Up in Smoke 2018 Adds Electric Wizard, Ancestors, Dopethrone, Messa, Child, Humulus and Giant Sleep to its Lineup

Posted in Whathaveyou on May 28th, 2018 by JJ Koczan

Very cool that Electric Wizard are headlining Up in Smoke 2018. Very cool. Not saying it isn’t. And right on that DopethroneMessa, ChildHumulus — have to wonder if they’ll bring their own beer — and Giant Sleep are playing too. Awesome. The name I want to focus on here, however, is Ancestors. The returned/reactivated Los Angeles unit will have their new album out on Pelagic Records by the time they head to Europe to play Up in Smoke presumably as part of a larger round of touring, and I’m pretty sure I’ve said this already, but watch out for that fucking record. Really. It’s a stunner.

2018 has already seen a fair share of righteous outings — I’d list them here, but you know, stolen laptop — and a couple real landmarks are still to come, but don’t let the new Ancestors get by you just because it’s been a while since they put anything out. I’ll have more to say about it, I’m sure, because it’s the kind of record about which one doesn’t easily shut up, but yeah. Take it as an(other) early heads up.

Here’s Up in Smoke‘s announcement:

up in smoke 2018 poster

UP IN SMOKE 2018 – ELECTRIC WIZARD & 6 MORE ACTS CONFIRMED!

GET YOUR CHANCE TO WIN A WEEKEND PASS!

Up In Smoke Indoor Fest 2018 has just announced a bunch of new bands, including their second headliner: The almighty ELECTRIC WIZARD, bringing their new album “Wizard Bloody Wizard” to make Pratteln tremble once again! Also confirmed:

DOPETHRONE (CAN) – The riff comes in many forms. Sometimes it’s clean and elegant… sometimes it’s filthy, grimy and about as elegant as a sledgehammer to the sternum. “Dopethrone are the kind of humans that eat the blues for lunch and wash it all down with a giant jug of crust punch! This is one of those bands that will have the crusty punks head banging right next to the stoners, both united under the bad sign of doom.” (CVLT NATION) The Canadian trio released their new album “Transcanadian Anger” few days ago!

ANCESTORS (USA) – Ancestors formed in 2006 and instead of “choosing between prog rock or heavy rock,” merged the styles to create music rife with atmosphere, tension and raw human emotion. They create mighty, modern music that dovetails innovative arrangement, crushing primordial riff interplay and melodic instrumental passages with textural atmospherics. They will release their long-awaited new album this summer via Pelagic Records.

MESSA (IT) – Messa play evoking doom metal with a dark jazz twist. Deliciously haunting female vocals, rhodes piano and 70’s fuzz guitars combine to conjure a sound that is all of their own. With influences as diverse as Windhand, Bohren Und Der Club Of Gore, The Devil’s Blood, Jex Thoth, Angelo Badalamenti, Bellwitch, John Coltrane and Aluk Todolo, the band has moved from the droning occult doom of their first LP “Belfry” to a new, darker and more atmospheric approach clearly showcased in their new record “Feast for Water”, released in March!

CHILD (AUS) – Hailing from the urban wilds of Melbourne, Australia, Child combine the heavy emotion of the blues with the tone and raw power of hard rock to create a visceral musical experience that reaches right into the chest of listeners. Since the release of their runaway self-titled debut in 2014, Child have continued to develop their unique brand of heavy blues through constant writing and extensive touring. The band released their latest EP “I” a few months ago!

HUMULUS (IT) – Humulus is a Psych-Stoner power trio from Brescia/Bergamo (Italy), formed in 2009. Their first self titled album was released by Go Down Records in December 2012. The ten tracks of this first work fully reflect the stoner attitude of the band and their aggressive sound that is best expressed during their live shows. Their latest LP “Reverently Heading Into Nowhere”, more psychedelic and heavier than ever, came out in the Spring of 2017.

GIANT SLEEP (GER/CH) – Giant Sleep are five guys from Germany and Switzerland, worshipping the power of the riff. The sound of the quintet penetrates the worlds of the subconscious and incomprehensible with no regard for genres nor boundaries. Modern post- and prog-rock elements meet the classic sound of the 70s; an original mixture of lively and creative music. On their second album “Move A Mountain” Giant Sleep takes you on a journey through rock history and beyond.

Taking place October 5th & 6th 2018 at Z7 in Pratteln, Switzerland, highclass acts such as JOHN GARCIA & THE BAND OF GOLD, ACID KING or SASQUATCH have already been confirmed with many more to come. Tickets for Up In Smoke are available HERE!

SHARE & WIN: To get another chance to win a weekend pass for Up In Smoke 2018, please visit the Facebook page for more info!

www.upinsmoke.de
https://www.facebook.com/UpInSmokeIndoorFestivalInZ7/
https://www.sol-tickets.com/produkte
https://soundofliberation.com

Ancestors, “Gone”

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Friday Full-Length: Electric Wizard, Electric Wizard

Posted in Bootleg Theater on January 5th, 2018 by JJ Koczan

Electric Wizard, Electric Wizard (1995)

Yeah, yeah, I know. Dopethrone. Come My Fanatics. Hell, Witchcult Today. I know. In the 30 years that Electric Wizard have been operating going back to guitarist/vocalist Jus Oborn founding the Dorset-based outfit as Lord of Putrefaction in 1988 before becoming Thy Grief Eternal a couple years later and ultimately Electric Wizard in 1993, the band has produced a couple genuine classics, and their 1995 self-titled debut, issued as catalog number nine by Lee Dorrian of Cathedral‘s Rise Above Records with the lineup of Oborn, bassist Tim Bagshaw and drummer Mark Greening, generally isn’t considered in the same tier. But I ask you, have human beings ever come closer to capturing the guitar tone of Master of Reality than Oborn does on “Black Butterfly?”

I don’t think I’m taking anything away from the accomplishments of Dopethrone in 2000 or Come My Fanatics… before it in 1997 by pointing out the foundation that the eight-song/47-minute self-titled laid, essentially allowing them to happen. Its arrival in 1995 doesn’t quite put it at the forefront of the mid-’90s stoner rock wave — recall Monster Magnet issued Spine of God in 1991, Sleep unveiled Sleep’s Holy Mountain and Kyuss had their Blues for the Red Sun both in 1992 — and certainly by the time they get down to the central rolling riff of “Electric Wizard,” they seem at least to have been affected somewhat by the rays of Sleep‘s new stoner sun rising, but Electric Wizard‘s Electric Wizard arrived roughly concurrent to Acrimony‘s 1994 debut, Hymns to the Stone, and particularly for a time before the internet went mainstream as a means of sharing music even via word of mouth let alone actual file transfer protocols, it represents a landmark in the development of what would become UK heavy. While it seems relatively simple in aesthetic 23 years later — it is stoned. forever. — its Sabbathian loyalties flew in the face of what was happening at the time. 1995? Sabbath were still three years off from reuniting with Ozzy. They released Forbidden that year; the last installment of the Tony Martin era, and were largely considered a relic. For a group like Electric Wizard to so brazenly take on their early work as a central point of influence, even with groups like the Melvins roaming the earth for however long already, was a decidedly bold statement.

And not only did Electric Wizard transpose this inspiration into a context of the stoner rock of the time, but by doing so, they bridged the gap between that style and classic doom in a way that even Orange Goblin — who got their start as Our Haunted Kingdom in 1994 and would release their debut, Frequencies from Planet Ten, in 1997 — wouldn’t seem interested in directly engaging. To listen to cuts like opener “Stone Magnet” or the suitably lumbering “Behemoth” is to find Electric Wizard‘s self-titled living up to the old adage of proper doom being as much ahead of its time as behind it; timeless by the simple and not-at-all-simple fact of its not fitting its own age. Whether it’s the drifting psych interlude “Mountains of Mars” or the nodder chug and swing of “Mourning Prayer” before it, the brazenness of the approach here not only is what allows the album to function, but it portends the fuckall that would become such a core factor of Electric Wizard‘s aesthetic contribution to doom over the next two-plus decades. Stoned, obsessed with horror, dropped out of life and generally not giving a shit about who knows it — one finds all these aspects at play to some degree throughout “Devil’s Bride,” “Electric Wizard,” “Black Butterfly” and “Mourning Prayer,” and especially given the scope of what Oborn and Electric Wizard would go on to produce in this album’s wake, it seems to me it deserves no less consideration than anything they’ve done in their time together, no matter who’s in the lineup for a given LP.

Of course, they have a new record out in the form of late 2017’s Wizard Bloody Wizard (review here), and I’ve got that in mind as well in thinking about the ongoing impact of this first outing and how their origins have led them to become the band they have. Thinking back across 2014’s Time to Die (review here), 2010’s Black Masses (review here), that lineage seems almost to have been reset by Witchcult Today (discussed here) in 2007 following the somewhat awkward but utterly filthy mid-period releases Let us Prey and We Live in 2002 and 2004, respectively, but even that album drew from the ethic of Electric Wizard in speaking to the groove and malevolent vibing that goes so far in making Electric Wizard‘s riffing seem just that much nastier than the legions they’ve now influenced. No question the self-titled has been overshadowed in the years since its release, but its place in the conversation and in the canon should be assured both by its own merits and by the catalog it began to unfurl, which is one of the richest and most pivotal in the doom of any era.

As always, I hope you enjoy, and thanks for reading.

Just came in a bit ago from doing a second round of snow shoveling. Turns out I’m brutally out of shape. Viciously so. Doesn’t help the fact that it’s a foot-plus of densely-packed, heavy snowfall that came down yesterday across the wintry hellscape of January Massachusetts, but yeah, I’d be remiss if I didn’t acknowledge there were times in my life when getting rid of it would’ve been way easier. Also I’m old.

Nothing like a solid humbling in the morning to keep the ego in check. Imagine where one might be otherwise.

I’ll go back out in a few minutes and shovel more, spread salt, move the car, etc., but yeah, it was a pretty brutal bit of weather dumped on us yesterday, and today’s supposed to be bitter cold and 50mph wind gusts, which actually makes me more nervous because I have about zero faith in the infrastructure of the electrical grid in this region. Last time a mean breeze blew we were out for like four days. The baby was three days old. He’s over two months now, but when it’s -20 out, that’s also a factor one has to consider. Blah. We’ll figure it out.

Hope you’re warm, wherever you are.

Next week is the Quarterly Review. I’ve set up at this point none of the back end, so I’m a little nervous about how that’s gonna get done, but it will. I’ll be working on it this weekend, to be sure, but it’ll be fine. We’ll get there. As of right now, that’s the only thing planned for the week, so I’m not going to list notes or anything like that, but I might work in a Six Dumb Questions along the way or some video posts or stuff like that with the usual batches of news and so on. There’s a lot to come, and then the entire week after next is already booked with premieres and streams, so there’s that. Keep an eye out.

Please have a great and safe weekend. I’m back out to do more shoveling. I hope you’re enjoying 2018. I know it’s the future and all, but please don’t forget to check out the forum and the radio stream. One more time, thanks for reading.

The Obelisk Forum

The Obelisk Radio

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The Top 20 of 2017 Year-End Poll — RESULTS!

Posted in Features on January 1st, 2018 by JJ Koczan

top-20-of-2017-year-end-poll-results

Happy New Year 2018! If you’re reading this, welcome to the future. Enjoy your flying car, free healthcare, universal income, matter replicators and life on that moon colony you moved to a couple years back — New Berlin, wasn’t it? Well, either way, I’m sure it’s lovely this season.

Way back in the Dark Ages, on Dec. 1, 2017, I put up The Obelisk’s annual Year-End Poll, looking for submissions from as many people as possible with their picks for what were the year’s best albums. The response was once again staggering. Over 400 lists came in — including my own, which I submitted yesterday — for a final tally of 419, and the amount of consensus that emerged from them was no less impressive.

We’ll get there in a second. First, a reminder about the point system. As ever, a 1-4 ranking is worth five points, 5-8 worth four, 9-12 worth three, 13-16 worth two and 17-20 worth one. So it doesn’t only matter that you included a record on your list — the raw votes are also tallied — but where it was included. That only seems fair in acknowledging how passionate people were about a given release.

You know the drill by now I’m sure, but it pays to be thorough. Below you’ll find both the weighted point tally and the raw votes results, followed by some quick honorable mentions, comment, etc. After the jump, you’ll find the complete list of everyone who submitted. If you’d like to check my math on anything, feel free. I’m by no means perfect when it comes to statistics or counting or any of that stuff involving those things that aren’t letters. Whatever they’re called.

Thanks to everyone who took part this year. Here are the lists:

Top 20 of 2017 — Weighted Results

elder reflections of a floating world adrian dexter

1. Elder, Reflections of a Floating World (888 points)
2. Monolord, Rust (397)
3. All Them Witches, Sleeping Through the War (346)
4. Pallbearer, Heartless (327)
5. Colour Haze, In Her Garden (284)
6. Mastodon, Emperor of Sand (256)
7. Bell Witch, Mirror Reaper (250)
8. The Obsessed, Sacred (248)
9. Sasquatch, Maneuvers (242)
10. Electric Wizard, Wizard Bloody Wizard (237)
11. Kadavar, Rough Times (236)
12. Samsara Blues Experiment, One with the Universe (225)
13. Ufomammut, 8 (205)
14. DVNE, Asheran (198)
15. Ruby the Hatchet, Planetary Space Child (189)
16. Woodhawk, Beyond the Sun (163)
17. Spaceslug, Time Travel Dilemma (158)
18. Causa Sui, Vibraciones Doradas (155)
19. Telekinetic Yeti, Abominable (150)
20. Motorpsycho, The Tower (149)

Honorable Mention:
Youngblood Supercult, The Great American Death Rattle (144)
Radio Moscow, New Beginnings (134)
Dopelord, Children of the Haze (132)
Chelsea Wolfe, Hiss Spun (129)
Mutoid Man, War Moans (123)

No real surprise here, but with the fact that Elder’s Reflections of a Floating World topped 880 points and got more than twice as much as the next closest record, it’s hard to begrudge 2017 some measure of predictability. For what it’s worth, that’s an even stronger showing than their Lore LP got in 2015, and they took the lead on day one and did not relinquish it for the duration. Outside of them and Monolord, who held command of the number two spot for the entire month, there was some measure of parity, but it was clear where hearts and minds were situated in 2017, and certainly difficult to argue with the picks on the whole, regardless of where a given individual ranked one album or the other. Looking at that list of 20-plus, especially with the honorable mentions, I’d sign up for that year every time. It was a good one. Now then…

Top 20 of 2017 — Raw Votes

elder reflections of a floating world adrian dexter

1. Elder, Reflections of a Floating World (207 votes)
2. Monolord, Rust (110)
3. Pallbearer, Heartless (94)
4. All Them Witches, Sleeping Through the War (88)
5. Kadavar, Rough Times (77)
6. Electric Wizard, Wizard Bloody Wizard (75)
7. Colour Haze, In Her Garden (74)
8. Mastodon, Emperor of Sand (72)
9. The Obsessed, Sacred (71)
10 Sasquatch, Maneuvers (70)
11. Ufomammut, 8 (67)
12. Bell Witch, Mirror Reaper (64)
13. Ruby the Hatchet, Planetary Space Child (60)
14. Samsara Blues Experiment, One with the Universe (59)
15. Woodhawk, Beyond the Sun (54)
16. DVNE, Asheran (53)
17. Telekinetic Yeti, Abominable (48)
18. Causa Sui, Vibraciones Doradas (47)
19. Radio Moscow, New Beginnings (45)
19. Spaceslug, Time Travel Dilemma (45)
20. Dopelord, Children of the Haze (43)
20. Mothership, High Strangeness (43)

Honorable Mention:
Youngblood Supercult, The Great American Death Rattle (40)
Chelsea Wolfe, Hiss Spun (37)
The Atomic Bitchwax, Force Field (34)
Beastmaker, Inside the Skull (34)
Motorpsycho, The Tower (33)
Mutoid Man, War Moans (32)

Even less surprising given the above. 207 people of the 419 who submitted lists included Elder somewhere on theirs. It’s pretty hard to get about 50 percent of anyone to agree on anything these days, so I consider that no minor feat. Again, Reflections of a Floating World earned its place, and it was a pretty astounding achievement for the band and the genre they’re working to remake in their own image. A couple minor shifts between the raw tallies and the weighted results as there always are, but again, the underlying point here is that 2017 was a pretty killer year all the way around and across a deep variety of styles, the quality of work being put forth by veterans and newcomers alike was nothing short of excellent.

Before I turn you over to the massive swath of everybody’s lists, I just want to say thanks again to Slevin for being so instrumental in setting up the technical end of this poll. It’s amazing year after year to be able to basically at this point flip a switch and have it all set to go and there’s no way that would happen without Slevin working so hard behind the scenes to put the structure in place that holds this project, the entire site, together. Thanks dude.

And thank you for reading and contributing your favorites of 2017! This is the last of the 2017 Year-End coverage for The Obelisk. If you missed any of it, go here:

The Top 30 Albums of 2017

The Top 20 Short Releases of 2017

The Top 20 Debut Albums of 2017

2017 Song of the Year

12 of 2017’s Best Album Covers

One more time, thank you for reading. After the jump, please find the raw lists of everyone who took the time to turn one in. Enjoy:

Read more »

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audiObelisk Transmission 064

Posted in Podcasts on December 26th, 2017 by JJ Koczan

audiobelisk transmission 064

So this is something I’ve never done before. I’m not exactly what you’d call an early adopter when it comes to new technology, but this weekend I finally signed up for Spotify and decided to give a shot at putting together a year-end playlist through that rather than doing the standard podcast. Aside from a kind of ongoing latent concern about essentially giving away downloads of music that doesn’t belong to me via the old mp3 files — no one’s ever said anything and I always figured it was okay since songs were bundled together as one file — this just seemed more useful in allowing people to explore different artists, albums, etc. If you disagree, I’m sorry.

I can’t say I won’t ever go back to the other way, or that I’ll actively enjoy having a Spotify account enough to keep it, and so on, but it’s something new to try, so I’m giving it a shot. The playlist turned out to be nine hours and 12 minutes long, and once I got going, I couldn’t really resist making it 65 tracks, what with it being the 64th podcast and all. One to grow on.

As always, I hope you enjoy. Thanks for listening:

Track details:

• Artist, Track, Album, Runtime
• Elder, Sanctuary, Reflections of a Floating World, 00:11:13
• All Them Witches, Am I Going Up?, Sleeping Through the War, 00:05:33
• Lo-Pan, Pathfinder, In Tensions, 00:06:22
• MOON RATS, Heroic Dose, Highway Lord, 00:04:27
• Bees Made Honey in the Vein Tree, Medicine, Medicine, 00:06:38
• Mindkult, Lucifer’s Dream, Lucifer’s Dream, 00:09:06
• Brume, Reckon, Rooster, 00:09:12
• Riff Fist, King Tide, King Tide, 00:11:20
• Monolord, Dear Lucifer, Rust, 00:08:41
• Hymn, Serpent, Perish, 00:07:32
• Vinnum Sabbathi, Gravity Waves, Gravity Works, 00:08:26
• Electric Wizard, Wicked Caresses, Wizard Bloody Wizard, 00:06:43
• Ruby the Hatchet, Symphony of the Night, Planetary Space Child, 00:07:08
• Telekinetic Yeti, Colossus, Abominable, 00:08:56
• Bong Wish, My Luv, Bong Wish, 00:02:31
• Radio Moscow, New Skin, New Beginnings, 00:03:02
• Cloud Catcher, Celestial Empress, Trails of Kozmic Dust, 00:05:41
• The Atomic Bitchwax, Humble Brag, Force Field, 00:02:52
• Sasquatch, Just Couldn’t Stand the Weather, Maneuvers, 00:06:27
• Kadavar, Die Baby Die, Rough Times, 00:04:18
• Cities of Mars, Children of the Red Sea, Temporal Rifts, 00:08:27
• Argus, You Are the Curse, From Fields of Fire, 00:06:23
• Comacozer, Hylonomus, Kalos Eidos Skopeo, 00:13:43
• Samsara Blues Experiment, One with the Universe, One with the Universe, 00:15:02
• Orango, Heirs, The Mules of Nana, 00:04:46
• Siena Root, Tales of Independence, A Dream of Lasting Peace, 00:03:39
• Demon Head, Older Now, Thunder on the Fields, 00:04:17
• Sun Blood Stories, Great Destroyer, It Runs Around the Room with Us, 00:06:11
• Spaceslug, Time Travel Dilemma, Time Travel Dilemma, 00:10:07
• Arc of Ascent, Hexagram, Realms of the Metaphysical, 00:07:34
• Causa Sui, Seven Hills, Vibraciones Doradas, 00:07:24
• Alunah, Fire of Thornborough Henge, Solennial, 00:05:32
• Vokonis, Calling From The Core, The Sunken Djinn, 00:06:03
• Enslaved, Sacred Horse, E, 00:08:12
• Dvne, Edenfall, Asheran, 00:07:04
• The Midnight Ghost Train, Break My Love, Cypress Ave., 00:03:33
• The Obsessed, It’s Only Money, Sacred, 00:02:35
• Mothership, Crown of Lies, High Strangeness, 00:05:41
• Geezer, Red Hook, Psychoriffadelia, 00:06:02
• Uffe Lorenzen, Flippertøs, Galmandsværk, 00:02:46
• Youngblood Supercult, Master of None, The Great American Death Rattle, 00:04:01
• Beastmaker, Nature of the Damned, Inside the Skull, 00:03:26
• Pallbearer, I Saw the End, Heartless, 00:06:21
• Paradise Lost, Blood and Chaos, Medusa, 00:03:51
• Rozamov, Wind Scorpion, This Mortal Road, 00:08:49
• Eternal Black, Sea of Graves, Bleed the Days, 00:06:33
• Demon Eye, Politic Divine, Prophecies and Lies, 00:03:40
• Snowy Dunes, Ritual of Voices, Atlantis, 00:07:17
• The Devil and the Almighty Blues, Low, II, 00:08:49
• Abronia, Glass Butte Retribution, Obsidian Visions / Shadowed Lands, 00:06:09
• John Garcia, Kylie, The Coyote Who Spoke in Tongues, 00:04:58
• Tuna de Tierra, Raise of the Lights, Tuna de Tierra, 00:07:09
• Colour Haze, Lotus, In Her Garden, 00:07:05
• IAH, Stolas, IAH, 00:08:39
• Fungus Hill, Are You Dead, Creatures, 00:08:54
• Atavismo, El Sueño, Inerte, 00:11:18
• Tuber, Noman, Out of the Blue, 00:08:14
• Spidergawd, What You Have Become, Spidergawd IV, 00:03:44
• Puta Volcano, Bird, Harmony of Spheres, 00:05:07
• Ufomammut, Core, 8, 00:05:15
• Kings Destroy, None More, None More, 00:14:03
• PH, Looking Back at Mr. Peter Hayden, Eternal Hayden, 00:16:44
• Mt. Mountain, Dust, Dust, 00:17:15
• Electric Moon, Live Forever Now (You Will), Stardust Rituals, 00:22:41
• Bell Witch, Mirror Reaper, Mirror Reaper, 01:23:15

If you want to follow me on Spotify, apparently that’s something you can do here.

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Electric Wizard, Wizard Bloody Wizard: This Dying World

Posted in Reviews on November 2nd, 2017 by JJ Koczan

Electric Wizard Wizard Bloody Wizard

And so the scumbag overlords return to once more claim their position at the top of the heap they’ve made. Electric Wizard are inarguably one of the most influential doom bands of their generation, with nearly 30 years of history going back to guitarist/vocalist Jus Oborn‘s founding of Lord of Putrefaction in 1988, which begat Thy Grief Eternal circa 1991 before taking shape as Electric Wizard ahead of the band’s 1995 self-titled debut. In the 22 years since that record hit, much has changed, of course, but with their ninth long-player, Wizard Bloody Wizard — licensed to Spinefarm Records through the band’s own Witchfinder Records imprint — the band reaffirms much of what has led to their longevity in terms of style and songwriting.

In some ways, the Dorset, UK-based outfit have existed in their own shadow since marking something of a comeback with 2007’s landmark Witchcult Today (discussed here), and subsequent LPs, Black Masses (review here) in 2010 and Time to Die (review here) in 2014, found the group working to develop ideas and themes largely along similar lines, and largely succeeding, but as Oborn, guitarist Liz Buckingham, bassist Clayton Burgess (also Satan’s Satyrs) and drummer Simon Poole step into the willfully-crafted muck of Wizard Bloody Wizard‘s six-track/42-minute span, they bring something of a pivot toward a rawer, less directly cultish sound. The change is due if not overdue and has been part of the discussion for as long as the band has been talking about the proverbial “next album,” but to have it manifest here in songs like “Necromania” and “Wicked Caresses” underscores the band’s tie between holding fast to the elements that have worked in their favor since classic outings like 1997’s Come My Fanatics… and 2000’s Dopethrone (discussed here) and attempting to move forward into a pivot in style if not an actual leap.

The trick to Electric Wizard is and has been for at least the last decade that they sound like the human embodiment of fuckall. One can put on an Electric Wizard track like the chugging, feedback-laden “See You in Hell,” hear Oborn‘s addled drawl, the rawness of tone and the lumbering progression, and hear a signature attitude on the part of the band that seems to advocate checking out of life by following its example at having already long since done so. This has made the band forerunners in witch doom, wizard doom, cult doom, garage doom — whatever you want to call it — but as a feat of craft it’s all the more impressive when one engages the details.

To wit, if they actually didn’t give a crap, Wizard Bloody Wizard wouldn’t be nearly as impeccably mixed as it is, promoting depth as well as a touch of atmosphere while still fostering barebones tonality and an overarching lack of flourish in all tracks save perhaps for the three-minute horror-themed drifter interlude “The Reaper.” Poole‘s drums wouldn’t come through as clearly and crisply as they do if they were actually lazily tracked, and frankly, songs like “Necromania,” “Hear the Sirens Scream” and “Wicked Caresses” wouldn’t be nearly as catchy as they are while also feeding into a larger, full-LP flow that presents “See You in Hell,” “Necromania” and “Hear the Sirens Scream” as a one-two-three salvo of hooks on side A while sleeking deeper into the VHS-grit mire on side B with “The Reaper” before returning to solid ground on “Wicked Caresses” before letting consciousness fade at last on 11-minute closer “Mourning of the Magicians.” None of this is haphazard, whatever superficial impressions the band might make — and want to make — to the contrary.

electric wizard

On their own level, Electric Wizard are absolute professionals — arguably all the more so here since they’re recording themselves and releasing in part through their own label — and the maturity of their approach comes through this material without sacrificing its dark vitality or the core attitude necessary to carry it. Oh yeah, a part sounds sloppy? It’s supposed to. That’s the idea. The filthier, the nastier Electric Wizard are able to come across, the more they’ve succeeded in realizing one of their most essential tenets. And among the generation of imitators they’ve spawned, almost no one has been able to do the same thing as well as they do it. Wizard Bloody Wizard, with its tossoff Sabbathian title, classless cover art, and seeming trashcan simplicity of presentation, reaffirms all of it. Electric Wizard have beat the system. Again.

Their themes as ever set in drugs, horror, murder, disaffection, and so on, one might accuse Oborn and company of playing to familiar elements in their work — still, in other words, existing in that shadow. As “Mourning of the Magicians” talks about the children of Saturn amid its intertwining layers of chug and wah-caked lead guitar, and “Necromania” seems to call back to “Venus in Furs” from Black Masses in its psychosexual vibe, that argument might prove valid, but there’s no question that in texture and overarching sound, Electric Wizard have indeed pulled off a turn in these tracks, away from the swirl and toward the churn, generally speaking. That’s not to say the organ-led “The Reaper” or the dirge-marching “Mourning of the Magicians” — in the chorus of which Oborn delivers the title-line to “See You in Hell,” tying the first and last songs together for yet another display of underlying cohesion — are lacking in ambience, just that they take a slightly different route to get there than they might have on the last couple records.

Whatever else they do sonically or in terms of songwriting, Electric Wizard brook no middle ground when it comes to opinion. “Yes!” or “Yuck!,” but almost never “meh,” in terms of audience responses, and whichever category a given listener might fall into, one doubts Wizard Bloody Wizard will do much to sway the opinions of those whose minds are already made up, but when engaged on its own level and taken in appreciation for the subtlety that exists beneath its purposefully harsh and at times gleefully wretched exterior, there’s little else one can call it but the band’s finest work in the decade since Witchcult Today. It may or may not be the beginning of a next stage of their already storied and massively successful career — and in a way that’s not something we can know until they follow it up — but by changing the balance of aspects already relevant to their style, Electric Wizard have managed to find new life in their craft while still cloaking themselves in the unmistakable stink of death. There’s a reason they are who they are.

Electric Wizard, “See You in Hell” official video

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Electric Wizard Evoke Classic Sabbath in “See You in Hell” Video

Posted in Bootleg Theater on September 29th, 2017 by JJ Koczan

electric wizard

You know the clip, right? Almost certainly if you’re of a certain age and were a witness to the original coming of Beavis and Butt-Head on MTV. It’s Black Sabbath standing in front of a blue-screen with a bunch of weird projections playing out behind them and then “Iron Man” plays and they do the riff and Beavis calls out one of the heads for looking like Paul Schaffer and you’re a kid and it’s the ’90s and so everything’s hilarious but it’s also maybe the first time you’re really hearing Black Sabbath and they’re also kind of kicking your ass in a way you can’t really articulate yet. Relive the nostalgia here. A pretty emotionally complex moment — again, if you’re of a certain age — and it would seem to be that precise video with which Electric Wizard are in dialogue in their new clip for “See You in Hell.” Not by any means a bad choice.

“See You in Hell” is the opening track on Electric Wizard‘s forthcoming LP, Wizard Bloody Wizard, which is out Nov. 10 via Spinefarm Records and the band’s own Witchfinder Records imprint. The song doesn’t actually deliver its own title line — that comes later in the 11-minute closer “Mourning of the Magicians” — but it does leadoff the record with a telling display of tone and set the very-much-ElectricWizardly perspective in its hook, “This dying world gasps its last breath as we turn off our minds/All hope is lost/There’ll be no new dawn/And all of your dreams will die.” Yeah, the start-stop riff is awesome, and yeah, Electric Wizard — guitarist/vocalist Jus Oborn, guitarist Liz Buckingham, bassist Clayton Burgess (also Satan’s Satyrs) and drummer Simon Poole — sound filthy as hell, but I think one of the least appreciated aspects of what they do and what Oborn does as a songwriter is make nihilism catchy.

Yeah, you’re high and don’t give a shit about anything and that’s great, but on the other hand you just made your fuckall one of 2017’s catchiest hooks. It’s the great irony of Electric Wizard‘s work and in cuts like “Necromania” and “Wicked Caresses,” it’s as prevalent as ever throughout Wizard Bloody Wizard.

More to come on the album (like, say, a review) as we get closer to the release date. In the meantime, dig into the classic Sabbo-vibe of “See You in Hell” and enjoy:

Electric Wizard, “See You in Hell” official video

UK cult legends ELECTRIC WIZARD have premiered the video for the new song “See You in Hell,” which singer/guitarist Jus Osborn called “the most brutally simple and Neanderthal song ever.”

The song appears on Wizard Bloody Wizard, the long-anticipated new LP, which is full of cranium-crushing bludgeon rock – a relentless aural brain rape and, like the band’s beloved vintage horror/exploitation movies, definitely not for those of a nervous disposition.

Wizard Bloody Wizard arrives via Witchfinder/Spinefarm on November 10.

ELECTRIC WIZARD ARE:
Jus Oborn – guitar/vocals
Liz Buckingham – guitar
Simon Poole – drums
Clayton Burgess – bass

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Electric Wizard Announce Wizard Bloody Wizard Due Nov. 10; “See You in Hell” Streaming Now

Posted in Whathaveyou on September 10th, 2017 by JJ Koczan

electric wizard

Did you get your preorder in for Electric Wizard‘s Wizard Bloody Wizard yet? Something tells me that the release between Spinefarm Records and the band’s own Witchfinder Records won’t exactly be in short supply, but hey, better safe than sorry. Preorders also come with a download of the album opener “See You in Hell,” which you can hear below because the internet, and which gives an immediately rawer impression from its self-recorded sound than did anything on their last offering, 2014’s Time to Die (review here), which was perhaps overstaying its welcome in the cultish psychedelic swirl proffered as well across the prior two records.

While I haven’t heard the full thing so can’t really speak to it, at least going from “See You in Hell,” this time around it feels much more geared toward churn. That’s fair enough to the roots of the band, but again, we’ll see what happens when Nov. 10 gets here and their ninth full-length is actually released. They’ve got an opportunity to walk away with a late entry as album of the year. I’ve heard some great records in 2017, but I’m still waiting for the one that defines the year as a whole. Electric Wizard just might be totally fucked enough sounding to do it. One can only hope they take advantage.

Spinefarm posted the preorder info thusly:

electric-wizard-wizard-bloody-wizard

Electric Wizard – Wizard Bloody Wizard

‘Wizard Bloody Wizard’ is the long anticipated new LP from UK cult legends ELECTRIC WIZARD and, man, is it HEAVY!!!! 43 minutes of cranium crushing bludgeon rock, a relentless aural brain rape and, like the band’s beloved vintage horror/exploitation movies, definitely not for those of a nervous disposition.

The LP’s stunning all analogue recording has been produced by Jus Oborn and Liz Buckingham (guitars) in their own ‘Satyr IX Recording Studio’….

Pre order ‘Wizard Bloody Wizard’ here: https://spinefarmrecords.lnk.to/bloodywizard

“Wizard Bloody Wizard” track listing:
01. See You In Hell
02. Necromania
03. Hear The Sirens Scream
04. The Reaper
05. Wicked Caresses
06. Mourning Of The Magicians

Album Release Date Is November 10th 2017

http://electricwizard.merchnow.com/
https://www.facebook.com/electricwizarddorsetdoom/
https://www.facebook.com/spinefarm/
http://www.spinefarmrecords.com/
https://open.spotify.com/track/5gG15aEI4zv1hohsjFBhtD

Electric Wizard, “See You in Hell”

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Friday Full-Length: Electric Wizard, Witchcult Today

Posted in Bootleg Theater on August 18th, 2017 by JJ Koczan

Electric Wizard, Witchcult Today (2007)

Even a decade later, it’s hard to fully assess the influence Electric Wizard‘s sixth album has had, because that influence, like the band’s witchcult itself in the lyrics of the opening title-track, is still growing. Released in 2007 on Rise Above Records, Witchcult Today was a genuine landmark moment. For the band, it was such a turnabout and such a feeling of comeback that it was hard to believe it had only been three years since the band released the prior We Live, which introduced guitarist Liz Buckingham (formerly of 13 and Sourvein) to the lineup of the already-influential Dorset doomers alongside founder Jus Oborn. Electric Wizard had by then long since established themselves as crucial to the sphere of underground doom via the unholy trinity of their first three albums — 1995’s Electric Wizard, 1997’s Come My Fanatics… and 2000’s Dopethrone (discussed here) — and perhaps part of the reason Witchcult Today was so able to blindside their listenership and so greatly add to their reputation as stylistic forerunners was because 2002’s Let us Prey and the aforementioned We Live seemed to be searching for a new direction after hitting such a peak with their initial approach, but whatever did it, Witchcult Today brought a new generation of listeners under Electric Wizard‘s droner-stoner spell and perhaps even more than Dopethrone stands as the single most important work the band has done to-date. Without it, one can only wonder if cult doom would exist as it does.

There’s not really much secret to the approach of Witchcult Today, and whatever else one might accuse Electric Wizard of being throughout their nearly 25-year tenure — preceded by Oborn‘s time in Lord of Putrefaction and Thy Grief Eternal — they’ve never been subtle. But while Let us Prey and We Live descended into weedian scummer sludge and grew more abrasive in their overall affect, the unmanageable 59-minute/eight-track Witchcult Today brought that resin-coated filth to new levels of aesthetic achievement. At least partial credit has to go to Liam Watson at Toe Rag Studios, whose recording and mixing job highlighted the absolute tonal murk of Oborn and Buckingham‘s guitars and the depths of Rob Al-Issa‘s basslines while still allowing Oborn‘s vocals and Shaun Rutter‘s drums to cut through and provide listeners a lifeline so as to not get lost in the hazy onslaught — at least until the 11-minute penultimate instrumental, “Black Magic Rituals and Perversions,” where getting listeners lost is clearly the intention — but however more resonant the tracks became through the manner in which they were recorded on vintage gear and compiled at the mixing console, one can’t discount the raw achievement of songwriting on Witchcult Today either. There simply isn’t a miss. As “Witchcult Today” marched/oozed into subsequent tracks like the shuffling “Dunwich” and the drawling “Satanic Rites of Drugula,” Electric Wizard beat their audience over the head with riff after riff, hook after hook, and created an atmosphere of such memorable craft that even as they basically reused the rhythm of “Witchcult Today” in “The Chosen Few” and seemed to answer the opener’s riff in closer “Saturnine,” the tiny differences from one to the other to the other stood out and made all three songs highlight pieces only bolstered by their redundancy. It’s supposed to be a slog. You wouldn’t die otherwise.

And whether it was the interlude “Raptus” or the sampled whispers deep into “Black Magic Rituals and Perversions,” Witchcult Today boasted an ambience to match the grab-your-brain-and-melt-it catchiness of “Torquemada ’71” — the theme for a grainy horror movie that was never made — making its aesthetic impact all the more pivotal. The darkened swirl of “Saturnine” at the end of the record affirmed the fixation on death, misanthropy and cultish thematics, but even as the four-piece pushed outward to a noisy deconstruction of the bleak, stoned and sprawling world they created, they held fast to the hypnotic sensibility that typified the album as a whole. The tie-in between that hypnosis, the catchiness of their choruses, the sheer will of repetition executed, the lyrical references to old horror flicks speaking directly to the converted, and the sense of presence that came through Watson‘s mix made Witchcult Today absolutely work on every level in a way that Electric Wizard never had before, even on their early releases, which many will still argue as the pinnacle of the band. Like I said, there just wasn’t a miss, and I think the massive influence Witchcult Today has had over the last 10 years and continues to have speaks to this achievement in aesthetic. It’s early for such proclaiming, but no question the time will come when we speak about this record as a classic in doom. Already it serves as one of the most essential LPs of the 2000s.

Its influence would prove to be as much internal as external as well. In 2010, they followed Witchcult Today with Black Masses (review here), which renewed their collaboration with Watson and with songs like “Satyr IX,” “Black Mass,” and “Crypt of Drugula” felt very much informed by what the 2007 outing had established. Likewise, their 2012 tape EP, Legalise Drugs and Murder (review here) derived its title-track from a redux on “The Chosen Few,” and it seemed that even five years later, Electric Wizard were still affected by the scope of what they’d manage to bring to bear on Witchcult Today. 2014’s Time to Die (review here) — produced again by Watson, mixed by Chris Fielding — marked a shift to Spinefarm Records after a falling out with Rise Above, was their longest offering yet at 66 minutes and dug righteousness out of its chaotic gruel, but ultimately seemed staid more like it was playing to form of the two full-lengths before it rather than pushing farther in the way that one could say even Black Masses did via its more psychedelic take.

Rumors have abounded for more than a year at this point about release dates for a ninth Electric Wizard full-length being in various stages of production and/or readiness for release, and among the most encouraging aspects of an initial announcement put out last Spring was that the band was seeking a “fresh turn of the turf” in terms of their sound. Does that mean they’ll innovate their style with the kind of freshness they brought to Witchcult Today a decade ago? Can lightning strike three times for a group who already enjoy status as having made some of the most fundamental contributions to doom? Last I heard, we might find out before the end of the year. As to what actually happens when the next Electric Wizard surfaces, or when that actually will happen, only a fool would dare to offer any prediction.

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

Well, this weekend is turning out to be much different than was initially conceived. By the time you read this, The Patient Mrs. and I will very likely already be in New Jersey, which was not at all the original intent. An ambulance took my 102-year-old maternal grandmother to the hospital yesterday afternoon, and well, there’s little more you can do than get up at 4AM and get your ass out the door as quickly as possible to be there for your family. Gotta go, gotta go.

My original intention for the day had been to go see Anathema tonight in Boston, because I so very much enjoyed their new album and would like to see them again. Had a photo pass set up and everything. Not gonna happen.

I’ve also been back and forth with the Gozu dudes about doing an in-studio with them as they track their next record in New Hampshire, currently in progress. That was supposed to be tomorrow. Up in the air right now.

Everything is pretty much pending what the situation is with my grandmother. They said she broke her hip and no one really knows how. She’s old enough that, frankly, it could’ve just happened by moving or bumping into the corner of a table or something, but old people and busted hips. You know how it goes. Apparently she’s not really awake. There’s a consult this morning with an orthopedist, after which we’ll hopefully know more. Everyone’s very upset, myself included to be honest, but it’ll be what it’ll be.

My mind is elsewhere as I’m sure you can imagine, but here’s a quick rundown of how next week may or may not shake out as per my notes:

Mon.: Kal-El album stream/review; maybe Gozu in-studio.
Tue.: Grande Royale stream/review; Vokonis vinyl giveaway.
Wed.: Queens of the Stone Age review; Six Dumb Questions with Pagan Altar.
Thu.: Blackfinger track premiere/review; maybe R.I.P. track premiere as well.
Fri.: Grigax review.

Busy busy busy, and again, all of this is subject even more to change than usual pending how the above pans out, what state I’m in mentally and geographically at what point, and so on. Sorry to be vague but there’s just a lot right now I don’t really know. That’s the basic shape I hope to give next week. We’ll see if I can make it happen.

This weekend is Psycho Las Vegas. I was supposed to go. I didn’t. Kind of a long story there, and not entirely pleasant, but if you’re there, I hope it’s a blast and that you have a great and safe time. If you’re elsewhere, I hope the same. Either way, please take a few minutes if you have them to check out the forum and radio stream, and thanks once again for reading.

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