The Obelisk Radio Adds: The Melvins, Slow Season, Beak, GravelRoad and The Lords of Beacon House

Posted in Radio on October 3rd, 2014 by JJ Koczan

the obelisk radio

Yeah, it’s been a couple weeks since I added records to The Obelisk Radio playlist, mostly because these posts are a pain to set up, but once again, I’ve been keeping track of stuff to go up and this time around we’ve got 24 new albums joining the ranks. Some of it is stuff recently covered — 35007, Ice Dragon, Truckfighters — and some has yet to be — Nick Oliveri, Brant Bjork — but as ever, it’s a lot of good stuff, so if you get the chance to hit up the playlist and updates page, you should find plenty there for your perusal, in addition to the running tab of the playlist, which from where I sit puts the whole stream in a different league of enjoyable. Hope you agree.

A lot to cover, so let’s get to it.

The Obelisk Radio Adds for Oct. 3, 2014:

The Melvins, Hold it In

the melvins hold it in

Sometimes I have to wonder how it is that for a band who are so off the wall and experimental one can still basically approach any Melvins record no matter who’s involved in making it and have a decent idea of what to expect. Yeah, guitarist/vocalist King Buzzo and drummer Dale Crover have hooked up with JD Pinkus and Paul Leary of Butthole Surfers, and yeah, “You Can Make Me Wait” sounds like it would play over alternate universe credits to The Breakfast Club, but a lot of Hold it In (released by Ipecac) — “Bride of Crankenstein,” “Onions Make the Milk Taste Bad,” “Sesame Street Meat,” “Nine Yards” — is pretty much in the Melvins wheelhouse. It’s in moments like the jangly “Eyes on You,” trucker rocking “Piss Pisstoferson,” spacious seven-minute jammer “The Bunk Up” and sprawling noise finish “House of Gasoline” that Hold it In really distinguishes itself, but there are stretches even in those where the Melvins just continue to sound like the Melvins. I know they’ve got a fanbase that will eagerly snap up everything they do, and after 30 years of busting their collective ass on tour and in the studio without major commercial success, I’ll far from begrudge them their following, it just seems like for as much praise is heaped in the direction of every new Melvins release, there’s not nearly as much genuinely new ground being broken as time goes on and that even the gleefully weird territory Hold it In covers is starting to feel an awful lot like a comfort zone. The Melvins on Thee Facebooks, Ipecac Recordings.

Slow Season, Mountain

slow season mountains

Whichever of Cali four-piece Slow Season‘s parents introduced them to Led Zeppelin, thanks. The Visalia outfit will release their second album, Mountains, this November on RidingEasy Records, following-up a 2012 self-titled, and by way of advance notice, the thing’s a ripper, echoing out Plant-style vocals and Bonham stomp with an underlying skater-rock groove that fits well with the label’s output in bands like The WellElectric Citizen, and so on. Of course, there’s more than that at play — second cut “Synanon” reminds of some of The Flying Eyes‘ heavy psych rollout — but from the oohing and ahhing that cap “Damo’s Days” to the bombast that comes to the fore in “Wasted Years,” Zeppelin are a central influence, bolstered throughout by touches of early Soundgarden and forays into mega-swagger for “King City” and acoustic psychedelia in “Apparition.” Mountains‘ bread and butter, though, is the meaty riffer fare of “Shake” and closer “The Defector,” the sheer arrogance of which impresses, let alone the fluidity of the riff or the obvious aesthetic drive of the production. Slow Season on Thee Facebooks, RidingEasy Records.

Beak, Let Time Begin

beak let time begin

Not to be confused with Beak>, who are a different band entirely, post-metal four-piece Beak are based in Chicago and Let Time Begin (released by Someoddpilot Records) is their chugging, growling, atmospherically ranging debut full-length. Chicago has proven a hotbed for the genre, and Beak seem well aware of the tenets, trading off crushing riffs for atmospheric post-rock airiness, the lineup of Chris Eichenseer, Jason Goldberg, Andy Bosnak and Jon Slusher taking an Isis influence to unexpected synthy weirdness on “The Breath of Universe” — a vocoder early bringing to mind some of Cynic‘s post-reunion proggism — after the lumbering of “Light Outside.” Longer songs like “Into the Light” and “Carry a Fire” flow well, incorporating some blackened guitar squibblies and echoing screams between them, and the penultimate “Over the Shelter, the Morning” moves from abrasive feedback to contemplative ambience ahead of “Fiery They Rose,” which meters out weighty pummel but ultimately caps Let Time Begin on a subdued note that’s both satisfying and emblematic of a burgeoning will toward individuality. Beak on Thee Facebooks, Someoddpilot Records.

GravelRoad, El Scuerpo

gravelroad el scuerpo

Seattle blues rockers GravelRoad get the vibe just right on “Waiting for Nothing,” which opens their fifth album, El Scuerpo (Knick Knack Records), rocking out quiet, unpostured blues to lead the way into the record’s varied takes, from the boogie-woogie shuffle of “40 Miles” to the psychedelic fluidity of “Green Grass,” straight-up heavy rock of “DD Amin,” languid roll of “Asteroid” and upbeat finish of “Flesh and Bone,” which is among the happiest songs I’ve ever heard about cannibalism. My chief issue with some of their past work has been a tendency toward disjointedness and a modern blues production style that hones in on clarity and the brightness of the guitar and gives up some of the malevolence of the low end — something more related to my own perspective listening than the actual mission of the band — but El Scuerpo flows well and a mix by Jack “Yes, That Jack Endino” Endino treats eight-minute heavy jam rocker “Asteroid” with its due reverence, and the more I hear it, the more I want to hear it. GravelRoad on Thee Facebooks, Knick Knack Records.

Lords of Beacon House, Lords of Beacon House

Los Angeles heavy rockers Lords of Beacon House serve notice of their arrival this fall via a three-song EP on Homhomhom that takes loose, Graveyard-style ’70s worship and adds a touch of Western flair in the snare march of “Seven Days” and Sabbathian string pull on “Cool Water Blues.” The EP (they call it an album, it’s really more of a demo, but whatever you want to call it) runs shortest to longest, and opener “Distant Thunder” is the most straightforward of the bunch accordingly, but even in its 8-track chug, Lords of Beacon House showcase natural tones and a penchant for writing strong hooks that continues right through until the last repeat of the line “I asked for water/She gave me gasoline” in “Cool Water Blues,” which rounds out with familiar if welcome nod. They’re a new band and so far as I can tell, this self-titled is the first audio they’ve made public, but they seem to have a handle on what they want to do, and that’s never a bad place to start working from. More to come, I’m sure, and thanks to Bill Goodman for steering me their way. Lords of Beacon House on Thee Facebooks, Homhomhom.

As noted, this is just a fraction of the stuff that joined the playlist today, so if you get a second, check out the rest at The Obelisk Radio updates and playlist page.

Thanks for reading and listening.

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On Wax: Michael Wohl, Moonfeeder b/w Song of Impermanence 7″

Posted in On Wax on May 2nd, 2014 by JJ Koczan

Though it comes with a download ticket to be redeemed at Knick Knack Records‘ webstore, Mystery Ship guitarist Michael Wohl‘s new single, Moonfeeder b/w Song of Impermanence, makes yet another compelling argument in the long settled debate of physical versus non-physical media. Once you’ve soaked in the early-20th-Century-looking fonts on the front and back covers, the prevailing impression the 7″ 45RPM two-songer makes is not of being a relic, but of being homemade. On the cover, you can feel the raised places where the ink of Adam Burke‘s art was screenprinted on, and while the recording itself is somewhat cleaner and less bedroom-folk than Wohl‘s Eight Pieces for Solo Guitar digital and tape release — having been recorded by Wohl and Gordon Raphael (Regina Spektor, The Strokes, Sky Cries Mary, etc.) — with a genuine sense of the room in which it was made or at very least the fancy-seeming microphone that picked up the resonance of Wohl‘s guitar, it also credits Jeff Powell of Memphis’ Ardent Studios for cutting the vinyl plate, so a human element is never far off.

Of course, with an approach so intimate, that most likely wouldn’t have been a concern anyway. Wohl sings in Mystery Ship as well, and listening to the original “Moonfeeder,” I can’t help but wonder when he might try his hand at troubadour-ing with his solo work as well, but thus far he’s resisted the temptation. Still, where Eight Pieces was a collection of experiments, these are well-conceived and plucked folk songs, the B-side derived on the fly with stated inspiration from Charley Patton, Blind Lemon Jefferson and Doc Watson. As he did last time out and as I hope he continues to do going forward, Wohl includes his own liner notes with the single, a brief notation on key — “Moonfeeder” is in D minor, “Song of Impermanence” in open D — and a little bit about each song. “Moonfeeder” is the shorter and more melancholic of the two, but even so, it retains some movement and an underlying sweetness of melody and rhythm, though while it starts out minimal and somewhat ominous, the bulk of the bounce arrives somewhere around the middle of “Song of Impermanence,” which begs for a soft blues delivery, sans feigned twang but given to storytelling.

Moonfeeder b/w Song of Impermanence is a quick, picturesque release that does little to convey the stereotyped grit or rain-soaked depressiveness of Wohl‘s Seattle base of operation, but maybe escapism is part of the appeal in creating a work like this. If I have one regret as regards the single, it’s that there isn’t more to get lost in.

Michael Wohl, Moonfeeder b/w Song of Impermanence (2014)

Michael Wohl on Bandcamp

Knick Knack Records

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On Wax: Mystery Ship, Bridgeburner b/w Chinatown 7″

Posted in On Wax on March 19th, 2014 by JJ Koczan

If you’ve got a mind to dig it, Mystery Ship don’t skimp on the vibe. Their straightforwardly-titled EP II (review here) was an attention-getter last year, and though it comes accompanied by Adam Burke artwork of a much different style (that sleeve is white, despite any shadow in the picture), the new, subsequent Knick Knack Records 7″ single, Bridgeburner b/w Chinatown, follows suit in continuing the development of Mystery Ship‘s retro grooving. There’s an awful lot of heavy ’70s loyalist rock and roll out there, but an awful lot less of it comes from the States, and on “Bridgeburner” and “Chinatown” — both of which are denoted on back of the record sleeve as being the A side — the Seattle four-piece make a solid argument for American contribution to the form of classic heavy rock.

Unpretentious and unaggressive, but still weighted in tone and forceful in their push, their take isn’t wholly unlike that of like-minded East Coasters The Golden Grass, though Mystery Ship have an inherently bluesier style and get down with some post-Graveyard shuffle, particularly here on “Bridgeburner,” which sets out on a warm bassline from Alex Hagenah (also vocals) that sets an organic tone for the entrance of guitarist Josh Kupferschmid, lead guitarist/vocalist Michael Wohl and drummer Travis Curry, none of whom disrupt it. Like both songs are listed as the A side, both also start with some in-studio mention of whether or not the tape is rolling, so that live feel is no accident as “Bridgeburner” moves from its strong hook into a Wohl led break that’s somewhat airy despite the tension held in Curry‘s toms. A boogie good for the soul, and not the last they have to offer.

Hagenah and Wohl trade who takes the lead vocal on “Bridgeburner” and the more swing-heavy blues of “Chinatown,” but neither song is wholly one or the other up front, and that works to the benefit of both and the distinction of one from its flipside. “Chinatown” only feels like it’s missing snaps to be complete in an alternate-universe lounge kind of way, but it makes due with its classy-in-spite-of-itself feel and offers a chorus somewhat more in the pocket than that of “Bridgeburner,” but making sly use of clean tones in the verse only to feed to dirtier leads later on, of course bookending with a last refrain, delivered more fervently.

They’re in and out in under eight minutes — unless it takes you 10 to get up and flip the record — and since both “Bridgeburner” and “Chinatown” were recorded in Jan. 2013, they more or may not show where Mystery Ship are now, more than a year later, but the quality of the songwriting makes Bridgeburner b/w Chinatown a significant-enough stopgap that it’s worth digging into. I’ll be interested to hear how Mystery Ship‘s penchant for variety plays out over the course of a debut full-length, and just how bluesy they’ll go when given the opportunity to really meander. Could a 10-minute psych/blues freakout be in the works? Got my fingers crossed.

Mystery Ship, Bridgeburner / Chinatown (2014)

Mystery Ship on Thee Facebooks

Mystery Ship on Bandcamp

Knick Knack Records

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Mystery Ship, EP II: You Could Tell it by the Sound

Posted in Reviews on September 23rd, 2013 by JJ Koczan

Presented across two vinyl sides released by Knick Knack Records, the aptly-titled EP II from Seattle foursome Mystery Ship revels in a swath of classic heavy rock and blues influences. One might also see them as taking cues from the European retro-minded jetset, acts like Graveyard and Kadavar, but as they display in the smoothly executed jam/build on the closing “Wild Eyes,” they have a sensibility of their own to work within, and a recording job from Jack Endino results in a sound that’s wholly natural, but not reaching for any kind of heavy ’70s lo-fi analog-ism. Nothing against that approach or for it, it’s just now what Mystery Ship do on EP II. Rather, guitarist/vocalist Michael Wohl, bassist/vocalist Alex Hagenah, guitarist Josh Kupferschmid and drummer Travis Curry take classic swing — and in this, the work of the rhythm section particularly is not to be understated — and couple it with an easy, engaging laid back flow that lasts throughout EP II‘s 18 minutes, giving an increasing view of complexity at work leading up to the culmination of “Wild Eyes.” “Better Off,” “Paleodaze,” “Man about Town” and “Wild Eyes” each arrive as longer than the last, and the effect that has is that Mystery Ship increasingly draw the listener into the progression. The release isn’t really long enough to give a full-album flow, but given how one song moves to the next, whether it’s the quick one-two of “Better Off” into “Paleodaze” or the more languid shift between “Paleodaze” into “Man about Town” — never mind the side switch that brings “Wild Eyes” into the mix — there’s enough overarching groove on EP II to reinforce the idea that Mystery Ship will have no trouble crafting that full-album flow when they get there.

The overall course of EP II is somewhat less epic than the Adam Burke cover art might lead one to believe — even “Wild Eyes,” which tops seven minutes, does so without relinquishing its modest, organic vibe — though the cover remains appropriate for the classic atmosphere Mystery Ship proffer. As was the case with the classic rockers from whom they’re taking influence — and with the modern, mostly-European retro bands working under similar influence, for that matter — there’s a lot of blues in Mystery Ship‘s aesthetic. Not surprisingly, Wohl and Kupferschmid lead the way on guitar, starting at a running pace on “Better Off” and hitting an early stride of intricate but not technical-sounding or showy stylistic engagement. Swaggering through a motor-ready riff, the opener is as lively as the band gets here, but they prove early that they can work across a variety of paces to effect a quality chorus that’s memorable if rushing past, extra “woo!”s added just to let the listener know the band’s also having a good time with all that boogie. “Paleodaze” makes excellent use of the two guitars from the start, but is slower and more open in the verse, bluesier all around. The interplay of lead and rhythm line gives some effect of modern heavy metal, but the context and execution is altered to make it work here, and though they’re still moving at a decent clip, when they break to a more uptempo instrumental jam in the second half of “Paleodaze,” the difference is striking, and no less so when they transition into the final verse and you realize it’s only been about three and a half minutes when the song ends. Working with a lyrical narrative and a change in vocals — could be Hagenah taking the fore from Wohl or vice versa, I don’t really know — “Man about Town” is a highlight of EP II for hitting the middle ground between the first side and the second. The lines, “I couldn’t tell if they were fighting/Till the older man went down/But he took his bottle with him/You could tell it by the sound,” make for a singularly memorable verse that’s no less a hook than the chorus that follows and as they open up to full-sounding near-shuffle, Mystery Ship nonetheless display a patience of composition that distinguishes them outright. A return to the chorus prior to the concluding stomp only further implants it in the consciousness.

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Reviewsplosion II: The Return of 10 Records in One Post

Posted in Reviews on October 16th, 2012 by JJ Koczan

I am constantly working at a deficit. Financially, yes, because like many of my countrymen I’m am tens of thousands of dollars in debt — but also in terms of reviews. I’malwaysbehind on reviews. Hell, it was into July of this year before I finally put the kybosh on writing up anything from 2011, and I’m pretty sure if I hadn’t put my foot down on it, I’d still have year-old albums going up or older. My to-do list grows like a witchcult.

It’s not something to complain about and I’m not complaining. I’m stoked people give enough of a shit to send their CDs in to be reviewed — especially those who actually send CDs — and it’s for that reason that I do this second reviewsplosion (first one here).

Yeah, as ever, I’m behind on reviews, but I’m also working on being more concise — I swear I am; check out the At a Glance reviews if you don’t believe me — and one of the things I liked so much about the last reviewsplosion was it forced me to get to the fucking point. As direct a line as possible to a review. Boiling the idea down to its essential core.

With that in mind, here’s my attempt to both balance my review budget and be as clear as humanly possible. Hope you dig:


Altar of Oblivion, Grand Gesture of Defiance

The subject of some spirited debate on the forum, the second record from Danish five-piece Altar of Oblivion revels in traditional doom methods. There’s an air of pomp in some of the songs — “Graveyard of Broken Dreams” lays it on a little thick — but by and large, Grand Gesture of Defiance (Shadow Kingdom) is a more than solid showing of genre. Classic underground metal flourishes abound, and while it’s not a record to change your life, at six tracks/34 minutes, neither does it hang around long enough to be overly repetitive. You could do way worse. Altar of Oblivion on Thee Facebooks.


Blooming Látigo, Esfínteres y Faquires

Primarily? Weird. The Spanish outfiit Blooming Látigo make their debut on Féretro Records (CD) and Trips und Träume (LP) with the all-the-fuck-over-the-place Esfínteres y Faquires, alternately grinding out post-hardcore and reciting Birthday Party-style poetry. They reach pretty hard to get to “experimental,” maybe harder than they need to, but the on-a-dime stops and high-pitched screams on tracks like “Onania” and “Prisciliano” are well beyond fascinating, and the blown-out ending of “La Destrucción del Aura” is fittingly apocalyptic. Who gave the art-school kids tube amps? Blooming Látigo on Bandcamp.


El-Thule, Zenit

Five years since their second offering, Green Magic, left such a strong impression, Italian stoner rock trio El-Thule return with Zenit (Go Down Records), which makes up for lost time with 50 minutes of heavy riffs, fuzzy desert grooves and sharp, progressive rhythms. The band — El Comandante (bass), Mr. Action (guitar/vocals) and Gweedo Weedo (drums/vocals) — may have taken their time in getting it together, but there’s little about Zenit that lags, be it the faster, thrashier “Nemesis” or thicker, Torche-esque melodic push of the highlight “Quaoar.” It’s raw, production-wise, but I hope it’s not another half-decade before El-Thule follow it up. El-Thule on Thee Facebooks.


Botanist, III: Doom in Bloom

It’s a nature-worshiping post-black metal exploration of what the History Channel has given the catchy title “life after people.” If you’ve ever wondered what blastbeats might sound like on a dulcimer, Botanist‘s third album, III: Doom in Bloom has the answers you seek, caking its purported hatred of human kind in such creative instrumentation and lyrics reverent of the natural world rather than explicitly misanthropic. The CD (on Total Rust) comes packaged with a second disc called Allies, featuring the likes of Lotus Thief and Matrushka and giving the whole release a manifesto-type feel, which suits it well. Vehemently creative, it inadvertently taps into some of the best aspects of our species. Botanist’s website.


GravelRoad, Psychedelta

Say what you will about whiteboys and the blues, the bass tone that starts “Nobody Get Me Down” is unfuckwithable. And Seattle trio GravelRoad come by it pretty honestly, having served for years as the backing back for bluesman T-Model Ford. The album Psychedelta (on Knick Knack Records) jams out on its start-stop fuzz in a way that reminds not so much of Clutch but of the soul and funk records that inspired Clutch in the first place, and though it never gets quite as frenetic in its energy as Radio Moscow, there’s some of that same vibe persisting through “Keep on Movin'” or their Junior Kimbrough cover “Leave Her Alone.” Throaty vocals sound like a put-on, but if they can nail down that balance, GravelRoad‘s psychedelic blues has some real potential in its open spaces. GravelRoad on Thee Facebooks.


The Linus Pauling Quartet, Bag of Hammers

Texas toast. The Linus Pauling Quartet offer crisp sunbursts of psychedelic heavy rock, and after nearly 20 years and eight full-lengths, that shouldn’t exactly be as much of a surprise as it is. Nonetheless, Bag of Hammers (Homeskool Records) proffers a 41-minute collection of heady ’90s-loving-the-’70s tones while venturing into classic space rock on “Victory Gin” and ballsy riffing on “Saving Throw.” Being my first experience with the band, the album is a refreshing listen and unpretentious to its very core. Eight-minute culminating jam “Stonebringer” is as engaging a display of American stoner rock as I’ve heard this year, and I have to wonder why it took eight records before I finally heard this five-man quartet? Hits like its title. LP4’s website.


Odyssey, Abysmal Despair

It’s the damnedest thing, but listening to Abysmal Despair, the Transubstans Records debut from Swedish prog sludge/noise rockers Odyssey, I can’t help but think of Long Island’s own John Wilkes Booth. It’s the vocals, and I know that’s a really specific association most people aren’t going to have, but I do, and I can’t quite get past it. The album is varied, progressive, and working in a variety of modern underground heavy contexts nowhere near as foreboding as the album’s title might imply, like Truckfighters meets Entombed, but I just keep hearing JWB‘sKerry Merkle through his megaphone. Note: that’s not a bad thing, just oddly indicative of the greater sphere of worldwide sonic coincidence in which we all exist. If anything, that just makes me like Abysmal Despair more. Odyssey on Soundcloud.


Palkoski, 2012 Demo

Conceptual Virginian free-formers Palkoski released the three-track/67-minute 2012 demo earlier this year through Heavy Hound. Most of it sounds improvised, but for verses here and there that emerge from the various stretches, and the band’s alternately grinding and sparse soundscapery results in an unsettling mash of psychotic extremity. It is, at times, painful to listen, but like some lost tribal recording, it’s also utterly free. Limited to 100 CDs with a second track called “The Shittiest  EP Ever” and a third that’s a sampling of Palkoski‘s ultra-abrasive noise experimentation live, this one is easily not for the faint of heart. Still, there’s something alluring in the challenge it poses. Palkoski at Heavy Hound.


Radar Men from the Moon, Echo Forever

Following their charming 2011 EP, Intergalactic Dada and Space Trombones, the Eindhoven instrumental trio Radar Men from the Moon (On the Radar’ed here) return on the relative quick with a 51-minute full-length, Echo Forever. More progressive in its jams, the album’s psychedelic sprawl shows the band developing — I hesitate to compare them to 35007 just because they happen to be Dutch, but the running bassline that underscores “Atomic Mother” is a tempter — but there’s still an immediacy behind their changes that keeps them from really belonging to the laid-back sphere of European jam-minded heavy psychedelia. They’re getting warmer though, stylistically and tonally, and I like that. Interesting to hear a song like “Heading for the Void” and think Sungrazer might be burgeoning as an influence. Cool jams for the converted. Radar Men from the Moon on Bandcamp.


Sound of Ground, Sky Colored Green

There are elements of of Yawning Man, or Unida or other acts in the Californian desert milieu, but basically, Moscow’s Sound of Ground sound like Kyuss. They know it. Their R.A.I.G. debut full-length, Sky Colored Green, makes no attempt to hide it, whether it’s the “Green Machine” riffing of “Lips of the Ocean” or the speedier Slo-Burnery of “El Caco,” though the metallic screaming on “R.H.S.” is a dead giveaway for the band’s youth, coming off more like early Down than anything Josh Homme ever plugged in to play. While not necessarily original, the trio are firm in their convictions, and Sound of Ground tear through these 11 tracks with engaging abandon. The Russian scene continues to intrigue. Sound of Ground on Thee Facebooks.

Thanks for reading.

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