Quarterly Review: Godflesh, Serpents of Secrecy, Vymaanika, Zong, Vitriol, Pillars, Lamp of the Universe & Kanoi, Azonic, Thousand Vision Mist, Arcadian Child

Posted in Reviews on January 12th, 2018 by JJ Koczan

Lodewijk de Vadder (1605-1655) - 17th Century Etching, Landscape with Two Farms

Today is the last day of The Obelisk’s Quarterly Review, and it’s kind of hard to believe it’s gone so fast. Before I put the Big Boot to the proceedings like Hulk Hogan getting ready to call it a day with an elbow drop at Wrestlemania — yup, just like that — I have to take a special moment to thank The Patient Mrs. for allowing me the time this week to bang out all of these reviews and get everything sorted on the back end, etc., for these posts. She, of course, as always, perpetually, has been unbelievable, and especially with The Pecan to manage, she’s earned her title more than ever. It is thoroughly, deeply, appreciated. Much love, baby. Thank you.

Okay, Big Boot time. Let’s do this thing.

Quarterly Review #41-50:

Godflesh, Post Self

godflesh post self

Guitarist/vocalist/programmer Justin K. Broadrick and bassist BC Green return with Post Self, their second post-reunion full-length behind 2014’s A World Lit Only by Fire (review here) and a collection of churning electro-noise hymnals that work in a sphere that should by now be well familiar to their multi-generational fanbase. The groundbreaking industrial pioneers sound decidedly led by the guitar on the chugging “Parasite” and the airy, almost Jesu-style wash of “The Cyclic End,” but the intensity of the beat behind “No Body,” bass and noise onslaught of “Be God” and synth-driven soundscaping of “Mortality Sorrow” recall the sonic diversity that’s always been as much a part of Godflesh’s approach as their signature cyclical rhythmic style. More perhaps than ever, Broadrick and Green seem to be aware of what defines Godflesh as a band in terms of sound, and as they make the crucial move from a “reunion” band to a working one, they seem as glad as ever to push those boundaries once more.

Justin K. Broadrick on Thee Facebooks

Avalanche Recordings on Bandcamp

 

Serpents of Secrecy, Uncoiled: The Singles

serpents-of-secrecy-uncoiled-the-singles

This two-song single may end up bring the only offering Serpents of Secrecy ever make public, and it was years in coming together. In December, the Chesapeake region group with members of Foghound, Borracho and King Giant suffered the loss of bassist Jim Forrester, who was murdered in Baltimore, and while a debut long-player was in discussion, to-date the five-piece have only issued “Warbird’s Song” and “The Cheat” as Uncoiled – The Singles, and obviously now any kind of follow-up is in question. Whether it’s the raucous burl of “Warbird’s Song” or the bluesy, organ-topped fluidity of “The Cheat,” the J. Robbins-produced tracks demonstrate the potential at heart from the lineup of vocalist Mark Lorenzo – who wound up in the role after members of Alabama Thunderpussy and Mister Bones vacated – guitarists Steve Fisher and Todd Ingram, Forrester and his former Sixty Watt Shaman bandmate Chuck Dukehart III. The only question at this point is whether that potential will ever see further realization. Right on as these songs are, I’m torn on the idea, to be honest.

Serpents of Secrecy on Thee Facebooks

Salt of the Earth Records website

 

Vymaanika, Spectroscope

vymaanika-spectroscope

Multinational space rockers Vymaanika debut with the 20-minute two-songer Spectroscope EP, comprised of its 10-minute opening title-track and the subsequent “Golden Void,” which may or may not be named in honor of the side-project of Earthless guitarist Isaiah Mitchell. I’d believe it either way. The band comprises members from Catalan – guitarist/vocalist/synthesis Carles Esteban and bassist Andrés Paniagua, Chile in drummer/synthesist Jose Jünemann, and the US in guitarist/vocalist/synthesis Benjamin Mahoney, but they all seem to have come together to record in Barcelona, and the breadth of “Spectroscope” and serene psychedelic mantra-making of “Golden Void” benefit from that band-in-the-room vibe. Especially so the latter, which touches early on vocal harmonies over drifting guitar strum, steady synth drone and percussive pulsations before building to a more active apex in its second half. After the cacophony taking hold in the back end of “Spectroscope,” it’s a clear demarcation of a varied sonic persona, and while I don’t know how often Vymaanika will be able to get everyone together with the geographic spread, it’s easy to be glad they did it for this first EP.

Vymaanika on Thee Facebooks

Vymaanika on Bandcamp

 

Zong, Zong

zong zong

Flowing arrangements abound on Zong’s self-titled four-track debut full-length. The Brisbane, Australia-based heavy psych three-piece are well within their genre sphere, but from opener and longest track (immediate points) “Cosmic Embryo” (13:00) through “Arcane Sand” (8:10), the perhaps-Zardoz-referential “Giant Floating Head” (11:48) and closer “Return of the Alien King” (10:32), they demonstrate a natural chemistry, patience and warmth of tone that is no less comfortable in the march and lurch of its penultimate cut than in dug-in repetition-born hypnosis of the leadoff. Deceptively weighted from almost its beginning point with the low end of Michael Grinstead’s bass and the rolling drums of Henry Bennett, there’s also a balance of airiness from guitarist Adam Anderson that adds nuance when called upon to do so, though there are plenty of moments where Zong’s Zong seems perfectly content to cave-jam its far-out atmospheric fluidity. Not an ethic and not a result you’re going to hear me complain about.

Zong on Thee Facebooks

Cardinal Fuzz Records webstore

Praying Mantis Records on Bandcamp

 

Vitriol, Pain Will Define Their Death

vitriol-pain-will-define-their-death

Brutal tech-death pervades Vitriol’s first EP, Pain Will Define Their Death – a three-song onslaught the violence of which is writ large over every minute of its total 12. Sharing a penchant for opening to bigger-sounding choruses like that of its opening title-cut with peak-era Hate Eternal, the pummel factor, ultra-tense push and unmitigated viciousness eschews some of the more machine-like aspects of such technically-minded fare, and while Vitriol’s overarching groove, gutturalist execution and hammer-swing breakdowns are casting out their own assault on the aforementioned opener as well as the subsequent blast-laden “Victim” and “Violence, a Worthy Truth,” they’re working in service to songcraft much more than to an indulgent showcase of prowess, and that makes all the difference in terms of the material’s ultimate impact. That impact? When was the last time you were actually kicked in the face? Nothing if not aptly named, Vitriol’s death metal seethes and rages in kind and bodes remarkably well for future manifest devastation.

Vitriol on Thee Facebooks

Vitriol on Bandcamp

 

Pillars, Pyres and Gallows

pillars-pyres-and-gallows

Hailing classic doom and darker atmospheres, French four-piece Pillars debut on Seeing Red Records via the Pyres and Gallows EP. Its four songs run a gamut of traditional grooves, but lumber with a balance between their rawness and a spirit of underlying riffy nuance that adds texture beneath the gruff, dudely vocals of frontman Klem, the tones of guitarist Djé and bassist Disaster well suited to the plodding companionship of drummer JJ on a song like the problematically-titled second cut “Dirty Whoreshippers” or the 10-minute title-track that rounds out. At 33 minutes, I’m not sure what’s stopping Pyres and Gallows from being a full-length, but if that’s a hint that Pillars have more to say going forward, then fair enough. They may be preaching to the converted in these tracks, but they’re doing so in righteous fashion and with a sense of their own identity under development. Doom on? Yeah, totally doom on. By all means. Please do.

Pillars on Thee Facebooks

Seeing Red Records on Bandcamp

 

Lamp of the Universe & Kanoi, Split

lamp-of-the-universe-kanoi-split

Among the fascinating factors at work on this cross-continental Clostridium Records split release between long-running New Zealand acid folk outfit Lamp of the Universe and Austrian psychedelic fuzz purveyor Kanoi is the fact that both parties involved are solo-projects. For Lamp of the Universe’s Craig Williamson (also Arc of Ascent), he brings three tracks of his signature drenched-wet lysergism in “In the Beginning,” “The Cosmic Body Track,” “Father” and “Space Chant,” while Kanoi’s Benjamin Kantschieder revisits two cuts from 2016’s Mountains of the Sun full-length in the extended “I’m Gone (I’m Gone)” and “Mountains of the Sun” itself. The novelty of having two single parties match wits on such fluid arrangements – my head always begs for collaboration in these instances – is offset by the quality of their work itself. Neither is new to their sphere, but both seem keen to continue to experiment and explore, and it’s from that commonality that the split most benefits.

Lamp of the Universe on Bandcamp

Kanoi on Bandcamp

Clostridium Records website

 

Azonic, Prospect of the Deep Volume One

azonic-prospect-of-the-deep-volume-one

The first Azonic offering since the mid-‘90s finds Brooklyn-based experimentalist Andy Hawkins reviving the project alongside his Blind Idiot God bandmate Tim Wyskida as a melding of drone/noise and percussive ideas. Released through Hawkins’ own Indivisible Music, Prospect of the Deep Volume One – pretty ambitious to put a “volume one” in the title of your first record in 20-plus years – presents two expansive works in “Oblivion of the Deep” (18:53) and “The Argonauts Reckoning” (18:42) as well as the CD bonus track “Voices of the Drowned” (10:12) that brim with atmospheric intent and have an underlying sense of control on the part of Hawkins that speaks to some measure of steering what might in other hands simply feel like sonic chaos. You can hear it early into “The Argonauts Reckoning,” as the layered wash seems to want to fly off the rails and swell and Hawkins’ guitar simply doesn’t let it go, but it’s true elsewhere on Prospect of the Deep Volume One as well, and in listening, it’s the difference between the album being a joy in the immersion, which it is, and a self-indulgent misfire, which it very much is not.

Azonic on Thee Facebooks

Indivisible Music website

 

Thousand Vision Mist, Ascension and the Loss of Tomorrow

thousand-vision-mist-journey-to-ascension-and-the-loss-of-tomorrow

Named for the lone 2002 full-length from Maryland doomers Life Beyond, in which guitarist/vocalist Danny Kenyon also featured, newcomer trio Thousand Vision Mist debut with the progressive-leaning edge of Journey to Ascension and the Loss of Tomorrow, a 52-minute 10-tracker. Yes, Rush are a factor in terms of influence. However, propelled by the drumming of Chris Sebastian, whose frenetic snare adds a Mastodonic feel to “Headstones Throw,” the otherwise classic-vibing “Final Flight of Fall” and the later “Darklight,” among others, the cumbersomely-titled offering sets its balance between modern prog metal, doom and classic heavy rock, with bassist Tony Comulada adding vocal harmonies alongside Kenyon and providing a needed anchor to keep songs like the penultimate “Skybound and Beyond” from actually taking off and leaving their audience behind. Reportedly long in the works, Journey to Ascension and the Loss of Tomorrow isn’t a minor digestion process at its busy and extended runtime, but while the recording is raw, there’s no shortage of fodder for engagement throughout its swath of choruses and head-spinning turns.

Thousand Vision Mist on Thee Facebooks

Thousand Vision Mist on Bandcamp

 

Arcadian Child, Afterglow

arcadian-child-afterglow

Though not at all without its more driving aspects, some of the most satisfying moments on Arcadian Child’s debut album, Afterglow, come from a soothing hook like that of “Rabbit Hole,” which finds the Cypriot four-piece more fully embodying a laid back desert rock atmosphere that underpins the Fatso Jetson-esque opener “She’s on My Mind” and subsequent “Little Late for Love.” As the feels-short-at-29-minutes record unfolds, “Electric Red” blends fuzz and Mediterranean rhythmic push, “Irresistible” toys with layered swirl beneath a solidly-weighted verse and chorus, “Run” makes itself a highlight around a post-Lullabies to Paralyze atmospheric lead and start-stop riff, and the title-track casts momentum in melody and groove into closer “Used,” which pays one more welcome visit to the more serene side of their personality before they’re done. It might be a sleeper, but I’d be surprised if someone didn’t pick Afterglow up for a vinyl release sooner or later; the songwriting, performance, presentation and potential for future growth are all there waiting to be found by the right ears.

Arcadian Child on Thee Facebooks

Arcadian Child on Bandcamp

 

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Azonic to Release Prospect of the Deep Volume One Oct. 27

Posted in Whathaveyou on August 24th, 2017 by JJ Koczan

azonic

I guess I’m an easy mark on this one, but yeah, go ahead and sign me up for two massive, side-consuming slabs of experimentalist noise from Blind Idiot God offshoot project Azonic. The Brooklyn-based duo of guitarist Andy Hawkins and percussionist Tim Wyskida — both of whom feature in the aforementioned avant instrumentalists, and the latter of whom also counts Khanate as part of his CV — will issue Prospect of the Deep Volume One via Indivisible Music on Oct. 27 and in addition to the LP, the CD version will include a third, bonus track because, you know, there’s room for such things on the format and all, so what the hell.

No audio from the record yet, but the project seems to have been brewing for a significant amount of time before coming together around Hawkins and Wyskida. The PR wire has more background and info on the release:

azonic-prospect-of-the-deep-volume-one

NEW ALBUM FROM AZONIC FEATURING BLIND IDIOT GOD FOUNDER ANDY HAWKINS AND TIM WYSKIDA (KHANATE, BIG) TITLED, PROSPECT OF THE DEEP VOLUME ONE, DROPS 10/27/17

Indivisible Music will release the highly anticipated new album by Azonic titled, Prospect Of The Deep Volume One, on Friday, October 27th, 2017. Formats include vinyl LP, CD and digital download. Artwork by Seldon Hunt. The CD includes the bonus track “Voices Of The Drowned.” Azonic is Blind Idiot God (BIG) founder Andy Hawkins on guitars and Tim Wyskida (Khanate, BIG) on timpani, concert bass drum and gong.

During Blind Idiot God rehearsals, Hawkins was inspired by Wyskida’s more improvisational approach to imagine new possibilities for the next Azonic LP. A standard drum set did not lend itself to the long tone music of Azonic, so Hawkins acquired two timpani and a concert bass drum and Wyskida committed to an improvisational duo of guitar and orchestral percussion.

This new material was recorded with Bill Laswell (Motörhead, Herby Hancock, Sly and Robbie, George Clinton, Bootsy Collins, Method of Defiance, Laurie Anderson, Painkiller, White Zombie, Material, Golden Palaminos) at BC Studio last November. BC Studio (Swans, Sonic Youth, Cop Shoot Cop, Brian Eno, Khanate, Live Skull, Foetus, Dresden Dolls, Ramones, Iggy Pop, John Zorn, Ginger Baker, Material) was selected for its enormous tracking rooms, which are ideal for the high volume, long tone qualities of this music. The recording is highly evocative, rich in tone, focused wide and with an immense scale.

Prospect Of The Deep Volume One includes two side-length pieces, “Oblivion Of The Deep” and “The Argonaut’s Reckoning” on the vinyl LP, and a third bonus piece, “Voices Of The Drowned” on the CD. “Prospect Of The Deep” is a natural progression for Azonic,” guitarist Andy Hawkins explains. “Adding orchestral percussion to the wide angle sonic signature extends depth and the time scale. The result is oceanic in proportion, a relentless power changing the boundaries between states of matter, and the musical landscape itself. It was a long time coming, but the wave has broken.” Tim Wyskida adds “Getting away from a drum kit and behind an old, gargantuan concert bass drum, timpani and gong opened up a wide range of possibilities: longer sustains, lower tones, pitch bending — and they can better withstand a heartless assault.”

https://www.facebook.com/Azonic-311377432355442/
https://azonicsonic.bandcamp.com/
https://www.facebook.com/BlindIdiotGodOfficial
indivisiblemusic.com

Azonic, “Beyond the Pale”

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Blind Idiot God Releasing Before Ever After on Vinyl April 8

Posted in Whathaveyou on March 3rd, 2016 by JJ Koczan

blind idiot god

New York experimentalists Blind Idiot God first offered up their return after 23 years, Before Ever After (review here), just over a hear ago. A spacious, could-go-anywhere-and-actually-might exploration too busy being creative to be pretentious, the album will see release on double-vinyl through Indivisible Music on April 8. Its arrival coincides smoothly with the trio heading to Europe to play Roadburn 2016 and more — a trip on which they’ll also be bringing some exclusive-type merch. Presumably in tiny, adorable European sizes.

The PR wire has details on all of the above and more:

blind idiot god tour poster

BLIND IDIOT GOD WORLDWIDE ALBUM RELEASE APRIL 8, 2016

RAISE THE TITANIC TOUR KICKS OFF APRIL 13TH – SPECIAL TOUR-ONLY MERCH

BLIND IDIOT GOD WORLDWIDE ALBUM RELEASE APRIL 8, 2016

Blind Idiot God have a new worldwide release date of April 8th for their gatefold double-vinyl LP with album artwork by Seldon Hunt (Neurosis, Earth, Melvins, Sunn). Also available on CD and as digital download. Album title is Before Ever After and was previously only available directly from Indivisible Music (and select importers). Album is now on sale worldwide on iTunes (pre-sales). The band’s new webstore is live now at indivisiblemusic.aisamerch.com.

Raise The Titanic Tour launches on April 13th with stops in The Netherlands, Belgium, Germany, Switzerland, Italy and Norway. New merchandise featuring the Seldon Hunt “Raise the Titanic Tour” design will include t-shirts, long-sleeve shirts, hoodies and stickers. Select designs available for purchase on tour only for now. The band explains “We decided to sell this particular t-shirt design, which dovetails with the European tour poster, exclusively on these tour dates so you won’t find it in the webstore.”

Other tour news includes the addition of Buried at Sea on the bill at Gleis 22 in Muenster, Germany and the super-saver ticket price (only five Euros) for the show April 23rd at Beatpol in Dresden, Germany. Tim Wyskida shares more tour news explaining that the “Roadburn performance will include a video created by Heath Bradley. He took Seldon’s European vinyl cover design and made sections of it move which will be a delight for Dutch stoners.”

Blind Idiot God Raise The Titanic Tour 2016
Wednesday, April 13th at Vera in Groningen, The Netherlands
Thursday, April 14th at Magasin 4 in Brussels, Belgium
Saturday, April 16th at Gleiss 22 in Muenster, Germany
Sunday, April 17th Roadburn Festival at 013 in Tilburg, The Netherlands
Monday, April 18th at Sonic Ballroom in Cologne, Germany
Tuesday, April 19th at Bad Bonn in Duedingen, Switzerland
Wednesday, April 20th at Serraglio in Milan, Italy
Thursday, April 21st at Freakout Club in Bologna, Italy
Saturday, April 23rd at Beatpol in Dresden, Germany
Sunday, April 24th at Cassiopeia in Berlin, Germany
Wednesday, April 27th at Blæst in Trondheim, Norway
Thursday, April 28th at Pokalen in Oslo, Norway
Friday, April 29th at Hulen in Bergen, Norway
Saturday, April 30th at Folken in Stavanger, Norway

Blind Idiot God is Andy Hawkins on guitar; Tim Wyskida on drums; Will Dahl on bass (though founding member Gabe Katz plays bass on the album). The band has shared the stage with artists like John Zorn (a collaborator who released their third album on Avant Records), Black Flag, The Minutemen, Sonic Youth, Die Kreuzen, Don Caballero, Jesus Lizard, Napalm Death, HR, Eekamouse among many others.

LP TRACKLIST
Side 1 — 1)Twenty Four Hour Dawn 2) Night Driver 3) Antiquity
Side 2 — 3) Earthmover 4) FUB 5) Barrage
Side 3 — 6) High and Mighty 7) Voice Of The Structure 8) Under The Weight 10) Ramshackle
Side 4 — 11) Wheels Of Progress 12) Strung 13) Shutdown

CD Tracklist
1) Twenty Four Hour Dawn 2) High And Mighty 3) Antiquity 4) Earthmover 5) Night Driver 6) Wheels Of Progress 7) Ramshackle 8) Voice Of The Structure 9) Under The Weight 10) FUB 11) Barrage 12) Strung 13) Shutdown

https://www.facebook.com/Blind-Idiot-God-143091995750556/
http://indivisiblemusic.aisamerch.com/

Blind Idiot God, “Wheels of Progress”

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Blind Idiot God Sign with Paperclip Agency for European Booking

Posted in Whathaveyou on August 5th, 2015 by JJ Koczan

This makes sense. If I was Blind Idiot God, back together and having released my first new album in 23 years — that being Before Ever After (review here) on Indivisible Music — I’d probably go to Europe too. Plans are in the works, apparently, for the trio to do precisely that. They’ve signed with Netherlands-based Paperclip Agency for booking, and while I wouldn’t be surprised to have them show up on the Continent sometime in Spring 2016 — say around April, and say about an hour outside of Amsterdam by rail in a sleepy corner of a town taken over by weirdos for about a week annually — nothing’s yet been announced in such concrete terms and there’s some mention of them getting over before the end of the year as well.

Fair enough. The PR brings us the known knowns:

blind idiot god

BLIND IDIOT GOD SIGN WITH PAPERCLIP AGENCY IN THE NETHERLANDS; EUROPEAN TOUR DATES PLANNED FOR 2015-2016

New Album, Before Ever After, Co-Produced by Bill Laswell With Original Artwork By Seldon Hunt Out Now

Indivisible Music announces that Blind Idiot God has signed on with Dutch booking agency, Paperclip. Agency heads, Rob Berends and Hilde Spille, are working on festival and tour dates all over Europe for late 2015 through 2016.

The band has always received huge accolades from European press, most recently The Wire UK called the band’s new record “sound as physical force.” NME wrote “They’re post-everything in the best sense of the term.” Melody Maker stated “Blind Idiot God are worthy of cult status.”

Band co-founder Andy Hawkins explains, “Paperclip booked Blind Idiot God’s first tours in Europe starting in the ’80s while we were on SST. We still get positive feedback from people who came to those shows. The band’s focus on a powerful, particular sound has increased over the years so if feels good knowing we’ll be able to connect with those fans again. We anticipate high quality bookings with Paperclip handling us – which is great, since we’re itchin’ to get back to Europe and unleash!”

Paperclip Agency’s Rob Berends adds, “My aim is to bring the band back to Europe for a series of tours covering the entire continent, putting them in front of the largest possible audiences. European capitals, cult venues and a wide variety of festivals are the places the band should perform. We will help get them there.”

Blind Idiot God is Andy Hawkins on guitar; Tim Wyskida (Khanate, Jodis, Plotkin & Wyskida) on drums; Will Dahl on bass (though founding member Gabe Katz plays bass on the album). The band has shared the stage with artists like John Zorn (a collaborator who released their third album on Avant Records), Helmet, Black Flag, The Minutemen, Sonic Youth, Die Kreuzen, Don Caballero, Jesus Lizard, Napalm Death, HR, Eekamouse among many others.

Although Before Ever After is the band’s first release in over twenty years — live and on the recording, they continue their deep exploration of heavy, funk and dub sounds. Respected music publications including Noisey/Vice, Pitchfork, Talk House, New Noise, and many others have all featured the band, exploring their story and sound. Three songs from the new album are featured on the soundtrack of the VHI documentary film about Napster titled, Downloaded, starring Mike D, Henry Rollins, Noel Gallagher and directed by Alex Winter (Bill & Ted’s Excellent Adventure, The Lost Boys, Freaked). The band plays regularly in New York where they are based.

https://indivisiblemusic.merchtable.com/
https://www.facebook.com/pages/Blind-Idiot-God/143091995750556
indivisiblemusic.com
paperclip-agency.com

Blind Idiot God, “Antiquity”

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Blind Idiot God Stream “Antiquity” from Before Ever After

Posted in audiObelisk on February 19th, 2015 by JJ Koczan

blind idiot god (Photo by Seldon Hunt)

New York instrumentalists Blind Idiot God will release their first album in 23 years, Before Ever After, next Tuesday, Feb. 24, on Indivisible Music. The label is a new project helmed by guitarist Andy Hawkins, who also co-produced Before Ever After with Bill Laswell, recording over several years with drummer Tim Wyskida (Khanate) and bassist Gabe Katz, since replaced by Will Dahl what is a kind of second debut — a generational debut, maybe — for the Brooklyn-based trio, who issued their first outing as a self-titled on SST Records in 1987. Like that album, Before Ever After is a dangerous kind of offering, a 74-minute CD/2LP able to turn on a dime between precision mathematics, reggae, crunching heavy riffage, surf rock and jazz in a wordless sprawl that makes a joke of most bands’ ideas of sonic diversity. My god, it’s almost like they’re actually trying different things!

There isn’t a track to sum up everything the album does — the frenetic drumming and dissonant guitar of the aptly-titled “Barrage,” the laid-back bounce of “Night Driver,” etc. — so one might as well just find something unbelievably heavy and roll with that. To that end, I’m pleased today to be able to host “Antiquity” for streaming. The third of Before Ever After‘s 13 tracks, it follows ritualistic opener blind-idiot-god-before-ever-after“Twenty-Four Hour Dawn” (also the longest cut at 8:50; immediate points) and the more spacious but still tense post-reggae rocker “High and Mighty,” and with only a couple guitar chugs as warning soon unleashes a battery of dense riffs and furious drums that alternate between plodding and blasting. Tonally it switches between grinding bite and grueling doom, but it’s the tempo changes that really distinguish “Antiquity” from its stylistically varied surroundings, and how HawkinsWyskida and Katz are able to make these jagged transitions sound mechanically precise, so that by the end of it, there’s an almost industrial feel, despite the lack of any discernible element of electronica.

It’s also, one should note, the shortest song on Before Ever After at 3:39, and that subsequent pieces like the distortojazz “Earthmover” and dreamy surf meditation “Ramshackle” reach even further outside of stylistic bounds. The takeaway is that “Antiquity,” while unrepentantly heavy as fuck, isn’t telling the whole story of Blind Idiot God‘s return, and if you want to hear more, there’s plenty of fodder worthy for investigation. Even as the closing duo of “Strung” and “Shutdown” alternate between impact-conscious progressive metal and sweet-toned psychedelic sentiment underscored by the album’s warmest basslines, the resonant message seems to be that Blind Idiot God have even more to say than they do in the hour-plus here, and that their return from the ether has brought with it new purpose for their avant stylizations. They’re here to remind us what it means to be adventurous in sound.

Submit to “Antiquity” via the player below, followed by info for the March 7 release show in Brooklyn and more album background, and enjoy:

Indivisible Music announces new Blind Idiot God (BIG) studio album co-produced by Bill Laswell. “Andy Hawkins is a nut, a perfectionist for his amplification and the guitar, and we recorded it right,” Laswell explains about the new record. “Every detail is there. It’s probably the best thing they’ve done.” The 74-minute opus titled, Before Ever After, is slated for an early 2015 street date. The gatefold double-vinyl LP artwork was created by noted artist Seldon Hunt (Neurosis, Earth, Melvins, Sunn). Formats will include vinyl, CD and digital. The release will be celebrated with live performances in and around New York and will be co-promoted by MerchTable, local vinyl retailers and others TBA.

Blind Idiot God is Andy Hawkins on guitar and Tim Wyskida (Khanate) on drums. Gabe Katz, the band’s original bass player is featured on the album but moving forward Will Dahl is the band’s new bass player live and in the studio. Touring in support of the new album is planned for 2015. “Moving from the studio to the stage is always great,” Hawkins explains, “the music opens up dynamically, both performance wise and sonically. The human ear has a much greater dynamic range than any recorded medium and we excel at taking full advantage of that fact.” The band has shared the stage with artists like John Zorn (a collaborator who released their third album on Avant Records), Helmet, Black Flag, The Minutemen, Sonic Youth, Die Kreuzen, Don Caballero, Jesus Lizard, Napalm Death, HR, Eekamouse among many others.

BLIND IDIOT GOD Record Release Party
Saturday, March 7th
The Paper Box in Brooklyn, NY
doors 8:00 pm // tickets $10 advance, $13 at the door // 21+
also playing: Oneirogen, Rhyton, Gnaw

Blind Idiot God on Thee Facebooks

Indivisible Music

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Blind Idiot God to Release Before Ever After in Early 2015

Posted in Whathaveyou on December 1st, 2014 by JJ Koczan

blind idiot god (Photo by Peter Gannushkin)

Veterans of SST Records and the band that spawned drummer Tim Wyskida, who would go on to be the coal burning to propel the mega-lurch that was minimalist doomers Khanate, Brooklyn instrumentalists Blind Idiot God are set to release a new album early in 2015. Titled Before Ever After and recorded by Bill Laswell, it’s the first Blind Idiot God album since 1992 and it will be out on guitarist Andy Hawkins‘ recently formed label, Indivisible Music. The cover art is by Seldon Hunt, and reportedly the band will be playing live, or at very least, they went ahead and added bassist Will Dahl to make that a possibility. Seems likely they’ll show up somewhere or other.

The PR wire tells the tale and far be it from me to delay:

blind idiot god before ever after

BLIND IDIOT GOD SET TO RELEASE NEW ALBUM CO-PRODUCED BY BILL LASWELL

All Instrumental Full Length With Original Artwork By Seldon Hunt
Three tracks featured in Alex Winters’ HBO documentary, Downloaded
Before Ever After slated for early 2015 street date

Indivisible Music announces new Blind Idiot God (BIG) studio album co-produced by Bill Laswell. “Andy Hawkins is a nut, a perfectionist for his amplification and the guitar, and we recorded it right,” Laswell explains about the new record. “Every detail is there. It’s probably the best thing they’ve done.” The 74-minute opus titled, Before Ever After, is slated for an early 2015 street date. The gatefold double-vinyl LP artwork was created by noted artist Seldon Hunt (Neurosis, Earth, Melvins, Sunn). Formats will include vinyl, CD and digital. The release will be celebrated with live performances in and around New York and will be co-promoted by MerchTable, local vinyl retailers and others TBA.

Blind Idiot God is Andy Hawkins on guitar and Tim Wyskida (Khanate) on drums. Gabe Katz, the band’s original bass player is featured on the album but moving forward Will Dahl is the band’s new bass player live and in the studio. Touring in support of the new album is planned for 2015. “Moving from the studio to the stage is always great,” Hawkins explains, “the music opens up dynamically, both performance wise and sonically. The human ear has a much greater dynamic range than any recorded medium and we excel at taking full advantage of that fact.” The band has shared the stage with artists like John Zorn (a collaborator who released their third album on Avant Records), Helmet, Black Flag, The Minutemen, Sonic Youth, Die Kreuzen, Don Caballero, Jesus Lizard, Napalm Death, HR, Eekamouse among many others.

The band has three previous studio full-lengths, two EPs and has been featured on several film soundtracks, including the opening credits for the Alex Winter cult film Freaked (with Henry Rollins on the track as guest vocalist). “I was able to record with them once,” says Rollins, “I know it is rare for them to have vocals in their music, so I felt lucky to have been an exception. I remain a fan.” Three tracks from album (“Barrage,” “High And Mighty,” and “Shutdown”) are featured in Alex Winters’ new HBO documentary about the rise and fall of Napster titled, Downloaded. “One of the most revered and influential bands to come out of the SST era,” Alex Winter enthuses, “they are as great and bold today, as ever. This is a spectacular album.”

The thirteen tracks on Before Ever After are 1. “Twenty Four Hour Dawn,” 2. “Night Driver,” 3. “Antiquity,” 4. “Earthmover,” 5. “FUB,” 6. “Barrage,” 7. “High and Mighty,” 8. “Voice of the Structure,” 9. “Under the Weight,” 10. “Ramshackle,” 11. “Wheels of Progress,” 12. “Strung,” and 13. “Shutdown.”

Indivisible Music is helmed by Andy Hawkins and is based in Brooklyn, NY. The label was established in 2014 “to promote that which cannot be divided, the elemental idea of music for its own sake. Guiding the elemental idea of music through all obstacles, physical or otherwise. The end of genre or classification, recondite musical knowledge declassified for direct effect.” Visit the label online at indivisiblemusic.com.

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Blind Idiot God, Blind Idiot God (1987)

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