had Han Solo on it firing a blaster the laser of which was the Dozer logo, and if you can’t trust Postman Dan, you can’t trust nobody, so its authenticity is without question as far as I’m concerned. I damn near wept when I opened the package and found it.
What’s commonly regarded as Universe 75has six tracks, and this tape — dubbed onto a Maxell 100-minute blank cassette, though of course it reaches nowhere near that mark time-wise — has four. “Supersoul,” which opens, is the only song shared between the two. It and “Captain Spaceheart” – written in the liner here as “Captain Space Heart” — also appeared on Dozer‘s 2000 full-length debut, In the Tail of a Comet, while “Centerline” and “Tanglefoot” showed up later in 1998 on the first of the two Dozer vs. Demon Cleanersplit releases.
At this point, Dozer was Holappa, guitarist/vocalist Fredrik Nordin, bassist Johan Rockner and drummer Erik Bäckwall, and these songs were recorded at the end of Jan. 1998 by Bengt Bäcke — here given the nickname “Action.” Of course, he’d come a long way by the time he was continuing to work with Holappa in Greenleaf and tracking that band’s albums, but even in ’98, Bäcke knew what he was doing. The sound of the tape is raw, and the bass is way, way high in the mix, but overall it’s clear enough to get a sense of the songs and where Dozer were coming from stylistically in some of their earliest days, Nordin sounding more directly indebted to Kyuss‘ John Garcia than he even would by the time In the Tail of a Cometwas released, and the band seeming to work at full stonerly jamble on “Captain Space Heart” only to up the swing as “Tanglefoot” closes out.
As a longtime nerd for Dozer (obviously not as long as the Postman), I felt incredibly fortunate to hear these songs at all, let alone to be able to sit with them and think of them in context of the Borlänge four-piece’s pre-debut-LP progression. They were prolific as they solidified their sound, and over singles, EPs and splits with Demon Cleaner and Unida, they honed a reinvented — maybe “relocated” is the word? — take on what was then desert rock that of course would turn them into something different entirely over their years together, which hopefully aren’t done as they continue to play shows periodically. A snapshot of one of Sweden’s greatest contributions to heavy rock as a young band is something genuinely special, and I know I’ll cherish it in a cool, dry place for years to come and use it as fodder while I continue to campaign for a compilation of their pre-album material.
I think I’ve made my nerddom for Swedish heavy rockers Dozer plain over the years, but if not, let me just reinforce: The band fucking rules. From their early albums on Man’s Ruin, 2000’s In the Tail of a Comet and 2001’s Madre de Dios right on through the harder edged 2002 Molten Universe third outing, Call it Conspiracy, and their Small Stone era, which brought about 2005’s Through the Eyes of Heathens and 2008’s Beyond Colossal. All the splits, EPs, singles, etc., along the way, Dozer simply don’t have a bum release. There was no point at which they didn’t kick ass.
When it comes to Call it Conspiracy, I’ve always thought of it as the transitional moment for the band. Based as ever around the powerhouse riffs and full-speed charge of guitarist Tommi Holappa and Fredrik Nordin (the latter also vocals), Johan Rockner‘s bass and the driving thud of then-drummer Erik Bäckwall, Dozer‘s songwriting always made them a mandatory band, head and shoulders above most acts proffering heavy rock and roll then or now. But Call it Conspiracystands out in their catalog as the bridge between the first two and the second two albums, moving away from the Kyuss loyalism of their beginnings and at the same time setting up the progression into bigger tones and a more generally bombastic sound on records four and five. It’s the center-point along that line — in output, not time; the first three Dozer albums were released in three years, the last two in twice that — and very much stands up to that stylistically. In that, it’s unlike anything else they’ve ever done. It was a leap from Madre de Diosfor sure for arriving the next year, and when Through the Eyes of Heathensshowed up three years later, Dozer had moved even further away from desert rock. Call it Conspiracywas a moment captured — like a snapshot of Dozer coming into their own as a band.
And while I already said it, I’ll reiterate that the songs themselves are unfuckwithable. The rush of “Rising,” the swagger of “Man Made Mountain,” the way “Crimson Highway” seems to invite a sing-along even when you’re hearing it for the first time. Dozer have been making periodic live appearances since last spring, and they released the VulturesEP (review here) last year, collecting unused tracks from the Through the Eyes of Heathenssessions, but as Holappa (Obelisk Questionnaire here) has been busy with Greenleaf – whose fifth album, Trails and Passes(review here), came out earlier this year — there’s been no word of a studio return from Dozer. Needless to say I’m keeping my fingers crossed.
Hope you enjoy.
Up until today, I was doing really well with the rules I’d posted last week that I was trying to live by while The Patient Mrs. is in Athens. It’s 9:30PM and I haven’t left the house in two days. I knew that was gonna be a tough one when I wrote it, but was hoping I’d be able to keep up. Today and yesterday, neither the time nor the desire nor the need to go anywhere has been present. I might get in the car and drive around for 10 minutes when I’m done here, so at least I can say I did something, but otherwise, yeah. Been a lot of the couch, not a lot of not the couch. The little dog likes it.
Next week, reviews of Dunst and Grifter. It’ll probably take me two days (at least) to transcribe it, but I’m going to try to get the Lowrider interview up as well. Look out for another batch of Radio adds, and one way or another, some vinyl’s getting written about. I still need to hook up my stereo. You’d think that would’ve been a day one activity moving into the new place, but all the CDs are still packed away as well.
Trying to find a new high-volume CD storage solution. I was looking at some radio station library racks online and I think something like that might be the way to go, but I have no idea where one acquires such a thing, let alone what it might cost. But yeah, I’m thinking it might just be time to buy a shelf that lets me store 18,000 CDs and then just fill it over the next however many years. In case you’re wondering, I’d probably take up a little more than a third of that now. I don’t know if you knew this, but in addition to the stuff I buy, I keep everything sent to me for this site. I don’t sell promos, or give them away, or anything like that. Every single CD that’s been sent to me, regardless of if it’s a CDR in a slimline or a sleeve or a full-art jewel case, gatefold digipak, whatever, it goes in the archive. I keep it all. Tapes and vinyl too. And not in some random pile either. It’s taken care of. Loved. I can’t nearly write about everything that comes in these days, but I hold onto everything. Even the press releases. Seriously. I’ve got files of them.
Got off on a tangent there. Anyway, I hope you dig the Dozer and that you’ll join me in my letter-writing campaign to Tommi Holappa to get the tracks from their first several singles released as an early works compilation à la Church of Misery. I was thinking about starting one of those White House petitions. Get Obama on the case.
Alright. I’m gonna go get in the car and wander aimlessly for a bit so I can say I did. Hope you have a tremendous and safe weekend. Please check out the forum and the radio stream.
Posted in Features on January 2nd, 2014 by H.P. Taskmaster
I’ve been trying to get this one on the page for a couple weeks now — really since last year if you want to go back that far — and I finally just decided to do it. Granted, it’s already 2014, but I’m pretty used to being behind the times, so I hope you’ll indulge me on this one.
The thing is, of course we already did the Top 20 Albums of 2013, but that leaves an awful lot out in terms of quality shorter releases. Demos, singles, EPs, splits — whatever it might be — there’s a lot more to the story of a year in music than who’s putting out what full-length. That might be true now more than ever, with digital releases and artists having the ability to more or less give a song-by-song feed of new material should they so choose. Since this is the first time I’ve done this list, I’ve kept the presentation pretty basic, but there’s a lot to dig into here anyway in terms of the quality of the music and what people were able to accomplish in, in some cases, just one or two tracks.
My basis for judgment here is basically the same as with the full-albums list, and by that I mean how much I listened to something played a huge role, and it’s not just how important I think an EP or a split or a demo was that got it included on this list — though of course that stuff matters as well. Like spelling, repeat listens count. And it goes without saying these are my picks and have nothing to do with the Readers Poll, the results of which are here.
Okay, let’s do this:
The Top 20 Short Releases of 2013
1. The Machine/Sungrazer, Split
2. Dozer, Vultures
3. Mars Red Sky, Be My Guide
4. Black Thai, Seasons of Might
5. Wo Fat/Egypt, Cyclopean Riffs Split 12″
6. Young Hunter, Embers at the Foot of Dark Mountain
7. Shroud Eater, Dead Ends
8. Steak, Corned Beef Colossus
9. Geezer, Gage
10. The Golden Grass, One More Time b/w Tornado 7″
11. Trippy Wicked and the Cosmic Children of the Knight, Underground
12. King Buffalo, Demo
13. Groan, Ride the Snake
14. Crypt Sermon, Demo MMXIII
15. Stubb, Under a Spell b/w Bullets Rain 7″
16. Salem’s Pot, Watch Me Kill You Tape
17. Undersmile/Coma Wall, Wood and Wire Split
18. Second Grave, Antithesis
19. Sinister Haze, Demo
20. Olde Growth, Owl
Honorable mention has to go to the Fatso Jetson/Yawning Man split, C.O.C.‘s MegalodonEP, which was right on but which I didn’t really hear enough to include. The Gates of Slumber‘s Stormcrow as well.
Just a couple notes: In the case of Olde Growth, putting them last was actually more about not being sure when the official release date of Owlwas than anything else. I actually listened to that quite a bit, and “Tears of Blood” remains my favorite work of the duo’s to date. In terms of demos, it was a good year for doom debuts, with Crypt Sermon and Sinister Haze both showing some malevolent classicism, and King Buffalo‘s demo grew on me almost immediately upon hearing it and right away made me look forward to whatever might come next from them.
I was a little hesitant to put a split in the number one spot, but The Machine‘s riff for “Awe” alone made it necessary. I’ve kept this disc on my person for almost the entire year and continue to have no regrets in doing so. For Dozer, yeah, it was a collection of older material, but I still enjoyed the crap out of it. Both Mars Red Sky and Black Thai signaled considerable creative growth in four-song EPs, and the Wo Fat and Egypt split more than lived up to its mission. The riff lives in bands like that, and as we get further into stylistic nuance and subgenre development, it’s those groups who are holding on to the Heavy.
Young Hunter are one of the most promising bands I’ve heard in the last three years. Flat out. Killer release. Ditto that in a much different context for Shroud Eater, whose take on heavy only got more sinister and more effective with Dead Ends. Steak emerge as tops among the five British bands — a quarter of the list! — here. Their Corned Beef Colossus also had the best title I heard all year, and though Trippy Wicked, Groan, Stubb, and Undersmile/Coma Wall (the latter earning bonus points for putting out a split with themselves) all thrilled, Steak‘s potential got them that spot. Time for a full-length, guys.
Not to leave out New York — though the geographical alignment is a coincidence — Geezer‘s Gagetapped into a jammier feel that I thought suited the band remarkably well, and The Golden Grass‘ debut single offered one of the most charming irony-free good times I’ve heard in a long while. The Salem’s Pot cassette was one of my most-listened-to tapes this year, last mentioned but not at all least, Second Grave‘s Antithesisprobably would’ve clocked in higher if I’d had more time with it, but was definitely one I wanted to put in here anyway.
As I said, a lot of really astounding shorter outings, and worthy of attention in their own right. If I missed anything, I hope you’ll let me know in the comments.
Posted in Questionnaire on December 13th, 2013 by H.P. Taskmaster
Tracing their roots back to 1995 and releasing their first album on Man’s Ruin in the form of 2000’s classic In the Tail of a Comet, Dozer have proven to be one of the most enduring and influential names in Swedish heavy rock. After releasing their stellar fifth album, Beyond Colossal, on Small Stone in 2008, the four-piece went on hiatus. In that time, guitarist Tommi Holappa focused on his other outfit, Greenleaf, who put out Nest of Vipers (review here) as one of the year’s best in 2012. After performing there with Greenleaf last year, Holappa returned to Desertfest in 2013 with a resurgent Dozer, and this year the band also released a split 7″ on Transubstans with NYMF and a digital EP, Vultures (review here), culled from demo tracks recorded prior to 2005’s brilliant Through the Eyes of Heathens.
Dozer are slated to continue playing live shows into 2014 (accompanied by Lowrider as they were at Desertfest), and Greenleaf have a new full-length in progress as well, set for issue in the New Year. Enjoy:
The Obelisk Questionnaire: Tommi Holappa
How did you come to do what you do?
Discovering KISS when I was around seven or eight or so is what started the whole thing. That’s when I got interested in rock music. And when I was 14 I got my first guitar and the rest is history! But yeah, you can blame it on KISS why I’m in this rock and roll business now.
Describe your first musical memory.
I have really vague memories of seeing Elvis on TV, I must have been like two or three years old or something. I also remember getting my first vinyl, it was a Muppet Show vinyl. This must have been around the same time.
Describe your best musical memory to date.
This is impossible! I have too many good musical memories! It’s really hard to just choose one. Here’s just a few things that come to mind: Getting my first guitar, Getting the first record deal, Recording for the first time, Touring for the first time, Hearing Sky Valley with Kyuss for the first time (and seeing them live), Seeing KISS live when I was young. I could make this list endless with all the good bands I have seen and records I have heard over the years!
When was a time when a firmly held belief was tested?
I can’t come up with anything at the moment.
Where do you feel artistic progression leads?
To a happier life.
How do you define success?
To go on tour and people show up to see you play your music!
What is something you have seen that you wish you hadn’t?
KISS live earlier this year! Actually the show wasn’t too bad but Paul Stanley has totally lost his voice. You could really see it in his eyes how much he was suffering on stage.
Describe something you haven’t created yet that you’d like to create.
A space rock album! It would probably sound something like Hawkwind meets a satanic Pink Floyd.
Something non-musical that you’re looking forward to?
Posted in Whathaveyou on December 6th, 2013 by H.P. Taskmaster
As Desertfest 2014 continues to take shape, the bi-city festival announced today the release of a new vinyl compilation, Desertfest 2013: Live in London. All tracks were recorded live at this year’s fest, and whether you were there or not, you should be able to appreciate exclusive live recordings from Colour Haze, Fatso Jetson, Yawning Man, Unida, Truckfighters, Lowrider, Dozer and House of Broken Promises recorded there. One can only hope this is just the beginning of many Desertfest documents to come.
Info and links — you know the drill:
***** DESERTFEST ‘LIVE IN LONDON AVAILABLE NOW ****
Good news Friends, The Vinyl has arrived at DF Towers and its looking and sounding super slick..Those that have pre-ordered should start to receive their copies next week..If you are yet to order your copy, we are running an XMas special where you can purchase a ticket to DF14 & the Vinyl for just £95..1st 30 orders receive a free poster too…
you can watch the latest promo video here
Desertscene are pleased to bring you ‘ Live In London ‘ a Special Coloured Limited Edition LP. Recorded live at London’s renown 3 day Stoner/Doom festival ‘Desertfest’ in April 2013!
The Record is out now and you can order your copy here.
The track listing features some of the best bands from the Stoner, Doom and Desert scene such as Unida, Colour Haze, Fatso Jetson and Yawning Man. Mixed by Harper Hug in Palm Springs this heavy weighted compilation is a unique and collectable item for anyone in the scene.
We have limited it to a 12″ Vinyl only meaning it will not be available in any other formats.
UNIDA – STRAY FATSO JETSON – FLAMES FOR ALL YAWNING MAN – DARK MEET TRUCKFIGHTERS – CHAMELEON LOWRIDER – FLAT EARTH DOZER – RISING HOUSE OF BROKEN PROMISES – HI-WAY GRIT COLOUR HAZE – TEMPEL
I don’t at all mind saying that watching Lowrider‘s reunion set followed immediately by one from the reactivated Dozer at this year’s Desertfest in London was one of the high points of my personal 2013. Two bands I thought I’d never see — first one because they didn’t exist anymore and the other because of geography, then both because they didn’t exist anymore — in a one-two punch of Swedish riffly right-on-itude. A boulder could’ve fallen on my head and I wouldn’t have cared at that point. It was incredible.
For anyone who’d dare live the experience for themselves, DesertScene — the same folks behind Desertfest — are presenting a return performance from the two bands in February 2014 at The Garage in London with ascendant stoner natives Steak opening, and while I doubt I’ll be able to make it out to the show, what with that ocean in the way and all, there’s nothing to say I can’t stare at Peder Bergstrand of Lowrider‘s poster for hours on end and wonder at the awesomeness to come.
Lowrider, “Convoy V”/”Ode to Io” Live at Desertfest 2013
Here is the Music Player. You need to installl flash player to show this cool thing!
Been a while, right? Tell me about it. Although I love, love having The Obelisk Radio streaming 24 hours a day, seven days a week, I’ve been wanting to bring back podcasting for a while now. I always thought it was fun, it just got to be time consuming and to be perfectly honest, the response over time took something of a shit.
Well, the idea here is to start with a clean slate. Anyone who’s listened to audiObelisk podcasts before will notice this one doesn’t have a title. There’s no theme running throughout — though I wanted to keep it focused on new stuff as much as possible — and though others ranged upwards of four hours long, this one clocks in at just under two. I gave myself some pretty specific limits and wanted to start off as basic and foundational as possible. I haven’t done this in a long time, and it seemed only appropriate to treat it like a new beginning.
Something else I’m keeping simple is the intro, so with that said, I hope like hell you download at the link above or stream it on the player and enjoy the selections. Here’s the rundown of what’s included:
Mystery Ship, “Paleodaze” from EP II (2013)
Carousel, “On My Way” from Jeweler’s Daughter (2013)
Ice Dragon, “The Deeper You Go” from Born a Heavy Morning (2013)
Black Mare, “Tearer” from Field of the Host (2013)
Beast in the Field, “Hollow Horn” from The Sacred Above, The Sacred Below (2013)
11 Paranoias, “Reaper’s Ruin” from Superunnatural (2013)
Vàli, “Gjemt Under Grener” from Skoglandskap (2013)
Beelzefuzz, “Lonely Creatures” from Beelzefuzz (2013)
Dozer, “The Blood is Cold” fromVultures (2013)
Toby Wrecker, “Belle” from Sounds of Jura (2013)
Shroud Eater, “Sudden Plague” from Dead Ends (2013)
Luder, “Ask the Sky” from Adelphophagia (2013)
Eggnogg, “The Once-ler” from Louis (2012)
Colour Haze, “Grace” from She Said (2012)
Borracho, “Know the Score” from Oculus (2013)
The Flying Eyes, “Raise Hell” from Split with Golden Animals (2013)
Demon Lung, “Heathen Child” from The Hundredth Name (2013)
Vista Chino, “As You Wish” from Peace (2013)
Across Tundras, “Pining for the Gravel Roads” from Electric Relics (2013)
Black Pyramid, “Aphelion” from Adversarial (2013)
Church of Misery, “Cranley Gardens (Dennis Andrew Nilsen)” from Thy Kingdom Scum (2013)
Posted in Reviews on August 6th, 2013 by H.P. Taskmaster
Excluding a limited split 7″ with NYMF that heralded its coming, Vultures is the first outing from Swedish rockers Dozer in five years since they released 2008’s Beyond Colossal. That album, their fifth and second for Small Stone, became the capstone on Dozer‘s career when an indefinite hiatus was announced Fall 2009. After guitarist Tommi Holappa and drummer Olle Mårthans and bassist Johan Rockner played together (the latter on guitar) as part of the Greenleaf lineup for 2012’s triumphant Nest of Vipers album (review here), with Truckfighters‘ Oskar Cedermalm on vocals and bassist Bengt Bäcke, who engineered Dozer‘s first two albums and worked with other formative Swedish heavy rockers like Demon Cleaner — not to mention a guest appearance from Dozer guitarist/vocalist Fredrik Nordin on that record’s closing track — it was announced Dozer would return to the stage at Desertfest 2013. This was a welcome surprise even after Greenleaf played there in 2012 — Dozer‘s set was preceded by a Lowrider reunion in London and it has been one of the high points of my year so far — and while the immediate next question was when Dozer‘s next studio release would surface, Vulturesarrives as a semi-complete answer to the question. Recorded in 2004-2005 at Rockhouse Studios in Borlänge, these six tracks were used as pre-production demos for what would later become the fourth Dozer album, 2005’s Through the Eyes of Heathens. They arrive here with a mastering job from Karl Daniel Lidén (who may or may not also play drums on them) and cover art by William Ede as a digital-only-for-now 26-minute EP that at very least shows Dozer have a continued interest in being Dozer. And if Vulturesis a stopgap issued in order to keep their name in the minds of their fans while Holappa continues to write and record with a partially-revamped Greenleaf lineup, being one of those fans, I’m more than happy to take it. The Through the Eyes of Heathens era was a pivotal one in Dozer‘s progression, continuing the shift from the desert-style heavy of their first two albums — 2000’s In the Tail of a Comet and 2001’s Madre de Dios — that began to show itself on 2002’s Call it Conspiracy and pushing Dozer‘s style to individualized territory not yet heard from the band.
In any case, after five years, it was high time Dozer got something out, and Vulturesprovides a fascinating look at their creative process. For one thing, the songs are remarkably put together despite their “demo” tag. I don’t know for sure if Bäcke engineered this recording — he helmed their first two records and prior demos at Rockhouse — but from the sound of the tracks, I’d believe it. Nordin‘s vocals are layered, the drums have a crisp pop to them, Rockner‘s bass rumbles with fuzzy conviction and the guitars layered and driving in that style that was so quickly becoming Dozer‘s own at this point in their career. Dozer would ultimately take to Seawolf Studios on an island off the coast of Finland to record the final album, and it’s perhaps most curious of all that not one track from Vultureswas used in full. There are pieces here in songs like “The Imposter” and closer “To the Fallen” that one familiar with the finished record might be able to recognize, at least in spirit if not note-for-note, but nothing on Vultures was directly ported to Through the Eyes of Heathens. The effect this has is two-fold. First, it makes the new EP that much more of a new release — it is genuinely unheard material. Second, it makes Vultures even more intriguing as a look into Dozer‘s creative process. Was this something that had never happened before, that the songs took such drastically different forms by the time they were finished? Was the original intent to get these tracks on tape so as to write new material using them as a base to work from? What was it about a song like opener Vultures “The Blood is Cold” that didn’t make the final cut, or was it not even an issue of that, and rather, the band knew all along these tracks wouldn’t be on the record but wanted to have them documented anyway for just this future purpose? These questions abound, but what’s most pivotal about Vultures as a standalone release is that it captures Through the Eyes of Heathens-style songwriting with production more akin to Madre de Dios and In the Tail of a Comet, making it a wholly unique entity within Dozer‘s catalog, which if it needs to be said, is one of the finest and most essential the Swedish heavy underground has ever produced.
It was difficult — even last night — not to look forward to today. I won’t say I was trying extra hard not to get hit by a bus on my way out of the hotel and down the block for day two of the 2013 London Desertfest, but if I had been, I certainly would’ve had reason. Strictly speaking, it was my most straightforward of the three days here. Virtually no running back and forth, just one venue change and that was it for the duration. Even before I saw any bands, today felt like a luxury, and sure enough I was able to kind of nestle my way into the groove of the evening and just let it carry me along as it went. This would turn out to be precisely the right strategy.
On a sheer cause and effect level — I went here and this happened — the results are mostly inarguable. I’ll note that there were a lot of bands who played today who I didn’t see. Some whose music I don’t know, some whose music I know and very much enjoy. Rather than lay out each option for each time slot and justify my decisions one at a time, please just know that I’ve put no lack of consideration into how I’m spending my days here, and that the choices I’ve made for what to see have not been easy.
Alright, let’s go:
The first thing was to get a heaping dose of native Londoner sludge, and for that I headed down to The Underworld to catch Gurt, stopping only for coffee and a blueberry muffin along the way. It was sort of half-slushing on the way — semi-frozen balls of unpleasantness falling from the sky — so I just assumed whatever pagan seabeast is in charge of the weather around here was making it appropriate for the onslaught that was coming. I have dug several of Gurt‘s releases, most recently the Collection tape (more here), but ultimately, that would do little to prepare me for seeing them live, since they proved all around to be a more diverse band than I’d previously given them credit for being, working in influences of post-Superjoint Ritual thickened punk along with their standard Eyehategod — or if we’d like to keep it local, Iron Monkey — fuckall, frontman Gareth Kelly‘s screams all the more vicious and throat-searing from the stage. The trend in terms of vocals has swung the other way to the cleaner, melodic end, but I still like to see a screamer who can really scream and keep it up for the duration of a set without losing power, and Kelly did that, making a highlight of “Fucknose” in the process. I also hadn’t given them credit for their sense of satire. “Dudes with Beards with Cats” was right on, and “You ain’t from around these Parts?” was presented as having an agenda that I hadn’t perceived originally — perhaps because I couldn’t understand the lyrics, perhaps because I’m clueless. Either way. Gurt brought up Diesel King vocalist Mark O’Regan for the finale, “Soapfeast,” the Church of Misery boogie of which was one more example of Gurt being better than I knew. Lesson learned.
It was hard to me to look at frontman Chris of Brighton four-piece Turbowolf and not think of a young Bobby Liebling of Pentagram. The superficial factors were there — moustache, mane, frilly shirt, tight pants and so on — but I doubt if many on the Trail of Dead tour that Turbowolf just wrapped had the same issue. There was also about as little in common with the bands as there could be and still have both of them play the same fest, Turbowolf opening at the Electric Ballroom – a new venue for Desertfest as of this year — playing a speed rock that bordered on punk but never really gave up its classic ethic. I wondered watching them if theirs is the kind of sound that has grown out of the next generation past the likes of Turbonegro and The Hellacopters, though I barely had time to get a mental process underway before Turbowolf were on to the next upbeat, catchy rager. They weren’t really my thing (who likes fast tempo and engaging music, anyway? Oh wait, everyone.), but they sure had the crowd on their side and it was easy to see why. While the rest of the band locked in their next ultra-tight, professional delivery, Chris tossed unopened cans of beer into the audience, from whence they did not return. If the room wasn’t theirs before, and it was, that was bound to help their cause, and though it was still pretty early, Turbowolf worked the larger space easily around its collective finger, stopping only to make sure everyone was getting in on the party.
House of Broken Promises
Though they’d apparently come right from their flight into town from the Berlin Desertfest, it was clear by the time Indio, California, trio House of Broken Promises dug into the start-stop stomp of “Obey the Snake” from their 2009 Using the Useless debut full-length (review here) that they were really just waiting for the strippers to show up. New bassist/vocalist Joe Mora fit right in with the band’s crotch-thrusting dude rock, though even if he’s not singing, guitarist/beard magnate Arthur Seay is doing most of the frontman work. Master of the guitar-face and the beard-bang, Seay is nonetheless a more than solid player, and for all the antics, he, Mora and drummer/backing vocalist Mike Cancino were as tight musically as they were uproarious and working to get the crowd into it. That didn’t take much, incidentally. House of Broken Promises may play what to my ears sounds like a very American take on heavy rock, but the Desertfest crowd knows how to dig into catchy songs delivered with quality heavy and quality energy alike, which is just what they got at Electric Ballroom, plus some old biker movie video backdrop courtesy of Mindzap Visuals. I think of some of the places I’ve seen these guys play — the Trash Bar in Brooklyn comes to mind, also the Brighton in NJ — but they seemed much more suited to the bigger stage, the bigger room than to either of those haunts. While I don’t think I would go as far as to call them desert rock — that would come later when Cancino and Seay returned as half of Unida – the three-piece definitely left a boot print in the Electric Ballroom, closing out their set with “The Hurt (Paid My Dues),” which had arms raised and lyrics sung along from the very start. It’ll be interesting to see what happens when they get a follow-up to Using the Uselesstogether, what effect Mora‘s joining might have on their songwriting process or overall sound, but for today, they were dead-on. Rarely can I say the same for myself when I’ve just come from the airport.
If you’ve lived for more than 25 seconds, you know that life long. And if you’ve lived for more than 25 seconds, chances are something has happened to you over the course of your life that you didn’t expect would ever happen. Tonight, I saw Lowrider, the Swedish double-guitar four-piece who released in their day only one full-length album — 2000’s Ode to Io, on MeteorCity — and two splits, with Nebula and Sparzanza, played fewer than 50 shows, and disintegrated, to become in the years subsequent one of the single most pivotal blueprints for European riffing. Yeah, Dozer (wait for it…) came up concurrently, releasing their debut also in 2000, but what Ode to Io offered was a fealty to desert rock really just as the thing was beginning to exist outside of the desert itself. These bands showed not only that it could be done, but gave landmark examples of how to do it. I don’t know where people had come from, if they drove here, got on a plane, train, boat, whatever, but I have to believe that it was the chance to see bands like Lowrider, Dozer and Unida that brought them to Desertfest 2013. And though I don’t really know how a group of individuals could come out onto a stage and live up to that kind of impossible narrative, guitarist Niclas Stålfors, bassist/vocalist Peder Bergstrand, lead guitarist/vocalist Ola Hellquist and drummer Andreas Eriksson did precisely that. Most of what they played came from Ode to Io, as one would hope and expect, but they gave some time as well to the Nebula split, picking up “Lameneshma,” “Shivaree” and “Ol’ Mule Pepe” for anyone who might be looking for a deeper cut out after the mega-hooks of “Flat Earth” or “Caravan,” the latter which rang out as an immediate clarion as if to say, “Yes, this is really happening.” They were visibly glad to be on the stage together at the Electric Ballroom, the tone was right on — having nerded out so many times over for “Texas Pt. 1 & 2,” it was great to hear it announced from stage as the first song they ever wrote — and coming out of it, I have to say that if these dudes had any desire whatsoever to go back and write a new album, nothing I heard from them tonight would stand as argument against doing so. The material — minimum 13 years old — sounded vital and fresh, and when they were done, Bergstrand (who is also in I are Droid), took a picture of the crowd and said he didn’t want to wait another 10 years to do it again. Hell dude, me neither. I never thought I’d get to do it this once, so really, anything on top of tonight is gravy.
Dozer are a big part of the reason why I’m here. Not just here in London for Desertfest, but here, in front of this laptop, writing like I do more or less every day. That’s not hyperbole, it’s just fact. When I first started getting into this kind of music in college, it was acts like Dozer who fueled my curiosity to know more about it. The Swedish outfit announced an indefinite hiatus in 2009, and have been little heard from since — though as early as last summer, guitarist Tommi Holappa was dropping hints of a reunion at Desertfest — so to find them back at it with the lineup of Holappa, guitarist/vocalist Fredrik Nordin, bassist Johan Rockner and drummer Olle Mårthans was special, and for me, something that will mark out this Desertfest among all the fests I’ve seen and any and all I might see. This was the one where I finally saw Dozer. I knew some of what to expect from Holappa‘s thrashing madness on stage from seeing him at Desertfest last year with side-project Greenleaf (another personal highlight), but wow. Opening with “The Hills Have Eyes” and “Exoskeleton Pt. 2,” they stormed through their hour-long set, making the most of their time with cuts from across their five albums like “Rising” from 2002’s Call it Conspiracy, “The Flood” from 2008’s Beyond Colossal(their last album to date), and “From Fire Fell,” “Big Sky Theory,” “Drawing Dead,” “Born a Legend” and “Days of Future Past” from 2005’s Through the Eyes of Heathens, the last of which Nordin singled out as his favorite song Dozer had ever written. It’s a strong candidate, with a memorable melody line and dynamic changes within an overarching moodiness that was not in the slightest lost in a live setting, the guitarist tempering his approach to the music and using a few effects here and there as well for echo and warble. His falsetto, shouts and straight-ahead melodic singing were right on, and with Holappa‘s headbanging his way back and forth on the stage, Rockner‘s quiet but steady low end on the other wise and Mårthans‘ positively huge drum sound — the kind of kick you feel in your chest — seeing Dozer was everything I could’ve asked it to be and more. They even jammed! Of course, they could’ve played twice as long and I wouldn’t have complained, but a track like “Headed for the Sun” from 1999’s Coming Down the MountainEP split with Unida (wait for it…) only underscored for me how much they need to do an early works compilation, like, yesterday. They wrapped with “Rings of Saturn” — the bonus track from the vinyl version of 2001’s Madre de Dios– and the opener of their 2000 debut, In the Tail of a Comet, “Supersoul,” which felt like home from the first note. I don’t know if this is the last time I’ll get to see Dozer play or not — I hope not — but for tonight, I’m just thankful that I got to see them this once at Desertfest. Really. When they were done, I felt like I’d accomplished something.
And if a night like this is going to have an epilogue, a 90-minute headlining set from Cali desert rockers Unida is a good one to have. In a lot of ways, Unida sort of sum up what seems to me to be the whole mentality of this fest. They’re a band who, just when they should’ve hit it big with a major label album produced by a major producer, it all came apart on them, and so what you had tonight was people singing along to tracks from a record that never came out. Without the passion for this music at the heart of this festival, there’s no way a band like Unida would resurface for a headliner spot. Vocalist John Garcia has Vista Chino at work on a new album, and guitarist Athur Seay and drummer Mike Cancino had already done a set in House of Broken Promises – the band was rounded out by Arthur‘s nephew, Owen Seay, on bass — so what made it happen? Money? I’m sure they got paid to be here, but money’s what makes you get up and go to work in the morning. What makes you spend months hammering out a set of songs to get up and deliver them in front of a couple thousand people most of whom (myself included) only caught onto your band after the fact? If it wasn’t passion, it would have to be madness. As he has been the several times I’ve seen him — in Kyuss-minded projects like Garcia Plays Kyuss and KyussLives!, from which Vista Chino springs – Garcia was a relatively subdued frontman, collected on stage if prone to the occasional leg-jerk softshoe. Seay as well was calmer for the Unida set compared to House of Broken Promises, and since some of my favorite Unida tracks are the moodier, more sedate, I thought it worked well. Over the course of their time, they certainly worked in their share of rocking material, whether it was the ultra-catchy “Red” from 1998’s The Best of Wayne-GroEP (which also served as their portion of the split with Dozer the next year) or the groovier “Vince Fontaine” from the unreleased For the Working Man. I was hoping they’d have some bootleg copies of that record on sale, but no such luck. The extended “Last Day” found the Seays and Cancino at some of their tightest, musically, and Garcia‘s voice was, as ever, crucial. “Thorn,” “Nervous” and “Human Tornado” were all met with rapturous welcome — they’d almost have to be — and after leaving the stage, Unida came back out and made a blasting two-song encore out of “Dwarf It” and “Black Woman” that answered back some of the quieter stretches of their set with full-fisted gut-punchery. Standing in the very back of the Electric Ballroom and watching the crowd go apeshit for them, I wondered if Unida might finally be getting the payoff they’ve been waiting for a decade to receive.
No time to think about it, really. They shuffled us out of the venue on the quick, and I decided to end the day with a check-in over at The Black Heart to see how things were shaking out there and pick up a copy of the new tape I’d heard Bong brought with them. No such luck on that one, and there didn’t seem to be much of a pathway to the stairs let alone up them to see the band, so I hightailed it back in the direction of the hotel, stopping to pick up some pizza along the way, since nothing says celebration quite like a pizza party for one.
Tomorrow is the last day of Desertfest 2013, with more running around than I had today, but still a decent amount of full sets I’ll get to watch. This trip is winding down, but we’re not done yet.
Posted in Features on July 5th, 2012 by H.P. Taskmaster
For more than a decade, Greenleaf has existed in its own place within the sphere of Swedish heavy rock. Begun as a side-project for Dozer guitarist Tommi Holappa and drummer Karl Daniel Lidén with bassist Bengt Bäcke (who also engineered Dozer‘s earliest demos), Greenleaf released their first EP in 2000, working with the simple ethic of paying homage to ’70s rock. Then fronted by Peder Bergstrand of the still-underrated Lowrider, it would be Dozer‘s own Fredrik Nordin in the vocal role for 2001’s Revolution Rock full-length debut, and that lineup would be joined by Demon Cleaner guitarist Daniel Jansson for their Small Stone Records sophomore outing, 2003’s Secret Alphabets.
Four years pass, and in the meantime, Demon Cleaner has broken up, Lowrider has broken up, Dozer has put out an excellent album on Small Stone in the form of 2005’s Through the Eyes of Heathens, and subsequently toured on it. Time has gone quickly, but when Greenleaf is picked up again with 2007’s Agents of Ahriman, the result is one of the decade’s best records, and I’ll say that flat out, no hesitation. Bringing in former Dozer drummer Erik Bäckwell in place of Lidén — also by now a noted recording engineer — the reinvigorated unit now boasts vocals from Oskar Cedermalm of burgeoning fuzz mavens Truckfighters, as well as a slew of guest spots, including from Bergstrand and The Awesome Machine‘s John Hermanssen, and songs like “Alishan Mountain,” “Black Tar” and “Ride Another Highway” make it an absolute classic in its genre, giving a sincere modern edge to what many of their countrymen and others around the world were just starting to discover within heavy ’70s rock.
Five more years pass. Dozer too seems to have been at least mostly put to rest following the Lidén-produced Beyond Colossal and Nordin, an essential piece of that collective, is back in school. Holappa — having tried to get a new band going with Lidén called Dahli (an apparently premature interview about the project was conducted early in 2010) that didn’t materialize owing to the drummer’s busy schedule and the lack of a vocalist — decides it’s time to once again reform Greenleaf. He calls Bäcke and they begin writing. Young drummer Olle Mårthans, who played on the last Dozer record, is brought in for that position, and Dozer bassist Johan Rockner is brought in on second guitar. Cedermalm, fresh off the success of Truckfighters‘ European release for Mania, returns on vocals, and Nest of Vipers starts to take shape.
And in the 12-year-plus semi-tenure of Greenleaf, it might just be Nest of Vipers that stands as their crowning achievement. Holappa, who seems to play the role of organizer as much as that of guitarist, has assembled a terrifyingly rich collection of songs that, set to tape by Lidén, not only provide an answer to Dozer‘s (allegedly) final statement, but push their classic heavy rock influence into bombastic new territory, a five-minute track like “Tree of Life” sounding positively epic for the space in the recording while cuts like “Jack Staff,” “Case of Fidelity” and “The Timeline’s History” refine the ultra-memorability that first showed itself on Agents of Ahriman into something wholly Greenleaf‘s at the same time guest appearances from Bergstrand, Nordin and former Opeth/Spiritual Beggars organist Per Wiberg make it plain that Nest of Vipers is bigger than the band itself. A to-date career performance from Cedermalm doesn’t hurt either.
Let me not mince words: This shit is about as close as I’d come to ever calling anything “my jam.” However important I think a release like Nest of Vipers might be to the scope of Swedish underground heavy, foremost, I think it fucking rocks. When I had the chance to see Greenleaf play at this year’s Desertfest in London, I jumped on it immediately, and it proved to be one of the many highlights of that trip. Being fortunate enough to have some time to chat with Holappa there (as well as to see Truckfighters again, which makes any day a good day), I knew I wanted to get an interview going, if only to give myself another chance to nerd out about the record. The guitarist agreed, and at the beginning of June, the following discussion was conducted over Skype about Nest of Vipers, the scheduling complications that go into making Greenleaf happen at this point, the status of Dozer, the status of Dahli, recording with Lidén and much more.
Q&A in progress and photos from Desertfest London (click any to enlarge) can be found after the jump. Please enjoy.
Founded in 1995 by Scott Hamilton, Detroit imprint Small Stone Records is the single most influential American heavy rock label of the post-Man’s Ruin era. What started as Hamilton releasing local Detroit acts of varied genres like Morsel, 36D and Perplexa soon took on a dedication to the heavy aesthetic that remains unmatched in both its scope and its reach of influence. Looking back, Five Horse Johnson‘s 1997 Double Down debut, seems to have been the beginning of Small Stone‘s turn down the fuzzly path. It’s like Hamilton followed the riff right down the rabbit hole and never looked back.
Now, 17 years on, Small Stone has a reach that goes beyond even the distribution of the albums it puts out. Thanks to the diligent work of Hamilton and oft-encountered names like Mad Oak Studios engineer/mixer Benny Grotto, mastering engineer Chris Gooseman, graphic artist Alexander von Wieding, among others, the label has earned a reputation for quality output that new releases are constantly reaffirming. Over the years, Man’s Ruin refugees like Sons of Otis, (The Men Of) Porn, Acid King and VALIS have come into the fold, but the crux of Small Stone‘s catalog is made up of acts like Roadsaw, Dixie Witch, Halfway to Gone, Throttlerod, Puny Human and Novadriver, who no matter what else they put out or who they put it out with, will always be considered “Small Stone bands.”
That designation and those groups specifically have helped establish a core American-style heavy rocking sound that the label seems to delight in toying with even as it continues to promulgate. Next generation bands like Gozu, Lo-Pan, Freedom Hawk, Backwoods Payback and even newer newcomers Wo Fat, Supermachine, Lord Fowl and Mellow Bravo — who don’t yet have albums out on the label — are expanding its breadth, and recent international signees Asteroid, Abrahma, Mangoo, Nightstalker and Mother of God should help ensure that Small Stone keeps pushing both itself and genre boundaries well into the next several years.
One of the hazards, however, of an ever-growing catalog, is that it can be hard to figure out where to start taking it on, and to that end, I’m happy to provide you with 10 essential Small Stone picks. Note I didn’t say “the 10 essential Small Stone picks,” because the reality of the situation is this is just the tip of the fuzzberg. If it’s any indication, I started out with five and couldn’t leave the rest out.
Here they are, ordered by the date of release:
1. Novadriver, Void (ss-022/2001)
Still an album that’s more or less impossible to pin to just one genre, the stoner/space/weirdo jams of Novadriver‘s 2001 outing, Void, reside somewhere between Monster Magnet‘s early Hawkwind worship and the unbridled intensity of groove that came out of Detroit’s early- and mid-’70s heavy rock and proto-metal. The fact that Novadriver also came from the Motor City speaks to the label’s local roots, but if Void was coming out even today, it’d be coming out on Small Stone.
2. Los Natas, Corsario Negro (ss-028/2002)
Personally, I think 2005’s El Hombre Montaña is a better album and 2009’s Nuevo Orden de la Libertad is an even better album than that, but Corsario Negro earns the edge as a starting point because it was the beginning of the Argentinian rockers’ relationship with Small Stone (they too were left without a home in the wake of Man’s Ruin folding). Plus, if you haven’t heard them before and you get this, you can still marvel at the subsequent offerings. Either way, totally necessary.
3. Various Artists, Sucking the ’70s (ss-032/2002)
In a lot of ways, this is what it’s all about. Badass bands playing badass songs. By this point, The Glasspack, Los Natas, Fireball Ministry, Halfway to Gone and Five Horse Johnson (who lead off the first disc) had already put out at least one album through Small Stone, but Sucking the ’70s made the most of the label’s burgeoning reputation, bringing in Clutch, Alabama Thunderpussy and Lowrider, along with bands who’d later add records to the catalog like Roadsaw, Suplecs and Lord Sterling, all covering hits and obscurities from the heavy ’70s. A gorgeous collection that would get a sequel in 2006. Still waiting on part three.
4. Dixie Witch, One Bird, Two Stones (ss-037/2003)
The Austin, Texas, trio would go on to become one of the most pivotal acts on the Small Stone roster, and they’d do so on the strength of their Southern riffs and the soul in their songwriting. Led by drummer/vocalist Trinidad Leal, Dixie Witch hooked up with Small Stone on the heels of their 2001 debut, Into the Sun, which was released by Brainticket, and quickly gained a reputation for some of the finest classic road songs that Grand Funk never wrote (see “The Wheel”). Their 2011 offering, Let it Roll, affirmed their statesmen status among their labelmates.
5. Sasquatch, Sasquatch (ss-044/2004)
I was pretty well convinced that when the L.A.-based Sasquatch released their self-titled debut in 2004, rock and roll was saved. Whoever it needed saving from, whatever needed to take place to make that happen, this record did it. Truth is, rock and roll didn’t really need to be saved — it needed a stiff drink, as we all do from time to time — but Sasquatch would’ve been right there even if it had. They’re a Small Stone original with all three of their records to date out through the label, and still one of the strongest acts in the American rock underground, even though they’d never be quite this fuzzy again.
6. Dozer, Through the Eyes of Heathens (ss-061/2005)
Even now, seven years later, I can’t look at this album cover without hearing the chorus to “The Roof, the River, the Revolver.” Between that and songs like “Man of Fire,” “Born a Legend” and “From Fire Fell,” Swedish rockers Dozer made their definitive statement in their label debut (fourth album overall). Another former Man’s Ruin band, they’d already begun to grow past their desert rock roots by the time they hooked up with Hamilton, and Through the Eyes of Heathens played out like what heavy metal should’ve turned into after the commercial atrocities of the late-’90s. A gorgeous record and still a joy to hear.
7. Greenleaf, Agents of Ahriman (ss-074/2007)
It’s like they built nearly every song on here out of undeniable choruses. Even the verses are catchy. I’ve championed Agents of Ahriman since before I started this site, and I feel no less vehement in doing so now than I did then. A side-project of Dozer guitarist Tommi Holappa that on this, their third album, included and featured members of Truckfighters, Lowrider, The Awesome Machine and others, Greenleaf became a distillation of many of the elements that make Swedish heavy rock unique in the world. It wasn’t aping classic rock, it was giving it a rebirth, and every Hammond note was an absolute triumph.
8. Iota, Tales (ss-084/2008)
Once, I had a t-shirt with the cover of Iota‘s Tales on the front. I wore it until it got holes, and then I bought another. That’s the kind of album Tales was. A trio crawled from out of Utah’s Great Salt Lake, Iota took Kyuss, launched them into space, and jammed out for five, 10 or 20 minutes to celebrate the success of the mission. Recently, guitarist/vocalist Joey Toscano has resurfaced in the bluesier, more earthbound Dwellers, which teams him with the rhythm section of SubRosa. Their debut, Good Morning Harakiri, was a highlight of early 2012, building on what Iota was able to accomplish here while pushing in a different direction.
9. Solace, A.D. (ss-093/2010)
It took the better part of a decade for the Jersey-bred metallers to finish what became their Small Stone debut after two full-lengths for MeteorCity, but when it finally dropped, there was no denying A.D.‘s power. My album of the year in 2010, the band delivered front to back on seven years’ worth of promise, and though it was recorded in more studios than I can count over a longer stretch than I think even Solace knows, it became a cohesive, challenging album, giving listeners a kick in the ass even as it handed them their next beer. I still get chills every time I put on “From Below,” and I put it on with near-embarrassing regularity.
10. Lo-Pan, Salvador (ss-116/2011)
If you know this site, this one’s probably a no-brainer pick, but the Columbus, Ohio-based riff merchants took on unabashed stoner rock fuzz for their Small Stone debut (third album overall) and made some of 2011’s most memorable songs in the process. Subversively varied in mood and heavy as hell no matter what they were doing, every part of Lo-Pan‘s Salvador worked. There was no lag. Small Stone also reissued the band’s 2009 outing, Sasquanaut, in 2011, but Salvador surpassed it entirely, bringing the band to new heights of professionalism they’d confirm by touring, well, perpetually. They’re still touring for it. You should go see them and behold the future of fuzz.
That’s the list as much as I could limit it. If you want to immediately add five more, throw in Roadsaw‘s self-titled (they’re writing the best songs of their career right now, I don’t care how attached to the early records you are), Puny Human‘s Universal Freak Out, Halfway to Gone‘s High Five, Milligram‘s This is Class War and Five Horse Johnson‘s Fat Black Pussycat. If you want to semi-immediately add five more than that, get the reissue of Acid King‘s Busse Woods, Mos Generator‘sSongs for Future Gods, The Brought Low‘s Third Record, Tummler‘s Early Man and Erik Larson‘s The Resounding. There. We just doubled the length of the list.
And the real trouble? I could go on. We didn’t even touch on curios like Axehandle, Lord Sterling and Brain Police, or The Might Could‘s Southern aggression, Hackman‘s instrumentalism or the druggy post-grunge of VALIS. Suffice it to say that Small Stone is one of very few labels out there from whom any output will at least be worth a cursory investigation. As the label continues to grow and develop in 2012 and beyond with new bands and new releases from its staple acts, taking on new avenues of commerce — like releasing vinyl for the first time, which it did in 2011 — whatever changes might crop up, Small Stone seems ready to meet the future, distortion pedal first. Can’t ask more of rock than that.
I never closed out last week. I’ll admit, at first it was just because I hit the wine Friday night, but then I thought I’d use that as an excuse to try something different. Certainly I did nothing on Saturday except sit on my ass and not work on that thesis I’m supposed to be writing, but even so, I decided we’d open this week with a Mundee video instead of close the last with a Frydee one. Doesn’t even make a difference in terms of where the post appears, but what the hell. I take my changes where I can get ‘em.
Good stuff to come over the next five days, in any case. I went and saw Monster Magnet last night at Starland Ballroom and I’ll have a review and photos up before today’s out, and before this week is over (and also before Friday at 5PM, which is a terrible time to post anything) I’ll have a new interview posted with acclaimed visual artist Brian Mercer and Six Dumb Questions with NJ rockers Boss 302, whose album was reviewed last week. Reviews on tap from Bulletwolf (that’s today), Evoken, Curse the Son and Graveyard, and the usual bunch of On the Radars, Buried Treasures and Whathaveyous.
It’s a snow day here in the valley, but I still have to get to class later, and I have some homework to do before that. I’ll get there. In any case, I hope you had a great weekend, hope you have a great week going forward, and hope you enjoy the Dozer above. “Man of Fire” from their excellent Through the Eyes of Heathens album. I thought a little something energetic would be good to start the week off right. Like eggs in the morning.
Mmm… eggs. Looks like I just added another line to the to-do list.
I’ve beaten a hasty retreat to Connecticut for the night in the hope that a quick rest-cure by the sea will be just the thing to help me vanquish once and for all a cold that’s had me down for more than a week now. Yes, more travel. That’s the answer. I’ll do that.
Rest assured, I won’t be here too long, though, what with the Kings Destroy/The Nolan Gate/Choirs of Titan show The Obelisk is presenting tomorrow night in Hoboken at 123 Harrison St. (see flyer below). It’s gonna be a killer time, and if you want to look for me, I’ll be the bearded dude with long hair probably spouting off at too loud a volume about how the rest of the city of Hoboken can kiss his ass. Good times, people!
If you’re not in the area, I hope you enjoy whatever it is you’re doing, and if you are in the area, I hope to see you there. Either way, enjoy the weekend. Here’s that flier:
Posted in Features on February 16th, 2010 by H.P. Taskmaster
We were all saddened last year to read that Swedish heavy rock legends Dozer were calling it even temporary quits so that Fredrik Nordin could go back to school. I mean, if you gotta do it, you gotta do it — it’s not unreasonable — it’s just a bummer because it means no Dozer records.
The upshot as I saw it then was that it would give guitarist Tommi Holoppa more time to work on Greenleaf with Vaka-mainman and ex-Demon Cleaner drummer Karl Daniel Lidén. As it turns out, Holoppa is going to be working with Lidén, and Dozer bassist Johan Rockner as well — and a yet-unnamed singer — but on a new project, which The Obelisk is glad to reveal will be called Dahli.
Lidén has hinted that Dahli‘s music will take a heavier direction, but in the brief Q&A below, the talented multi-instrumentalist and producer gets more specific than he has yet about the project and what the goals are for the new band. As ever, the interview is after the jump. Enjoy.
Every year there’s a last-minute sneak onto the countdown. Two years ago, Primordial‘s To the Nameless Dead came out in November and was my pick for album of the year. I stand by that, by the way. I guess the closest thing to that happening this year is Shrinebuilder, though they more or less had a spot waiting for them, it was just a matter of assigning the proper number when the time came. Last year, there were two late-released records that made my top 10 that I think are worth another mention as we get ready to close the books on 2009.
Namely, Beyond Colossal by Dozer and II by The Kings of Frog Island.
We’ll take them one at a time. For Dozer, who have since relinquished their crown as the kings of Swedish stoner metal to go on hiatus, Beyond Colossal was a further step away from their riff rock beginnings. Their fifth album overall — second for Small Stone — it was a heavy and aggressive exploration of sound that resulted in a collection of memorable tracks including “Empire’s End” and “Two Coins for Eyes,” both of which featured guest vocals from Clutch‘s Neil Fallon. But it wasn’t just his appearance that made Beyond Colossal special. The energy in “The Flood,” the dynamism of “The Ventriloquist” and even the bravery of quiet closer “Bound for Greatness” all shine both within the Dozer catalog and without.
For the UK‘s The Kings of Frog Island, II was an appropriately-titled second offering via Elektrohasch Schallplatten. While what I recalled of their first album was that it was fuzzy, stoned and riffy with psychedelic undertones, this one came and blew it away in almost every sense of the word. For the hair grown on the guitar tone in “Welcome to the Void” alone — the riff to which I can’t get out of my head just from thinking about it as I type — II has been a mainstay in my CD player throughout 2009. The transposed down-home blues of “The Watcher” and the darker, more sinisterly rhythmic “Witching Hour” are constant fixtures in the mental jukebox, and those are just the tracks I can think of off the top of my head. Once the record actually goes on, it’s simply a matter of being taken someplace else. Leicester, perhaps, where the band is from. Who knows.
Point is this, both Beyond Colossal and II have already shown that they can hold up for a solid year (which, as we all know, is a lot more than plenty of albums) without losing their appeal. If nothing else, that’s definitely worth some consideration. “Attention could be paid,” and so forth.