Six Organs of Admittance Post “Things as They Are” Video; Iberian Tour this Month

Posted in Bootleg Theater on February 9th, 2018 by JJ Koczan

http://theobelisk.net/obelisk/2017/03/08/six-organs-of-admittance-adoration-song-video/

To be honest with you, a new Six Organs of Admittance video is well cool buy me because it gives me an excuse to revisit the 2017 album, Burning the Threshold (review here) and the track “Things as They Are” begins the record as paired with the subsequent “Adoration Song” (video posted here), so all the better a place to begin to dig in. And as Ben Chasny prepares to take Six Organs on the road in Portugal before returning to the US Southwest in Spring, it’s also a chance to stop and take stock of just how things are. To wit:

As I write this, it’s just after 7AM Eastern time. I don’t know if it’s Daylight time or the other one at this point and I don’t suppose it matters. I’ve been up since a little after 1AM. I keep falling asleep while to get the posts done. Like right in the middle of that sentence, I nodded off again, and my eyes are already closed once again. I haven’t slept well lately and apparently that’s enough to make me feel like I’m totally off my nut. Hey, wake up. Wake up. The drums just kicked in on “Taken by Ascent.” Wake up.

That, the laundry in progress downstairs the coffee in the pot, The Patient Mrs. and The Pecan upstairs. That’s things how they are. Tons of work to do no time to do it. A string of ‘w’ that spans line after line because it’s where my hand went to dead weigh. I don’t get paid to do this. I probably never will. But I love it and I can’t stop. That’s how things are. Maybe I should get a standing desk.

If you recognize the style of the video here, with the slow motion and artsy black and white shots and all that, Elisa Ambrogio directed the “Adoration Song.” Consistency is a good thing, even for a project as amorphous as this one. Enjoy the video below:

Six Organs of Admittance, “Things as They Are” official video

Anytime is a good time to release a Six Organs of Admittance video, album release cycles be damned. Burning the Threshold brings a wealth of Six Organs-styled lightness into one of his sweetest musical meditations yet and that should be reminded every day.

The residual grace and allure radiates out from the video for “Things As They Are” a song examining the life of poet Wallace Stevens. In 2017, Ben composed music for a theatrical work about Stevens’ life that debuted on stage in Cleveland.

Directed by Elisa Ambrogio, the empathetic waves generated by this song resonate throughout her keen visuals, giving a new dimension to the music of Six Organs of Admittance. Watch the video below and gaze over the newest tour date offerings from Professor Chasny, with European tour dates beginning in Portugal this February.

LIVE DATES:
22/2/18 at Salao Brazil in Coimbra, Portugal
24/2/18 at GNRation in Braga, Portugal
25/2/18 at GNRation in Braga, Portugal*
26/2/18 at Teatro Maria Matos in Lisbon, Portugal*
27/2/18 at Teatro Maria Matos in Lisbon, Portugal
282//18 at Sola X in Seville, Spain
1/3/18 at Moby Dick in Madrid, Spain
3/3/18 at Teatro das Figuras in Faro, Portugal
26/4/18 at Sister in Albuquerque, NM %
27/4/18 at Valley Bar in Phoenix, AZ
284//18 at 191 Toole in Tuscon, AZ
9/618 at Wilbur Theatre in Boston, MA

*Hexadic System Workshop
% w/ OM
^w/ Bonnie Prince Billy

Six Organs of Admittance website

Six Organs of Admittance on Twitter

Six Organs of Admittance at Drag City

Drag City webstore

Tags: , , , , ,

The Obelisk Presents: THE TOP 30 ALBUMS OF 2017

Posted in Features on December 28th, 2017 by JJ Koczan

top-30-of-2017

Please note: This post is not culled in any way from the Year-End Poll, which is ongoing. If you haven’t yet contributed your favorites of 2017 to that, please do.

We’re almost at the finish line for 2017, and if I’m honest, it’s not a minute too soon. I think if one more record comes out this year my head is going to explode.

A perpetual onslaught of cool music is, of course, nothing to complain about. It just seemed like every time I thought I had a handle on where the year was going, some other announcement came through and knocked me on my ass. What’s that? The Obsessed are putting out their first album in more than two decades? Oh and Monolord have a new one coming? Radio Moscow just signed to Century Media? Arc of Ascent are back? Samsara Blues Experiment are back? Causa Sui are putting out a live album and a studio album? Sasquatch are going to Europe and sneaking a record along with them? All of a sudden I’m out of breath feeling like I just ran a lap.

It’s been madness this year. Between an emergent neo-psych movement in the wake of King Gizzard and the Lizard Wizard and others, and the ongoing and constant reshaping of doom and heavy rock from practitioners new and old, I don’t know how anyone could ever claim to keep up with any of it.

You know I do the best I can, so when you look through this list, please keep in mind that these are my picks and the result of applying my own standard, which if you’ve ever seen a list on this site before you probably already know is a combination of things like what I view as being important on a critical level and things like what kept me coming back as a listener. What were the year’s biggest releases and what couldn’t I get enough of? Sometimes those two things come together around one record and it’s beautiful. That’s usually your album of the year, or close to, anyhow.

No sense in delaying further. I hope if you haven’t heard some of this stuff you’ll give it a shot, and if you have something you felt strongly about it, you’ll let me know in the comments. Thanks in advance for keeping it civil, and of course for reading.

Here goes:

30. Geezer, Psychoriffadelia
geezer psychoriffadelia

Released by Kozmik Artifactz and STB Records. Reviewed May 16.

Coming off of what was their strongest album to-date in their 2016 self-titled (review here), New York heavy psych blues trio Geezer decided it was time to take the groove for a walk. And so they did. Psychoriffadelia is the result — a looser collection of jams and willfully unrefined heavy blues, reveling in the politically incorrect on “Dirty Penny” only after basking in the post-Monster Magnet hypnosis of “Red Hook” and the earlier roll of the more straightforward “Hair of the Dog” and “Stressknots.” Everything Geezer has done to this point has pushed their sound to new places. Psychoriffadelia is no exception.

29. Orango, The Mules of Nana

orango the mules of nana

Released by Stickman Records. Reviewed March 27.

More than a touch of twang on opener “Heartland” sets a tone of Americana-infusion for Orango‘s sixth LP, The Mules of Nana, but the 10-tracker is ultimately much more about harmony-laced classic heavy smoothness than playing to prairie-minded sensibilities, though roots spread wide through a natural, dirty blues just the same. However they get there, “Hazy Chain of Mountains,” the softshoe-ready funk of “Head on Down” and the peacefully progressive finish of “Ghost Rider” bring ’70s-style thrills in songwriting and their precise, gorgeous execution. Underrated record from an underappreciated band.

28. Radio Moscow, New Beginnings

radio moscow new beginnings

Released by Century Media. Reviewed Oct. 6.

Cali boogie kingpins and all-around marvelous frenetic bastards Radio Moscow were in top form on their Century Media debut, and if it was a new beginning they were searching for, they met it head on with a sound as classic and organic as ever. Arguably the most powerful power trio in their game, they tore through cuts like “No One Knows Where They’ve Been” and “Deceiver” while offering flourish in the trip-out “Woodrose Morning” and subdued blues-psych on the penultimate “Pick up the Pieces.” Very much to form, but cast of a form that still manages to outclass all challengers.

27. Spaceslug, Time Travel Dilemma

spaceslug time travel dilemma

Released by Southcave Records, BSFD Records and Oak Island Records. Reviewed Feb. 10.

And so here we have the first of what will no doubt be several records about which I’m going to say they should be higher on the list. Poland’s Spaceslug have emerged from the moist ground created by their own tonality and on their sophomore full-length, they proffered warm depth of fuzz and a corresponding melodic and psychedelic reach that was resonant even before they brought in ex-Sungrazer bassist Sander Haagmans for a guest spot on the title-track. It’s been out for 10 months and still delivers every time I put it on, which is often.

26. Mothership, High Strangeness

mothership high strangeness
Released by Ripple Music and Heavy Psych Sounds. Reviewed March 7.

Three albums into a tenure marked by hard-driving riffs, scorching solos and relentless road work, there’s little Texas trio Mothership need to do at this point to prove themselves to their audience. At the same time, High Strangeness brought considerable expansion to their range overall, whether it was the exploratory “Eternal Trip” or the semi-metallic insistence behind “Midnight Express,” while staying tied together with lyrical and instrumental hooks. High Strangeness set a new standard for Mothership, plain and simple, and easily surpassed the considerable accomplishments of their 2012 self-titled debut (review here) and 2014’s Mothership II (review here).

25. Eternal Black, Bleed the Days

eternal black bleed the days

Released by Obsidian Sky Records. Reviewed Aug. 1.

There was a lot about Eternal Black‘s Bleed the Days that chugged its way into the post-Wino oeuvre of US-style trad doom, but the gruff, lumbering and impeccably riffed outing was nonetheless one of 2017’s best debut full-lengths, and it was the songwriting that got it there. Already sounding sure in the vibe captured, cuts like the plodding brooder “Sea of Graves” and “Stained Eyes on a Setting Sun” showed potential in mood and atmosphere as much as sheer sonic heft — though of course there was plenty of that to go around as well. Doomers missed it at their peril.

24. Kadavar, Rough Times

kadavar rough times

Released by Nuclear Blast. Reviewed Sept. 6.

It kind of feels like a slight to have Berlin trio Kadavar appear anywhere outside of at least a top 10 on any kind of list whatsoever, ever, but that’s not my intention at all. Rather, their fourth album and third for Nuclear Blast found them at an important stage in their progression — past the novelty of the vintage feel in their early work, after having proven their songwriting could translate to a modern context, and embarking on a process of expanding their sound. Rough Times, which was as current as current could be, met that goal and beat it easily with a barrage of memorable choruses and a dark streak one could only consider suitable for our age.

23. Shroud Eater, Strike the Sun

shroud eater strike the sun

Released by STB Records. Reviewed June 28.

The biggest surprise about Shroud Eater‘s long-awaited sophomore long-player was also its most encouraging aspect — namely how it found the Miami trio bringing together various impulses shown on a number of shorter releases over the course of the six years since their debut, ThunderNoise (review here), came out in 2011, and still managed to utterly crush when it so chose. With a swath from sludge to drone and back again, this was no minor feat, and that the songs they brought to bear were so memorable at their heart as well makes me hope all the more it’s not 2023 before their third album arrives.

22. Enslaved, E

enslaved e

Released by Nuclear Blast. Reviewed Oct. 4.

What’s left to say about Norwegian progressive black metal innovators Enslaved 14 records into their career? Plenty as it turns out. The introduction of new keyboardist/vocalist Håkon Vinje in place of Herbrand Larsen brought a new twist on a signature element of Enslaved‘s approach. Vinje utterly owned his role, and his performance alongside guitarist Ivar Bjørnson, bassist/vocalist Grutle Kjellson, guitarist Arve “Ice Dale” Isdal and drummer Cato Bekkevold resulted in a fresh urgency that made the band’s sound even more potent and set their ongoing creative evolution on a new branch of its self-directed path.

21. Arc of Ascent, Realms of the Metaphysical

arc-of-ascent-realms-of-the-metaphysical

Released by Astral Projection and Clostridium Records. Reviewed April 6.

Some five years on from 2012’s The Higher Key (review here) and seven out from their debut, Circle of the Sun (review here), and with bassist/vocalist Craig Williamson firmly entrenched in his always excellent Lamp of the Universe psych-drone-folk solo-project, I wasn’t sure there would be another offering from New Zealand heavy psych-rock trio Arc of Ascent, but Realms of the Metaphysical took shape from an ether of riffs and echoes atop resilient underlying structures and revitalized the group with new drummer Mark McGeady in the lineup with Williamson and guitarist Matt Cole-Baker. Remains to be seen if this marks a priority shift for Williamson or it’s a one-off, but its arrival was welcome either way.

20. Causa Sui, Vibraciones Doradas

causa sui vibraciones doradas

Released by El Paraiso Records. Reviewed Oct. 20.

With the various glories already offered in 2017 on the Live in Copenhagen (review here) 3LP, one didn’t necessarily expect a new studio outing from Danish instrumental psych masters Causa Sui, but Vibraciones Doradas found them as vibrant as ever, bringing forth a surprising amount of tonal weight on songs like “El Fuego,” warm fuzz for the basking on opener “The Drop” and spaciousness on the closing title-track. Somewhat more straight-ahead in its rocking groove than 2016’s Return to Sky (review here), the five-track/38-minute long-player showed yet again why Causa Sui are always welcome and that any news of a new release from them, live, studio, whatever, is good news. This was the kind of record that could make your day if you let it.

19. Telekinetic Yeti, Abominable

telekinetic yeti abominable

Released by Sump Pump Records. Reviewed April 10.

The Iowa-based duo of guitarist/vocalist Alex Baumann and drummer Anthony Dreyer, operating as Telekinetic Yeti, released what I considered to be the debut of the year, both for the fullness of its tonality and the accomplishment in songcraft it already showed. Powered by cuts like its lumbering title-track and the gloriously fuzzed runner “Stoned and Feathered,” it could’ve been another band’s second or third record for the level of cohesion on display and the obvious awareness on the part of the band of what they wanted to do with their sound and the just-as-obvious result of their bringing it to life.

18. Cloud Catcher, Trails of Kozmic Dust

cloud catcher trails of kozmic dust

Released by Totem Cat Records. Reviewed Dec. 9, 2016.

While I admit I’m still not 100 percent certain on whether to spell “kozmic” in the title with a ‘k’ or with a ‘c’ on the end, that question did nothing ultimately to diminish enjoyment of Denver emergents Cloud Catcher‘s sophomore outing. Topped off by one of the best album covers of the year, the follow-up to their 2015 debut, Enlightened Beyond Existence (discussed here), took the progressive casting of that record to a place entirely more raw and rock-driven, willfully roughing up the edges even as it showed marked creative growth on a relatively quick turnaround. The must-hear bass tone of “Beyond the Electric Sun” and “Super Acid Magick” was icing on a cake of choice riffing and Hendrixian lead swirl, and the shuffle they elicited was enough to make even the most stubborn of asses (i.e. mine) think about moving.

17. Ruby the Hatchet, Planetary Space Child

ruby the hatchet planetary space child

Released by Tee Pee Records. Reviewed Aug. 29.

After the neo-garage manifestations of their 2015 sophomore outing, Valley of the Snake (review here), it was clear Philly psych rockers Ruby the Hatchet were a force when it came to songwriting. What was less obvious was what they’d do with that going forward. On Planetary Space Child, at least, the answer is they’ll take it to Freaktown. The melody-happy, organ-laced swirlmasters conjured presence kosmiche enough to justify the album’s title, and around the cast-in-moon-rock structures of the swinging “Pagan Ritual” and the playfully doomed “Symphony of the Night,” Ruby the Hatchet built a multifaceted weirdoist triumph the likes of which simply doesn’t come along every year, establishing themselves as more reliable and less predictable than ever: an absolute win.

16. Alunah, Solennial

alunah solennial

Released by Svart Records. Reviewed March 1.

It’s been the case more or less all along with UK forest rockers Alunah that their nature-minded material and heavy rolling grooves have had their haunting aspects, but with the production of Conan‘s Chris Fielding behind it, Solennial — their fourth LP and first on Svart — brought this to new levels entirely. The songs, memorable like footprints in the woods, are somewhat bittersweet in context now, since founding guitarist/vocalist Sophie Day announced in September she was leaving the band, but as the group will move forward led by guitarist Dave Day and recently acquired new singer Siân Greenaway, intrigue remains high at what the future might bring and the impact of Solennial is undiminished.

15. Mindkult, Lucifer’s Dream

mindkult-lucifers-dream

Released by Transcending Obscurity Records and Caligari Records.

Virginia-based doomgazing garage cult solo-project Mindkult has thus far managed to keep some of the mystique around its sole inhabitant, Fowst, which is admirable in a way. As the multi-instrmentalist, vocalist and producer this year answered the promise of last year’s Witch’s Oath (review here) debut, he did so around a swath of purposeful miseries, loose devil worship and other dark thematics, casting an atmospheric darkness matched head-on by the tonal murk of his riffs. Through this, however, the songwriting was no less memorable than on the first offering, and as the project moves forward, one can only hope that Fowst will continue to use that as the core aspect buried six feet under his other, formidable stylistic achievements. That certainly was how it worked out on Lucifer’s Dream.

14. Argus, From Fields of Fire

argus from fields of fire
Released by Cruz del Sur Music. Reviewed Sept. 1.

Behold ye perhaps the most underrated band in heavy metal. Regardless of subgenre, style, strata, whatever, it’s hard to listen to From Fields of Fire and think of Pittsburgh’s Argus as anything else. The five-piece’s fourth album continued to owe part of its sound to doom, but was much more encompassing than simply that, touching on aspects of classic metal with a command that left one wondering how they hadn’t yet been tapped to open for Judas Priest on that band’s next tour. Victory abounds on a per-song basis throughout the nine-tracker, and whether it was the emotional crux of “Hour of Longing” or the catchy fistpump righteousness of “Devils of Your Time” or the 11-minute progressive reach of “Infinite Lives/Infinite Doors,” Argus once again crafted a work nigh-unmatched in poise and class.

13. Uffe Lorenzen, Galmandsværk

Uffe-Lorenzen-Galmandsvaerk

Released by Bad Afro Records. Reviewed Nov. 6.

For the first outing ever to be issued under his real name, Denmark’s Uffe Lorenzen — aka Lorenzo Woodrose of garage-psych pioneers Baby Woodrose — danced between acid folk singer-songwriterisms like “Flippertøs” and more expansive jamming on “På Kanten Af Verden,” all the while retaining his distinct structural and arrangement sensibilities and creating a flowing vibe that was nothing less than a pure joy of classic-form psychedelia. The most serene and pastoral freakout one was likely to witness in 2017, easily, Galmandsværk resounded in the Mellotron-laced “Høj Som Et Højhus” and was no less at home in the acoustic spaciousness of the earlier “Remits Tyranni,” able to wander where it pleased and find steady ground in molten surroundings.

12. The Flying Eyes, Burning of the Season

the flying eyes burning of the season

Released by Ripple Music. Reviewed Oct. 11.

A welcome return from a viciously underappreciated band, The Flying EyesBurning of the Season marked the Baltimore four-piece’s first offering for Ripple Music and first since 2013’s Lowlands (review here), a four-year stretch during which the band kept busy touring Europe and South America, the latter also being where they recorded these songs with Gabriel Zander at Estudio Superfuzz in Brazil. The tonal depth resulting from that process was enough to make the collection a highlight, but it was the songs themselves that most stood out, benefiting from the band’s expanded reach and legitimate, hard-won maturity. Especially for a group who’ve done so much work on the road over their years — to be fair, the US has been pretty low priority in that regard — they remain a secret kept too well.

11. Bell Witch, Mirror Reaper

bell witch mirror reaper

Released by Profound Lore. Reviewed Dec. 27.

Doomed extremity simply unmatched in its scope. The song of the year for 2017. An accomplishment the likes of which is prone to happen maybe once or twice in a generation. None of this seems to really speak to the entirety of the achievement that is Bell Witch‘s Mirror Reaper — the single-song, 83-minute full-length issued by the Seattle duo like a challenge in the face of mortality itself. Beautiful, devastating and weighted like the grave, its sprawl utterly consumed the listener, and I firmly believe it will be years before its depths are fully processed. Some offerings are bigger than the year in which they’re released. Mirror Reaper would seem to function on a scale of its own, and though it could easily be read as a litmus test for audience punishment, the truth of the listening experience is both more emotionally complex and more fulfilling than simple hyperbole can capture.

10. Monolord, Rust

monolord rust

Released by RidingEasy Records. Reviewed Oct. 26.

The story all along with Gothenburg’s Monolord has been tone. Tone tone tone. Crush crush crush. Riffs riffs riffs. Nothing wrong with any of that, but their third album, Rust, proves once and for all that there’s more to the trio than “cool riffs bro” and post-Electric Wizard nod. Catchy cuts like “Dear Lucifer” and rolling opener “Where Death Meets the Sea” brought a sense of space leading to the later sprawl of “Forgotten Lands” and “At Niceae,” and the band settled into an individualized, lumbering psychedelia that moved forward from 2015’s Vænir (review here), not leaving behind the heft that earned them their reputation, but not at all being limited by it either in scope or overall approach. Three records in, Rust brought forth Monolord‘s greatest sonic expansion yet and gave rise to the feeling that their true potential was just starting to come to fruition. Also, crush crush crush. Cool riffs, bro.

9. Vokonis, The Sunken Djinn

vokonis-the-sunken-djinn

Released by Ripple Music. Reviewed June 5.

The Sunken Djinn is Vokonis‘ second full-length in as many years, and in addition to serving as their Ripple debut where 2016’s Olde One Ascending (review here) landed via Ozium Records, it was a feast for hungry riff hounds. In defiance of its quick turnaround, it showed a firm evolution taking place within the upstart Swedish trio of guitarist/vocalist Simon Ohlsson, bassist/backing vocalist Jonte Johansson and drummer Emil Larsson, whose range overall was greater in tracks like “Rapturous” and the torrential “Blood Vortex” while nonetheless controlled in its delivery. Their Sleep-y origins still a factor sound-wise, Vokonis were able just the same to push themselves ahead into new sonic ground in fittingly lumbering fashion, and the character they brought to “The Sunken Djinn,” “Calling from the Core” and the noise-caked “Maelstroem” seemed to speak to a burgeoning sense of atmospheric focus taking hold as well. Still so much potential here.

8. Electric Moon, Stardust Rituals

electric moon stardust rituals

Released by Sulatron Records. Reviewed April 7.

Do I even need to remotely justify having Electric Moon‘s first studio album in six years on this list? Was it not just like a love-letter issued by the cosmos itself? What more explanation could possibly be necessary? Not that the German trio haven’t dropped copious, glorious live outings all the while, but to have Dave “Sula Bassana” Schmidt, “Komet Lulu” Neudeck and Marcus Schnitzler follow-up 2011’s The Doomsday Machine (review here) with four cuts culminating in the 22-minute sprawl of “(You Will) Live Forever Now” was high on the list of the year’s most satisfying psychedelic journeys. Constantly exploring, their methods always seem geared toward finding the molten essence of space rock itself, and though the songs on Stardust Rituals were a little more crafted than some of their straight-up improv jams, they nonetheless showed there are many avenues one might take to get to the heart of the sun.

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

sun-blood-stories-it-runs-around-the-room-with-us

Self-released. Reviewed May 1.

This one is personal, and by that I mean I love this fucking band. Similar to my experience with their 2015 sophomore outing, Twilight Midnight Morning (review here), the third record by Boise-based trio of Ben Kirby (vocals, guitar, synth, percussion), Amber Pollard (vocals, guitar, theremin, percussion) and Jon Fust (drums, keys, percussion, noise) was one that I simply could not put down. Even now, seeing the name of the record is all I need to have songs like “The Great Destroyer” and the immersive midsection in “Come Like Rain” and “Time Like Smoke” stuck in my head, let alone the ultra-brazen, searingly-pissed “Burn” noise assault that finished the album and in the span of 90 seconds turned all the psychedelic warmth and serenity on its face with a visceral anger completely unforeseen and jarring, turning it from a depth-laden execution of adventurous neo-psych and indie into a project of conceptual artistry with all the efficiency of the chemical reaction it sought to portray. If you missed it, your loss.

6. The Atomic Bitchwax, Force Field

the-atomic-bitchwax-force-field

Released by Tee Pee Records. Reviewed Dec. 7.

Songs like “Alaskan Thunder Fuck,” “Humble Brag” and “Earth Shaker (Which Doobie U Be?)” assured that the defining character of Force Field, the sixth album from New Jersey’s The Atomic Bitchwax, was pure scorch. That made the 12-cut outing a more than worthy follow-up for 2015’s  Gravitron (review here), which introduced this more speed-rock-minded, aggressive delivery from the tight-as-nails trio, and while they proved they could still lock in a slower groove on the organ-topped finisher “Liv a Little,” head-spinners like the instrumental “Fried, Dyed and Layin’ to the Side” and “Houndstooth” came across like the fruit of the band pushing themselves to the limits of their physical ability in terms of tempo, and their ride along the edge of that line brought thrills at every turn. And make no mistake, there were a lot of turns. Fortunately, bassist/vocalist Chris Kosnik, guitarist/vocalist Finn Ryan and drummer Bob Pantella seemingly had a corresponding hook in their pocket for each one of them. This band is a national treasure.

5. Atavismo, Inerte

atavismo inerte

Released by Temple of Torturous. Reviewed Feb. 21.

Warm, fuzzy tones, rhythmic shifts right out of classic progressive rock, melodic intricacy and periodic excursions into glorious psychedelic drift: I’m not sure what wasn’t to like about Inerte, Atavismo‘s second full-length behind 2014’s Desintegración (review here). Comprising five tracks of unmistakable flow and jam-laden fluidity, it was immersive with landmarks along the way to keep the listener from getting too lost, and whether or not one spoke Spanish, the three-piece of Jose “Poti” Moreno (ex-Viaje a 800Mind!), bassist/vocalist Mateo and drummer/vocalist Sandri Pow (also ex-Mind!) made it easy to follow along their purposefully meandering path, offering guidance no less skillful on the 11-minute fuzz-freaker “El Sueño” than the dream-toned linear build of “Belleza Cuatro.” There were very, very few albums I listened to more this year than this one, which is precisely why it is where it is on this list.

4. Samsara Blues Experiment, One with the Universe

samsara-blues-experiment-one-with-the-universe

Released by Electric Magic Records and Abraxas Records. Reviewed May 4.

Four years between records isn’t at all an unheard of stretch. It’s not the longest on this list by any means. But with Berlin heavy psych rockers Samsara Blues Experiment, it really seemed like the band was done, so to have them come back with such force on One with the Universe was, as I know I said at several points throughout the last 12 months, one of the year’s total highlights. Tracked by former bassist Richard Behrens, the group’s fourth album answered the extended-track spread of 2013’s Waiting for the Flood (review here) with a deeper sense of sonic variety, and while the 15-minute title-cut and opener “Vispassana” still had plenty of room for jamming out and even six-minute centerpiece “Glorious Daze” found room for some flourish of organ and sitar, guitarist/vocalist Christian Peters, drummer Thomas Vedder and bassist Hans Eiselt rightly featured the chemistry they’ve built as a trio live and brought to the songs a renewed sense of vigor, sounding — and hopefully being — truly inspired. Waiting for the Flood capped a period of marked productivity across several years. Fingers crossed One with the Universe begins that cycle anew.

3. Elder, Reflections of a Floating World

Elder-Reflections-of-a-Floating-World

Released by Armageddon Shop and Stickman Records. Reviewed May 23.

You just can’t consider Elder‘s Reflections of a Floating World outside the context of the progressive achievement that was their prior outing, 2015’s Lore (review here). Where the trio — based now between Massachusetts and Berlin, Germany — took their first two outings, 2008’s self-titled debut (discussed here) and 2011’s Dead Roots Stirring (review here), to find their sound, which they began to showcase on the 2012 Spires Burn/Release EP (review here), it was Lore that brought to fruition the potential that had always been waiting to be unleashed by the trio of guitarist/vocalist Nick DiSalvo, bassist Jack Donovan and drummer Matt Couto, and Reflections of a Floating World had the daunting task of being the next further step from that landmark moment. To say the band rose to the occasion is perhaps to undersell the cohesion at work in consuming-but-cohesive pieces like opener “Sanctuary” or “Blind” or “Staving off the Truth,” which brought together clear-headed psychedelia around a wash that seemed to stem as much from rhythm as melody. As they’ve matured stylistically and become a major touring presence, Elder have made themselves perhaps the most pivotal American heavy rock act going, and Reflections of a Floating World brings them to the discovery of yet another apex while at the same time giving zero indication it will be the last one they find.

2. Colour Haze, In Her Garden

colour haze in her garden

Released by Elektrohasch Schallplatten. Reviewed March 9.

Of course, the bonus of writing about Colour Haze in just about any context is that you get to put Colour Haze on while you’re doing it, and in the case of the 12th LP from these Munich heavy psych forebears, that’s an even more appealing prospect. After stripping down some of the arrangement flourish with 2014’s To the Highest Gods We Know (review here), the 13-track/73-minute 2LP In Her Garden brought a revitalized sonic expansion, but as ever, it wasn’t just the horns or the strings or the blend of keys and acoustics that made In Her Garden the unbridled joy that it was and continues to be — it was the underlying performance from guitarist/vocalist Stefan Koglek, bassist Philipp Rasthofer and drummer Manfred Merwald that gave the album the stem on which its garden grew. That’s not to say Jan Faszbender‘s work on modular synth, Rhodes, and Hammond or the arrangements of strings, tuba, bass-clarinet and trombone throughout hurt anything, just that as Colour Haze have grown into incorporating these elements into their groundbreaking aesthetic, they haven’t left behind the organic chemistry and necessary live feel that has helped them influence a generation of followers over their more than 20-year career. One came through as much as the other on In Her Garden, and that balance gave the overarching warmth of their self-recorded tonality yet another level on which to engage their audience. I’ll be a sucker for Colour Haze for as long as I live, and I have absolutely no problem admitting to and owning that.

1. All Them Witches, Sleeping Through the War

all them witches sleeping through the war

Released by New West Records. Reviewed Jan. 27.

It was clear early on that Nashville four-piece All Them Witches were contending hard for Album of the Year with Sleeping Through the War, their fourth long-player and second for New West following the mellow vibes of 2015’s Dying Surfer Meets His Maker (review here). What finally sealed it? The songs. Working with producer Dave Cobb, the each-member-essential lineup of bassist/vocalist Michael Parks, Jr., guitarist Ben McLeod, key-specialist Allan van Cleave (Rhodes, Mellotron, piano, organ, etc.) and drummer/graphic artist Robby Staebler solidified their approach in exciting new ways on early cuts like the grunge-crunching “Don’t Bring Me Coffee” and the shuffling “Bruce Lee,” which hit in succession following the fluid lead-in of opener “Bulls,” an introduction of the organic psychedelia and heavy blues that the loose-swinging of “3-5-7″‘s nigh-on-gospel chorus and subsequent, almost maddeningly catchy “Am I Going Up?” would continue to push outward, thereby setting a linear course into a consciousness-capturing side B with “Alabaster” and the jammier “Cowboy Kirk” and “Internet” playing between melodic nuance and mindful, go-with-it drift. The unflinching strength of the material was matched perhaps only by the understatement of its delivery, which was the more staggering considering how easily the arrangements of background vocals on “Am I Going Up?” or  “3-5-7” could have come through as overblown or self-indulgent, and by the time they got down to the light weirdo-bluesy stomp of “Internet” — the key lyric and hook being, “Guess I’ll go live on the internet” — there was no doubting the genuine nature of the realization Sleeping Through the War represented for All Them Witches. Coupling that feeling of achievement with the sheer repeatability of the listening experience itself left no doubt that 2017 belonged to these tracks and the marvelous way the band wove between them, and that whatever other sounds All Them Witches may go on to explore and whatever else they may accomplish as a result, Sleeping Through the War was a truly special moment in their evolution that, as with the best of offerings in any year, will continue to resonate long after the calendar page has turned.

The Next 20

You know, I used to feel like once you got past a top 20, the numbers were arbitrary. Then I felt that way about the top 30. This year, I think I agonized more about what to include in numbers 31-50 than I did between 30 and the album of the year. Put that in your “go figure” file while you chew on these picks:

31. Cities of Mars, Temporal Rifts
32. The Midnight Ghost Train, Cypress Ave.
33. Snowy Dunes, Atlantis
34. Rozamov, This Mortal Road
35. PH, Eternal Hayden
36. Sasquatch, Maneuvers
37. Young Hunter, Dayhiker
38. The Devil and the Almighty Blues, II
39. Ufomammut, 8
40. John Garcia, The Coyote Who Spoke in Tongues
41. Paradise Lost, Medusa
42. Beastmaker, Inside the Skull
43. Arduini / Balich, Dawn of Ages
44. Primitive Man, Caustic
45. Motorpsycho, The Tower
46. Arbouretum, Song of the Rose
47. Hymn, Perish
48. Youngblood Supercult, The Great American Death Rattle
49. Pallbearer, Heartless
50. Dool, Here Now There Then

There’s so, so much good stuff here. So much. The Cities of Mars debut was a treasure and the only reason it wasn’t on my top debuts list was because I haven’t had the chance to go back in and put it on. The Young Hunter record? Some of their best work yet. Hell, that Arduini / Balich album alone! Then you’ve got huge releases by Pallbearer, Ufomammut, Paradise Lost, Primitive Man, on and on. Like I said at the outset, one more album and my head was gonna explode this year. Way too much to ever hope to keep up with. One thing though I felt like I really wanted to emphasize including was Dool. They’re in the last spot, but make no mistake, in atmosphere and songwriting that album was something really special and loaded with potential. It’s not there because it came in last. It’s there to highlight the point of how much it should be on this list.

What’s that? More records? Okay…

Honorable Mentions

In case you also weren’t completely overwhelmed this year, maybe another batch of records will do the trick. Here’s some presented alphabetically:

Anathema, The Optimist
Blackfinger, When Colors Fade Away
Child, Blueside
Cortez, The Depths Below
Demon Eye, Prophecies and Lies
Elbrus, Elbrus
Electric Wizard, Wizard Bloody Wizard
Ecstatic Vision, Raw Rock Fury
Five Horse Johnson, Jake Leg Boogie
Mirror Queen, Verdigris
The Obsessed, Sacred
T.G. Olson, Foothills Before the Mountain
Outsideinside, Sniff a Hot Rock
Queens of the Stone Age, Villains
Siena Root, A Dream of Lasting Peace
Six Organs of Admittance, Burning the Threshold
Steak, No God to Save
Summoner, Beyond the Realm of Light
Valborg, Endstrand
With the Dead, Love from With the Dead

Plus: Abronia, Lewis and the Strange Magics, Iron Monkey, Band of Spice, Puta Volcano, Galley Beggar, Heavy Traffic, Coltsblood, REZN, Green Meteor, Demon Head, Lord, Grigax, The Raynbow, Carpet, Norska, Les Lekin, Slow, Ixion, and I’m sure more that I’ll add as the names continue to pop into my head.

I did this back in June as well, but I also want to draw attention to a swath of quality live albums that came out this year. The top pick should be no surprise if you’ve been hanging around the site of late:

Live Albums:
1. SubRosa, Subdued Live at Roadburn
2. Causa Sui, Live in Copenhagen
3. Slomatics, Futurians Live at Roadburn
4. My Sleeping Karma, Mela Ananda – Live
5. Wight, Fusion Rock Invasion
5. Death Alley, Live at Roadburn

Thank You

It’s been a hell of a year, obviously. Musically and otherwise. As always, I cannot possibly come close to thanking you enough for your incredible and ongoing support of The Obelisk, of what this site is, what it’s become over its nearly nine-year run, what it will continue to become going forward from here. It is astounding to me and deeply humbling that you would possibly take time out of your busy day and your busy life to check out what’s going on here, and words fail me continually when it comes to feeling like I can properly convey my appreciation for that. Thank you for reading. Thank you for reading. Thank you for reading. Tattoo it on my forehead.

Thank you to The Patient Mrs. for understanding how much I need to be doing this, to Slevin for keeping the site running on the technical end, to Behrang Alavi for taking over hosting earlier this year, to my family for their ongoing support, to The Pecan for sleeping late some mornings and giving me time to write, and to everyone who ever shared a link on social media or made a comment on a post or anything like that. To long-time readers and to newcomers alike — thank you so much. This year has seen a fair share of ups and downs, but the support this site gets sustains me in ways I never expected it could, and that would be impossible without you. Please know how crucial that is to me.

Well, that should do it. I know there are probably disagreements about where things landed on the list, what was included, what was left out, etc., as there always are. All comments are of course welcome — only thing I’d ask is you please keep it civil and respectful of the opinions of others. Otherwise, have at it. Please.

And one more time, thank you for reading.

Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Freak Valley 2018 First Announcement: Om to Headline

Posted in Whathaveyou on October 2nd, 2017 by JJ Koczan

Freak Valley 2018 takes place between May 30 and June 2 in Netphen, Germany, and the venerable festival announces today that no less than Om will serve as the first of its headliners. There’s been no solid word of a new Om album for next year — though a return trip abroad in Spring is bound to fuel speculation — and 2018 will make it a full six since the 2012 release of Advaitic Songs (review here), though when you issue what continues to resonate and thrive as one of the best records of the decade, you more than earn the right to take your time on a follow-up. Yes, I mean that. If it’s not Advaitic Songs and YOB‘s Clearing the Path to Ascend duking it out in your mind for the top spot right now, you’re fucking up as regards taste.

Om have two shows currently booked in Europe for 2018. Freak Valley and a date in Greece put together by Smoke the Fuzz Gigs. Details on that are below.

I’m proud to say I wrote the following announcement and it’s looking like I may finally get to attend Freak Valley next year. Stay tuned for more lineup updates to come, since as you can see, this is just the beginning:

Om-Freak-Valley-2018

Call to Prayer: OM to Headline Freak Valley Festival 2018

Freaks rejoice!

Every year, Om are one of the most requested bands to join the Freak Valley lineup, and as the first band to be revealed for Freak Valley 2018, we couldn’t be more thrilled to finally welcome Om as a headliner!

Led by bassist/vocalist Al Cisneros, Om are the band who turned “heavy” into a spiritual movement. They began in 2003 after the dissolution of Cisneros’ prior outfit – a little band called Sleep; maybe you’ve heard of them – and their earliest works, 2005’s Variations on a Theme and 2006’s Conference of the Birds, are nothing short of modern classics. It was with their fifth and latest album, 2012’s Advaitic Songs, however, that Om most fully embraced their own breadth and the mystical visions their sound could conjure.

Cisneros, together with drummer Emil Amos (also Grails, Holy Sons) and keyboardist/multi-instrumentalist Robert Aiki Aubrey Lowe (also Lichens) cast forth five lush, beautiful and meditative soundscapes, spiritual without being dogmatic, groundbreaking without being pretentious, and more adventurous in their arrangements of piano, table, strings, keys, flute and vocals than Om had ever been.

While it’s true we’re still waiting for a follow-up, we’d be lying if we said Advaitic Songs still didn’t offer something new every time we listened to it. Seriously. If you haven’t already, you should put on “Gethsemane” immediately. You know we’re right.

Om’s headlining appearance at Freak Valley 2018 will be an exclusive and one of only two shows so far announced that the band will play in Europe next year. The other will be June 2 at the Piraeus 117 Academy in Athens, Greece, presented by Smoke the Fuzz Gigs.

This is just the start for Freak Valley 2018! Stay tuned for more bands, ticket presales and much more info to come!

www.freakvalley.de
https://www.facebook.com/freakvalley
https://www.facebook.com/events/738782742996668/
https://twitter.com/FreakValley

Om, Advaitic Songs (2012)

Tags: , , , , , , ,

The Obelisk Presents: The Top 20 of 2017 So Far

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

the obelisk top-20-2017-so-far

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

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

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

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

Okay, here goes:

The Top 20 of 2017 So Far

elder reflections of a floating world

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

Notes

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

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

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

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

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

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

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

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

Honorable Mention

Let’s do another 10 releases, shall we?

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

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

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

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

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

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

More to Come

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

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

Thanks for Reading

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

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

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

Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Six Organs of Admittance Touring Europe in June

Posted in Whathaveyou on May 5th, 2017 by JJ Koczan

Cool that Ben Chasny is heading abroad once more with Six Organs of Admittance, but the reason I’m really glad to run into the news below is that it’s given me an excuse to put on earlier 2017’s Burning the Threshold (review here) this afternoon. One tries to listen to an artist when writing about them — seems the least I can do, most of the time — and the chillout of “Things as They Are” and “Adoration Song,” for which you can also see the recently-unveiled video at the bottom of this post, are just about right for where my head’s at, and more to the point where it needs to be, at the moment. So yeah, the timing is nice.

I missed Chasny coming through to support the album at the start of April, like I’ve missed pretty much everybody coming through for every reason for the last year-plus, but if you’re in the UK, Netherlands, Belgium or France, you should still go check out his show. I’ve seen him with a full band and I’ve seen him (mostly) on his own, and both are a great way to spend an eevning.

From the PR wire:

six-organs-of-admittance-photo-Elisa-Ambrogio

Six Organs Of Admittance announce European spring/summer tour

The threshold continues to smolder as Six Organs of Admittance keep the flame. Burning the Threshold, released in February, sees Ben Chasny’s cyclical resurgence of acoustic guitar love. The Burning The Threshold tour is preparing to leap continents, as Six Organs of Admittance announce its European spring and summer tour. Solo acoustic guitar from a bona fide wizard of the six string, the shows are as follows…

TOUR DATES
5 JUNE – NL, UTRECHT – LE GUESS WHO @ CULTURAL SUNDAY
6 JUNE – NL, HAARLEM – PATRONAAT
7 JUNE – NL, TILBURG – SOUNDS (RECORD STORE)
8 JUNE – BE, BRUSSELS – BOTANIQUE – WITLOOF BAR
9 JUNE – FR, LILLE – CENTRE CULTUREL DE LESQUIN
10 JUNE – FR, PARIS – TBC
11 JUNE – UK, BRIGHTON – KOMEDIA
14 JUNE – UK, NEWCASTLE – THE CLUNY
15 JUNE – UK, LEEDS – BRUDENELL SOCIAL CLUB
16 JUNE – UK, EDINBURGH – SUMMERHALL
21 JUNE – UK, LONDON – MOTH CLUB

Chasny is currently holed up in a Cleveland, OH castle scoring music for Things As They Are, David Todd’s play about Wallace Stevens (a Six O inspiration), which runs this month at the Reinberger Auditorum. Immediately following is when 6OOA propels towards across the Atlantic – everyone in the UK, Netherlands, France and Belgium, prepare to embrace Six Organs with open arms, like the comet that will surely save us all.

Additionally, on a recent trip to London for the exclusive release show for Burning The Threshold, Chasny took his acoustic guitar on a little detour over to Maida Vale Studios for an improvised recording session for BBC Radio 3’s Late Junction Session, with sitar player Baluji Shrivastav and drummer Steve Noble. The whole thing was recorded and mixed in one day, and it’s supremely beautiful.

Finally, we invite all to enjoy the first music video and third single from Burning The Threshold, “Adoration Song” which enervates and elevates ones mind with images of the raw majesty of nature and haunting reminders of the unknowable. Directed by Elisa Ambrogio, the sun hangs over the moss and lichen, the cliffs and sandy shores of wintery northern California. Ben’s melody and lyrics work as layers with the sharp focus and gauzy allegorical bent of the video, which features Ben as elephant man, a remote wanderer fearful of the world around him, until he removes his sheath, obtains the third eye and rises up, to become a part of the natural world, moving forward with two sets of footprints in the sand behind him.

http://www.dragcity.com/products/burning-the-threshold
http://geni.us/SOOABurningiTunes
http://geni.us/SOOABurningAmazon
https://twitter.com/6organs
http://www.sixorgans.com/

Six Organs of Admittance, “Adoration Song” official video

Tags: , , , , ,

Six Organs of Admittance Post “Adoration Song” Video; US Tour on Now

Posted in Bootleg Theater on March 8th, 2017 by JJ Koczan

six-organs-of-admittance-adoration-song

Ben Chasny has spent the better part of the last week on the road along the West Coast supporting the latest outing from Six Organs of Admittance, Burning the Threshold (review here), which is out now on Drag City. He’ll have more tour dates starting at the end of this month and rolling into April along the Eastern Seaboard and into the Midwest, and to further mark the album’s arrival, he has a new video for the track “Adoration Song” directed by Elisa Ambrogio that mirrors the song’s bright and pastoral melodic flow with ambient visuals, some psychedelic experimentation, and perhaps most crucially, dogs.

Burning the Threshold is something of a repatriation for Chasny in how Six Organs of Admittance works following 2015’s Hexadic (review here) and 2016’s Hexadic II, both of which were constructed using the titular Hexadic system of songwriting. One can hear echoes of the project’s past in “Adoration Song,” in the blend of folkish traditionalism and psych nuance, and of course Chasny‘s voice owns the melody as few could hope to, but the album could hardly be called a backward step. Six Organs of Admittance has always approached a given work with a sense of intent — even if that intent is no intent — and the latest offering proves no different. One gets the sense of a cleaning house in terms of material, and there’s a corresponding push toward the far-out that later pieces like “Taken by Ascent” unfurl toward colorful and immersive splendors.

“Adoration Song,” the second of the nine tracks on Burning the Threshold, is somewhat humble by comparison, but it’s also one of the record’s most memorable inclusions, proving how few frills are needed for raw songcraft at its best to make a lasting impression.

Tour dates and more info off the PR wire follows the clip below.

Please enjoy:

Six Organs of Admittance, “Adoration Song” official video

On the cusp of two full decades of music-making, Six Organs of Admittance has ridden winds and waves spanning passion and logic and myth. The brand-new full length, Burning the Threshold, exudes a warmth not always found in Ben Chasny’s music – but that’s how life works, taking us up and down over time. Ben’s records have charted that passage, making his arrival at this seemingly sweet moment a special pleasure, and as always, a magic and musical one as well. It is now available for all to hear via vinyl, CD, cassette and digital files. What more can Ben Chasny do? Well, how about a brand new music video to unveil in anticipation of his tour? Done!

For the first music video and third single from Burning The Threshold, “Adoration Song” enervates and elevates ones mind, with images of the raw majesty of nature and haunting reminders of the unknowable. Directed by Elisa Ambrogio, the sun hangs over the moss and lichen, the cliffs and sandy shores of wintery northern California. Ben’s melody and lyrics work as layers with the sharp focus and gauzy allegorical bent of the video, which features Ben as elephant man, a remote wanderer fearful of the world around him, until he removes his sheath, obtains the third eye and rises up, to become a part of the natural world, moving forward with two sets of footprints in the sand behind him.

600A ON TOUR
08/03/17 Wed in San Diego, CA at Soda Bar
23-26/03/17 in Knoxville, TN at Big Ears Festival
28/03/17 Tue in Atlanta, GA at The Earl
29/03/17 Wed in Asheville, NC at Mothlight
30/03/17 Thu in Raleigh, NC at Kings
31/03/17 Fri in Washington, DC at DC9
01/04/17 Sat in Brooklyn, NY at Union Pool
02/04/17 Sun in Boston, MA at Great Scott
03/04/17 Mon in Portland, ME at Space Gallery
05/04/17 Wed in Philadelphia, PA at Johnny Brenda’s
06/04/17 Thu in Pittsburgh, PA at Club Cafe
07/04/17 Fri in Cleveland, OH at Beachland Tavern
08/04/17 Sat in Detroit, MI at Third Man Records
09/04/17 Sun in Chicago, IL at Empty Bottle
10/04/17 Mon in Minneapolis, MN at 7th St. Entry
12/04/17 Wed in Milwaukee, WI at Collectivo Coffee
14/04/17 Fri in St. Louis, MO at Duck Room at Blueberry Hill
15/04/17 Sat in Louisville, KY at Zanzabar

Six Organs of Admittance website

Six Organs of Admittance on Twitter

Six Organs of Admittance at Drag City

Drag City webstore

Tags: , , , , ,

Six Organs of Admittance, Burning the Threshold: A Return from the Hexadic

Posted in Reviews on February 13th, 2017 by JJ Koczan

six organs of admittance burning the threshold

Considering how much of Ben Chasny‘s approach in the nearly 20 years he’s operated under the banner of Six Organs of Admittance has been experimental — from solo-crafted noise drones to full-band psychedelic blowouts on various albums, limited releases, one-off collaborations, and so on — it doesn’t seem fair to think of his latest outing, Burning the Threshold, as some kind of “return to roots,” but it does represent a marked realignment of his sound. Burning the Threshold arrives via Drag City as the follow-up to 2015’s Hexadic (review here) and 2016’s Hexadic II, which served as a vehicle for a complex, mathematical, somewhat opaque (to my caveman brain) method of composition of Chasny‘s own devising — he wrote a book about it as well — and were arguably his most progressive and conceptual offerings the guitarist also known for Comets on FireRangdaAugust Born, and so on, has put forth.

Unsurprisingly, as Chasny moves away from the Hexadic system at least for the time being and shifts toward a more straightforward songwriting style, his material seems far less angular and far more accessible. At an unassuming nine tracks/40 minutes, Burning the Threshold breathes out richly melodic folk, tinged with psychedelia particularly on “Taken by Ascent” in a way that pieces like “Close to the Sky” from 2012’s Ascent (review here), or the tense title-track of 2007’s Shelter from the Ash have dared to be — the album between, 2009’s Luminous Night, looked more toward Easternisms for its psych explorations, when it wasn’t droning out — including arrangements of drums, bass and guitar, but the core of Six Organs of Admittance is Chasny as the auteur.

Where the Hexadic records were more of a display for the system itself — not to say they weren’t expressive, but in a different manner — Burning the Threshold reemphasizes the human such that pieces like “Under Fixed Stars” or the instrumental “Around the Axis” in the album’s midsection feel burn of folk traditions despite remaining forward thinking. If that isn’t the definition of “neo-folk,” it should be, but whatever one calls it, the execution is Chasny‘s own and will be immediately recognizable as such to those who’ve followed him from releases like the aforementioned Shelter from the Ash or the earlier The Sun Awakens (2006), School of the Flower (2005) and Compathia (2003). He’s not recreating those sounds, varied as they were, but moving ahead with perhaps a similar foundation. The sweetness of opener “Things as They Are” comes across as a marked statement of intent; immediately Burning the Threshold is a return to reality, even with its chorus about angels and moral portrait of the universe.

six organs of admittance (Photo-by-Elisa-Ambrogio)

Followed by “Adoration Song,” which along with gorgeous layers of self-harmonized singing subtly introduces backing vocals, electric guitar, bass and drums that will be pivotal later on “Taken by Ascent,” the beginning of the record is as wonderfully immersive as only a sigh of relief can be. As he guides listeners through the tracklist, the short, acoustic-only instrumental piece “Reservoir” leading to the aforementioned, more fleshed out pairing of “Under Fixed Stars” and “Around the Axis,” Chasny seems to bask in the brightness he’s creating, such that “Adoration Song” and “Under Fixed Stars” exude patience bordering on the meditative; an aural stop for rose-smelling, maybe. Like the best of his work and others still to come here as well, these songs are progressive and affecting as well, familiar and strikingly new, and as the bouncing bassline of “Around the Axis” fills the space beneath the acoustic guitar with a tonal warmth not to be understated, Six Organs of Admittance sounds very much like a project come home to find its footing.

Such evocation is nothing new for Chasny, and I’ll allow my interpretation could be way off — certainly happened before — but even as the buzz of “Taken by Ascent” pushes outward into a standout hook with Chasny joined on vocals by Hayley Fohr, Chris Corsano on drums and Cooper Crain, breaking at almost exactly its midpoint and moving into a smooth instrumental psych-jam (again, the low end resonates), there seems to be a search for serenity happening. That continues as “Threshold of Light,” which is as close as we get to a title-track here, picks up with its swirling vocal effects and more earthbound acoustic figure, both vaguely ritualized. The second half of “Taken by Ascent” is hypnotic enough that just about any transition away from it would be jarring, but “Threshold of Light” presents a calm psychedelic folk, with vocals playing forward lines off chants and repetition that underscore a spiritual sensibility. If this indeed is the threshold that’s burning, one is left to wonder why as the keyboard flourish arrives late in a kind of soothing revelation, but not having it explained outright seems to fit with the notion the album originally proffered: it’s things as they are.

A resurgent bounce in the finger-plucked instrumental “St. Eustace” makes that track the third in a pastoral trilogy — arranged from shortest to longest — with “Reservoir” and “Around the Axis,” while the title references the Roman saint whose trials included the loss of his children to wolves and lions and being burned alive in a bronze statue. Hardly as uplifting as the redemption one hears in Chasny‘s guitar, but the closer, “Reflection” keeps to the theme in pleading, “Please, please peace,” amid repetitions of “Dull, abstract aching…” and so on atop wistful lines of acoustic strum and airy electrified notes. If one looks at Burning the Threshold as two vinyl sides with the split occurring between “Around the Axis” and “Taken by Ascent” — the latter leading off side B — then the second half seems to dig into more personal territory compared to “Things as They Are,” which is a more external parable. This progression toward inner emotionalism gives Six Organs of Admittance‘s latest a linear trajectory despite how far-out it goes in terms of sound, and the intimacy and depth of communication that emerges from it is perhaps what ties Burning the Threshold most to the body of Chasny‘s formidable catalog, to which these songs are a welcome addition.

Six Organs of Admittance, Burning the Threshold (2017)

Six Organs of Admittance website

Six Organs of Admittance on Twitter

Drag City Records website

Drag City on Thee Facebooks

Tags: , , , , ,

Friday Full-Length: Pearls and Brass, The Indian Tower

Posted in Bootleg Theater on February 10th, 2017 by JJ Koczan

Pearls and Brass, The Indian Tower (2006)

Through what seems in hindsight like some miracle of interwebular happenstance — and by that I mean it likely happened through StonerRock.com or the All That is Heavy store — I managed to catch wind of the self-titled debut from Nazareth, Pennsylvania, trio Pearls and Brass around the time of its release through Doppelganger Records in 2003. That record was killer, and I’ll admit that if anyone had put it up on YouTube in its front-to-back entirety, I’d probably be closing out the week with it instead of its 2006 follow-up, The Indian Tower, which came out on Drag City, but the second outing was more fully developed in its approach, bringing together the bounce and desert-perfection thrust of Queens of the Stone Age‘s Songs for the Deaf with rolling Pennsylvania hillsides on cuts like opener “The Tower” and the subsequent “No Stone” while saving room for acoustic blues on “I Learn the Hard Way” and closer “Away the Mirrors,” and ’70s-style boogie that seems absolutely prescient in hindsight on “Pray for Sound” and only gets more manic with the kick into next gear on “The Boy of the Willow Tree.” First record or second, you don’t really lose either way, is my point. While keeping to organic undertones and the occasional flourish of pastoralia, Pearls and Brass could absolutely scorch the earth when they chose to do so — see “The Mirror” here — but they’d ultimately be no less defined by that than the heavy blues vibe of “Wake in the Morning.” Dudes were just awesome.

Last time I saw Pearls and Brass was in 2011 (review here). It was my first experience ever going to Saint Vitus Bar — I appreciated the fact that it wasn’t in Williamsburg but had little forethought as to the institution it would and has become — and the three-piece of guitarist/vocalist Randy Huth, bassist/backing vocalist Joel Winter, and drummer Josh Martin still brought it. By then, they were already overdue for a third full-length, but watching them live gave some measure of hope they’d be able to get something going again. Four years earlier, in 2007 Huth had also released a solo album of unplugged Americana folk blues, also via Drag City, under the moniker of Randall of Nazareth. Copies still exist for purchase on the interwebs if you’re interested in hunting it down, which if either “I Learn the Hard Way” or “Away the Mirrors” pique your interest as a complement to the rush of “The Face of God” here build on that nicely. Intimate vibe, like a bluesier take on some of Ben Chasny‘s stuff, but unpretentious to the point of recorded-in-the-living-room humility. Some five years after that record came out, I was fortunate enough to catch Huth — who had been playing for years with aggro punkers Pissed Jeans already — do a Randall of Nazareth set in Philly opening a show for EYE and Serpent Throne at Johnny Brenda’s (review here). I felt like I was getting away with something, and given how much he and/or Pearls and Brass have done since — not much — I probably was.

I don’t know what Winter or Martin have been up to, but Pissed Jeans have kept Huth busy. They have a new album, titled Why Love Now, out in two weeks on Sub Pop, for example, and they’ll tour to support it, so while Pearls and Brass are very likely tabled for good — as much as anything is ever permanent in rock and roll; never say never, never say die, always say “hiatus” — at least Huth has managed to find success elsewhere. It’s not really my thing compared to the pull and shove of “Black Rock Man” on The Indian Tower, but good on him anyhow. The self-titled Pearls and Brass, its follow-up and the Randall of Nazareth outing can remain as ripe-for-reissue fodder for the time being, like so many righteous offerings of the pre-Facebook oughts era.

As always, I very much hope you enjoy. Thanks for reading.

Sort of a procedural note here — some bookkeeping, if you will — but at the end of last week I changed the name I post under from from H.P. Taskmaster to JJ Koczan, which if you didn’t know is my real name. It wasn’t a secret or anything. It’s what I post as on Thee Facebooks and I think Twitter and Instagram as well, but I’d been using H.P. Taskmaster for years here basically because it felt self-serving to see “published by JJ Koczan” on every post. Still kind of does.

It’s a weird name, not particularly attractive to the eye, so I avoided looking at it for a long time. I guess I finally decided I didn’t give a shit anymore. It’s not anything that has a bearing on what I’ll cover or how I’ll cover it — like I said, just bookkeeping — but it was a change I made and I thought I’d mention it, if only so I could go back later, search for “when I started posting under my real name” and find the date. I had decided not to mention it on social media and see if anyone even noticed. If they did, nobody mentioned it. Fair enough.

We got a decent-sized snowstorm yesterday on the Eastern Seaboard, and I was given the day off work as a result. Back at work today, but the bonus day was a welcome gimme and I was glad to take it. My commute is an hour each way — not nearly as bad as the last one, and neither is the job itself, but still, it’s not nothing — and it’s started to wear on me a bit, particularly in the winter evenings. I leave in the morning, it’s dark. I come home at night, it’s dark. I don’t think I saw the sun at all in January. Hello, Norway. It’s started to get lighter earlier and stay lighter later, but I find myself looking forward to summer in a way that can only mean I’ve forgotten how unpleasant life is when it’s 100 degrees out. Humans are simple creatures. Whatever I qualify as, it’s even simpler.

Next week (and actually the week after, too) is already packed. Here’s what’s in my notes:

Mon.: Six Organs of Admittance review (doing myself a favor there) and Dot Legacy video premiere.
Tue.: Full album stream/review of the new Thera Roya, video from Deep Space Destructors.
Wed.: Track premiere from the new Sweat Lodge EP, video from Lung Flower.
Thu.: Track premiere from the new Libido Fuzz album.
Fri.: Full album stream/review from Deep Space Destructors.

Yeah, it’s gonna get pretty far out by the time we hit Friday next week, and that’s definitely okay by me.

The Patient Mrs.‘ birthday is this weekend, and while the snowstorm curtailed my prior present-picking-up intentions yesterday, we’ll nonetheless be celebrating with family on Saturday and likely eating homemade jalapeno poppers on Sunday, which is the day itself, so I expect that will be good. Whatever you’re up to, I wish you a joyous time, relaxing if that’s what you’re looking for, or otherwise action-packed and suspenseful, if that’s more your speed.

Have fun, be safe, thanks again for reading, and please check out the forum and radio stream.

The Obelisk Forum

The Obelisk Radio

Tags: , , , ,