The Obelisk Show on Gimme Metal Playlist: Episode 46

Posted in Radio on November 13th, 2020 by JJ Koczan

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Here’s how I figure it. The usual episode of The Obelisk Show on Gimme Metal runs about an hour and 50 minutes. Somewhere between 1:45:00 and 1:50:00, anyhow. That accounts for two voice tracks each roughly three minutes long and whatever promo pieces they want/need to throw in between songs. Okay.

This episode is 1:56:00. So that’s the two voice tracks gone. There’s still some room for a few promo pieces, but I didn’t really feel like talking anyway. I felt like mellow psych jams and space rock, and dammit, that’s what I got. Honestly, if you were to hear me yammering on about how good Electric Moon or Mugstar are, it would add nothing to the experience of listening to the show. You know it and I know it. These jams, many of which are instrumental, speak for themselves, and by the time I got around to AXIOM9, my feeling was a fervent “screw it, go all in.” So we go from Causa Sui easing into the proceedings with the closing track of their just-streamed LP Szabodelico to the 45-minute epic exploration of the final included cut from the aforementioned AXIOM9. And if you’ve got a problem with it, well, you have my permission to go do something else with your life for these two hours. This is what I wanted this episode to be.

If you tune in, I hope you enjoy. Thanks for listening and reading.

The Obelisk Show airs 5PM Eastern today on the Gimme app or at http://gimmemetal.com

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Full playlist:

The Obelisk Show – 11.13.20

Causa Sui Merging Waters Szabodelico* 0:09:51
Mugstar Ghost of a Ghost Graft* 0:12:16
Hermitess Phone Call Celestial* 0:04:59
Electric Moon Increase Live at Freak Valley Festival 2019* 0:19:28
Øresund Space Collective Summit Four Riders Take Space Mountain* 0:21:20
Face Off September Machines* 0:03:22
AXIOM9 Cosmic Slime Space Debris* 0:45:23

The Obelisk Show on Gimme Metal airs every Friday 5PM Eastern, with replays Sunday at 7PM Eastern. Next new episode is Nov. 27 (subject to change). Thanks for listening if you do.

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audiObelisk Transmission 061

Posted in Podcasts on May 15th, 2017 by JJ Koczan

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Yes! A new podcast! Are you stoked? I’m stoked. If you’re not, you will be when you look at the list of bands included. In any case, let’s be stoked together, because rock and roll, and heavy psych and good music and, well, yeah. That’s pretty much stuff to be stoked about. It’s been absurdly long since the last time we did one of these. Too long. I don’t really have an excuse other than… gainful employment? Don’t worry, though. That’ll be over soon enough. Then it’ll be podcasts out the ass.

There’s some killer goods here though. Yeah, I decided to do a “Yeti” double-shot with Green Yeti into Telekinetic Yeti. That’s my version of me being clever. But both bands are righteous, and if you haven’t heard the Savanah record, or that new Tia Carrera jam, or the Cachemira or Big Kizz or Yagow or Vokonis or the Elder — oh hell, frickin’ all of it — it’s worth your time. That Emil Amos track just premiered the other day and I think will surprise a lot of people, and I liked the way it paired with the dark neofolk of Hermitess. And of course we get trippy in the second hour, as is the custom around here. But first a moment of prog clarity from the aforementioned Elder. That’s a good time as well.

As always, I hope you enjoy.

Track details follow:

First Hour:

0:00:00 Vokonis, “The Sunken Djinn” from The Sunken Djinn
0:06:47 Tia Carrera, “Laid Back (Frontside Rock ‘n’ Roll)” from Laid Back (Frontside Rock ‘n’ Roll)
0:16:33 Supersonic Blues, “Supersonic Blues Theme” from Supersonic Blues Theme / Curses on My Soul
0:19:28 Emil Amos, “Elements Cycling” from Filmmusik
0:22:28 Hermitess, “Blood Moon” from Hermitess
0:26:24 Savanah, “Mind” from The Healer
0:34:22 Yagow, “Non-Contractual” from Yagow
0:42:35 Big Kizz, “Eye on You” from Eye on You
0:45:53 Cachemira, “Jungla” from Jungla
0:52:05 Green Yeti, “Black Planets (Part 2)” from Desert Show
0:58:02 Telekinetic Yeti, “Stoned and Feathered” from Abominable

Second Hour:

1:02:10 Elder, “The Falling Veil” from Reflections of a Floating World
1:13:20 Riff Fist, “King Tide” from King Tide
1:24:15 Cavra, “Montaña” from Cavra
1:39:18 Causa Sui, “A Love Supreme” from Live in Copenhagen

Total running time: 1:55:53

 

Thank you for listening.

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Hermitess Post “Blood Moon” Video; Debut Album out May 12

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

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Despite, or maybe because of, a steady dose of harp as a central element of the arrangements on Hermitess‘ forthcoming self-titled debut — out May 12, which is apparently this week; whither thou, 2017? — I hear a bit of Hexvessel‘s earth-worship in the deceptively not-minimalist aesthetic of the Calgary outfit. Begun as the solo-project of Jennifer Crighton (ex-Devonian Gardens) and fleshed out from there with a range of guest players and harmony-providers, Hermitess does indeed offer the sense of loneliness one might expect from the moniker, but as those who’ve separated themselves from society are often considered to be imbued with a special kind of ascetic wisdom, so too does Crighton‘s “isolation” come with a particular depth of melody.

I suppose an even easier comparison point — if we’re being lazy — would be the dark goth-folk atmospheres of Chelsea Wolfe, but again, Crighton brings a nuance to the nine-trackhermitess self titled album such that songs like “Obsidian Stairs,” “Black Lake” and “The Guest,” while grim in mood, lean more toward Angels of Light-style Americana in their foreboding than the kind of dystopian emotionalism one might expect. Still, when Hermitess shifts from acoustic fare into the hey-there’s-drums-and-distortion-here of “Hush,” the droning wash is clear in its impression. One would hardly hold sonic diversity against Crighton, though, as it makes Hermitess a stronger record on the whole, and as she closes out by pairing the string-laden “Tender” with the underlying growl of “Vampires,” the ambient scope is given further reinforcement in kind with the songwriting so essential to a release like this in the first place.

The video below for the track “Blood Moon” is fairly minimal in its own right, featuring a lone figure that’s presumably Crighton herself walking toward the camera, mask held up to her face, carrying a lantern, in the gray woods. It’s kind of a creeper, but so is the song, so I’ll take it, and if it’s your introduction to the album as it was mine, you should know that while it doesn’t necessarily represent the whole of Hermitess‘ Hermitess in terms of the surrounding instrumentation, the patience in its unfolding and lushness of its melody are very much themes around which the work is built.

PR wire info follows the clip. I hope you enjoy:

Hermitess, “Blood Moon” official video

Lead track from the forthcoming album by Hermitess

Concept & Performance: Jennifer Crighton
Camera & Direction: Tatiana Losev

The Hermitess is the solo project of songwriter and harpist Jennifer Crighton, who comes by way of various other musical incarnations, including The Consonant C and Devonian Gardens. Stripping back the performance to a harp and a circle of women’s voices, the Hermitess is an inquisitive, contrary, wounded, wise and ever dreaming incantation

As the name implies, this album came about at a remove from modern life. While isolated in a cabin in northern Michigan, Jennifer Crighton began to conceive of this character (Hermitess) and a set of songs that would feel at home in the wintry knee-deep snow drifts and creaking trees. Crighton’s electric harp stands at the centre of the project. It’s an instrument that’s often associated with both the traditional and the ethereal, and Crighton makes the most of that contrast. Delicate lines loop and tangle into an intricate latticework of rhythm and melody, while unfamiliar sounds and unplaceable textures enrich the arrangements, courtesy of the Audities Foundation’s incomparable collection of instruments and equipment.

Over this sonic foundation, Crighton sings in the voice of her adopted character, the words part story and part incantation. The lyrics question and caution the listener, walking the line between sweet dreams and nightmares—a feeling that’s only enhanced by the chorus of women’s voices drifting through the album like a soft wind cutting across a frozen landscape. It’s the a sound at once eerie and inviting, traced in magic and grounded in nature. It’s the voice of the Hermitess.

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