The Obelisk Presents: The Top 20 of 2017 So Far

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

the obelisk top-20-2017-so-far

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

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

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

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

Okay, here goes:

The Top 20 of 2017 So Far

elder reflections of a floating world

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

Notes

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

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

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

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

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

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

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

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

Honorable Mention

Let’s do another 10 releases, shall we?

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

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

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

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

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

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

More to Come

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

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

Thanks for Reading

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

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

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

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

Review & Full Album Stream: Geezer, Psychoriffadelia

Posted in audiObelisk, Reviews on May 16th, 2017 by JJ Koczan

geezer psychoriffadelia

[Click play above to stream Geezer’s Psychoriffadelia in its entirety. It’s out June 9 via Kozmik Artifactz and STB Records.]

There are multiple angles of approach one might take when it comes to Geezer‘s fourth long-player, Psychoriffadelia. Like the title itself, the tracks are a mash of the different ideas the New York-based band have been advancing since their beginnings, working in a scope of heavy psychedelic jamming, classic heavy rock, heavy blues and often more than a touch of stoner sleaze. No, it’s not a coincidence that I used the word “heavy” three separate times in that last sentence. That’s been a running theme for Geezer‘s work all along, from their 2013 debut, Electrically Recorded Handmade Heavy Blues through the EP-turned-full-length Gage (review here) and most realized on last year’s self-titled third outing (review here), and Psychoriffadelia finds them more than happy to pick up the thread and run with it for the course of its five tracks and 39 minutes, delivered through Kozmik Artifactz in Europe and STB Records in North America.

One finds, however, that the most defining aspect of Psychoriffadelia might just be transience. There is evidence of growth even from where the self-titled had them to be heard in the overall balance between jammy flow and songcraft — Geezer have taken the lessons of Texas’ Wo Fat (who in 2009 put out an album called Psychedelonaut and might be this generation’s masters of the form in the US) and incorporated them into their Northeastern grit — and their sound is ever more identifiable as their own with guitarist/vocalist Pat Harrington coming across as more comfortable in tackling vocal melodies on a cut like “Red Hook,” but with the bulk of the material recorded live in the studio — Redbird Studio in NYC — in a single day, the natural vibe that persists as a result, and the inextricable link between Psychoriffadelia‘s release and Geezer‘s first-ever European tour, set for this summer, it’s a fleeting sensibility that most emerges from this material. The fruit of a moment that, no matter what Geezer do from this point on in their tenure, won’t come again.

Add to that the lineup factor. Harrington and bassist Richie Touseull work here with Charles Ruggiero, who steps in to take the place of founding drummer Chris TurcoRuggiero is an ex-bandmate of Harrington‘s in woefully-monikered hard rockers Slunt, so it’s no surprise to find there’s chemistry there based on their past experience playing together, but though he’ll play on the tour as well, Ruggiero is still officially filling in for Turco. So even in their makeup in terms of who’s playing, Geezer seem to be captured here in a state of flux. All the better to get that cover of Nazareth‘s “Hair of the Dog” to tape while the getting’s good. That cowbell-infused, attitude-laden classic serves as Geezer‘s launch for Psychoriffadelia, and Harrington‘s gravely voice does well in taking on its mega-hook, “Now you’re messing with the son of a bitch,” delivering the line with a swagger that goes on to inform the rest of side A in “Stressknots” and the 10-minute “Psychoriffadelia” itself. The former is a chugging enterprise of marked heft and fuzz but a creeping melodic verse, building in energy as it shifts toward its chorus, Geezer working effectively in their more straightforward songcraft modus on what’s the shortest inclusion here, original or otherwise, at 4:40.

An open, bluesy bridge just past the three-minute mark leads back to the charge of the hook and they finish with a section of crackling noise and sparse guitar ambience, leading into the start of the title-track, which buzzes to life over the course of its first 30 seconds before a subdued guitar establishes the defining line for the jam that unfolds. It is especially telling that “Psychoriffadelia” is instrumental in its entirety, as it sends a clear signal of the shift in approach that it marks moving into the rest of the album that bears its name, which, though built to be split over two sides, nonetheless has a linear flow from the title-track into “Red Hook” and 13-minute closer “Dirty Penny.” Transitions are smooth throughout, but the manner in which the cuts in Psychoriffadelia‘s back half feed off each other and the more languid vibe feels like a definite departure from the more raucous “Hair of the Dog” and “Stressknots” — though the finale certainly makes an impression with its hook and strikes a balance between the “psycho,” the “riffa” and the “delia” — and it’s the title-track that serves as the beginning point of that.

geezer photo jj koczan

Even in this linearity, one finds that theme of transience playing out. The turn from “Psychoriffadelia” to the six-minute “Red Hook” is accomplished with a seeming nod to Monster Magnet-style fluidity, and though moodier in its affect, the latter cut is unquestionably the highlight of the album. It’s the most patient and psychedelic unfurling Geezer have executed to-date, and while in the past, a serene beginning like that of “Red Hook” might’ve led to a burst-out of bluesy, boozy heavy riffing — nothing wrong with that — this time, Harrington, Touseull and Ruggiero keep the vibe quiet, thoughtful and emotionally resonant in its melody, adding a new level of depth to their approach not found on the self-titled or any of their releases preceding. In the quick turnaround from their last offering, “Red Hook” is the clearest example on Psychoriffadelia of Geezer‘s continued creative growth. It’s not the only one, but it’s the clearest, and particularly after the immersion of the centerpiece title-track, its arrival feels like it’s being given a distinguished position in the course of the album. That is to say, they know it’s something special, which it is.

After its watery psych strum enters its long fadeout, the low hum that starts “Dirty Penny” takes hold and Harrington‘s voice echoes out the line, “Your pretty face is going to hell,” from deep in the mix, foreshadowing the standout line of the chorus that will serve as Geezer‘s final hook for Psychoriffadelia. Though more grounded than “Red Hook” and more structured feeling than the title-track, “Dirty Penny” still carries a drowsy spirit in its early going, picking up after the three-minute mark with more of a push en route to a quick guitar solo and final runthrough of the sleazy chorus — I’m sure there’s a story to it, but yeah: sleaze — and another, more extended and multi-layered stretch of impressive fretwork that serves as the beginning point for the jam that will consume the rest of the track, beginning in earnest at around six minutes in and expanding outward from there. Funky at the eight-minute mark, explosive by 9:30 and drifting into its compressed slide-and-strum just after 11 minutes in, the ending of “Dirty Penny” feels somewhat pieced together, but that’s also the point, and in that, it reinforces the stylistic patchwork that makes up the record’s title and overarching execution alike.

Geezer have always had an element of self-awareness to their approach, so that they would on Psychoriffadelia as well is nothing new, but what’s important to take from the release is that it shows even in a hurried mindset — putting this version of the band and these freshly-composed songs to tape before the opportunity passed — the band are able to conjure a sense of sonic progression. That’s pivotal, of course, but for most listeners it will be secondary to the quality of the material itself (and probably rightly so), but fortunately for the trio and their audience alike, that also holds up here. Psychoriffadelia finds Geezer mature in their style and firm in the knowledge of who they are and what they want to be as a group, building gracefully on their past aesthetic accomplishments while maintaining the roll, nod, blues and edge that has served them so well thus far. With the palpable development they’ve undertaken and the results that has yielded, Geezer have never sounded so ready for export.

Geezer on Thee Facebooks

Geezer on Bandcamp

Kozmik Artifactz website

Kozmik Artifactz on Thee Facebooks

Kozmik Artifactz on Twitter

STB Records on Bandcamp

STB Records on Thee Facebooks

STB Records BigCartel store

Tags: , , , , , ,

Geezer to Release Psychoriffadelia June 9; European Tour Dates Announced

Posted in Whathaveyou on April 27th, 2017 by JJ Koczan

geezer

Hey, if you’re gonna go, make an occasion of it. We’ve known for some time that New York heavy psych blues rockers Geezer were headed to Europe in 2017. They were announced in December for the lineup of Freak Valley 2017, and just a couple days after that, confirmed the appearance would coincide with a first tour on European shores.

So what’s new? What’s new is the fact that Geezer will go not only supporting their righteous 2016 self-titled full-length (review here), but a new, fourth LP as well — dubbed Psychoriffadelia and due out June 9 through Kozmik Artifactz in Europe and STB Records in the US with preorders set to start as soon as this post is live. So… now.

Comprised of five tracks that run a 39-minute gamut from the scummer boogie bliss of Nazareth‘s “Hair of the Dog” — “Now you’re messin’ with a son of a bitch,” and all — to the vulnerable blues of “Red Hook,” the sleaze of “Dirty Penny” and the megajams that ensue there and in the 10-minute title-track, Psychoriffadelia is the result of Geezer firing at max volume on all cylinders, expanding on the self-titled while reinforcing that album’s accomplishments with a brazen next step forward. Don’t be fooled by the quick turnaround — there’s growth here. Not that I’ve heard it yet or anything. Ahem.

Psychoriffadelia also finds Geezer working as the three-piece of founding guitarist/vocalist Pat Harrington, bassist Richie Touseull and drummer Charles Ruggiero, the latter a former bandmate of Harrington‘s in hard rockers Slunt and stepping in for Chris Turco, who handled drums on the last album as well as the 2014 LP, Gage (review here), and their 2013 debut, Electrically Recorded Handmade Heavy Blues. Ruggiero will take part in the European tour as well, which is booked through Total Volume Agency and Snuff Lane in the UK, and the band have set up a crowdfunding campaign to help with the inevitable expenses of making the trip. Rewards include an exclusive die-hard edition of the LP.

Info on that, the release announcement for Psychoriffadelia, and of course the tour dates all follow here, courtesy of the band:

geezer psychoriffadelia

GEEZER – Psychoriffadelia

The power of the riff. The allure of the psychedelic. The intensity of the electricity. These are the things that bring us together, these are the things that create Psychoriffadelia.

Recorded mostly live at Redbird Studio on 9/10/16 in New York City, the songs of Psychoriffadelia came together over the course of that summer. It had been months since we turned in the masters for our self titled album, yet still a few months until the album was released. We had been playing shows with Charles Ruggiero on drums while Chris Turco was on a work related hiatus. During that time, riffs arose, jams happened and songs were created. We wanted to capture that moment, no matter how fleeting.

We are proud to announce that Psychoriffadelia will be released on vinyl and CD through Kozmik Artifactz Records on June 9th! For those of you in the US, STB Records will have vinyl for sale through their webstore as well. Digital versions of the album will be available through the band’s Bandcamp page.

Here are the vinyl specs:
Release date: June 9, 2017
Pre-Order: April 27, 2017
180g high quality vinyl with gatefold
100x black
200x yellow
200x red/black marbled

Geezer, Psychoriffadelia tracklisting:
1. Hair of the Dog (4:48)
2. Stressknots (4:40)
3. Psychoriffadelia (10:16)
4. Red Hook (6:02)
5. Dirty Penny (13:23)

Artwork and Design by Kim Zangrando

A special “Die Hard Edition” of the album will be released through Geezer’s European Tour crowd funding campaign. This will include a screen printed jacket with alternate artwork, multi-colored vinyl and more! (see below for more info)

Live Album Official Release

In addition, Geezer’s live album, A Flagrant Disregard For Happiness is being released on June 9th, also through STB Records and Kozmik Artifactz Records. Originally released as an add on to the Die Hard version of the self-titled album, it is now being released on it’s own on beautiful 180g gold vinyl, limited to 150 units total!

The album contains one 30 minute instrumental (mostly improvised) track, A Flagrant Disregard For Happiness, which was performed at BSP in Kingston NY on April 1, 2016 as part of the ongoing Hudson Valley Psych Fest Series.

A video of this performance can be seen here: https://www.youtube.com/watch?v=cSs0deYCU98

European Tour

To celebrate the release of Psychoriffadelia, Geezer is going to Europe! With the help of Total Volume Booking, Geezer will be doing a 3 week tour that includes our first appearance at Freak Valley Festival! Some dates are still being confirmed but here is the latest:

geezer tour poster.13 June Paris, France / Le Gibus Live
15 June Mannheim, Germany / KURZBAR
16 June Netphen, Germany / FREAK VALLEY FESTIVAL
17 June Lille, France / Le Biplan
18 June Brussels, Belgium / Centre Culturel Garcia Lorca
19 June Ghent, Belgium / Kinky Star
20 June Strasbourg, France / Elastic Bar
21 June Lyon, France / La fête de la musique – Bar des Capucins
22 June Olten, Switzerland / Coq D’Or
23 June Clermont Ferrand, France / Raymond Bar
24 June Montaigu, France / Le Zinor
27 June Exeter, UK / Phoenix
28 June London, UK / The Dev
29 June Coventry, UK / The Arches
30 June Bristol, UK / The Old England
1 July TBC – UK

Indiegogo Crowdfunding Campaign
As mentioned above, Geezer will be doing a crowdfunding campaign through Indiegogo to help offset some of the expenses of the trip. Exclusive perks will include a “Die Hard” Edition of Psychoriffadelia. This edition will include a screen printed jacket with alternate artwork and multi-colored vinyl. Other perks include tour posters and shirts designed by Jo Riou, CD and digital versions of the new album, never before available embroidered patches and other exclusive perks. The campaign is already up and will run until Friday, May 26th.

We need your help to make this tour a reality. Any and all contributions are greatly appreciated!

Contribute to the Indiegogo campaign here: https://igg.me/at/xxo6XcM2mD4/x/16460786

Geezer is:
Pat Harrington – Guitar, Vocals
Richie Touseull – Bass
Charles Ruggiero – Drums

https://igg.me/at/xxo6XcM2mD4/x/16460786
https://www.facebook.com/geezerNY/
http://geezertown.bandcamp.com/
https://www.facebook.com/totalvolumebackline/
http://kozmik-artifactz.com/
https://www.facebook.com/kozmikartifactz/
https://twitter.com/kozmikartifactz
https://stbrecords.bandcamp.com/
http://www.facebook.com/pages/STB-Records/471228012921184
http://www.stbrecords.bigcartel.com/

Geezer, Geezer (2016)

Tags: , , , , ,

Geezer Comment on Freak Valley 2017 and Touring Europe

Posted in Whathaveyou on December 26th, 2016 by JJ Koczan

Just a couple days ago, New York heavy psych-blues rockers Geezer were announced as taking part on Freak Valley 2017. That revelation was particularly significant not only as it will find them sharing a bill with the likes of Slo Burn, Pentagram and Greenleaf, but also because it marks the first time the trio will go to Europe. They signed with Paris-based Total Volume Agency some while ago, so one had a sense that a trip abroad was coming, but confirmation makes all the difference.

In this endeavor, Geezer‘s timing couldn’t be better. Last month, they issued their third, self-titled long-player (review here) through Ripple Music and STB Records. By mid-June, when they take the Freak Valley stage, that album will have had plenty of time to sink in, and I expect they’ll be all the more well received as a result of that, what with the kicking ass and the jamming and all.

We’re still a ways off from next summer, so the dates aren’t locked in yet — when I see them, you’ll see them — but I’m happy to Geezer will be crossing the Atlantic in 2017 because they’re ready to do so, and because especially for American bands, it’s a crucial step in their growth that not everyone gets to take. On their part it shows a commitment to their creative form, and in traveling and playing with European acts, they become part of furthering a sonic dialogue that’s ongoing and makes everyone better on all ends. It’s the ultimate win. So yes, good for Geezer and safe travels in the New Year to come.

See below for some comment from guitarist/vocalist Pat Harrington on the matter:

geezer

Pat Harrington on touring Europe:

We are beyond stoked about being invited to Freak Valley Festival 2017! Of all the European festivals, we think FVF is the perfect starting point for Geezer’s maiden voyage across the Atlantic. Much of our fanbase is from Europe and our fans have been asking us for the better part of the last two years to come over. In today’s world, one has to go where the action is and we can’t wait to share this experience with our European fans and to get a chance to meet them personally.

Total Volume (France) will be handing all the official duties and we can’t thank them enough for giving us this opportunity. We are still in the very early stages of putting this all together, so the routing is still being worked out. We are planning on a two-week-plus tour that will start somewhere around June 13th and go through June 28th. We hope to hit as many countries as possible. Any promoters or clubs interested in booking Geezer, please contact Andre at Total Volume at Andretotalvolume@gmail.com.

Being that this is our first time out, we will need some assistance in working out all the financial entanglements that go along with such a venture, so we will be launching a Kickstarter-type campaign at some point to help make this all happen. As always, our fans are what keep us going and we’ll need your help now more than ever! We’ve already starting coming up with ideas for the related perks and I think we’ll have a lot to offer on this front. New album? Exclusive reissues of old releases? Shirts? Posters? Bongs?Right now, everything is on the table! Keep an eye out for more info in the coming months.

Happy Holidays everyone! We will see you soon… dig!

~ Pat

Geezer is:
Pat Harrington – Guitar, Vocals
Richie Touseull – Bass
Chris Turco – Drums

https://www.facebook.com/geezerNY/
http://geezertown.bandcamp.com/
https://www.facebook.com/totalvolumebackline/
https://www.facebook.com/theripplemusic/
http://www.ripple-music.com/
http://stbrecords.bigcartel.com/
https://www.facebook.com/STB-Records-471228012921184/

Tags: , , , , , ,

audiObelisk Transmission 060

Posted in Podcasts on December 22nd, 2016 by JJ Koczan

the obelisk podcast 60

Click Here to Download

 

Consider this your usual disclaimer that, like any of this site’s coverage of year-end whatnottery, this podcast is by no means attempting to capture all of 2016’s best tracks. It is, however, over four hours long, and frankly that seems like enough to ask. If you decide to take it on and sample what I found to be some of the best material to come down the line over the last 12 months, please know you have my thanks in advance. For what it’s worth, it was a lot of fun to put together, and that’s not always the case with these.

But about the length. I’ve done double-sized year-end specials for a while now. It’s always just seemed a fair way to go. And the last few at least have been posted the week of the Xmas holiday as well, which for me is of dual significance since it just so happens four hours is right about what it takes to drive from where I live to where my family lives, so when I look at this massive slew of 34 acts, from the riff-led righteousness of Wo Fat and Curse the Son to the crush of Mammoth Weed Wizard Bastard and SubRosa to the psychedelic reaches of Zun and Øresund Space Collective (who probably show up in podcasts more than anyone, oddly enough), I also think of going to see my family, which has become my favorite part of the holidays.

Whatever associations you might draw with it, I very much hope you enjoy listening. Thanks for taking the time.

Track details follow:

First Hour:

0:00:00 Wo Fat, “There’s Something Sinister in the Wind” from Midnight Cometh
0:09:35 Greenleaf, “Howl” from Rise Above the Meadow
0:14:57 Elephant Tree, “Aphotic Blues” from Elephant Tree
0:20:49 Brant Bjork, “The Gree Heen” from Tao of the Devil
0:26:27 Sergio Ch., “El Herrero” from Aurora
0:29:44 Child, “Blue Side of the Collar” from Blueside
0:35:31 Geezer, “Bi-Polar Vortex” from Geezer
0:43:59 Zun, “Come Through the Water” from Burial Sunrise
0:49:27 Baby Woodrose, “Mind Control Machine” from Freedom
0:54:11 Curse the Son, “Hull Crush Depth” from Isolator
0:59:31 Borracho, “Shot down, Banged up, Fade Away” from Atacama

Second Hour:

1:05:50 Scissorfight, “Nature’s Cruelest Mistake” from Chaos County
1:09:19 Truckfighters, “The Contract” from V
1:16:30 Spidergawd, “El Corazon del Sol” from III
1:21:24 Fatso Jetson, “Royal Family” from Idle Hands
1:26:13 Worshipper, “Step Behind” from Shadow Hymns
1:30:57 Mammoth Weed Wizard Bastard, “Y Proffwyd Dwyll” from Y Proffwyd Dwyll
1:39:42 Druglord, “Regret to Dismember” from Deepest Regrets
1:46:34 Moon Coven, “New Season” from Moon Coven
1:52:03 Gozu, “Tin Chicken” from Revival
1:59:49 Year of the Cobra, “Vision of Three” from …In the Shadows Below

Third Hour:

2:06:53 The Munsens, “Abbey Rose” from Abbey Rose
2:14:56 Lamp of the Universe, “Mu” from Hidden Knowledge
2:21:26 1000mods, “On a Stone” from Repeated Exposure To…
2:26:45 Church of the Cosmic Skull, “Watch it Grow” from Is Satan Real?
2:30:43 Vokonis, “Acid Pilgrim” from Olde One Ascending
2:37:35 Slomatics, “Electric Breath” from Future Echo Returns
2:43:02 Droids Attack, “Sci-Fi or Die” from Sci-Fi or Die
2:47:20 King Buffalo, “Drinking from the River Rising” from Orion
2:56:51 Comet Control, “Artificial Light” from Center of the Maze

Fourth Hour:

3:06:37 Øresund Space Collective, “Above the Corner” from Visions Of…
3:22:51 Naxatras, “Garden of the Senses” from II
3:33:14 SubRosa, “Black Majesty” from For this We Fought the Battle of Ages
3:48:23 Seedy Jeezus with Isaiah Mitchell, “Escape Through the Rift” from Tranquonauts

Total running time: 4:07:32

 

Thank you for listening.

Download audiObelisk Transmission 060

 

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

Freak Valley 2017: Pentagram, Greenleaf, Geezer, Black Willows and Orango Join Lineup

Posted in Whathaveyou on December 20th, 2016 by JJ Koczan

The latest update from Freak Valley 2017 gets a hearty ‘fucking a’ from my end, not the least because it contains confirmation that New York heavy blues-psych jammers Geezer will head across the Atlantic for the first time to play. Kudos to that trio, whose 2016 self-titled third album (review here) remains fresh in mind since its release last month on STB Records and Ripple Music, as they join the likes of Pentagram and Greenleaf, as well as Black Willows and Orango, who’ve also been added as of this afternoon. If you missed the last announcement from Freak Valley 2017, it was for a little band called Slo Burn playing an exclusive German show, so, you know, no minor shakes all around.

Once again, cheers to the Geezer guys for working out the scenario of being a good band doing cool shit, living the dream and all that. One anticipates tour dates will follow. I’ll keep an eye out.

Till then, here’s what Freak Valley had to say about Pentagram, Greenleaf, Geezer, Black Willows and Orango:

freak valley 2017 pentagram greenleaf geezer

Short before Christmas we are ready to give you a couple of more killer band names for Freak Valley Festival 2017.

We are thrilled to announce these 5 bands:

Pentagram (official) [US]
Major pioneers of Doom Metal.

Bobby Liebling & PENTAGRAM have been churning out widely admired hard rock / doom metal for over four decades. Within its first, this D.C. band is largely regarded as pioneering not one but two subgenres of hard rock. At the onset of the 1970’s, they helped procreate a behemoth called, “Heavy Metal.” Nine years on, they’d be planting the dark seed of what would grow to be known as “Doom. Now they will finally play Freak Valley! Yeah!

Greenleaf [SW]
Blues / Psychedelic / Stoner Rock

What makes a group truly unique and memorable – is something that can’t be defined, learned, or bought. Call it talent, magic, or whatever you want, but GREENLEAF has it. A super group of the underground rock scene, featuring a revolving cast of fellow musicians who share a love of heavy fuzz rock, GREENLEAF is a righteous kick in the ass and a testament to the almighty riff!

Geezer [US]
Cosmic Stoner Blues

Handmade Heavy Blues is a deep and heavy blues based rock. Imagine The Black Keys with a bit more evil in them, n more “Lonely Boy.” Geezer even sounds a bit like Larmon Clamor mixed with a little Five Horse Johnson. Either way you look at it, you’re getting a heavy blues album that covers it all.

The Black Willows [CH]
Shamanic Psych Rock

Black Willows causes an altered sensory experience of senses, emotions, memories, time, and awareness for 6 to 14 hours, depending on dosage and tolerance. Generally beginning instantly after ingestion, the user may experience anything from subtle changes in perception to overwhelming cognitive shifts. Changes in auditory and visual perception are typical.

Orango [NO]
Southern/Blues/Rock

Purveyors of honest and straightforward blues-infused vocal harmony rock, the trio Orango have worked on their musical blend and live reputation for over a decade. Their music is of the long-playing format, never shy of a hefty guitar solo or jamming in general. The band members say they are inspired by good ol´rock´n roll, good new rock´n roll, good ol´ blues, and good new blues”, namedropping bands like Lynyrd Skynyrd, ZZ Top, Mountain, Led Zeppelin, Johnny Winter, Peter Green’s Fleetwood Mac, Creedence Clearwater Revival, and Crosby Stills Nash & Young.

FREAK VALLEY FESTIVAL – 15th-16th-17th June 2017
www.freakvalley.de www.rockfreaks.de

Freak Valley Festival 2017: No Fillers – Just Killers

Line-up 2017:
Slo Burn, Pentagram (official), UFOMAMMUT, Greenleaf, The Brew, Salem’s Pot, MaidaVale, Geezer, Kikagaku Moyo, Vodun, Orango, The Black Willows

www.freakvalley.de
https://www.facebook.com/freakvalley
https://www.facebook.com/events/150965291977635/
https://twitter.com/FreakValley

Geezer, Geezer (2016)

Tags: , , , , , , , ,

The Obelisk Presents: THE TOP 30 ALBUMS OF 2016

Posted in Features on December 20th, 2016 by JJ Koczan

the obelisk top 30

Please note: This post is not culled in any way from the Year-End Poll, which is ongoing. If you haven’t yet contributed your favorites of 2016 to that, please do.

I say this every year: These are my picks. If you’re unfamiliar with this site, or you don’t come here that often, or if you do and just normally don’t give a crap — all of which is cool — you should know it’s all run by one person. One human being. Me. My name is JJ, and this is a list of what I think are the best albums that were released in 2016.

Since before 2016 began, I’ve kept a running list of releases. My criteria for what gets included in this list is largely unchanged — it’s a balance between what I feel are important records on the level of what they achieve, what I listened to most, what held some other personal appeal, and what I think did the best job of meeting the goals it set for itself. Pretty vague, right? That’s the idea.

The nature of worldwide heavy has become so broad that to encompass it all under some universal standard is laughable. Judging psychedelia, garage rock, heavy psych, doom, sludge and so on by the same measure makes no sense, and as genres continue to splinter and remake themselves as we’ve seen them doing all year and over the last several years, one must be malleable in one’s own taste. We’ve seen a new generation of heavy rock bands emerge in the last three-plus years. It’s been amazing, and there are a few pivotal second and third records that came out in 2016 to affirm that movement underway. Look for it to continue into 2017 and beyond.

This year more than any other seemed to want to bring the different sides together. A laudable goal. Thick riffing marked with flourish of psychedelia. Spacious doom bred against folk impulses. There’s been experimentation around melds that have led to considerable triumphs, and it just doesn’t seem to me that rigid standards can apply. It’s why I don’t grade reviews and never did.

Sound is evolving now as it always has been and as it will keep doing, but like any year, 2016 had a full share of landmarks to offer as a part of that process. As universal development hopefully remains ongoing, it’s only right that we celebrate the accomplishments helping to push it along its winding and sometimes divergent-seeming paths.

I have no doubt you know what I mean. Let’s get to the list:

30. Talmud Beach, Chief

talmud beach chief

Released by Svart Records. Reviewed Feb. 10.

Seems only fair to start with a record I couldn’t put down. Finnish trio Talmud Beach‘s second album and Svart debut, Chief, hit on just the right blend of laid back, semi-acoustic groove-blues, psychedelia and classic progressive folk rock, but with the exception of its sprawling dreamscape title-track (a welcome arrival at the finale), it also kept the songwriting simple, resulting in a natural, pastoral feel that only highlighted their melodic range in songs like “Mountain Man” and “Snow Snow Snow.” I think it flew under a lot of people’s radar, but I’ve kept going back to it over the course of the year and I see no reason to stop.

29. Comet Control, Center of the Maze

comet control center of the maze

Released by Tee Pee Records. Reviewed June 22.

Space is still the place. I’ve already highlighted closer “Artificial Light” from Comet Control‘s sophomore LP, Center of the Maze as my favorite song of 2016, so I’ll spare you the longwinded treatise on its languid cosmic glories — this time — but consider this a reminder that that song was by no means the limit of what the eight-track release had to offer in terms of breadth. From the opening push of “Dig out Your Head” to the dream-drift of “Sick in Space,” it unfolded tonal presence and a melodic depth that engaged a gorgeous, multifaceted sonic wash as it moved onward toward that landmark conclusion.

28. Droids Attack, Sci-Fi or Die

droids attack sci-fi or die

Self-released. Reviewed Feb. 17.

There was not a level on which Madison, Wisconsin’s Droids Attack didn’t make it clear they were going all-out, all-in on Sci-Fi or Die. Even the title speaks to the stakes involved. And sure enough, the trio executed their fourth album with a sense of urgency and professionalism in songcraft, production, artwork (discussed here) and nuance of presentation that managed to make even a song called “Clawhammer Suicide” a classy affair. As guitarist/vocalist Brad Van said on the hidden title-track, “Death to false stoner thrash.” Droids Attack brought that ethic and more to life across the entire record.

27. Beelzefuzz, The Righteous Bloom

beelzefuzz the righteous bloom

Released by Restricted Release and The Church Within. Reviewed Aug. 2.

A winding road brought Beelzefuzz around to following up their 2013 self-titled debut (review here), and as The Righteous Bloom brought guitarist/vocalist Dana Ortt and drummer Darin McCloskey together with bassist Bert Hall and lead guitarist Greg Diener, it found their songwriting more expansive, more progressive and dug further into their own particular oddball sense of grandeur. I’ve said on multiple occasions that no one out there is doing what Beelzefuzz are doing and that continues to be true. Even as a first offering from a new lineup of the band, The Righteous Bloom took bold and exciting forward steps.

26. Foghound, The World Unseen

foghound the world unseen

Released by Ripple Music. Reviewed July 6.

Down to business. Immediately. Not a moment to spare. Taking part in what can only be considered a landmark year for Ripple Music, Baltimore’s Foghound issued The World Unseen as an answer to their 2013 debut, Quick, Dirty and High (review here), and upped their game across the board. From the intensity in the hooks of “Message in the Sky” and Rockin’ and Rollin'” to the quiet interlude of “Bridge of Stonebows” and the mid-paced heavy rock nod of “Never Return,” they made a strong case for themselves among their label’s foremost acts and found individualism in the growth of their songwriting. It was a kick in the ass you weren’t going to forget.

25a. Egypt, Endless Flight

egypt endless flight

Released by Doomentia Records. Reviewed Dec. 11, 2015.

Put out by the band digitally in Dec. 2015 and issued on vinyl in 2016, Egypt‘s second LP, Endless Flight may be somewhat debatable in terms of when it actually landed (hence “25a.,” above), but the quality of the six-tracker more than warrants inclusion anyway. Rolling dense, massively-fuzzed groove, its nine-minute opening title-track set the course for the Fargo, North Dakota, three-piece, and they only grew the heavy revelry from there, as heard on the penultimate “Black Words,” which seemed to be chewing on rocks even as it played back and forth in tempo, build and push. The converted never had it so good.

25. 1000mods, Repeated Exposure To…

1000mods repeated exposure to

Released by Ouga Booga and the Mighty Oug Recordings. Reviewed Sept. 20.

There seems to be no stopping the Chiliomodi-based 1000mods, who with their third album have stepped to the forefront of Greece’s populous and vibrant heavy rock underground. Progressed well beyond where even 2014’s impressive Vultures (review here) found them, they seemed to hit a stride with Repeated Exposure To… thanks in part to road time and the ability to bring that energy directly into songs like the eight-minute roller “Loose” and the sizable crashes of “Groundhog Day.” Momentum working in their favor could be heard front-to-back from “Above 179” to “Into the Spell,” moving them toward something ever-more crucial and marking a considerable achievement along that path. 2017 might be a good time for them to test the waters with initial US shows.

24. Black Rainbows, Stellar Prophecy

black rainbows stellar prophecy

Released by Heavy Psych Sounds. Reviewed April 11.

Quick turnaround from Roman heavy psych magnate Gabriele Fiori (guitar/vocals) and company, but though it hit just about 13 months after their fourth full-length, Hawkdope (review here), Black Rainbows, Stellar Prophecy wholly succeeded in making an impact of its own, cuts like the oozing, organ-laced “Woman” and 11-minute jam-out triumph “Golden Widow” showcasing an approach in a continuous state of refinement that seems to get rawer as it goes, shifting like a rogue planetoid toward some maddening cosmic realization. How something can seem both so frenetic and so blissful is still a mystery, and perhaps that’s part of what makes Stellar Prophecy resonate as it does, but either way, Black Rainbows brought together some of the year’s most efficient psychedelic immersion.

23. Borracho, Atacama

borracho atacama

Released by Kozmik Artifactz. Reviewed Nov. 14.

Borracho don’t seem to release an album until they have something to say. That was to their credit on Atacama, their third LP and label debut for Kozmik Artifactz debut. Also their second collection issued as a trio behind 2013’s Oculus (review here), it distinguished itself from its predecessor in its sense of overarching flow, shifting between the ahead-thrust of “Gold from Sand” into the 10-minute sample-laden jam “Overload” to start out with such ease that the listener had little choice but to follow along. With an expanded scope on “Drifted away from the Sun” and the lightly-strummed memento mori “Flower,” Borracho found new avenues of expression to complement their well established dense, heavy riffing, and took obvious care in crafting their most realized LP yet.

22. The Golden Grass, Coming Back Again

the golden grass coming back again

Released by Listenable Records. Reviewed April 26.

Nothing Brooklyn’s The Golden Grass does feels like happenstance, and though their classic-styled boogie is imbued with a vibrant, friendly positive energy, there’s an underlying meticulousness in their arrangements and in their songwriting that came further into focus on Coming Back Again, their sophomore release 2014’s self-titled debut (review here). A more progressive take showed itself in “Reflections” and “Down the Line,” and taken in combination with the bookends “Get it Together” and “See it Through,” the three-piece stood on ground that was even more their own than on the first record, striking a careful balance between the willful exploration of new elements and the outright need for tracks to directly engage their listeners with catchy hooks and upbeat vibes. They did it. Expect continued growth.

21. Curse the Son, Isolator

curse the son isolator

Released by Snake Charmer Coalition and The Company Records. Reviewed March 1.

For something so awash in fuzz, so nodding in its rhythms, so let’s-push-the-vocals-back-under-this-huge-awesome-fucking-riff, Curse the Son‘s Isolator was also remarkably clearheaded in its purposes. With the added vocal harmonies of “Callous Unemotional Traits,” the far-off spaces of “Hull Crush Depth” and the stoner metal despair of “Aislamiento,” the Connecticut three-piece of guitarist/vocalist Ron Vanacore, capital-‘d’ Drummer Michael Petrucci and newcomer bassist Brendan Keefe drew a direct, intentional line to sometimes-grueling (hello, “Sleepwalker Wakes”) weighted tonality and found justification for their largesse in its own being. Like 2012’s Psychache (review here), I expect to be returning to Isolator over a longer term than this single year of release.

20. Neurosis, Fires Within Fires

neurosis fires within fires

Released by Neurot Recordings. Reviewed Sept. 21.

I feel like I need to explain myself here. Make no mistake, NeurosisFires Within Fires is among the year’s most accomplished offerings. There’s just about no way it wouldn’t be. So why not top 10? Top five? It’s a question of timing. With the long-running post-metal progenitors, it’s always a longer digestion period. It was about two years before 2012’s Honor Found in Decay (review here) really sunk in, and I expect Fires Within Fires will work similarly over the greater term. Maybe a little guilt on my part for the disparity between its quality and its placement, but rest assured, Neurosis remain among the most imperative bands walking the earth, and as they took on the full brunt of 30 years of unmitigated progression through Fires Within Fires, they were no less brazen in pushing themselves creatively than they’ve ever been.

19. Conan, Revengeance

conan revengeance

Released by Napalm Records. Reviewed Jan. 19.

Though the narrative of Conan has remained largely unchanged since their inception — hack, slash, kill, riff — and they still bask in nigh-on-unmatched tonal slaughter, their third full-length brings a few key developments. Perhaps most notable from opener “Throne of Fire” onward is the vocal interplay between guitarist/founder Jon Davis and bassist/longtime-engineer Chris Fielding, who joined after 2014’s Blood Eagle (review here). Adding Fielding‘s deeper growls allowed Davis to subtly move into a cleaner shout, and the emergent dynamic between them made Revengeance a decidedly expanded affair compared to Conan‘s past work. Adding drummer Rich Lewis to the mix was no minor shift either, and as much as Conan had already established their sheer dominance, they also sounded refreshed and set themselves up to keep growing.

18. Baby Woodrose, Freedom

baby woodrose freedom

Released by Bad Afro Records. Reviewed Aug. 18.

Some records just feel like gifts, and though many of its lyrical positions were cynical — “Reality,” “21st Century Slave,” “Mind Control Machine,” “Red the Sign Post,” etc. — Freedom marked the 15th anniversary of Danish garage-psych rockers Baby Woodrose with dripping lysergic aplomb, reminding some four years after their last LP, 2012’s Third Eye Surgery (review here), that bandleader Lorenzo Woodrose is unparalleled when it comes to manifesting his take on the psychedelic victories of 13th Floor Elevators and classic-era Hawkwind — firmly at home levitating on the edge of time. Its swirl and underlying foundation of songwriting, its Richie Havens cover title-track, and its sprawling interstellar “Termination” were like a welcome check-in from another dimension, and I only hope it’s not four years before Woodrose sends the next signal. Earth needs this band.

17. Geezer, Geezer

geezer geezer

Released by Ripple Music and STB Records. Reviewed Nov. 10.

I’m not going to discount the shuffle of “Sunday Speed Demon” or sleeze of “Sunday Speed Demon,” but where Geezer‘s self-titled third full-length really showed how far the New York heavy blues-psych trio have come was in its extended midsection jams, “Sun Gods,” “Bi-Polar Vortex” and “Dust,” each of which showed a distinct approach while feeding into an engaging flow between them, offering a blend of trailmarker hooks as they drifted into realms of organic chemistry previously uncharted by the band. The slow-motion swing of “Hangnail Crisis,” raucous push of “Superjam Maximus” and concluding bounce of “Stoney Pony” brought them back down to earth to finish out with a symmetry to the album’s opening, but Geezer kept a collective hand on the controls the whole voyage and when they landed, it was an arrival indeed, and very much what their two previous records were building toward.

16. EYE, Vision and the Ageless Light

eye vision and the ageless light

Released by The Laser’s Edge. Reviewed Nov. 17.

Beautifully experimental with its 27-minute finisher “As Sure as the Sun,” EYE‘s Vision and the Ageless Light seemed throughout its whole 46-minute run to be executing a cohesive vision in its synth-soaked progressive textures. Between the intro “Book of the Dead” and the subsequent “Kill the Slavemaster,” “Searching,” “Dweller of the Twilight Void” and the already-noted closer, each piece had something different to offer that added to the full impact of the whole, and with guitarist Jon Finely and bassist Michael Sliclen joining founding drummer/vocalist Brandon Smith and synth/Mellotron/Moog-ist Lisa Bella Donna (also vocals and acoustic guitar), EYE added to the scope of 2013’s Second Sight (review here) and found a place for themselves where prog complexity didn’t need to come at the expense of memorable songwriting and spaced-out vibes. An absolute joy, front to back.

15. Fatso Jetson, Idle Hands

fatso jetson idle hands

Released by Heavy Psych Sounds. Reviewed Oct. 3.

Even Fatso Jetson themselves would probably have to admit that six years — even a six years that saw several splits, singles, etc. — was too long between albums. Fortunately, Idle Hands saw the desert rock forebears in top form as regards their quirk-fueled songwriting, angular approach to punk and inimitable groove. Following 2010’s Archaic Volumes (review here) was no easy task, but with additional depth to the material from the contributions of guitarist Dino von Lalli — son of founding guitarist/vocalist Mario Lalli and nephew of founding bassist Larry Lalli — guest spots from his sister Olive Lalli as well as Sean Wheeler (the latter moves second cut “Portuguese Dream” into high-echelon strangeness) and the ever-propulsive drumming of Tony Tornay, Fatso Jetson were both all over the place and right at the core of where they most ought to be sonically. At 56 minutes, it hardly seemed long enough.

14. Hexvessel, When We are Death

hexvessel when we are death

Released by Century Media. Reviewed Feb. 5.

Each song was like a different persona the band adopted momentarily, whether it was the Bowie-goes-proto-goth-prog of organ-ic opener “Transparent Eyeball” or the grim pastoralia of “Mirror Boy” and the condemnations/proclamations of “Drugged up on the Universe,” but wherever Hexvessel went on their third full-length and Century Media debut, When We are Death, that unifying theme went with them. Death. It was everywhere in the Finland-based genre-benders’ deeply varied approach, though its presence made their material in no way off-putting, and in the case of cuts like “Cosmic Truth” or the later “Mushroom Spirit Doors,” not even dark, and as it drew the tracks together despite working in different sounds and style, it became apparent that When We are Death worked because of a universal quality in songwriting and presentation allowing for such drastic shifts without any risk of losing the audience.

13. Zun, Burial Sunrise

zun burial sunrise

Released by Small Stone Records. Reviewed Feb. 16.

Yawning Man guitarist Gary Arce — a key figure in the development of desert rock and a player of unmatched tone, period — had quite a year, between Zun‘s Burial Sunrise, his main outfit and his collaboration with Fatso Jetson vs. HifiKlub, but it was the dreamscape drift of songs like “Come Through the Water” and “All that You Say I Am” as well as the subtle hooks of “Into the Wasteland” and “All for Nothing” that, for me, made this the highlight. Sure, bringing in vocalists Sera Timms (Ides of Gemini, Black Mare) and John Garcia (ex-Kyuss, Slo Burn, Vista Chino, etc.) and having them swap back and forth between the tracks didn’t hurt either, but the wash of ethereal presence in Arce‘s guitar was an excellent showcase for his patience and improvisational sensibilities, and the spaces Burial Sunrise covered seemed to have an infinite horizon all their own. Will hope for a follow-up, will hope Garcia and Timms return, and will hope for a duet.

12. Elephant Tree, Elephant Tree

elephant tree elephant tree

Released by Magnetic Eye Records. Reviewed Jan. 29.

One had reasonably high expectations for the debut full-length from London’s Elephant Tree after their 2014 EP Theia (review here) so deftly blended spacious, sitar-laced heavy psychedelic rock with more visceral sludge impulses — a difficult mix to pull off — but I think it would’ve been impossible to see the quality of this self-titled outing coming in any substantive way. Gone were the screams, in was a depth of tone and nigh-on-perfect tempo — see “Dawn” and “Aphotic Blues,” as well as the acoustic “Circles” between them — and where some first albums have a kind of tentative, feeling-it-out vibe, guitarist/vocalist Jack Townley (interview here), bassist/vocalist Peter Holland, drummer Sam Hart and sitarist/vocalist/engineer Riley MacIntyre took utter command of the proceedings. They won’t have the element of surprise working for them next time, but as Elephant Tree made perfectly clear in its biggest surprise of all, neither do they need it.

11. Mos Generator, Abyssinia

mos generator abyssinia

Released by Listenable Records. Reviewed July 12.

If you were to ask me to summarize in one word the last four-plus years of Mos Generator‘s tenure, since their reactivation with 2012’s Nomads (review here) and the subsequent lineup changes and hard-touring that followed 2014’s Electric Mountain Majesty (review here), I’d say “go.” I might say it three times: Go-go-go. One of three LP-ish offerings out this year, the studio album Abyssinia embodied this ethic as it started with immediate momentum on “Strangest Times” and “You’ve Got a Right” and seemed to push itself into new ground as it went. Guitarist/vocalist/founder Tony Reed brought heavy boogie to bear at a frenetic clip, but Abyssinia offset its early mania with later progressive stylization on “There’s No Return from Nowhere,” “Time and Other Thieves” and harmonized closer “Outlander,” so that in addition to representing their furious creativity, it also brought them to places they’ve never been before in sound.

10. Slomatics, Future Echo Returns

slomatics future echo returns

Released by Black Bow Records. Reviewed June 29.

In some ways, Future Echo Returns was simply picking up where Belfast’s Slomatics left off with 2014’s Estron (review here), as heard on the riff of lead-in track “Estronomicon,” but as the third in a purported trilogy following that record and 2012’s A Hocht, it also brought the tonecrushing three-piece to Skyhammer Studio to work with producer Chris Fielding (Conan) and presented a linear storyline that, while rife with standout moments in cuts like “Electric Breath,” the ambient “Ritual Beginnings” and ultra-catchy “Supernothing,” found a genuine sense of resolution in the finale “Into the Eternal” that spoke to the scope the entire work was meant to represent — not just itself, but an entirety spanning three albums. Not a minor feat, but what also made Future Echo Returns so resonant was how well the material stood on its own, so that even without the narrative context, it was immersive, hypnotic and unbridled in its heft.

9. Wo Fat, Midnight Cometh

wo fat midnight cometh

Released by Ripple Music. Reviewed April 21.

After two landmarks issued by Small Stone in 2014’s The Conjuring (review here) and 2012’s The Black Code (reviews here and here), Texas forerunners of riff Wo Fat gave a concise rundown of their appeal in the six-track Ripple debut and sixth LP overall, Midnight Cometh. Their ongoing development as found them bringing together a two-sided personality of memorable songs and open, fluid jams, and cuts like “There’s Something Sinister in the Wind,” “Of Smoke and Fog,” “Three Minutes to Midnight” and “Nightcomer” emphasized the next stage of this process, while the shuffling “Riffborn” and swaggering blues rock of “La Dilleme de Detenu” gave listeners a chance to touch ground every now and again. Over the last two-plus years, Wo Fat have become a point of influence for other, particularly American, acts — see labelmates Geezer — and Midnight Cometh assured that will be the case going forward too; a status well-earned.

8. King Buffalo, Orion

king buffalo orion

Released by Stickman Records. Reviewed July 29.

Offered up this summer as a limited self-release and picked up by no less than Stickman Records (Motorpsycho, Elder), Orion might be the most molten inclusion on this list. It’s also my pick for 2016 Debut of the Year, and to hear cuts like “She Sleeps on a Vine,” “Kerosene,” the sprawling closer “Drinking from the River Rising,” or even just to take the whole record front-to-back, which was clearly how the band intended it be experienced, there’s just about no competition in that regard that stands up. The Rochester, NY, three-piece showed marked promise on their 2013 demo (review here) and 2015 split with Lé Betre (review here), but the listenability of Orion — which earned every single one of its repeat visits — made it a triumph on a different level entirely, and distinguished King Buffalo as a formidable presence in the sphere of US heavy psychedelia, fostering a sound no less soulful for its outward cosmic reach and to-be-measured-in-lightyears scale of potential.

7. Wight, Love is Not Only What You Know

wight love is not only what you know

Released by Fat and Holy Records, Kozmik Artifactz, Import Export Music and SPV. Reviewed Sept. 7.

German outfit Wight answered significant anticipation on their third album, Love is Not Only What You Know, some four years after 2012’s Through the Woods into Deep Water (review here) and undertook a significant evolution in sound. A transition from a trio to a four-piece and adding a strong current of funk to their heavy psych groove and boogie resulted in cuts like “The Muse and the Mule,” the jammed-out “Kelele” and “The Love for Life Leads to Reincarnation,” which were as danceable as they were nod-ready, and when complemented by shorter classic rockers like “Helicopter Mama” and “I Wanna Know What You Feel” (still plenty funky) and the Eastern-tinged interlude “Three Quarters,” gave Love is Not Only What You Know scope to match its ass-shaking encouragement. It was a spirit unto itself among 2016 releases, but ultimately, the key to understanding the record was right there in the title: It was all about love, and wherever Wight went in a given track, they never lost sight of that.

6. Greenleaf, Rise Above the Meadow

greenleaf rise above the meadow

Released by Napalm Records. Reviewed Feb. 18.

A decade and a half after 2001’s Revolution Rock (discussed here), Sweden’s Greenleaf most embodied that ethic with Rise Above the Meadow, their sixth long-player and Napalm Records debut. 2014’s Trails and Passes (review here) represented the key step of founding guitarist Tommi Holappa (interview here) bringing vocalist Arvid Johnsson into the lineup, but Rise Above the Meadow built exponentially on what that album achieved, bolstered by work as a touring band and a revitalized songwriting process heard in “Howl,” “A Million Fireflies,” “You’re Gonna be My Ruin,” the stomping “Golden Throne” and “Tyrants Tongue,” among others. I refuse to discount the quality of Trails and Passes, 2012’s Nest of Vipers (review here) or 2007’s landmark Agents of Ahriman (review here), but as Greenleaf shifted toward a style more reminiscent of Holappa‘s later output with Dozer, they also seemed to stake their claim on the forefront of European heavy rock and roll, which was just waiting for them to do so.

5. Brant Bjork, Tao of the Devil

brant bjork tao of the devil

Released by Napalm Records. Reviewed Sept. 15.

Perhaps the most believable lyric of 2016 was the opening line of leadoff cut “The Gree Heen” from Brant Bjork‘s Tao of the Devil: “I got all that I need. I got the gree-heen.” From the prominent pot leaf on the cover to that single clause — which set the tone for that song’s mega-nod as much as everything that followed in the boogie of “Humble Pie” and “Stackt,” the so-laid-back-it’s-almost-unconscious title-track and the longer-form explorations of “Dave’s War” and the wah’ed-out “Evening Jam” — the inimitable Bjork seems to have embraced the role of stoner guru and the Godfather of Desert Rock. Tao of the Devil was his second release through Napalm behind 2014’s Black Power Flower (review here), which introduced the Low Desert Punk Band, and far from hanging its hat on the man’s historical accomplishments from his days in KyussFu ManchuCheVista Chino, etc., the 50-minute eight-tracker came fueled by the soul most typified in Bjork‘s solo catalog, which it’s increasingly easy to argue is his greatest contribution to the desert aesthetic. Definitely in his wheelhouse, but what a wheelhouse.

4. Asteroid, III

asteroid iii

Released by Fuzzorama Records. Reviewed Oct. 21.

What a relief it was to have Asteroid back, and what a relief it was to have III arrive some six years after II (review here) and find the Örebro, Sweden, trio’s certified-organic chemistry undulled by that long stretch. The songs — “Pale Moon,” “Last Days,” “Til Dawn,” “Wolf and Snake,” “Silver and Gold,” “Them Calling,” “Mr. Strange” — there wasn’t a miss in the bunch, and in addition to the reignited craftsmanship, III made clear a progression as players and the intent to move forward from guitarist/vocalist Robin Hirse, bassist/vocalist Johannes Nilsson and drummer Elvis Campbell (since replaced by Jimmi Kolscheen), so that the material didn’t just let listeners know Asteroid was a band again after having unceremoniously faded out for a half-decade, but gave a signal that perhaps they were just getting started. One can only hope that turns out to be the case, but either way, III felt like a reward dolled out to their fanbase after a long absent stretch, and one that, like II and their 2007 self-titled debut (discussed here) before it, will reverberate its echoes for years to come. Hands down 2016’s most welcome return.

3. Gozu, Revival

gozu revival

Released by Ripple Music. Reviewed May 19.

Though it would carry the context of its scorching opener “Nature Boy” with it for the duration and, accordingly, hit with a more intense feel than its 2013 predecessor, The Fury of a Patient Man (review here), Gozu‘s fourth album overall and Ripple label debut was a kick in the ass on more than just that one level. It found the Boston foursome with the finally-solidified lineup of vocalist/guitarist Marc Gaffney, guitarist Doug Sherman, bassist Joe Grotto and drummer Mike Hubbard, and while one could argue they still wound up under the banner of a heavy rock band, that became happenstance to the songs themselves. That is, even more than The Fury of a Patient Man or 2010’s Locust Season (review here), Gozu came across as writing not to style, but to their own impulses, as demonstrated in “Big Casino,” the echoing soul of “Tin Chicken” and shuffle-thrust of “Oldie,” and as they moved beyond their initial swath of influence into this individualized sonic persona, they reaped the benefits of the locked-in lineup and a process of craft that never sounded so purposeful. Revival was indeed typified by its vitality, but it was also the sound of a band maturing as a unit, becoming who they were meant to be, and there is almost nothing more exciting than that for a single album to represent. Plus, it had a song called “By Mennen,” and, you know, references.

2. Mars Red Sky, Apex III (Praise for the Burning Soul)

mars red sky apex iii praise for the burning soul

Released by Listenable Records. Reviewed Feb. 24.

It was unreasonable to expect the third full-length from Bordeaux, France, trio Mars Red Sky to surpass 2014’s Stranded in Arcadia (review here) and the progressive crux that album brought to the warm tones and sweet melodicism of their 2011 self-titled debut (review here), but Apex III (Praise for the Burning Soul) reinforced the elements that worked so well on previous outings while pushing inarguably onto what the band seemed to know was “Alien Ground” if the title of their intro was anything to go by. More over, it did so with a natural fluidity and poise that were as striking as they were encompassing in sound. Tying to earlier 2016’s Providence EP (review here) in concept and execution through that intro and the title-track following it, Apex III presented the to-date pinnacle of Mars Red Sky‘s growth in songs like “The Whinery,” “Mindreader,” the tear-inducing “Under the Hood,” the swing-happy “Friendly Fire,” the willful atmospheric crash of closer “Prodigal Sun” — each one a crucial advancing step from the trio of guitarist/vocalist Julien Pras, bassist/vocalist Jimmy Kinast and drummer Mathieu “Matgaz” Gazeau — and brilliantly fed them one into the other, so that in addition to the standout impressions of each, there developed a personality to the whole span of the album; a world of Mars Red Sky‘s own creation, where they dwelt for what seemed too short a time before returning to earth and on from here to who knows where next.

1. SubRosa, For this We Fought the Battle of Ages

subrosa for this we fought the battle of ages

Released by Profound Lore. Reviewed Aug. 26.

Most of all, For this We Fought the Battle of Ages was fearless. For their fourth album, Salt Lake City’s SubRosa adapted themes from 1924’s We by Yevgeny Zamyatin, which laid out a futuristic dystopia wherein all identity is subsumed to the state and even love is outlawed when not properly sanctioned. This framework, obscure if influential, gave guitarist/vocalist Rebecca Vernon, violinist/vocalist Sarah Pendleton, violinist/backing vocalist Kim Pack, bassist/vocalist Levi Hanna, drummer/engineer Andy Patterson (formerly of Iota, among others), and a range of other contributors, a space in which to explore gender and LGBT issues across the six included tracks, and from the opening build and crush of the chorus to “Despair is a Siren” through the depiction of privilege in “Wound of the Warden,” the 97-second Italian-language ballad “Il Cappio” (translated: “the noose”) and into the gut-wrenching finale of “Troubled Cells,” their musical accomplishment was no less stunning than lyrics like, “Isn’t it good to be acquainted with darkness?/To caress it gently/To slit its throat,” from “Black Majesty.” Tense in its quiet stretches, harmonized vocally, given orchestral presence through its use of strings, flute, French horn, and so on, For this We Fought the Battle of Ages worked fluidly in what for most acts would be a contradictory modus of careful, meticulous arrangements and raw, emotional realism. No matter how deep it dove — and by the time identity was being erased and the state was taking control of the body on “Killing Rapture,” it was diving pretty deep — SubRosa never lost their sense of poise, so that the defiance in the last movement of “Troubled Cells” in which Heaven itself is rejected with the clearest of justifications, “Paradise is a lie if you’re not by my side,” the band seemed to stand as straight and tall as their multi-tiered righteousness would warrant. But even if one took For this We Fought the Battle of Ages with politics aside, its achievement in marrying post-metallic structures, gothic texture and progressive atmospherics was on a plane of its own making, operating under its own rules and in its own definitive space. Albums like it do not happen every year, and forward motion for genre as a whole is rarely so visible as it was in this special offering, which seems only fair to regard as a landmark for the band and anyone whose ears and hearts it touched.

The Next 20

Like any good Top 30, mine goes to 50. Here is the next batch:

31. Blaak Heat, Shifting Mirrors
32. Truckfighters, V
33. West, Space & Love, Vol. II
34. Seedy Jeezus with Isaiah Mitchell, Tranquonauts
35. Yawning Man, Historical Graffiti
36. Causa Sui, Return to Sky
37. Vokonis, Olde One Ascending
38. Hotel Wrecking City Traders, Phantomonium
39. The Wounded Kings, Visions in Bone
40. It’s Not Night: It’s Space, Our Birth is but a Sleep and a Forgetting
41. Beastwars, The Death of all Things
42. Naxatras, II
43. Holy Grove, Holy Grove
44. Worshipper, Shadow Hymns
45. Wretch, Wretch
46. Colour Haze, Live Vol. I: Europa Tournee 2015
47. Zaum, Eidolon
48. Bellringer, Jettison
49. Young Hunter, Young Hunter
50. Mammoth Weed Wizard Bastard, Y Proffwyd Dwyll

From the kinetic desert artistry of Blaak Heat to Mammoth Weed Wizard Bastard’s ethereal synth-laden doom, there are more than a few essentials here. I’ve never before done a year-end list that had so many releases on it, but my motivation in doing so this time around couldn’t have been simpler: They were simply too good and had too much to offer to leave out. It would’ve been an oversight to do so.

Honorable Mentions

Even a Top 50 fails to grasp the full scope of what 2016 brought about musically, so here are even more, alphabetically:

Ancient Warlocks, II
Black Moon Circle, Sea of Clouds
Sergio Ch., Aurora
Lamp of the Universe, Hidden Knowledge
Mondo Drag, The Occultation of Light
Øresund Space Collective, Visions Of…
-(16)-, Lifespan of a Moth
Spidergawd, III
The Well, Pagan Science
Wovenhand, Star Treatment

And if that’s still not enough, here are 60-plus more names who shouldn’t be left out of the discussion, also alphabetically:

Akris, Atala, Atomikylä, Backwoods Payback, Beastmaker, BigPig, Black Cobra, Black Lung, Blood Ceremony, Blues Pills, Bright Curse, Bus, Dee Calhoun, Captain Crimson, Child, La Chinga, Church of Misery, Conclave, Cough, Devil to Pay, Domkraft, Dot Legacy, Electric Citizen, Estoner, Eternal Elysium, Fatso Jetson & Gary Arce vs. Hifiklub, Fox 45, Goatess, Goblin Cock, Graves at Sea, Heavy Temple (they’ll be back on next year’s list), High Fighter, Holy Serpent, Hotel Wrecking City Traders, Inter Arma, Joy, Kaleidobolt, Khemmis, King Dead, Lord, Lord Vicar, Merchant, Mirrors for Psychic Warfare, Helen Money, Monkey3, Moon Coven, Mother Mooch, Necro, New Keepers of the Water Towers, T.G. Olson, Oranssi Pazuzu, Pooty Owldom, Russian Circles, Salem’s Pot, Samavayo, Seremonia, Skuggsjá, Sourvein, Spirit Adrift, Stone Machine Electric, Suma, Surya Kris Peters, Swans, Throttlerod, Virus, Wasted Theory, Wretch, and Zaum.

Thank You

In case none of the above has made it clear, I’ll just say flat out that 2016 has been an amazing year for music, and that every time I feel like maybe underground heavy has hit a wall and there’s nowhere left for it to go, sure enough about three minutes later another record shows up that slaps me in the face with a reminder of just how wrong that notion is.

If you’re still reading — how could you be? — thank you so much for your incredible support throughout 2016 and all the years The Obelisk has been in progress. I already know that 2017 is going to bring some incredible music as well, but that’s another list for another time, so I’ll just say again how much I appreciate your being a part of this ongoing project, how much it means to me to have you here. Thank you, thank you, and thank you.

And please, if there’s anything I forgot, got wrong, misspelled, or if you just think I used the word “breadth” too many times, please let me know about it in the comments.

One more time: Thank you.

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

Geezer, Geezer: Open Vortices (Plus Full Album Stream)

Posted in audiObelisk, Reviews on November 10th, 2016 by JJ Koczan

geezer-self-titled

[Stream Geezer’s self-titled in full by clicking play above. Album is out Nov. 18 on Ripple Music and Nov. 19 on STB Records.]

It was exceedingly difficult to argue with the idea when New York heavy blues jammers Geezer opted to take their 2013 Gage EP and build it out into a second full-length the next year as their debut on STB Records and the follow-up to their self-released first outing, Electrically Handmade Heavy Blues. Since then, they’ve remained prolific. The Gage LP (review here) came out through STB and Ripple Music, and Geezer went on to release the Live! Full Tilt Boogie (review here) tape that same year as well as the 2015 digi-single “Long Dull Knife” (discussed here) before also taking part in the first installment of Ripple Music‘s The Second Coming of Heavy series of limited split LPs, working alongside Washington D.C.’s Borracho (review here).

On some level or other, each new outing has marked a step forward in the trio’s progression, and this encouraging trend continues on their self-titled LP (also through Ripple and STB), which presents 51 minutes of new material across an eight-track stretch that plays between straightforward mega-fuzzed bounce and expansive jamming as the three-piece of guitarist/vocalist Pat Harrington, bassist Richie Touseull and drummer Chris Turco ooze their way through extended fluidity on “Sun Gods,” “Bi-Polar Vortex” and “Dust,” a sort of jamming trilogy that follows the more straightforward opening duo “Sunday Speed Demon” and “One Leg Up” and ends up making a major statement in the personality of the album as a whole, despite a measure of sonic variety in itself. Worship of tone, the stellar fretwork and graveling voice of Harrington and the nod from Touseull and Turco regardless of tempo tie the songs together as Geezer step into their own, and if it’s not a coincidence that their third long-player is self-titled and the statement they’re making is this is who they are as a unit, then the confidence that signals in their approach is well justified.

They begin at a boogie clip with “Sunday Speed Demon,” the shortest inclusion at 3:19, and continue to push through with strong momentum as Turco‘s drums lead the way into “One Leg Up.” Other reviews have called out the latter track’s lyrics as sexist. The band has countered saying context is everything. I won’t argue with either side. The artwork they had for the digital single didn’t do much to help their case, and while we’re citing the politically suspect, closer “Stoney Pony” fits right in as well. One could debate endlessly about how Uncle Acid get to write songs about murdering women and have it called aesthetic artistry while Geezer tap into “My girl’s built like a pony” and it’s not. I don’t care to. “One Leg Up” is almost woefully catchy, however — for that matter, so is “Stoney Pony” — and by being almost twice as long as the opener and departing into a dreamy wah solo in its midsection, it effectively smooths the path into the drifting “Sun Gods,” the 9:25 highlight of Geezer‘s Geezer and the first part of the aforementioned trilogy of jammers with “Bi-Polar Vortex” (8:56) and “Dust” (7:59) behind it, the former perhaps the most spaced-out of the three and the latter finding ground in part thanks to a hook referencing Queens of the Stone Age‘s “Long Slow Goodbye.”

geezer

It’s important to note that although each of the record’s “big three” have this unfolding grandeur, they’re also memorable thanks to an underlying core of songwriting. Geezer have proven time and again to be ace jammers as few East Coast acts are — the deluxe edition of the self-titled comes accompanied by the bonus LP A Flagrant Disregard for Happiness (premiered here); a single-song half-hour semi-improvised work that further drives the point home — but as the slow-rolling “Dust” begins the shift back to more structured vibes that will continue through “Hangnail Crisis,” “Superjam Maximus” and “Stoney Pony,” their blend of the ethereal and the terrestrial is seamless and their flow once again seems to be the realization of what their progression to this point has been driving toward. Again, Geezer‘s Geezer indeed.

I’m not sure where the LP actually splits — if it’s four tracks on each side and “Dust” starts side B” or if “Stoney Pony” is a CD-only cut; it has kind of a bonus-track-y feel to it, almost tacked on — but it’s clear as the guitar starts “Hangnail Crisis” that the album has entered the last of its three movements. Think of it as a trip out and back. You start on the ground, launch, and return. That’s not to say the roll of “Hangnail Crisis” or the layered lead work late in the surprisingly uptempo “Superjam Maximus” don’t have their hypnotic aspects, but it’s no less of a palpable turn than that into “Sun Gods” from “One Leg Up” despite the work HarringtonTouseull and Turco do to ease the transition. When they commence, the starts and stops of “Stoney Pony” offer one last bounce and nod to the listener and another catchy, bluesy chorus, which isn’t really anything that “Hangnail Crisis,” “Superjam Maximus,” or for that matter “Sunday Speed Demon” and “One Leg Up,” didn’t accomplish, but neither does it detract from the outing overall, which maintains its fluidity right up to the end.

Geezer‘s third album isn’t perfect — nor is it intended to be — and while I don’t believe a group who base so much of what they do around improvisation and songs developed therefrom necessarily finishes growing at any given point, I do think this is the moment at which Geezer have locked into and demonstrated clear intent toward a multifaceted style that engages the listener with deceptive variety and consistent, high-quality songcraft. On a sheer performance level, they’ve never sounded better, whether that’s the increased confidence and melodic range in Harrington‘s vocals, the blend of fuzz in the bass and guitar or the manner in which any player at any point seems ready to take the fore. Considering that in combination with the strength of the material they’re putting forth, it becomes even easier to see their self-titled marking Geezer‘s true arrival as a band.

Geezer, “A Flagrant Disregard for Happiness” official video

Geezer on Thee Facebooks

Geezer on Bandcamp

Ripple Music on Thee Facebooks

Ripple Music website

STB Records webstore

STB Records on Thee Facebooks

Tags: , , , , , ,