The Obelisk Show on Gimme Radio Playlist: Episode 29

Posted in Radio on March 6th, 2020 by JJ Koczan

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Everything here is new. All of it. I didn’t do a classic track or anything like that. Just straight up new music. This playlist originally started coming together before I did the last episode, and I wound up scrapping it and going with the  Research Paper On Same-sex Marriage - Dissertations and resumes at most attractive prices. Stop getting unsatisfactory marks with these custom dissertation advice Reed Mullin tribute instead. Certainly no regrets there, but it’s not like I didn’t want to play new Looking for buying essay papers? Essay Writing Waters, buy a research paper, buy a term paper with trusted and time-tested online essay website - EssaysBuy.net Candlemass, so here it is a couple weeks later.

So everything is new. Some of it is instrumental. Some companies promise to work for you 24/7. We don`t - we simply do. See the http://www.zacapaonline.com/?the-writers-world-essays-pearson at GetAcademiceHelp and place your order today with us. Cegvera, Looking for writing service that answers your queries related to Write my essay & click here uk? then Essay Avenue is the only platform which can help you. Kanaan, StudyDaddy is the place where you can get easy online Werite My Paper. Our qualified tutors are available online 24/7 to answer all your homework Saturno Grooves and On line click to read more: Assisting a Persuasive is made by you Speech On Different Topics The ability to develop quality speech term papers is not Kungens Män at least, and if I think a full two-hour show with 13 songs might be the fewest I’ve ever done, which means that, on average, these are the longest songs. Whatever. I thought the show hit a good flow with some rocking stuff early in new English Paper Piecing Sue Daley for Me: Why Does This Subject Matter? I am ready to pay for doing my physics homework for me! Those are the words of the Geezer and the Maryland doom of Essay Writing On Friendship Division: Television Work Status: Fulltime Location: Global Edmonton About the Role Its a great time to join a local news powerhouse Galactic Cross, gets super-heavy for a minute and then trips out, but whatever. If you don’t agree, don’t listen I guess. I don’t get ratings figures or anything, but I don’t imagine I’m busting the doors down at  If you are looking for research papers on teenage pregnancy, look no further. We are here to help you. Gimme Radio every Friday at 5PM.  I know that’s drive-time, but do the ancient ways of broadcast timeslots still apply when people are using apps to hear it? Rest assured, I have no idea.

Either way, thanks if you can listen. Sorry to be a bother if you can’t. If you want to look at this is as a list of bands I think you should check out, then fine. I ain’t trying to sell anyone anything, but of course appreciate your support.

The Obelisk Show airs 5PM Eastern today at http://gimmeradio.com

Full playlist:

The Obelisk Show – 03.06.20

Geezer Dig Groovy*
Galactic Cross Spellbound Galactic Cross*
Candlemass The Pendulum The Pendulum*
DOOL Sulfur & Starlight Summerland*
BREAK
Cegvera Red Swarm Beyond The Sixth Glare*
Dwaal Like Rats Gospel of the Vile*
Voidlurker Rotten Seed Industrial Nightmare*
Ryte Monoilth Ryte*
BREAK
Kanaan Seemingly Changeless Stars Odense Sessions*
Saturno Grooves Forever Zero Cosmic Echoes*
Foot Green Embers The Balance of Nature Shifted*
Humulus Hajra The Deep*
BREAK
Kungens Män Trappmusik Trappmusik*

The Obelisk Show on pay someone to do your school project Where To http://sovetsky.info/?homework-coupon writing a dissertation evaluation need help with essay writing Gimme Radio airs every Friday 5PM Eastern, with replays Sunday at 7PM Eastern. Next new episode is March 20 (subject to change). Thanks for listening if you do.

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Review & Full Album Premiere: Kungens Män, Trappmusik

Posted in audiObelisk, Reviews on February 10th, 2020 by JJ Koczan

Kungens Män trappmusik

[Click play above to hear the premiere of Kungens Män’s Trappmusik, out today on Adansonia Records.]

Ye weary souls in search of psychedelic serenity, look no further than the  Website visite sites Quality web content, or a lack thereof, can make or break your business > Learn Trappmusik, the latest in a line of offerings from Swedish explorers Dissertation service. dissertations & assignments Get best essay My Life Essay help writing service UK If youre feeling stressed. Master thesis Kungens Män. Issued through Check out why it is important to read the best essay madame bovary essays. Only this way will you have access to top quality work delivered on time, and Adansonia, the seven-song/78-minute affair is a mostly-mellow blissout, well beyond the point commonly reserved for consideration as “manageable,” but who cares when the waters they wade in — or scuttle, since these kingsmen seem to have a thing for shellfish, and, one assumes, puns — are so warm? Take the 15 minutes of utter joy in “Vibbdirektivet,” a directive of vibe that’s not only easy to follow, but an utter joy in the doing, with unashamed guitar shimmer and a subtle rhythmic luster to match.

Its subdued take is enough to make even the snare and fuzz meandering of 10-minute opener “Fånge i Universum” seem active by comparison, topped with cosmic echoes of psaxophone (that’s a psychedelic sax for those who can dig it) as it is, and one supposes that cut is more active in its way, but in terms of general scale, it’s still much more about setting an atmosphere of patient, graceful flow than shoving its way into the vacuum of space. Dug in and jazzy in its spirit, Try our 'edit my paper' service right now! Professional essay proofreader will help you to complete a Advantages of our Thesis For Phds. Trappmusik is affecting in the manner in which it unfolds across its span, from that leadoff to the trip-hop-via-krautrock-and-more-sax progginess of the subsequent “Senvägen,” which leans harder on the bassline for more of a nighttime richness but still finds its way into the trance of the 2LP overall.

The album is a kind of semi-departure for Dissertation Appendix Example - forget about your fears, place your assignment here and get your quality essay in a few days Get started with essay writing Kungens Män, who were last heard from only months ago on Dec. 2019’s Hårt Som Ben (discussed here) — which itself followed Feb. 2019’s Chef (review here), which followed Aug. 2018’s Fuzz på Svenska, which followed July 2017’s Dag & Natt (review here), which followed 2016’s Stockholm Maraton, 2015’s Förnekaren (review here), and so on through a slew of live and studio offerings dating back to their start in 2012 — in that it tips the balance in their sound in this mellower direction, but it doesn’t seem like that should be read necessarily as a statement on the band’s part of some future direction.

Rather, Trappmusik appears to have been recorded during the same session in May 2019 as Hårt Som Ben, at Silence Studio in Värmland, Sweden. The band — a listed lineup of drummer/percussionist Mattias Indy Pettersson, synthesist/programmer Peter Erikson, guitarists Hans Hjelm, Mikael Tuominen and Gustav Nygren, with contributions as well from others — reportedly recorded 13 hours of improvised music over the course of three days with engineer Isak Sjöholm, so indeed Trappmusik as the second may not be the last LP to come from that session, but is less perhaps an indication of intent going forward in terms of the band’s growth than it is a question of how this particular release was whittled down from those expansive recordings.

Its purpose is contained, in other words, and thus the editing of the material becomes an instrument unto itself. The framing. The process of selecting and choosing to highlight moments like the shift from airy guitar adventuring into percussive chill in “Tricksen för Transen” and the folkish keyboard of “Främmande i Tillvaron” — the latter entirely appropriate in its position as the centerpiece; its sunbaked golden hue not only rests smoothly alongside “Vibbdirektivet,” which follows, but gives Trappmusik a manifestation perhaps even more fitting than its own 17:50 title-track, which closes in much jazzier and more generally uptempo fashion — plucking these pieces out from the hours of what was tracked speaks to a sense of meaning behind the sheer construction of Trappmusik itself.

Kungens Män

Inherently it is a record that seeks to tell a story or portray an idea, and that is not only rooted in the traditions of Swedish folk and progressive and psychedelic rock, but in the fleeting ambience of these moments as they’re captured — there and gone, sunlight or moonlight, in the flight of escapist fantasy from the rigors and anxieties of the day-to-day. They call it their “chill out album,” and fair enough, but that doesn’t necessarily encompass the entirety of the mission, and it’s also not as if Trappmusik is only doing one thing for all of its rather considerable span either.

“Senvägen” and “Främmande i Tillvaron” could be different bands for the sonic disparity between them, and though the five-minute bass, guitar, drum mood-setting of the penultimate “Lastkajen” is hardly more than an interlude sandwiched between “Vibbdirektivet” and the expansive “Trappmusik” itself, its purpose in setting up that turn is further evidence of a master hand at work in terms of setting the overarching, grander progression of the album in motion even if the closer is inevitably going to consume an LP side on its own. That would be, presumably, side D, and with a more active bassline, far back toms and a returning saxophone in a suitable bookend to “Fånge i Universum,” the album finishes on maybe its most movement-based note.

The bass and drums bounce, and the guitar and brass seem to engage in a conversation based on mutual far-out-ranging. They go and go and go. It’s still trance-inducing to a degree, but one gets shades more of krautrock than the spaced procession of the opener, and it’s a palpable shift between the two. There’s still some tricky echoes working on the saxophone as it dissipates just before the seven-minute mark and lets the bass take the foreground — it gradually winds its way back and out again en route to the last slow-to-a-stop — but the general impression is more earthbound and less given to float than Kungens Män earlier on.

One wonders if perhaps that’s an indication the next offering will be their jazz record? If so, they’d hardly be the first to realize the connections between improvised psych and jazz, but as they have in the past, they make those connections their own as they round off Trappmusik with that gentle letting go, emblematic as it is of the soul and intention behind the collection as a whole and the underlying consciousness at work in making it. A gorgeous celebration waiting to be celebrated.

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Kungens Män on Instagram

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Kungens Män Releasing Trappmusik 2LP Feb. 10; Preorder Available

Posted in Whathaveyou on January 7th, 2020 by JJ Koczan

Kungens Män

Sincere and heartfelt congratulations to you if you can keep up with Swedish improv specialists Kungens Män. I seem to be at this point unable. The psychedelic collective offered up Hårt som ben in late 2019 as the follow-up to earlier-in-the-year’s Chef (review here), and before I even got to review that, here’s the announcement that preorders are open for their next outing — a 2LP due out Feb. 10 through Adansonia Records called Trappmusik that, at least from the description as I haven’t actually heard it, sounds right up my alley. Kungens Män will be at Roadburn in the Netherlands, and so will I, so maybe I can hit them up at their merch table or something and ask them to give a dude a break with all the quality off-the-cuff psych they’re putting out, but somehow that seems like shooting myself in the ass. Maybe I’ll just buy all the records instead. Yeah. That’s always the right impulse to follow.

Album info follows, courtesy of the label:

Kungens Män trappmusik

Kungens Män – Trappmusik – DLP 2020 – Adansonia Records

Playing improvised music is a gift. It’s alchemy, chemistry, interlocking heartbeats and sometimes a struggle. A lot of it is about ambience. The legendary Silence studio in the deep woods of Värmland is a perfect example of how much setting actually effects the music made.

Kungens Män usually record at home, in busy Stockholm, coming directly from the Underground, rolling escalators, the everyday stress latent in the back of the mind. We rumble for about two-three hours, mirroring frustration and built up energy from the work week we just left behind.

This session was different. Silence is a place for contemplation. It was the end of May, the sun was shining, the grass was green and we took walks to the lake in between takes. We recorded 13 hours of music at a quite slow pace over the course of three days. Every moment of the record isn’t perfect, even sloppy sometimes, but we’re not in a competition.

”Trappmusik” is the Kungens Män chill out album. It has its peaks, but the overall vibe is calm, introspective and vibing off the fantastic recording room that has hosted so many giants. ”Främmande i tillvaron” is a nod and celebration of one of the masters of Swedish music, Bo Hansson, who was the spark that made Silence happen in the seventies together with Anders Lind who actually rigged the equipment for our session. What’s also interesting from a historical point of view is that the recording engineer we brought with us, our friend Isak Sjöholm, is the son of Jakob Sjöholm from Träd, Gräs och Stenar, who were also really important for the community around Silence.

Use this music however you want. Play it loud or put it on as background music. Lie down on the floor or dance to it. The woods are singing.

Details:
– 350 x yellow (side A/B), orange (side C/D) vinyl, 180g, hand-numbered, inlay, 30€
– 150 x orange/yellow split vinyl, hand-numbered, hand-printed inlay, 39€*
*Adansonia mailorder edition

Mastering by DJM.
LP’s are coming in fully-laminated thick matte sleeves and black padded inner sleeves.
Any vinyl purchase includes a high-quality download.

+ + + Release date: 10 Feb. 2020 + + +

You can place your order at: https://www.adansoniarecords.de/shop/

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instagram.com/kungensmanband
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Kungens Män, Hårt som ben (2019)

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Roadburn 2020 Adds 40 Watt Sun, Patrick Walker, Inter Arma, Darsombra, Dommengang, Kungens Män & Many More

Posted in Whathaveyou on November 29th, 2019 by JJ Koczan

ROADBURN 2020 BANNER

This announcement went out yesterday from Roadburn 2020, and as we in the United States celebrated Thanksgiving — one of our least morally reprehensible holidays until one examines it in any sort of historical context whatsoever — I was extra grateful for the fact that I found out this week that the Weirdo Canyon Dispatch, the daily festival ‘zine for which I’ve served as editor for the last six years, will run again. It’s always a fingers-crossed scenario as to whether there will be the budget for such a thing — it’s not like I could begrudge them making the right choice if it was “who needs the money, David Eugene Edwards or WCD?” — but I am of course beyond thrilled to say that I will be at Roadburn Festival for the 11th year in a row in 2020. If you’re going, I’m the guy with the cosmic backpack dorking out during Patrick Walker‘s solo set.

Which, by the way is a thing that’s happening. That was added along with Inter Arma playing their latest LP, Sulphur English, in its masterful entirety, DommengangDarsombra, two sets from Alcest40 Watt Sun doing The Inside Room in full, and Kungens Män and a whole bunch of others. I’ll look forward to feeling completely overwhelmed by it all as I try to cover as much as possible — like always.

Thanks from the bottom of my heart to Roadburn for having me back. This festival has changed my life.

Here’s the update:

Today’s announcement for Roadburn Festival 2020 includes the only band where our two curators cross over: Alcest, who will play a special set titled ‘Visions du futur’, focussing on their last two albums. James Kent (AKA Perturbator) also added OKKULTOKRATI to his curation, whilst Emma Ruth Rundle added INTER ARMA (playing Sulphur English in full), 40 Watt Sun (playing The Inside Room in full) and a solo Patrick Walker set, Helms Alee and FACS.

Elsewhere we added Algiers, Richard Dawson, Dynfari (playing The Four Doors Of The Mind), BAD BREEDING, White Ward, Dommengang, Kungens Män, darsombra and TAU and The Drones Of Praise.

With 97% of weekend tickets now gone, and day tickets on sale on December 10 – we’re looking forward to seeing you all in Tilburg in April: roadburn.com/tickets

EUROPEAN FESTIVAL AWARD NOMINATION

Roadburn has been nominated in the best small festival category (less than 10,000 visitors) at the European Festival Awards 2019. Votes can be cast HERE. Votes and spreading the word are appreciated as it would be a huge honour for us to win such recognition.

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Kungens Män Announce Hårt Som Ben out Nov. 29

Posted in Whathaveyou on October 29th, 2019 by JJ Koczan

kungens-man

Yeah, of course you do, because you’re hip like that, but if you don’t keep up with Swedish improv-based jammers Kungens Män to the extent that one can hope to do so, you probably should give it a shot. Their second long-player of the year, Hårt Som Ben, is set to release on Nov. 29 and in following up the already-plenty-right-on Chef (review here), the six-piece lock in across five tracks and 37 minutes of blissed-out vibing that’s so laid back it might as well be actually telling you to calm down — which I guess it kind of is, just instrumentally — and do what they do well, which is explore.

They went out to the woods to make it, they’ll tour the UK for the first time to support it. No audio yet, but all the news is good.

And here it is:

kungens man het som ben

KUNGENS MÄN – ‘Hårt Som Ben’ – November 29th 2019

Kungens Män hail from Stockholm, Sweden and have been around as a musical unit since 2012. Their inspiration comes from the drone, the rattle of the loose screw, the circuit failure of the effects, the phatness of the moog and from the very diverse wiring of a bunch of middle aged Swedish freaks. Kungens Män never plan the next musical move – it presents itself.

Nine months after their acclaimed album ‘Chef’ (also released on Riot Season) the band return with ‘Hårt Som Ben’, a stunning follow up with a debut UK tour to coincide. The LP is released in two variants, pink vinyl in pink sleeve, and black vinyl in black sleeve.

At the end of May 2019 Kungens Män packed a couple of cars full of instruments and life supporting essentials and drove into the woods of Värmland to spend three days in the legendary Silence Studio. It has hosted recordings by bands and musicians like Bo Hansson, Motorpsycho, The Hellacopters, Bob Hund and Union Carbide Productions, the presence felt and seen all over the place.

In between watching VHS tapes with Twin Peaks, Miles Davis and Roskilde Festival 92, cooking pasta, sleeping in bunk beds, Bruce Bannering shirts and chilling in the sun, Kungens Män managed to record about 13 hours of music. Some of it will never reach your ears, but here’s the first slab made public – Hårt Som Ben (translates to ‘Hard As Bone’) Not very hard, that is.

artist: KUNGENS MÄN
title: ‘Hårt Som Ben’
cat # REPOSELP086
Format: LP (Pink Or Black Vinyl)
release date: November 29th 2019

LP Tracklisting
A1. Hårt Som Ben
A2. Måttanpassad Minneslucka
A3. Evigetern
B1. Rose-Maries Bebis
B2. Patriarkivet

KUNGENS MÄN debut UK tour :
Dec 1: Glasgow, Nice ’n’ Sleazy
Dec 2: Newcastle, The Cluny 2
Dec 3: Todmorden, The Golden Lion
Dec 4: Manchester, The Peer Hat
Dec 5: Bristol, The Crofter’s Rights
Dec 6: Chelmsford, The Hot Box

KUNGENS MÄN are :
Mikael Tuominen – guitar & bass VI
Hans Hjelm – guitar
Gustav Nygren – guitar
Magnus Öhrn – bass
Peter Erikson – synthesizer
Mattias Indy Pettersson – drums & percussion

Plus guest appearance by:
Isak Sjöholm – drums & synthesizer

kungensman.bandcamp.com
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instagram.com/kungensmanband
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Kungens Män, Chef (2019)

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Quarterly Review: Kungens Män, PFUND, Crystal Spiders, The Misery Men, Hubris, Woorms, Melody Fields, Oreyeon, Mammoth Grove, Crimson Devils

Posted in Reviews on March 19th, 2019 by JJ Koczan

quarterly-review-spring-2019

I used to be pretty artsy and write poetry. Let’s give it a shot:

There was an old man who wore no-toe shoes.
He said, I’mma go do 60 reviews.
He was out of his head,
Should’ve gone back to bed,
But he loves him some dirty psych blues.

Years from now, when I link back to this post for a “(review here)”-type scenario, I’m going to see that and I’ll still think it’s funny. The planet’s dying. I’d say a bit of silly is more than called for.

Quarterly Review #11-20:

Kungens Män, Chef

kungens man chef

Krautrockers, assemble! Or, you know, whatever krautrockers do — I assume it involves homemade spacecraft that, yes, absolutely fly. Perhaps one of these days I’ll ask Stockholm’s Kungens Män, whose latest outing for Riot Season, simply titled Chef, is an outbound delight of psych-infused progressivism. Beginning with the opening throb of “Fyrkantig Böjelse” and moving into the volume swells, steady drum line and wandering guitar that starts “Öppen För Stängda Dörrar” on side A, its four extended tracks craft otherworldly textures through a meld of organic instrumental flow and waves of synth, the second cut building to a tense wash of distortion all the while keeping that hypnotic march. The two corresponding 10-minute-plus cuts on side B waste no time in offering cosmic boogie in “Män Med Medel” with a more active rhythmic flow, and closer “Eftertankens Blanka Krankhet” — longer than the opener by one second at 11:24 — fades in on meditative guitar and explores a serene minimalism that only underscores the all around joy of the album.

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Riot Season Records webstore

 

PFUND, PFUND

pfund pfund

The self-titled, self-released debut full-length from Kiel, Germany’s PFUND arrives and departs with a guesting horn section, and while that inevitably adds a bit of grandeur to the proceedings, the bulk of the outing is dedicated to straightforward, semi-metallic heavy rock, held to ground even in the seven-minute “Spaceman” by a considered sense of structure and an earthy drum sound that draws the songs together, whether it’s the classic riff rock in “Sea of Life” or the moodier sway in the earlier “Lost in Rome.” Dual guitars effectively multiply the impact, and the vocals showcase a nascent sense of melody that one imagines will only continue to grow as the band moves forward. At nine songs and 44 minutes, it shows some breadth and nuance in “Exhaustion” and “Paranoia,” the former tapping into an edge of progressive metal, but the primary impact comes from PFUND‘s heft of groove and how it blends with a rawer edge to their production. The Kyuss-referencing centerpiece here might be called “Imbalance,” but that’s hardly representative of what surrounds, horns and all.

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PFUND on Bandcamp

 

Crystal Spiders, Demo

crystal spiders demo

Three songs, 11 minutes and three distinct vibes from the aptly-titled Demo demo of North Carolinian three-piece Crystal Spiders. On “Tigerlily,” “Flamethrower” and “Devil’s Resolve,” the trio of bassist/vocalist Brenna Leath (also Lightning Born), guitarist/vocalist Mike Deloatch and drummer/backing vocalist Tradd Yancey careen from bluesy spaciousness to hard-driving catchiness and end up — because why not? — in repeating cult-sludge chants, “Come to the devil’s resolve!” like Black Widow trying to lure people to the sabbat, except shouting. If the purpose of a demo is for a new band to try different methods of working and thereby take a first step in discovering their sound, Crystal Spiders are well on their way, and for what it’s worth, there isn’t anything within their scope as they present it that doesn’t work for them. There are edges to smooth out, of course, but that too is a part of the process starting here.

Crystal Spiders on Thee Facebooks

Crystal Spiders on Bandcamp

 

The Misery Men, Deathspiration

The Misery Men Deathspiration

If you’d asked, depending on which part of Deathspiration was on, I’d probably have called The Misery Men a bass/drum duo, but nope, that’s guitar. Tonally one is reminded of At Devil Dirt from Chile, but the Portland, Oregon, two-piece of vocalist/guitarist Corey G. Lewis and drummer Steve Jones are entirely more barebones in their craft, eschewing digital involvement of any sort in the recording or mixing process and sounding duly raw as a result throughout the subtle earworm of “C.W. Sughrue” and the lumbering “Harness the Darkness.” The subsequent “Night Creeps In” brings a Northwestern noise payoff to quiet/loud trades and the near-10-minute closer “Stoned to Death,” well, it seems to meet an end befitting its title, to say the least. As their stated intent was to capture the most organic version of their sound possible, and made a point of working toward that ideal in their recording, one could hardly fault them for the results of that process. They wanted something human-sounding. They got it.

The Misery Men on Thee Facebooks

The Misery Men on Bandcamp

 

Hubris, EP #II Live

hubris ep ii live

Some — not all — of what one needs to know about HubrisEP #II Live is right there in the title. Indeed, it’s their second EP. Indeed, it was recorded live. And indeed, like using a ‘#’ sign with a Roman numeral, there’s something about the way the three included songs from the Toulouse, France-based outfit sound that’s just a little bit off-kilter from what you might expect. “Zugzwang” (7:19), “Tergo” (19:58) and “Biotilus” (27:04) are arranged shortest to longest, and while the opener starts off like Queens of the Stone Age on an Eastern-tinged psychedelic bender, the lengthy jams that follow — the first of them with a fervent drum punctuation, the second a gradual intertwining of synth and guitar with hardly any percussion at all until after its 22nd minute. The instrumental flow that ensues from there is almost like a hidden bonus track, at least until they Hubris get to minute 26 and the whole thing explodes in crash and plod. The underlying message, of course, is that if you think you’re safe at any point, you’re not.

Hubris on Thee Facebooks

Hubris on Bandcamp

 

Woorms, Slake

woorms slake

Lumbering fuckall pervades the debut full-length, Slake, from Baton Rouge, Louisiana, sludgers Woorms — also stylized all-caps — which incorporates past singles “Find a Meal Find a Bed Find a God” and “Mouth is a Wound” amid the sample/noise barrage of “Our Lady of Perpetually Shitfaced” and the willfully brash “Racist Kevin” that follows. There’s an edge of Melvinsian chug to the proceedings, but Woorms‘ take, though presented in finished compositions, comes across as almost nihilistic rather than making a show of its experimentalism. That is, they’re trying to say they don’t give a fuck, and in listening, they make it kind of easy to believe, but there’s still something about the cohesiveness of “Veni Vidi Fucki” and “Rice Crispy” and the saved-the-best-nod-for-last finale “Sore Afraid” that undercuts the notion even while making the listening experience all the more pummeling, and from the intro “Corpse Corps” through “Urine Trouble Now”‘s echoing shouts and the closer’s unmitigated stomp, there’s still plenty of exploration being done.

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Oreyeon, Ode to Oblivion

Oreyeon Ode to Oblivion

Rebranded since their 2016 debut, Builders of Cosmos (discussed here), from their more phonetically intuitive original moniker, Orion, Italy’s Oreyeon issue a cosmically expansive spacescape follow-up in their six-song/40-minute sophomore outing, Ode to Oblivion, also their first release through Heavy Psych Sounds. Echoing vocals pervade “Big Surprise” after the introductory “T.I.O.” and “Trudging to Vacuity” establish the wide-cast mix and anti-grav rhythmic density, and the nine-minute side A finale title-track runs mostly-instrumental circles around most of what I’d usually call “prog” only after it lays down a sleek hook in the first couple minutes. After “Big Surprise,” the 8:45 “The Ones” trades volume back and forth but finds its breadth at about the sixth minute as the dramatic lead turns on a dime to desert rock thrust en route to wherever the hell it goes next. Honestly, after that moment, everything’s gravy, but Oreyeon lay it on thick with closer “Starship Pusher” and never neglect melody in the face of nod. Worth a deeper dig if you get the chance.

Oreyeon on Thee Facebooks

Heavy Psych Sounds website

 

Melody Fields, Melody Fields

melody fields melody fields

Sometimes you hear a record and it’s like the band is doing you a favor by existing. To that, thanks Melody Fields. The Gothenburg psych troupe lace their lysergic flow with folkish harmonies and an open sensibility on their self-titled debut that comes coupled with enough tonal presence to still consider them heavy not that it matters. They break out the sax on “Morning Sun” to welcome effect, and the sun continues to shine through “Liberty” and the garage-buzzing “Run” before “Rain Man” turns water droplets into keyboard notes and Beatlesian — think “Rain” — voice arrangements atop soothing instrumental drift, every bit the centerpiece and an excellent precursor to the acoustic-based “Fire” and the 10-minute “Trädgränsen,” which is the crowning achievement of this self-titled debut, which, if I’d been hip to it in time, would’ve made both the 2018 best albums and best debuts list. They cap with a reprise of “Morning Sun” and underscore the solid foundation beneath the molten beauty of their work throughout. To ask for another album seems greedy, but I will anyway. More, please.

Melody Fields on Thee Facebooks

Sound Effect Records website

 

Mammoth Grove, Slow Burn

mammoth grove slow burn

Okay, look, enough screwing around. It’s time for someone to sign Mammoth Grove. The Calgary natives have been putting out quality heavy psych rock since their 2011 self-titled debut (review here), and their latest long-player, the four-song Slow Burn is a righteous amalgam of peace-thru-rock that lives up to its freewheeling vibes in “Seasons” after the methodical opener “Valleys” and rolls out a bit of melodic ’70s biker rock bliss in “Black Meadow” before the side-B-consuming “Gloria” (18:42) asks early if you’re ready to go and then goes like gone, gone, gone, and gone further. Given the analog mindset involved and the heart on display throughout, there’s something fitting about it being pressed up in an edition of 100 hand-screenprinted LPs and 100 CDs likewise, but the more people who could hear it, the merrier, so yeah, some label or other needs to step up and make that happen, and I dare you to listen to the solo that hits past the 14-minute mark in “Gloria” and tell me otherwise. Dare you.

Mammoth Grove on Thee Facebooks

Mammoth Grove on Bandcamp

 

Crimson Devils, A Taste for Blood

crimson devils a taste for blood

Since pared down to a trio from the four-piece incarnation they present here, Austin’s Crimson Devils first released their debut, A Taste for Blood, in 2017, but gave it a vinyl revisit last year and it’s little mystery why. The record comprises 11 sharply-composed tracks of Small Stone-style heavy rock, taking cues from Sasquatch in modern-via-classic modus, picking and choosing elements of ’70s and ’90s rock to conjure formidable groove and engaging hooks. There’s considerable swagger and weight in “They Get It,” and while opener “Dead and Gone” seems to show an influence in its vocal patterning from Elder, as the album unfolds, it’s more about the blast of “Captain Walker” or the penultimate “Nothing to Claim” and the straight-ahead vibes of “Bad News Blues” and “No Action” than anything so outwardly prog. There’s plenty to dig in the rock-for-rockers mindset, and it’s the kind of offering that should probably come with an octane rating. However such things are measured, safe to say it would not be low.

Crimson Devils on Thee Facebooks

Crimson Devils on Bandcamp

 

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Quarterly Review: Hallatar, Alastor, The Dead-End Alley Band, Hair of the Dog, Soup, Kungens Män, Smoke Wizzzard, Highburnator, The Curf, Ulls

Posted in Reviews on September 29th, 2017 by JJ Koczan

the obelisk quarterly review

Here we are, gathered for round four of the Fall 2017 Quarterly Review. After the technical issues with the site for the last couple days, I’m glad to have everything back up and running, and one more time I thank Slevin and Behrang Alavi for making that happen. Though I have no idea what it might actually entail, I don’t imagine switching hosts on the fly for a site with as much content as this one has is easy, but they of course killed it and it is thoroughly appreciated. We move forward, as ever, with 10 more records. So let’s go.

Quarterly Review #31-40:

Hallatar, No Stars Upon the Bridge

hallatar-no-stars-upon-the-bridge

Finland’s Hallatar was formed after the passing of Trees of Eternity vocalist Aleah Starbridge, life partner of guitarist and songwriter Juha Ravio (also Swallow the Sun). In the new outfit, Ravio pays homage to Starbridge with the debut long-player No Stars Upon the Bridge (on Svart) by using her poems as lyrics, samples of her voice reading on “Raven’s Song,” “Spiral Gate” and the piano-backed centerpiece “Pieces,” and by bringing in Amorphis vocalist Tomi Joutsen and ex-HIM drummer Gas Lipstick to complete a trio playing nine tracks/40 minutes of deeply mournful/beautiful death-doom. The extremity of lurch in “The Maze” late in the record is matched by the gorgeousness of the chants and shimmering guitar on closer “Dreams Burn Down,” and from the opening strains of “Mirrors,” the emotion driving No Stars Upon the Bridge is sincere and affecting. Cuts like “Melt” and the mostly-whispered-until-it-explodes “My Mistake” have a sense of the theatrical in their delivery, but that makes them no less genuine, and though one wouldn’t wish the circumstances leading to the band’s formation on anybody, there’s no question that with Hallatar, Ravio turns tragedy into a lush, resonant catharsis.

Hallatar on Thee Facebooks

Svart Records website

 

Alastor, Black Magic

alastor black magic

Cultish echoes pervade Black Magic, the debut album from Swedish doom-rolling four-piece Alastor, and it’s not so much that the initials-only four-piece of guitarists H and J, bassist/vocalist R and drummer S take influence from Electric Wizard and Black Sabbath, it’s what they do with that influence that’s most striking. Black Magic is made up of three extended tracks – “Enemy” (11:51), “Nothing to Fear” (7:42) and “Black Magic” (14:27) – and with a deep tonal engagement, each one embarks on a huge-sounding sprawl of doom. Yes, the guitars owe the swirl in “Nothing to Fear” to Jus Oborn, but the echoes behind R’s voice there and the melody have an almost New Wave-style feel despite the “all right now!” drawn right from the Ozzy playbook. In other words, Alastor are preaching to the converted, and that holds true in the snowblinded Luciferian spaciousness of the title-track’s early going as well, but the converted should have no problem finding the gospel in what they’re hearing, and as “Black Magic” rounds out with its chanted feel, Alastor affirm the potential to progress within this sound and to continue to develop it into something even more their own than it is now. Familiar superficially, but sneaky in the details, so watch out.

Alastor on Thee Facebooks

Twin Earth Records webstore

 

The Dead-End Alley Band, Storms

the dead-end-alley-band-storms

Lima-based four-piece The Dead-End Alley Band aren’t far into opener “Red Woman” before the dark-psych vibe and languid groove have properly emphasized just how much the guitar of Leonardo Alva and the organ of Sebastian Sanchez-Botta (also vocals) complement each other. Propelled by the rhythm section of bassist/vocalist Javier Kou and drummer Jafer Diaz, Storms is the third album from them behind 2015’s Odd Stories (discussed here) and 2013’s debut, Whispers of the Night (review here), and it continues to blend fuzz and classic garage doom impulses on songs like “Headstone Fortress” and the shuffling “Thunderbolts and Lace,” the latter of which wah-trips to the max around a stirring boogie before “The Clock has Stopped” weirds out on extra vocal echoes and nine-minute closer “Waiting for the Void” brings in the progressive touches of pan flute and percussion. Even in the earlier, shortest track “Need You (It’s Enough),” The Dead-End Alley Band bring no shortage of personality to the proceedings, and confirm that the rough edges of their early outings have matured into essential aspects of who they have become as a band, completely in control of their craft and able to conjure an atmosphere both classic and individual.

The Dead-End Alley Band on Thee Facebooks

The Dead-End Alley Band on Bandcamp

Forbidden Place Records website

 

Hair of the Dog, This World Turns

hair-of-the-dog-this-world-turns

Making their debut on Kozmik Artifactz, Scottish trio Hair of the Dog give their guitar-led compositions plenty of time to flesh out on This World Turns, their third album, as they demonstrate quickly on the nine-plus minute titular opener and longest track (immediate points), but one would hardly call their songwriting indulgent there or anywhere else as “This World Turns” flows easily into the following seven-minute push of “Keeping Watch over the Night” in a resolute one-two punch that soon gives way to the shorter and more driving “Ctrl-Alt-Del,” touching on influences from Thin Lizzy and Scorpions en route as well as modern practitioners like Kadavar, whose stamp can also be heard on side B launch “The Colours in Her Skin.” That’s not to say Hair of the Dog — guitarist/vocalist Adam Holt (interview here), bassist Iain Thomson and drummer Jon Holt – don’t leave their own mark as well, just that their blend stems from multiple sources. A bit of Lynottism surfaces in the penultimate “In Death’s Hands” as well, which has a more subdued feel despite fervent rhythmic movement underlying, and closer “4AM” soars with enough vigor and soul – and a little falsetto – to give This World Turns a suitably smooth and vibrant finish.

Hair of the Dog on Thee Facebooks

Kozmik Artifactz website

 

Soup, Remedies

soup remedies

With ties to Motorpsycho through guitarist Hans Magnus “Snah” Ryan, Soup issue their sixth long-player in the five-track lush melodicism of Remedies, which feels particularly aptly named for the immersion the wash that opener “Going Somewhere” is able to elicit. That is, of course, just the first of the spacious, semi-folk-infused progressions, and it’s with the longer-form “The Boy and the Snow” (11:33) and the psychedelic purposeful meandering of “Sleepers” (13:35) that Remedies truly unveils its considerable breadth, but the Crispin Glover Records release holds a sense of poise even in the two-minute centerpiece church organ interlude “Audion,” and the harmonies of “Nothing Like Home” bring to mind peak-era Porcupine Tree patience and fluidity while holding fast to the bright, orange-sunshiny warmth of the atmosphere as a whole, instruments dropping out just before three minutes in to showcase the vocals before returning to embark on the march to the final crescendo, not at all overblown but with just a touch of extra volume to let listeners dive deeper into the moment. Remedies feels quick at 42 minutes, but turns out to be just what the doctor ordered.

Soup on Thee Facebooks

Crispin Glover Records website

 

Kungens Män, Dag & Natt

kungens-man-dag-natt

Prolific psych-progging Stockholmers Kungens Män return with Dag & Natt, a 2CD/2LP issued through Kungens Ljud & Bild (CD) and Adansonia Records (LP) that overflows with jazzy fluidity and gorgeous immersion. The band’s last studio outing was late-2015’s Förnekaren (review here), and whether it’s 13-minute pieces like opener “Morgonrodnad” and the even-more-krautrocking “Aftonstjärnan” or the seemingly complementary inclusions of the kosmiche-minded “Dag” and wonderfully drifting “Natt,” the album as a whole is a joy and a boon to anyone looking for an extended psychedelic meander. The saxophone of Gustav Nygren on the aforementioned leadoff and “Natt” makes a particularly striking impression, but with a steady, languid wash of guitar, synth and warm bass throughout, Dag & Natt wants nothing for flow, and the gentle, classy spirit is maintained even as the penultimate “Vargtimmen” ups the sense of thrust leading into the finisher payoff of “Cirkeln är Slut.” As of now, Kungens Män should be considered a too-well-kept secret of Scandinavia’s psych underground, though listening to Dag & Natt, one wonders just how long they’ll stay that way.

Kungens Män on Thee Facebooks

Adansonia Records website

 

Smoke Wizzzard, Run with the Wolf

smoke-wizzzard-run-with-the-wolf

Whether it’s through the striking and gruesome cover art or through the lumbering post-Sabbath, post-Cathedral stoner-doom nod contained within, Smoke Wizzzard’s five-song self-titled debut LP thoroughly earns its third ‘z’ – and, for that matter, its second one – with played-to-form thickness and a tonal push that starts with 10-minute opener/longest track (immediate points) “Astro Lord” and continues to swagger and swing with due viscosity through “Reptiles” after the minute-long punker curveball “Soul Train.” The highlight of the Pittsburgh trio’s first outing might be “The Pass,” which has a hazy patience and some rightly-featured bass tone, but as “Run with the Wolf” moves from its early Electric Wizard muckraking to cap with piano and included howls for a doomier feel, it becomes clear Smoke Wizzzard have yet to play their full stylistic hand and the real highlights may still be yet to come. Fair enough. Something tells me getting stranger is only going to be a boon to Smoke Wizzzard’s approach on the whole, so bring it on.

Smoke Wizzzard on Thee Facebooks

Smoke Wizzzard on Bandcamp

 

Highburnator, Keystoned State

highburnator-keystoned-state

If you hit up Highburnator’s Bandcamp and download their name-your-price Keystoned State EP, you might note the fifth and final inclusion is the entire live-recorded, 28-minute release presented as a single track. No doubt the Pennsylvania three-piece intend the four-song outing to be taken just that way. They begin with the “mad as hell” speech sampled from the 1976 film Network and from there unfold a potent riffly brew met head on with harsh East Coast hardcore-style vocals and more metallic growls. That’s nine-minute opener and longest track (immediate points) “The Brass Rail,” and it sets the tone for what follows on the eponymous “Highburnator” before “Desert Funeral” and the Sleep-style nod of “Peaking at the Coffin” push into even more stonerly vibes. This melding of pissed-off disaffection and mid-paced heavy rock groove is particular to the sludge of the Eastern Seaboard – think of it as regional fare – but Highburnator find space for themselves in the rawness of their riffs and the charm of their puns, and by the time they’re through the four songs, it makes sense why they might want to present the full onslaught as a single entity, essentially giving it to their listeners on one overflowing platter. Got the munchies? It’s right there waiting.

Highburnator on Thee Facebooks

Highburnator on Bandcamp

 

The Curf, Death and Love

the-curf-death-and-love

Greek psych-doomers The Curf made their debut in 2007 with I and then went radio silent until last year’s Royal Water EP. Their sophomore full-length, Death and Love, then, arrives via Fuzz Ink Records with some amount of intrigue behind it, but either way, the sans-pretense heavy roll the band unfurls on “Dark Hado,” and the more uptempo “Smoke Ring,” the dig-in low end of “Lunar Lair” and the scream-topped start-stoppery of “California” present a varied take brought together through heft as well as the crispness of production and delivery, such that when it wants to, Death and Love can bite down hard, but as on the closing title-track or the earlier “Order ‘n’ Sin,” it can rumble out spaciousness as well. Whatever might’ve taken The Curf so long to put together a second album beats the hell out of me, but if they were looking to make an argument for a third one, they do so convincingly across these nine songs, which hold firmly to their overarching flow despite the emergent stylistic range.

The Curf on Thee Facebooks

Fuzz Ink Records webstore

 

Ulls, I

ULLS I

For now, Ulls is the solo-project of Barcelona-based David Trillo, formerly guitarist/vocalist for the heavy progressive trio Lord Summerisle, but the hope seems to be to build a full band at some point in the future. The I EP might rightly be called a demo, then, but for the professionalism and cohesiveness of sound with which its three songs are presented and the clarity of intent behind them. With Trillo rumbling away on bass beneath, six-minute opener “Inhumat” fleshes out its arrangement with organ alongside guitar swirl and sets up the classically swinging strut of “Llot Convuls,” on which the drums post-midsection lead the way through starts and stops à la a restless King Crimson and the guitar joins with no less angularity. Eight-minute closer “L’Emersió de l’Executor” brings about a thicker overall tone, but holds to a similar mood through its first half, Trillo finding room after about the four-and-a-half-minute mark for a standout solo executed with the bass running fluidly alongside that carries the song to its fading finish just before seven minutes in, at which point a residual drone takes hold to lead the way out. That ending is telling when it comes to various impulses that might show themselves in Ulls going forward, but as an initial demonstration, suffice it to say that I makes it plain Trillo shouldn’t have much trouble finding other players to come aboard the band with him.

Ulls on Instagram

Ulls on Bandcamp

 

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Kungens Män to Deliver Dag & Natt July 31

Posted in Whathaveyou on July 21st, 2017 by JJ Koczan

kungens man

Drifting psych-jazz improvocateurs Kungens Män are gearing up to release a new 2LP in less than two weeks’ time. The Stockholm-based explorers — amorphous in personnel and sound, as ever — were last heard from in April with the offering Tomhetens Furste, a long-playing three-tracker streaming and pressed to limited tape through Eggs in Aspic. The latest work is Dag & Natt, and it will be out on vinyl through Adansonia Records and on CD through Kungens Ljud & Bild July 31 bringing a wash of psych-kraut who-knows-what that’s sure to melt brainstems and turn them into a lysergic homebrew at will in a prevailing weirdo wash. Don’t believe me? Tomhetens Furste is streaming at the bottom of this post. Put it on and just see if there’s any getting out alive.

Info on Dag & Natt comes courtesy of the PR wire:

kungens man dag natt

Kungens Män – Dag & Natt

A soothing Aylerian saxophone wakes you up in the morning. Your head gets going by lunch, while tapping your feet to a stomping groove with free flowing guitars on top. A hard driving krautrock song takes you through the evening. The veiled night enters in nuances of black. After the nightmarish turns inside your most hidden parts of the mind, a motorik beat picks you up to make the walk back home. And then it starts over again.

This is mood music for the adventurous. At all times.

Kungens Män are back with the new double-LP ”Dag & Natt” (Day & Night) on Adansonia Records (double vinyl-LP) and Kungens Ljud & Bild (double CD) on July 31st, 2017.

Kungens Män started out in 2012 in Stockholm, Sweden, when a bunch of good friends decided to bring some instruments when hanging out. The random jam sessions became more and more regular and soon Kungens Män started recording it all, completely unfiltered and without safety nets. The music soon found its way to the internet and a buzz occurred, connecting with listeners all over the globe. From the debut show with Master Musicians Of Bukkake and onwards, every show has been a different story. Always new sounds and improvisations, different guest musicians, different happenings. Kungens Män are rooted in the psychedelic/drone rock tradition of bands such as Träd, Gräs & Stenar, but also add influences from krautrock, shoegaze, noiserock and free jazz. They will always add something new to the mix to challenge themselves and the audiences’ preconceptions about what Kungens Män are all about.

Kungens Män have played at festivals such as The Psychedelic Network Festival (Würzburg, DE), PsyKA Festival (Karlsruhe, DE) and The Copenhagen Psych Fest (DK) and played with bands like Øresund Space Collective, Master Musicians of Bukkake, Yuri Gagarin, Spelljammer, The Spacelords and Radar Men From The Moon. They toured Europe in 2015 and 2016. In August 2017 they are invited by Mani Neumaier to play at the Guru Guru festival, Finki Open Air, along with acts such as Arthur Brown, The Pretty Things and of course, Guru Guru.

The first vinyl-LP “Förnekaren” by Kungens Män was released by the German label Adansonia Records in 2015, and was a success with critics and fans alike. The next double-LP “Stockholm Maraton” came out on Adansonia Records in September 2016. The third double-LP on Adansonia – “Dag & Natt” will be released on July 31st, 2017.

kungensman.bandcamp.com
facebook.com/bandetkungensman
instagram.com/kungensmanband
kungensman.tumblr.com
https://www.adansoniarecords.de/
https://www.facebook.com/adansoniarecords/

Kungens Män, Tomhetens Furste (2017)

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