Quarterly Review: Rotor, Electric Octopus, Randall Dunn, Graven, Near Dusk, Svuco, Stonus, Acolytes of Moros, Lime Eyelid, Tombtoker

Posted in Reviews on December 13th, 2018 by JJ Koczan

quarterly-review

I’ve been doing this for a while, the whole Quarterly Review thing. Not just talking about the last two weeks — though that also feels like a while to be doing it — but over the last few years. And in so doing I have a couple running gags kind of with myself. One obvious one is the “(immediate points)” for bands who put their longest song first on their album. There is no point system. There will be no tally at the end. I don’t grade records. It’s just a way of noting a decision I almost always find to be particularly bold.

Another is the use of “penultimate.” I don’t even know how this happened, but I use that word all the time in these reviews, way, way more than I might in day-to-day life. Somehow I’m always talking about the second-to-last song. Keep an eye out today, I’m sure it’ll be in there.

Indeed, I bring it up because today is the penultimate day of this extended Quarterly Review. We’ll finish out with the last 10 records tomorrow, and no doubt by the end of it I’ll be doling out more “(immediate points)” and talking about the “apex of the penultimate cut” or whatever else it is I do. Hard not to repeat yourself when you’re writing about 100 records. Or, you know, one.

Quarterly Review #81-90:

Rotor, Sechs

rotor sechs

Long-running Berlin instrumentalists Rotor issue Sechs, their aptly-titled sixth album, as their second for Noisolution after 2015’s Fünf (review here), and in so doing blend the best impulses from where they started with where they’ve ended up. Fünf, not without its moments of heavy psych drift, was a deeply progressive album, and Sechs is likewise, but it also brings in a more natural, warmer production sound like some of their earlier material, so that songs like “Vor der Hern” or “Allmacht” come across as nuanced but welcoming all the same. “Allmacht” is a highlight for its classic prog elements, but that’s not to discount the centerpiece “Abfahrt!,” with its raucous second half or the nine-minute penultimate cut “Druckverband,” which finds Rotor pushing themselves to new heights some 20 years on from their beginnings. Or anything else, for that matter, because it’s all brilliant. And that, basically, is how you know you’re listening to Rotor.

Rotor on Thee Facebooks

Noisolution website

 

Electric Octopus, Line Standing

electric octopus line standing

Next-level naturalism from Belfast trio Electric Octopus means that not only does the digital-only-otherwise-it’d-be-a-box-set Line Standing top four and a half hours, but those four and a half hours bring the listener into the studio with the band — guitarist Tyrell Black, bassist/keyboardist Dale Hughes and drummer Guy Hetherington — as they talk between jams, goof around and discuss what they just played in quick interludes. Complementing cuts like 35-minute opener “Iliudi,” the 38-minute “Line Standing 23336,” the 24-minute “Room Move” and the three-minute funk-reggae vibe of “Inspired by a Chicken,” the chatter gives Line Standing an even more organic vibe not by trying to capture a live feel, like what they’d do on stage — they have plenty of live albums for that — but by bringing the listener into the studio while they pick up their instruments and improvise their way through whatever it is that’s coming next, which is something that everyone seems to find out together. It’s not always smooth, but neither should it be. This is pure sonic exploration — and not a little of it.

Electric Octopus on Thee Facebooks

Electric Octopus on Bandcamp

 

Randall Dunn, Beloved

randall dunn beloved

Randall Dunn, through his production work, collaborations with Sunn O))), founding Master Musicians of Bukkake, etc., is no stranger to experimentalism, and his first solo album, Beloved (on Figureight), finds him evoking cinematic landscapes one at a time in ambient tracks that range from minimalist to consuming by sheer will. His range as a composer means that “Mexico City” shimmers with a near-overwhelming post-Vangelis splendor while “Lava Rock and Amber” is barren enough to make each strike of the piano keys feel like a lifeline before the synth horror takes hold near the end. Dunn brings in several guest vocalists for spots on “Something About that Night” and closer “A True Home,” but there’s hardly a lack of human presence throughout the material anyway, as the nine-minute centerpiece “Theoria : Aleph” resonates with the creative drive that made it. Not by any means a record that’s going to be for everyone, Beloved casts a sound that’s impeccably broad.

Randall Dunn on Thee Facebooks

Figureight on Bandcamp

 

Graven, Heirs of Discord

Graven Heirs of Discord

Heirs of Discord, indeed. With guitarist/vocalist Peter Maturi and drummer Chris Csar from the much-missed Swarm of the Lotus and bassist Teddy Patterson of Burnt by the Sun and Human Remains in the up-and-down-the-Eastern-Seaboard lineup with vocalist Jason Borowy, there’s no shortage of discord to go around. Deathly extremity and a pervasive grinding sensibility is conveyed with tones that absolutely crush and a groove that, while not shy with the blastbeats on “I Dreamt You Were Dead” — or the bonus track Human Remains cover “Human,” for that matter — is no less comfortable locked in the nod of the nine-minute “Thieves of Rotted Ilk.” It reportedly took Graven over a year to make the six-song/28-minute LP at various studios (including one two towns over from where I grew up in my beloved Garden State), and one only hopes the no-doubt daunting nature of that task doesn’t dissuade Graven from a follow-up, because whether it’s the angular starts and stops of “Backwards to Oblivion” or the initial assault of “A Failed Mask,” they bring a stylistic nuance to extreme metal that goes beyond the often dry showcase of technical prowess the style can sometimes be. However long it might take to put together, a sophomore outing feels well justified.

Graven on Thee Facebooks

Graven on Bandcamp

 

Near Dusk, Near Dusk

Near Dusk Near Dusk

The cleverly-titled “Humboldt Pie” finds them dipping into bluesier fare with some psychedelic effect on guitarist Matthew Orloff‘s vocals, and “We are the Buffalo” has a distinct spaciousness, but the core of Denver trio Near Dusk‘s self-released, self-titled debut is in straightforward heavy rock, and Orloff, bassist Kellen McInerney and drummer Jon Orloff sound well schooled in the ways of following the riff. “That Bastard” chugs out behind a vocal echo and the six-minute opener and longest track (immediate points) “No More” introduces the steady factor that is McInerney‘s bass behind some initial guitar noodling that leads to the first of many rolling grooves to come on the seven-track/34-minute outing. The bass again gets to shine in the subsequent “Sweet Home,” setting up the final push for a moment before being joined by the drums and guitar, and the low-end tone is right on, though by the time they close out with “Furnace Creek,” all three of them seem to tease some jammier sensibilities. Near Dusk allow themselves room to develop their approach and perspective, but establish a strong root of songwriting to serve as their foundation as they move forward.

Near Dusk on Thee Facebooks

Near Dusk on Bandcamp

 

Svuco, El Gran Mito de SanSaru

svuco El Gran Mito de SanSaru

At least some of the material on Svuco‘s debut long-player, El Gran Mito de SanSaru, dates back a few years. The release includes what was the title-track of their 2015 Mizaru EP as well as the title-track of 2016’s Kikazaru, as well as a number of tracks that also featured on the Iwazaru EP shortly before the album actually arrived. Still, taken in this form and with these recordings, the Granada-based four-piece unfurl a varied 13-song full-length that’s crisp in its production and smoothly constructed to hit hard but with a sense of tonal presence that speaks to a heavy rock influence. That is, there might be a current of noise rock to the ’90s-style chug of “Llorarás,” but “Fuzzia” still has room for organ and acoustic guitar along with its central riff. Later cuts like “Nobogo,” the layered-vocals of “El Color del Sol,” and the almost-industrial pulsations (conveyed through organic instrumentation) of “El Dios del Nuevo Mundo” branch out, but there’s an underlying identity taking shape all the while.

Svuco on Thee Facebooks

Svuco on Bandcamp

 

Stonus, Lunar Eclipse

Stonus Lunar Eclipse

Welcoming in its tone and bordering on cosmic in its atmosphere, Lunar Eclipse is the second EP from Cyprus-based troupe Stonus, and for the sprawl of its eight-minute title-track alone, it showcases distinct potential on the part of the band. Intro and outro tracks help set up a flow, but as “Aspirin” and “Spiritual Realities” fuzz their way toward “Lunar Eclipse” itself, it’s hardly like Stonus need the help. The tempo of “Aspirin” tells the tale, taking desert rock to three-quarters speed for an extra laid back vibe, still pushed along by the drums, but chill, chill, chill as it goes. “Spiritual Realities” is a little more tripped out in its lumber, and its vocals are more forward in the mix, but once again, “Lunar Eclipse” is nothing but a joy to behold from front to back, and in large part it defines the short release that shares its name. They close out with the minute of experimentalism on “Euphoric Misery” and only make one hope they don’t lost those impulses by the time they get around to a full-length, because they’ll only help them further distinguish themselves.

Stonus on Thee Faceboks

Stonus on Bandcamp

 

Acolytes of Moros, The Wellspring

acolytes of moros the wellspring

Seven years on from playing their first show, Swedish doomers Acolytes of Moros present their first full-length, The Wellspring (CD on Nine Records), and if that might stand as an indication of their pacing overall, it would certainly apply to the album itself. Presented as four extended tracks with an interlude/instrumental near seven minutes dividing the two halves, it’s a rawly-produced take on doom-death traditionalism with an emphasis on the first part of that equation. Calling it “morose” feels too easy given the band’s moniker, but they’re nothing if not self-aware, and the miseries they portray in “Quotidian” and the 14-minute “A Yen to Relinquish and Evanesce” border on the dramatic without ever really tipping too far in that direction, coming through as much in the grueling riffs as in the vocal declarations and willfully repetitive rhythms. It’s a slog and it’s supposed to be, but Acolytes of Moros eschew the sometimes lush presentation of their genre in favor of a barebones take that loses none of its emotional impact for that.

Acolytes of Moros on Thee Facebooks

Nine Records website

 

Lime Eyelid, Week of Wonders

lime eyelid week of wonders

As regards recording narratives, it’s hard to beat the image of Traveling Circle drummer Josh Schultz recording Lime Eyelid‘s debut album, Week of Wonders (as in, The Wonder Weeks?), alone in his kitchen. The resulting limited LP is comprised mostly of numbered instrumental experiments in drone and languid groove, save for “I Saw Waves,” which brings to mind some of Six Organs of Admittance‘s far-out earlier fare, but psychedelia holds a prominent sway and if you ever want a lesson in doing something new with familiar elements, look no further than the watery guitar line of “1” or “3,” with its Earth groove gone processional. The 12-minute soundscape of “4” follows as Schultz moves deeper into the realms of cosmic minimalism — that big, mostly empty, galaxy — but “5” somehow sounds even more piped in from outer space, and closer “6” rounds out with swells of high-pitched volume that seem to be speaking their own language in tone. Pretty vast reaches for a record to hit, having been recorded in the kitchen. One awaits further adventures in the follow-up.

Lime Eyelid on Soundcloud

Lime Eyelid on YouTube

 

Tombtoker, Coffin Texts

tombtoker coffin texts

I don’t know if the band’s moniker refers to one who actually tokes tombs or who tokes in tombs, but neither would surprise me. The Baltimorean five-piece Tombtoker unveil their 20-minute debut EP, Coffin Texts (on Seeing Red, tapes through Metal Swarm), with a melding of doom, sludge and metallic extremity that is righteous in its riffs and malevolent in its purposes. That is to say, they mean harm. “Warfare Revolution” and “Robo Cujo” demonstrate that plainly ahead of the centerpiece “Stenchsquatch” with its oh-you’re-gonna-have-to-play-that-at-all-the-shows lurching midsection of death, while the subsequent “Blood Freak” taps Eyehategoddy swing and closer/shortest track “Globster” (3:21) bludgeons its own riffs before a bit of Slayer-style ping ride late adds even more of that metal-for-metal feel. I’d call it promising, but maybe “foreboding” is a better word. Whether they’re smoking your corpse or just smoking near your corpse, Tombtoker bring a welcome sense of chaos to extreme sludge that hearkens to the genre’s original, unhinged appeal.

Tombtoker on Thee Facebooks

Seeing Red Records on Bandcamp

Metal Swarm website

 

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SonicBlast Moledo 2018: Electric Octopus, The Wizards, Astrodome, Talea Jacta and Desert’Smoke Added; Lineup Complete

Posted in Whathaveyou on July 24th, 2018 by JJ Koczan

sonicblast moledo 2018 banner

Two unfuckwithable days await the fortunate souls attending SonicBlast Moledo 2018. For a minute there I thought I’d be able to count myself among their number, but alas, it doesn’t seem to have come together. So it goes. I can ogle from afar just the same as the schedule is revealed amid the final confirmations for the lineup, which include primo jammers Electric Octopus as well as The Wizards, Astrodome, Talea Jacta and Desert’Smoke. These join stellar lineups on the main stage and pool stage at the venue in Moledo, Portugal, which is close enough to the coast that the pre-fest party will be held on the beach. This one would’ve been worth an overnight layover in the Azores easily. Alas. Maybe in 2019.

The final announcement and full schedule for the fest follows here, courtesy of the PR wire:

sonicblast moledo 2018 runtimes

The eighth edition of SonicBlast Moledo, with the dates settled for August 10th and 11th , closes the 2018 lineup with the confirmations of Electric Octopus, The Wizards, Astrodome, Talea Jacta and Desert’Smoke! They will be joining the previously confirmed acts Earthless, Kadavar, Causa Sui, Nebula, Samsara Blues Experiment, Mantar, The Atomic Bitchwax, 1000mods, Conan, Ufomammut, Naxatras, Purple Hill Witch, The Black Wizards, Atavismo, Ruff Majik, Solar Corona and Greengo!

The warm-up sessions are also back, happening on August 9th at Moledo’s beach, to celebrate the beginning of another SonicBlast edition. The warm-up sessions lineup will be announced very soon.

The prolific Electric Octopus, ascending band in the art of improvisation, come from Northern Ireland to present their refined conjuction of sounds. With albums passing the four hours of running time, the huge instrumental voyages created by this trio, comprise a vast panoply of varied influences such as blues, psychedelic, jazz or even funk. We may await for a transcendental communion, moved by unique and hypnotic moments, where the free spontaneity is the law.

Hailing from the Basque Country, more concretely from Bilbao, The Wizards practice vintage Hard Rock, marked by flaming guitars, clear seventies influences and powerful occult vocals. Back in 2017, they released their latest album “Full Moon in Scorpio”, which lead them to new venues and consolidated the band as one of the most promising Spanish bands.

Three years after their double dose in Moledo, Astrodome return again, this time with a remodeled formation and a formidable new album, righteously entitled “II”. With their maturity clearly demonstrated in these compositions, the quartet embarks on the psychedelic fields of music, fearless of entering onto the fields of jazz or progressive, to make us singularly levitate in their musical journey.

Formed by guitarist Pedro Pestana (10,000 Russians, Tren Go! Sound System) and drummer João Pais Filipe (HHY & The Macumbas, Sektor 304, Magnetic Mountain, Paisel), Talea Jacta are a duo specialist in creating deep musical landscapes, using endless loops and mesmerizing tribal beats, which elevate the mind to another state in an unparalleled way.

Surprising everyone and everything with their debut work “Hidden Mirage”, the quartet Desert’Smoke shape their music in a purely instrumental way, which blends the harmony of the Heavy Psych dynamics with the heaviest moments of Stoner Rock. Indeed, the ideal junction of contemplative psychedelia with the power of Rock.

TICKETS
sonicblastmoledo.com/tickets
– From March 1st to June 30th – 48€
– From July 1st to July 31st – 55€
– As of August 1st – 60€

sonicblastmoledo.com
facebook.com/sonicblastmoledo

Electric Octopus, Line Standing (2017)

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Live Review: Emerald Haze 2017 Night One, Sept. 1, 2017

Posted in Features, Reviews on September 2nd, 2017 by JJ Koczan

09.02.17 – 00.30 – Friday night/Saturday morning – Sid’s house

First night of an inaugural edition of a festival. I couldn’t help but be affected by a kind of ambient level of anxiety in the room, though I’ll say as well that the hypercaffeination factor probably didn’t help in that regard. It was a cloudy day in Dublin with just a bit of a chill in the air and 10 bands on the bill, and before I put myself in the darkened recesses of the Voodoo Lounge for the evening, I sat at the coffee shop and could see the sundry black-t-shirt-clad weirdos who’d be attending the fest. They were easy enough to pick out.

The show got underway at 19.00 with Elder Druid on The Obelisk Stage, which even though I’m here and have seen it in-person still seems more than a little unreal, and was just about nonstop from there until Wild Rocket finished on the Mother Fuzzers Ball Stage after midnight, so there was plenty to see. I did the best I could with the back and forth and tried not to look like too much of an ass taking notes in between. Here are the results of that effort:

Elder Druid

elder-druid-photo-jj-koczan

Well, if you want to get things rolling, you might as well get someone that rolls, and Elder Druid have that part down. The Northern Irish sludgers weren’t heretofore unknown to me, having checked out their 2016 debut EP, Magicka (review here), and they broke out riff after sludgy riff for the early crowd filing in. It hardly seemed like a coincidence they were starting off the show. Although they’re from up north, like a lot of the representation Irish heavy would get throughout the night to follow, they were young and hungry, and looking to establish themselves as a force to the audience assembled. Aggro vocals over Southern-style riffs aren’t necessarily uncharted territory, but for a newer group, they worked quickly to find their momentum and held people in check for the duration, sounding full and mean through the Voodoo Lounge soundsystem with pro-shop lighting flashing behind them. They were angrier than a lot of the vibe would be for the rest of the night, but definitely drew people right into the thick of it with their set. They’re about to release their debut album, Carmina Satanae, on Oct. 6, and I hope I get to dig into it, because it was a fast half-hour from them to start the night.

Blaak Heat

blaak-heat-photo-jj-koczan

Talk about a band who deserves more respect than they get. I suppose that’ll happen when your stuff is so head-spinningly complex, full of frenetic rhythmic changes, blinding turns, obscure Eastern-inflected scales and progressive melodies, but still. Playing as a five-piece and sharing three members with Abrahma in percussionist Sacha Viken, guitarist Nicolas Heller and bassist  Guillaume Theoden — which left just guitarist/vocalist Thomas Bellier and drummer Mike Amster in the lineup from when I last saw them — they opened with “Sword of Hakim” and “Al-Andalus” from their new 7″ The Arabian Fuzz (review here) and proved once again how absolutely underrated they are and have been basically since they started. I had talked to them earlier in the day and Bellier said they had new stuff in the works, demos and whatnot (which I’d love to hear, though he doesn’t seem the type to send something unfinished, even just to check out), and while their 2016 full-length, Shifting Mirrors (review here), was the farthest they’d yet reached, the new single proves they’re still progressing, still pushing themselves, and I hope that will continue, because the results have never been anything less than stellar. They might be underrated, they might deserve more respect than they get, but clearly they’re chasing something within themselves sonically and that journey seems to thrive on the validation from the creativity that results from its undertaking.

Zlatanera

zlatanera-photo-jj-koczan

They were the first act upstairs on the Mother Fuzzers Ball Stage, and like much of what followed them in the smaller room, they played a more straightforward vibe and did well representing the native Irish scene. I hadn’t quite realized the shape the evening would take until I actually looked at the schedule, with international bands exclusively downstairs and Irish acts upstairs, but it made sense, and it was clear to see who the locals were once the double-guitar five-piece got going. As had Elder DruidZlatanera drew a good early crowd, and though I was kind of in and out for their set as I wanted to catch the end of Blaak Heat back downstairs — conflicts, conflicts, conflicts; back and forth is life at a festival — when I went back down I could still hear them from the back of the bigger room, so they were clearly doing something right. Light on frills, but their sound filled that upstairs room perfectly.

Abrahma

abrahma-photo-jj-koczan

Parisian progressive heavy rockers Abrahma kept the theme — and the lineup — rolling from Blaak HeatViken moved behind the drum kit at the back of the deep downstairs stage, and Theoden and Heller switched sides from left to right as founding Abrahma guitarist/vocalist Sebastien Bismuth took the center spot. I’ve been fortunate enough to catch Abrahma live once before, in the Netherlands for Roadburn 2015 (review here), but neither Theoden nor Viken were in the band at that point, so it was half like seeing them for the first time anyway, even knowing how dynamic a frontman Bismuth is onstage. And he is. They said earlier this summer they’d be recording a new album this Fall as a follow-up to 2015’s Reflections in the Bowels of a Bird (review here), and I hope they get there, because they seemed to be pretty locked in when it came to their presentation, right down to a pleasant-as-hell-surprise cover of Type O Negative‘s “Red Water (Christmas Mourning)” from October Rust. Unexpected, to be sure, and twice as daring without keys, but Bismuth led the charge through a two-guitar interpretation, and it’s worth noting that even after the show that song continues to be stuck in my head, where I hope it will stay for, I don’t know, ever? In all seriousness, I’m very, very intrigued to hear where their new (original) material takes AbrahmaReflections in the Bowels of a Bird added to much to their sound even compared to the preceding 2012 outing, Through the Dusty Paths of Our Lives (review here), that I can only wonder what the next step in that process will be. One to look forward to for 2018, at the very least.

Mount Soma

mount-soma-photo-jj-koczan

I was really hoping they’d be good, because I bought one of their shirts even before they started playing. Long story. Not really, but a boring story, so we’ll call it long and leave it at that. Being there to catch Mount Soma‘s mix of melodic and nasty heavy meant again trodding upstairs in my plodding-old-man kind of way, and again, when I got there, I found the native Dubliners, like Zlatanera before them, giving a right-on impression of Irish underground heavy. The scene representing itself to itself: here we are. Obviously I’m an outsider and no expert to start with, but the understanding I’ve come to is that while the UK has been in something of a boom the last decade or so, that’s kind of overshadowed what’s actually happening here in terms of outside bands coming to tour and native Irish acts garnering wider attention. Efforts like Emerald Haze, particularly backed by the county of Dublin as this event is, are crucial in making that happen, and I didn’t quite realize until I watched Mount Soma that while it’s great to see the international acts downstairs, perhaps even more attention has gone into curating the Irish groups playing here, because a huge part of the message of this festival is that Ireland’s scene is coming into its own, and while there’s still growing to do, the bands are clearly willing to take that responsibility on their shoulders. Mount Soma proved it with volume and force. No regrets on buying that shirt, to be sure.

The Cosmic Dead

the comic dead (photo jj koczan)

The spaced-out Scots started late. Like, way late. Would you expect anything less of The Cosmic Dead than the bending of time? If so, then perhaps you’ve never heard them before, because that’s kind of what they do. Also, bending space. Also, melting brains. In any case, late start or no, once they got going, the Edinburgh four-piece freaked the royal fuck out — immediately and thoroughly. Killer. All the way. No doubter. Front to back. Green lights flashing. Synth blaring. Low end righteousness under wash of swirl. Melt. Melt. Melt. Space. Space. Space. Right frickin’ on. Like a frequency check for your consciousness. A litmus to see how much jam your brain could take before turning into powder. Every level, they were a lysergic win to behold, and while the running theme for the night was holy-crap-I-can’t-believe-I’m-lucky-enough-to-be-here-to-see-this, The Cosmic Dead only underscored the point that, holy crap, I can’t believe I’m lucky enough to be here to see this. I’d already purchased every CD they had for sale and though I didn’t have enough cash, by the time they were done — they had the lights turned out on them because they were running long (that late start coming back to bite them in the collective ass) — I wanted to go back out to the merch area and pick up a t-shirt too. There were times as they were dug in when each member seemed to be on his own out there, floating without gravity and purposefully so, but when they locked step, whoa. Chills up the spine. Hair standing on end. Pick your cliché and roll with it. Whatever you got, The Cosmic Dead earned it. When they were done, they hung their guitars and bass from the ceiling. Room: conquered.

King Witch

king-witch-photo-JJ-KOCZAN

To the best of my knowledge, they were the only band on the Mother Fuzzers Ball Stage not from Ireland or Northern Ireland, but while they shared a hometown with The Cosmic Dead in Edinburgh, the four-piece King Witch, whose metallic roots came through clearly in the guitar work of Jamie Gilchrist and the vocals of Laura Donnelly, the straight-ahead groove anchored by bassist Joe Turner and drummer Lyle Brown fit them right in with the likes of Mount Soma and Zlatanera before them. Donnelly was, one should note, the evening’s only standalone frontwoman, and she provided melody and force in kind from the stage. They were going even as The Cosmic Dead were still setting up downstairs, so were easy to hear from the start, and while once more I was up and back down again and back up again, King Witch‘s doom-tinged approach was a welcome preface to some of what tomorrow’s even more extended lineup will bring.

Church of the Cosmic Skull

church-of-the-cosmic-skull-Photo-jj-koczan

I have to admit, on paper it looks a little strange. Granted, it was one of 2016’s best debut albums, but still, UK seven-piece cult proggers Church of the Cosmic Skull only have one record out in the stellar Is Satan Real? (review here), so to find them headlining the bigger of the two stages could’ve been taken as something of a surprise. Until about 10 seconds in. I’d watched them soundcheck earlier in the day, and even that did little to prepare me for the righteousness of their presentation. Whether it was the interlude samples timed to videos between their songs or the harmonies between guitarist Bill Fisher, vocalists Caroline Cawley and Jo Joyce, bassist Sam Lloyd and Hammond organist Michael Wetherburn, or the brought-to-life memorability of cuts like “Mountain Heart,” set and album closer “Evil in Your Eye” or personal highlight “Watch it Grow,” they were nothing less than a celebration. A joy to witness. Really. Wetherburn‘s Hammond had been onstage all night, and when they finally broke it out, it was like Chekhov’s gun earning its place. Between that, the cello, and Fisher‘s rainbow guitar and stately manner as a chapeaued otherplanetary-cult leader waiting to take the whole venue away on some spaceship hidden behind a comet — pass that Kool-Aid, I’ll give it a shot, carbs or no — there was no place Church of the Cosmic Skull would have worked except at the top of the bill, and the room, which was the most packed it had been all night, knew it. I felt greedy for thinking to myself I hope I get to see them at some point again in my life, especially when they pulled out what I’m pretty sure was a new song during the middle of their time. They didn’t miss a cue in the harmony arrangements, but that did nothing to undercut their tonal presence or the push in Loz Stone‘s drumming, and as positive and affirming as they were, there was just enough evil underlying their work to be truly sinister. Right on.

Electric Octopus

electric-octopus-photo-jj-koczan

In order to prepare myself for seeing Electric Octopus live, the other day I undertook the considerable task of listening to their 2017 offering, Driving Under the Influence of Jams, in its nearly-four-hour entirety. And well, I knew they’d jam. And they jammed. What I didn’t realize was that when I went upstairs to catch them in that, they’d be so funky that they literally had people dancing in front of the stage. Think you can funk out improvised space rock? Because Electric Octopus sure as hell can, and the Belfast-based trio of bassist Dale Hughes (who was pulling double-duty, having also played in Elder Druid at the start of the show), guitarist Tyrell Black and drummer Guy Hetherington were a party unto themselves. I’d say outside world be damned, but the truth is, they seemed to feed off the fun the crowd in front of them was having, and it became this awesome conversation, the band playing the music being danced to and then taking the energy from that dance and translating it back into the music. There was something classic and open about it, but still molten and psychedelic at the same time. Wild Rocket, who’d follow, were more directly galaxial in what they were doing, and ditto that for The Cosmic Dead earlier, but Electric Octopus had their own personality that came through in their play and in their chemistry, and while there was nary a hook to be had in their instrumental explorations, their energy was infectious all the same. I didn’t dance. I don’t dance. I didn’t dance at my wedding. I don’t dance. But I grooved and had a hell of a time doing so as Electric Octopus made me want to go back and download every single thing they’ve ever put out, which is convenient because it’s all name-your-price on Bandcamp. They also had three CDs for sale. I bought all three and I’ll rank them among the wiser purchases I’ve made since becoming unemployed this summer.

Wild Rocket

wild-rocket-photo-JJ-Koczan

Okay, so first thing. If you haven’t heard Wild Rocket‘s new LP, Disassociation Mechanics, do that. In fact, you’ll note that of the 10 bands who played Emerald Haze 2017 tonight, they’re the only one I’m directly linking to on Bandcamp, and that’s not a coincidence. What a blast they were. Only fitting to have a Dublin outfit close out the evening, and Wild Rocket made sure everyone had a final chance to be launched well beyond the atmosphere. Even the dudes from The Cosmic Dead came upstairs and were throwing down at the front of the stage, and that seemed appropriate enough to the proceedings. Certainly well earned. I had seen them last year in Norway at Høstsabbat (review here), but with a little bit more of an idea of what I was getting this time around, it was a pleasure to watch them flatten the Mother Fuzzers Ball Stage and give the night the best kind finale it could’ve possibly asked for. How much further out could it go than to have MooseJonBres and Niallo trip so far there was no coming back? I don’t know. It doesn’t matter. Point is, go listen to that fucking Wild Rocket album. I mean it. The review’s pretty much over anyway. Only thing left to reiterate is how well the band did in giving the city of Dublin one more excellent showing of its own homegrown scene, because they were nothing if they weren’t world-class all the way, and unquestionably ready for export. Did you go listen to the record? Did you hear “Into the Black Hole?” Yeah. Good.

It’s well past 2AM as I finish writing this and there are still pictures to sort through and a full 15-band lineup for tomorrow, so I’m going to leave it there for the time being. I’ll have this posted hopefully before the day starts up again, but hell, it might be tight. We’ll see how it goes. Would you believe me if I said I was anxious about it? Thought so.

Thanks for reading. More to come and more pics after the jump here.

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The Obelisk Presents: Emerald Haze 2017 Announces Full Schedule

Posted in The Obelisk Presents, Whathaveyou on August 23rd, 2017 by JJ Koczan

Can I be brutally honest for just a second here? Just a second — won’t take long. I’m not worthy.

I’m sorry. I’m just not. I look at the lineup that’s come together for the first Emerald Haze on Sept. 1 and 2 in Dublin, I see this site’s name on a stage that will be shared by the likes of The Cosmic Dead, Abrahma, Lord Vicar, Sólstafir, Iron Void, Blaak Heat, Church of the Cosmic Skull, Elder Druid, Gourd, WitchSorrow, Gorilla Pulp and Ten Ton Slug, and I have to just shake my head. I’ve done nothing to deserve to be so honored as to be associated with these people. Nothing. I didn’t earn this. I’m not worthy. Seeing a logo for The Obelisk on the posters below, I feel like I’m getting away with some kind of scam.

Again, I’m sorry, but that’s how I really feel about it. This show is so god damn sick. They need me as a part of it the way they need a hole in the head. If you had told me eight-plus years ago when I started this site (1:) that I’d still be doing it in eight-plus years and (2:) that I’d be co-presenting shows in places like Dublin, Ireland, I’d have immediately and rightly told you to screw off. There’s unbelievable and then there’s absurd, and from where I sit, this falls definitively into the realm of the latter.

My flight’s booked. If you’re going, I’ll see you there. Please let me know if you’d like me to tell you all of this in-person, because I am 100 percent ready and willing to do that at any point. What I can’t do is even begin to properly express how grateful I am to be involved in this.

Okay. That’s my piece.

Full schedule for Emerald Haze 2017 follows here:

Emerald Haze 2017 – Full Schedule

Friday, Sept. 1
Doors – 6.00

The Obelisk Stage
7.00–7.30 Elder Druid
7.45–8.15 Blaak Heat
8.30–9.00 Abrahma
9.15–10.00 The Cosmic Dead
10.30–11.20 Church of the Cosmic Skull

MFB Stage
8.00–8.30 Zlatanera
8.45–9.15 Mount Soma
9.30–10.10 King Witch
10.25-11.05 Electric Octopus
11.20–12.20 Wild Rocket

After Party DJs Til Late – On The Rox

Saturday, Sept. 2
Doors – 2.30

The Obelisk Stage
3.30 – 4.00 Gourd?
4.15 – 4.45 Ten Ton Slug?
5.00 – 5.45 Iron Void?
6.00 – 6.45 Witchsorrow?
Break
7.20–8.00 Dread Sovereign
8.15–9.15 Lord Vicar
9.45–10.45 Sólstafir
11.00-11.40 Gorilla Pulp

After Party DJs Til Late – Voodoo Lounge

MFB Stage
3.45–4.15 Korvid
4.30–5.00 Vulpynes
5.15–5.45 Crowhammer
6.00–6.30 The Magnapinna
6.45–7.15 Death The Leveller
Break
8.00–8.30 Mother Mooch
8.45–9.40 Nomadic Rituals

Subject to change

Day tickets and a limited number of early bird tickets are on sale now from www.tickets.ie
Direct link: https://secure.tickets.ie/Listing/EventInformation/35248/emerald-haze-dublin

Friday: €15 + €2.50 booking fee
Saturday: €25 + € 3.00 booking fee
Early Bird Weekend tickets: €35 + €3.50 booking fee

For more information see www.emeraldhazedublin.com
Event page: www.facebook.com/events/1321221147946613

EMERALD HAZE takes place on Friday 1st and Saturday 2nd September 2017 over two adjacent venues – Smithfield’s Voodoo Lounge and On The Rox. Performers will be a mix of Irish and international headline acts, alongside established and emerging talent from Ireland and abroad. EMERALD HAZE is a not-for-profit venture, supported by Dublin City Council.

https://www.facebook.com/events/1321221147946613/
https://www.facebook.com/emeraldhazedublin/
https://secure.tickets.ie/Listing/EventInformation/35248/emerald-haze-dublin

Church of the Cosmic Skull, Is Satan Real? (2016)

Sólstafir, Berdreyminn (2017)

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Emerald Haze 2017: Individual Day Lineups Announced; Sólstafir & Church of the Cosmic Skull to Headline

Posted in Whathaveyou on July 3rd, 2017 by JJ Koczan

It says something about the adventurous nature of the inaugural Emerald Haze festival — set for Sept. 1-2 in Dublin, Ireland and co-presented by The Obelisk — that it will be headlined by Sólstafir and Church of the Cosmic Skull. The former, a genreless Icelandic outfit, specialize in a highly individualized brand of melodic melancholia. The latter are an almost brand new UK outfit whose debut, Is Satan Real? (review here), came out last year and was rife with proggy flourish in keys and vocal arrangements. Both are legit choices, but neither is quite what you’d expect for a festival centered around heavy psych and rock, and as someone fortunate enough to be involved in the fest in the tiny, infinitesimally small fashion I am and who will also be fortunate enough to be there to cover it, I appreciate that unexpected nature of the goings on.

And as I’m pretty sure I’ve said in every single post about Emerald Haze 2017, I’m really, really looking forward to it.

Here’s the breakdown, courtesy of the fest:

EMERALD HAZE ANNOUNCE DAILY LINE-UPS

EMERALD HAZE, Dublin’s brand new heavy psych festival has announced the daily line-ups for the inaugural edition which takes place on Friday 1st and Saturday 2nd September.

Friday will see main stage headliners Church of the Cosmic Skull joined by The Cosmic Dead, Wild Rocket, Abrahma, Blaak Heat, Electric Octopus, Elder Druid, King Witch, Mount Soma and Zlatanera while Saturday sees Sólstafir, Belzebong, Lord Vicar, Dread Sovereign, Bad Boat, Nomadic Rituals, Gorilla Pulp, WitchSorrow, Electric Taurus, Ten Ton Slug, Iron Void, Mother Mooch, Death the Leveller, The Magnapinna, Vulpynes, Gourd and Korvid across two stages in Voodoo Lounge and On The Rox.

Day tickets and a limited number of early bird tickets are on sale now from www.tickets.ie
Direct link: https://secure.tickets.ie/Listing/EventInformation/35248/emerald-haze-dublin

Friday: €15 + €2.50 booking fee
Saturday: €25 + € 3.00 booking fee
Early Bird Weekend tickets: €35 + €3.50 booking fee

For more information see www.emeraldhazedublin.com
Event page: www.facebook.com/events/1321221147946613

EMERALD HAZE takes place on Friday 1st and Saturday 2nd September 2017 over two adjacent venues – Smithfield’s Voodoo Lounge and On The Rox. Performers will be a mix of Irish and international headline acts, alongside established and emerging talent from Ireland and abroad. EMERALD HAZE is a not-for-profit venture, supported by Dublin City Council.

https://www.facebook.com/events/1321221147946613/
https://www.facebook.com/emeraldhazedublin/
https://secure.tickets.ie/Listing/EventInformation/35248/emerald-haze-dublin

Church of the Cosmic Skull, Is Satan Real? (2016)

Sólstafir, Berdreyminn (2017)

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Emerald Haze 2017: Belzebong, The Cosmic Dead, Blaak Heat, Iron Void, Mother Mooch, Electric Taurus, Mount Soma & More Added

Posted in Whathaveyou on June 21st, 2017 by JJ Koczan

Thus far, the inaugural Emerald Haze fest has been pretty metered in posting its lineup additions, but in this final one, they’re pretty much going for broke in welcoming a range of acts from Ireland and beyond, including Poland’s Belzebong, Scottish jammers The Cosmic Dead, US/France-based desert progressives Blaak Heat, and UK doomers Iron Void among a vast slew of others. These as well as a swath of native Irish acts — Electric Taurus, Mother Mooch, Gourd, Vulpynes, Korvid, Death the Leveller, Nomadic Rituals, Bad Boat, Magnapinna and Mount Soma, to see the list below — will converge on Dublin the first weekend in September for the festival co-presented by The Obelisk, and as I’ve said all along, I could not be more thrilled to be involved in the fest in the very minimal way I am and to be able to be there to cover it as it happens. Very, very much looking forward to it.

Like, a lot.

My understanding is this is the last announcement for the lineup, but of course there’s always the possibility of some shakeup between now and September, so I’ll keep an eye out. Tickets are available in the meantime via the links below, so get on that. Meet me in Dublin. We’ll hang out. It’ll be awesome.

Here’s word from the PR wire:

emerald-haze-2017-final-poster

EMERALD HAZE: Final band announcements- Belzebong, The Cosmic Dead, Iron Void and more

For further information, interview requests and/or press passes, please contact: emeraldhazedublin@gmail.com

The final bands have been announced for the inaugural Emerald Haze, Dublin’s brand new heavy psych festival. Poland’s heavy doom/fuzz metallers Belzebong and Scottish psychonauts The Cosmic Dead head the list along with international acts Blaak Heat from France and British doomsters Iron Void. The last of the home grown talent to be announced come from all four corners of Ireland and spans the full spectrum of heavy psychedelic sounds – Bad Boat, Nomadic Rituals, Electric Taurus, Mother Mooch, Death The Leveller, The Magnapinna, Mount Soma, Vulpynes, Gourd and Korvid.

Early bird tickets are on sale now from www.tickets.ie priced at €35 + €3.50 booking fee.
Direct link: https://secure.tickets.ie/Listing/EventInformation/35248/emerald-haze-dublin

For more information see www.emeraldhazedublin.com
Event page: www.facebook.com/events/1321221147946613

EMERALD HAZE takes place on Friday 1st and Saturday 2nd September 2017 over two adjacent venues – Smithfield’s Voodoo Lounge and On The Rox. Performers will be a mix of Irish and international headline acts, alongside established and emerging talent from Ireland and abroad. EMERALD HAZE is a not-for-profit venture, supported by Dublin City Council.

The Mother Fuzzers Ball Stage has been an integral and very successful aspect to CANALAPHONIC Music & Culture Festival since its inception in 2015. EMERALD HAZE creates an opportunity to further develop and nurture Ireland’s contributions to the worldwide aesthetic of heavy psych, draw international attention to the high quality and quantity of acts emerging around the country and provide festival experience to these bands.

https://www.facebook.com/events/1321221147946613/
https://www.facebook.com/emeraldhazedublin/
https://secure.tickets.ie/Listing/EventInformation/35248/emerald-haze-dublin

Belzebong, Greenferno (2016)

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Emerald Haze 2017: Lord Vicar, Church of the Cosmic Skull, Wild Rocket and Witchsorrow Added

Posted in The Obelisk Presents, Whathaveyou on June 12th, 2017 by JJ Koczan

The second round of announcements from the inaugural Emerald Haze festival in Dublin (presented by The Obelisk, among others) brings further intrigue and anticipation. Also doom of the highest quality, and of course by that I mean Lord Vicar are playing. The Finnish masters released the righteous Gates of Flesh (review here) last year and join a bill already heralding the likes of Dread SovereignAbrahmaTen Ton Slug and Zlanatera. I am unbelievably stoked at the prospect of seeing them live.

Ditto that for Church of the Cosmic Skull, who had one of 2016’s best debut releases in their first full-length, Is Satan Real? (review here), which basked in a lush and classically progressive sensibility marked out by its vocal harmonies and generally fluid approach. Add Wild RocketWitchsorrowElectric OctopusGorilla Pulp and Elder Druid to the mix as well and Emerald Haze 2017 already seems to be taking shape nicely as a diverse, quality bill that, once again, I’m honored to be co-presenting.

And as I said last time, I’m planning on being in Dublin to cover it, so please come and please say hi. I’m super-awkward in person, but always appreciate a chance to shake hands, put faces to names and so on. I hope to see you there.

Here’s the latest announcement from the fest:

emerald haze 2017 poster

Church of the Cosmic Skull, Lord Vicar added to line up for EMERALD HAZE

Rising stars of the UK psych scene Church of the Cosmic Skull and international doom supergroup Lord Vicar are among the bands to be added to the bill for EMERALD HAZE, Dublin’s brand new heavy psych festival on Friday 1st and Saturday 2nd September.

Church of the Cosmic Skull, Nottingham’s seven-piece multi-vocal prog/psych superstars in the making and self professed new religious movement will headline the opening night of Dublin’s inaugural EMERALD HAZE.

After gaining widespread critical acclaim with the 2016 release of their debut album “Is Satan Real?”, Church of the Cosmic Skull embarked on a a highly commended headline tour of the UK in April, and will perform at a number of European festivals over the summer including Freak Valley Festival and Desertfest Antwerp.

Lord Vicar – whose international line up includes former members of Reverend Bizarre, Count Raven and Saint Vitus – along with Dublin-based space punks Wild Rocket, U.K. doomsters WitchSorrow, Italian rockers Gorilla Pulp and two more bands from the fertile Northern Irish scene, Elder Druid and Electric Octopus have all been added to the previously announced line up of Sólstafir, Dread Sovereign, Abrahma, Ten Ton Slug and Zlatanera, with more Irish and international acts to be named in the coming weeks.

Early bird tickets are on sale now from www.tickets.ie priced at €35 + €3.50 booking fee.
Direct link: https://secure.tickets.ie/Listing/EventInformation/35248/emerald-haze-dublin

https://www.facebook.com/events/1321221147946613/
https://www.facebook.com/emeraldhazedublin/
https://secure.tickets.ie/Listing/EventInformation/35248/emerald-haze-dublin

Lord Vicar, “Birth of Wine”

Church of the Cosmic Skull, “Black Slug” official video

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