Landing Announce Tour Dates & Taeppe EP

Posted in Whathaveyou on May 31st, 2017 by JJ Koczan

landing

Connecticut heavy psych drifters Landing are heading out at the end of June and into July for a tour that will take them as far west as Utah and all the way down to Atlanta in a matter of about two weeks’ time. The three-piece issued the full-length Third Sight (review here) last year through respected purveyor El Paraiso Records, and as they make ready to hit the road they’ll do so with a new, limited, tour-exclusive cassette in tow.

Titled Taeppe and presumably pronounced “tape,” the new offering will be a one-time pressing and only available at gigs, so if you don’t happen to make it out to a show, I guess tough luck, though maybe if we start a letter-writing campaign or something they’ll put a couple up on Bandcamp. They’ve got preorders up now ahead of an official June 27 release with a streaming track — also called “Tape” — that you can check out at the bottom of this post, beneath the tour announcement and some more PR-wire-type background.

Dig it:

landing tour

We’re hitting the road!

To coincide with the tour, we’re releasing a limited edition cassette EP titled “Taeppe” that will only be available at the shows. Pre-order link here: https://landing.bandcamp.com/album/taeppe-ep

June 27- Red Cross House, Northampton, MA
June 28- This Ain’t Hollywood, Hamilton, ON
June 29- UFO Factory, Detroit, MI
June 30- State Street, Indianapolis, IN
July 1- Foam, St. Louis, MO
July 2- Kitty Kat Club, Minneapolis, MN
July 3- Vaudeville Mews, Des Moines, IA
July 5- Diabolical Records, SLC, UT
July 8- Cheer Up Charlie’s, Austin, TX
July 9- Gasa Gasa, New Orleans, LA
July 10- 529, Atlanta, GA
July 11- Neptune’s, Raleigh, NC
July 12- TBA, Lynchburg, VA

Hope to see you out there!!

Bio:

Connecticut’s Landing have specialized in a mild and rural kind of psychedelia over the course of nearly two decades. Recent releases have seen them closer to post-punk and shoegaze territory than ever, but Third Sight – recorded specifically for El Paraiso Records’ Impetus series – builds on the hallucinatory soundscapes of the band’s earliest days.

And despite releasing one brilliant album after another the band remains appalingly under-appreciated. Perhaps because the tryyps Landing take are rooted in self-exploration. As trends in krautrock, drone, folk, and psychedelia ebb and flow, Landing remain unfazed. The door to Landing’s world is open, but there isn’t a flashing neon sign above it. These guys are far removed from the hustle and bustle of geographic cultural bubbles, both physically and spiritually.

Landing lineup for Taeppe EP:
Adrienne Snow • Vocals
Daron Gardner • Bass/Drones
Aaron Snow • Guitar/Synth/Drums/Bass/Vocals
Kryssi Battalene • Guitar on Side A
John Miller • Drums on “Together”

https://www.facebook.com/Landingtryyps
https://landing.bandcamp.com/
http://landingsite.net/
http://elparaisorecords.com/artists/landing
https://www.facebook.com/elparaisorecords/

Landing, Taeppe (2017)

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Quarterly Review: Russian Circles, Salem’s Pot, Bridesmaid, Admiral Sir Cloudesley Shovell, Landing, Reign of Zaius, Transcendent Sea, Red Teeth, Sea of Bones & Ramlord, Holy Smoke

Posted in Reviews on October 6th, 2016 by JJ Koczan

the-obelisk-fall-2016-quarterly-review

I’ll admit I’m a little surprised at the shape this Quarterly Review has taken. As I begin to look back on the year in terms of what records have been talked about over the span, I find it’s been particularly geared toward debut albums, both in and out of wrap-ups like this one. There’s less of that this time around, but what’s happened is some stuff that doesn’t fall into that category — releases like the first two here, for example — are getting covered here to allow space for the others. Let’s face it, nobody gives a shit what I have to say about Russian Circles anyhow, so whatever, but I’m happy to have this as a vehicle for discussing records I still think are worth discussing — the first two releases here, again for example — rather than letting them fall through the cracks with the glut of new bands coming along. Of course things evolve as you go on, but I wish I’d figured it out sooner. Let’s dive in.

Quarterly Review #31-40:

Russian Circles, Guidance

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From the warm wash of guitar that begins “Asa” onward, and no matter how weighted, percussive and/or chug-fueled Russian Circles get from there, the Chicago trio seem to be offering solace on their latest outing, Guidance. Recorded by Kurt Ballou and released through Sargent House, the seven-track offering crosses heavy post-rock soundscapes given marked thickness and distinct intensity on “Vorel,” but the record as a whole never quite loses the serenity in “Asa” or the later “Overboard,” crushing as the subsequent “Calla” gets, and though the spaces they cast in closer “Lisboa” are wide and intimidating, their control of them is utterly complete. Six albums in, Russian Circles are simply masters of what they do. There’s really no other way to put it. They remain forward thinking in terms of investigating new ideas in their sound, but their core approach is set in the fluidity of these songs and they revise their aesthetic with a similar, natural patience to that with which they execute their material.

Russian Circles on Thee Facebooks

Sargent House website

 

Salem’s Pot, Pronounce This!

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Following their 2014 RidingEasy Records debut, …Lurar ut dig på prärien (discussed here) – which, presumably met with some pronunciation trouble outside the band’s native Sweden – Salem’s Pot return with Pronounce This!, further refining their blend of psychedelic swirl, odd vibes and garage doom riffing. They remain heavily indoctrinated into the post-Uncle Acid school of buzz and groove, and aren’t afraid to scum it up on “Tranny Takes a Trip” or the slower-shifting first half of “Coal Mind,” but the second portion of that song and “So Gone, so Dead” take a more classically progressive bent that is both refreshing and a significant expansion on what Salem’s Pot have accomplished thus far into their tenure. Still weird, and one doubts that’ll change anytime soon – nor does it need to – but as Pronounce This! plays out, Salem’s Pot demonstrate an open-mindedness that seems to have been underlying their work all along and bring it forward in engaging fashion.

Salem’s Pot BigCartel store

RidingEasy Records website

 

Bridesmaid, International House of Mancakes

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International House of Mancakes – yup – is the follow-up to Bridesmaid’s 2013 long-player, Breakfast at Riffany’s, and like that album, it finds the Columbus, Ohio, instrumentalists with a penchant for inserting dudes’ names into well-known titles – see “Hungry Like Nick Wolf” and “Ronnin’ with the Devil” – but it also expands the lineup to the two-bass/two-drum four-piece of Scott Hyatt and Bob Brinkman (both bass) and Cory Barnt and Boehm (both drums). Topped off with KISS-meets-Village People art from W. Ralph Walters, there are shortages neither of snark nor low end, but buried underneath is a progressive songwriting sensibility that doesn’t come across as overly metal on cuts like “Ricky Thump” and doesn’t sacrifice impact or heft for the sake of self-indulgence. Opening with its longest track (immediate points) in “It’s Alectric (Boogie Woogie Woogie),” International House of Mancakes unfolds a heavy rock push that, while obviously driven in part by its sense of humor, earns serious consideration in these tracks for those willing to actually listen.

Bridesmaid on Thee Facebooks

Bridesmaid on Bandcamp

 

Admiral Sir Cloudesley Shovell, Keep it Greasy!

admiral-sir-cloudesley-shovell-keep-it-greasy-700

Too thick in its tones to be a completely vintage-style work, the sleazy vibes of Admiral Sir Cloudesley Shovell’s Keep it Greasy! (on Rise Above) are otherwise loyal to circa-1971 boogie and attitude, and whether it’s the rewind moment on opener “U Got Wot I Need” or proto-metallic bass thrust of the “Hawkline Monster” or the brash post-Lemmy push of “Tired ‘n’ Wired,” the album is a celebration of a moment when rock isn’t about being any of those things or anything else, but about having a good time, letting off some steam from a shit job or whatever it is, and trying your damnedest to get laid. Radio samples throughout tie the songs together, but even that carries an analog feel – because radio – and the good Admiral are clearly well versed in the fine art of kicking ass. Familiar in all the right ways with more than enough personality to make that just another part of the charm.

The Admiral Sir Cloudesley Shovell on Thee Facebooks

Rise Above Records website

 

Landing, Third Sight

landing-third-sight-700

The invitation to completely immerse comes quickly on the 13-minute “Delusion Sound,” which opens Landing’s Third Sight (on El Paraiso), and from there, the Connecticut four-piece sway along a beautiful and melodic drift, easing their way along a full-sounding progression filled out with airy guitar and backing drones, moved forward patiently by its drum march and topped with echoed half-whispers. It’s a flat-out gorgeous initial impression to make, and the instrumental “Third Site” and “Facing South” follow it with a tinge of the experimentalism for which Landing are more known, the former led by guitar and the latter led by cinematic keyboard. To bookend, the 14-minute “Morning Sun” builds as it progresses and draws the various sides together while creating a rising soundscape of its own, every bit earning its name as the vocals emerge in the second half, part of a created wash that is nothing short of beautiful. One could say the same of Third Sight as a whole.

Landing on Thee Facebooks

El Paraiso Records website

 

Reign of Zaius, Planet Of…

Disc_Templates

While they’ve spent the last few years kicking around the deeper recesses of Brooklyn’s heavy underground, Reign of Zaius mark their debut release with the 26-minute Planet Of… EP, bringing together seven tracks that show what their time and buildup of material has wrought. Opener “Hate Parade” reminds of earliest Kings Destroy, but on the whole, Reign of Zaius are rawer and more metal at their core, the five-piece delving into shuffle on “Out of Get Mine” and showing an affinity for classic horror in both “They Live” – which starts with a sample of Roddy Piper being all out of bubblegum – and “Farewell to Arms,” previously issued as a single in homage to Evil Dead. The charm of a “Dueling Banjos” reference at the start of “Deliver Me” leads to one of the catchier hooks on Planet Of…, and the shorter “Power Hitter” closes with a bass-heavy paean to smoking out that digs into punkish summation of where Reign of Zaius are coming from generally as they continue to be a band up for having a good time without taking themselves too seriously.

Reign of Zaius on Thee Facebooks

Reign of Zaius on Bandcamp

 

Transcendent Sea, Ballads of Drowning Men

transcendent-sea-ballads-of-drowning-men-700

Kind of a mystery just where the time goes on Sydney rockers Transcendent Sea’s self-released 50-minute first album, Ballads of Drowning Men. Sure, straightforward cuts like “Over Easy” and “Mind Queen” are easily enough accounted for with their post-Orange Goblin burl and boozy, guttural delivery from vocalist Sean Bowden, but as the four-piece of Bowden, guitarist Mathew J. Allen, bassist Andrew Auglys and drummer Mark Mills get into the more extended “Throw Me a Line,” “Blood of a Lion” and closer “Way of the Wolf” – all over 10 minutes each – their moves become harder to track. They keep the hooks and the verses, but it’s not like they’re just tacking jams onto otherwise structured tracks, and even when “Way of the Wolf” goes wandering, Bowden keeps it grounded, and that effect is prevalent throughout in balancing Ballads of Drowning Men as a whole. It takes a few listens to get a handle on where Transcendent Sea are coming from in that regard, but their debut proves worth at least that minimal effort.

Transcendent Sea on Thee Facebooks

Transcendent Sea on Bandcamp

 

Red Teeth, Light Bender

red-teeth-light-bender-700

Brothers Rael and Ryan Andrews, both formerly of Lansing, Michigan, art rockers BerT, revive their heavy punk duo Red Teeth with the four-song Light Bender 7” on GTG Records. Both contribute vocals, and Ryan handles guitar and bass, while Rael is on drums and synth through the quick run of “Light Bender, Sound Bender,” “Tas Pappas,” “134mps” and “Elephant Graveyard,” the longest of which is the opener (immediate points) at 4:49. By the time they get down to “Elephant Graveyard,” one can hear some of the Melvinsian twist and crunch that often surfaced in BerT, but whether it’s the ‘90s-alt-vibes-meet-drum-madness of “134mps” or the almost rockabilly riffing of “Tas Pappas,” Red Teeth – whose last release was eight years ago – have no trouble establishing personality in these songs. Approach with an open mind and the weirdness that persists will be more satisfying, as each track seems to have a context entirely of its own.

Red Teeth on Bandcamp

GTG Records website

 

Sea of Bones & Ramlord, Split

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One can hear the kind of spacious darkness and through-the-skin cold of New England winters in this new split EP from Connecticut crushers Sea of Bones and grinding New Hampshire compatriots Ramlord from Broken Limbs Recordings. What the two share most of all is an atmosphere of existential destitution, but there’s an underlying sense of the extreme that also ties together Sea of Bones’ “Hopelessness and Decay” (10:36) and Ramlord’s “Incarceration of Clairvoyance (Part III)” (10:10), the latter of which continues a series Ramlord started back in 2012 on a split with Cara Neir. Both acts are very much in their element in their brutality. For Sea of Bones, this is the second release they’ve had out this year behind the improvised and digital-only “Silent Transmissions” 27-minute single, which of course was anything but, and for Ramlord, it’s their first split in two years, but finds their gritty, filthy sound well intact from where they last left it. Nothing to complain about here, unless peace of mind is your thing, because you certainly won’t find any of that.

Broken Limbs Recordings on Bandcamp

Sea of Bones on Thee Facebooks

Ramlord on Thee Facebooks

 

Holy Smoke, Holy Smoke! It’s a Demo!

holy-smoke-holy-smoke-its-a-demo-700

Philadelphia-based five-piece Holy Smoke formed in the early hours of 2015, and the exclamatory Holy Smoke! It’s a Demo! three-track EP is their debut release. Opening with its longest cut (immediate points) in “Rinse and Repeat,” it finds them blending psychedelic and heavy rock elements and conjuring marked fluidity between them. As the title indicates, it’s a demo, and what one hears throughout is the first material Holy Smoke thought enough of to put to tape, but on “Rinse and Repeat” and the subsequent “Blue Dreams” and “The Firm,” they bring the two sides together well in a way it’s easy to hope they continue to do as they move onto whatever comes next, pulling off “The Firm” particularly with marked swing and a sense of confidence that undercuts the notion of their being their first time out. They have growing to do, and by no means would I consider them established in style, but there’s a spark in the songs that could absolutely catch fire.

Holy Smoke on Thee Facebooks

Holy Smoke on Bandcamp

 

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audiObelisk Transmission 058

Posted in Podcasts on July 21st, 2016 by JJ Koczan

Click Here to Download

 

In my defense, I’ll say it’s been a really hectic couple months. Truth be told, even I think it’s been a really long time since the last podcast, so if you do too, at very least we agree on it. If the tradeoff for that is getting to use a bunch of new tracks, some of which have been featured around here for streaming — like Foghound, Monkey3, Slomatics, Comet Control, Mindkult, New Planet Trampoline, etc. — and some of which haven’t shown up around this site yet — Besvärjelsen, Monolord, King Buffalo, Fungal Abyss, Landing, etc. — then I think it’s a decent tradeoff to make. Listening back to it now that it’s finished, as is my tradition, I dig it.

And of course I hope you dig it as well. We start at full run with Foghound and add some boogie to the mix with Långfinger before crashing into the wall of riffs that is Monolord and digging into the garage swing of Mindkult, so right off the bat there’s a decent amount of ground covered, and it only gets weirder as it moves forward, but hopefully even more immersive as well. The second hour, and really from New Planet Trampoline on, keep an open mind and try to just go where the sounds go. It should be a satisfying trip either way.

Track details follow:

First Hour:

0:00:00 Foghound, “Message in the Sky” from The World Unseen
0:03:58 Långfinger, “Feather Beader” from Crossyears
0:08:20 Monolord, “Lord of Suffering” from Lord of Suffering/Die in a Haze
0:14:44 Mindkult, “Witch’s Oath” from Witch’s Oath
0:20:34 Besvärjelsen, “Havets Sista Vals” from Exil
0:27:48 King Buffalo, “Kerosene” from Orion
0:33:46 Slomatics, “Super Nothing” from Future Echo Returns
0:37:36 Monkey3, “Dead Planet’s Eyes” from Astra Symmetry
0:42:06 New Planet Trampoline, “Acts of Mania” from Dark Rides and Grim Visions
0:51:03 Comet Control, “Artificial Light” from Center of the Maze

Second Hour:

1:00:52 Landing, “Morning Sun” from Third Light
1:15:10 Fungal Abyss, “Perfumed Garden” from Karma Suture
1:37:20 Atomikylä, “Katkos” from Keräily

Total running time: 1:55:09

 

Thank you for listening.

Download audiObelisk Transmission 058

 

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Landing Post “Morning Sun” Video

Posted in Bootleg Theater on May 31st, 2016 by JJ Koczan

landing

Like the song it features, much of Landing‘s new video is impressionistic. Footage of vocalist Adrienne Snow reciting the lyrics is overlaid with a gently rolling tide, and elsewhere there are images of color and shapes that feel less geared toward telling a story than complementing the atmosphere of “Morning Sun” as a whole. There is, of course, plenty of atmosphere to complement. The Connecticut-based four-piece — Adrienne as well as Aaron SnowDaron Gardner and John Miller — issue their new album, Third Sight, June 17 via El Paraiso Records, and though it only comprises four tracks, it effectively creates its own world within those songs and invites the listener to engage with it.

Third Sight is my first exposure to the New Haven outfit, who’ve been around since 1998, but better late than never for the bright tones and immersive ambience they bring to this latest and by my count eighth full-length outing, which as previously noted, may be one of two out before the end of the year. If you haven’t had the chance to check them out yet, “Morning Sun” might take a runthrough or two to really sink in, since invariably the first time it’ll just hypnotize and leave you wondering where the last five minutes just went when it’s done, but it proves immediately worth repeat, steadfastly conscious listens.

Enjoy:

Landing, “Morning Sun” official video

Landing
Morning Sun
from the album Third Sight
LP + CD available June 17th, 2016 from El Paraiso Records
Directed by Aaron Snow
© 2016 Structure vs Chaos Music (SESAC)

Catalog number: EPR034
Formats: CD/DL/LP (transparent green vinyl limited to 750 copies, includes download card)
Release date: June 17, 2016
Distributed by: Cargo Records / Forced Exposure (US)

Connecticut’s Landing have specialized in a mild and rural kind of psychedelia for almost two decades. Recent releases have seen them closer to post-punk and shoegaze territory than ever, but Third Sight – recorded specifically for El Paraiso Records’ Impetus series – builds on the hallucinatory soundscapes of the band’s earliest days.

There’s a unique sense of motoric drift to these four long pieces, and an organic blend of rock instrumentation and analog electronics that brings to mind Eno’s best collaborations in the 1970s. But the group’s flair for fuzzy drones and new weirdsy commune-folk also betrays their affiliation with the experimental American east coast scene – playing shows with Bardo Pond, releasing a split EP with Windy & Carl, playing Terrastock a couple of times, among other things throughout their career.

Landing on Thee Facebooks

Landing on Bandcamp

Landing website

El Paraiso Records website

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Landing Release Third Sight June 17 on El Paraiso

Posted in Whathaveyou on May 19th, 2016 by JJ Koczan

landing

Unless you’re looking to be completely consumed by a warm wash of psychedelic serenity, I’d have to advise you to avoid Landing‘s new single at all costs. For the rest of you non-squares, dive into “Delusion Sound” below and I guarantee you won’t touch bottom. The Connecticut-based band formed in 1998 (how have I not heard them before???) but will make their label debut on El Paraiso next month with Third Sight, a new long-player that, at least according to their website, isn’t the only one that will be out this year — a Complekt album is mentioned in an update from February. Whatever. However much they do or don’t do for the rest of 2016, it seems from “Delusion Sound” like Third Sight is going to have plenty of wash to dig into as the lines between post-rock and psychedelia continue to blur. Sign me up for that drift.

Info follows as hoisted from El Paraiso‘s preorder page, also linked below:

landing third sight

Connecticut’s Landing have specialized in a mild and rural kind of psychedelia over the course of nearly two decades. Recent releases have seen them closer to post-punk and shoegaze territory than ever, but Third Sight – recorded specifically for El Paraiso Records’ Impetus series – builds on the hallucinatory soundscapes of the band’s earliest days.

There’s a unique sense of motoric drift to these four long pieces, and an organic blend of rock instrumentation and analog electronics that brings to mind Eno’s best collaborations in the 1970s. But the group’s flair for fuzzy drones and new weirdsy commune-folk also betrays their affiliation with the experimental American east coast scene –these guys have played shows with their friends in Bardo Pond, releasing a split EP with Windy & Carl and playing numerous Terrastocks throughout their existence.

Listening through this LP is likely to stimulate mental images of rural winds blowing across vast American fields of grass, bonfires, blue rivers and power lines sailing through rolling hills. Landing’s psychedelia possesses a rare timelessness. We are proud to present this offering from the band in the El Paraiso catalog!

http://elparaisorecords.com/releases/landing-third-sight
https://landing.bandcamp.com/
http://www.landingsite.net/
https://www.facebook.com/Landingtryyps

Landing, “Delusion Sound”

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