audiObelisk Transmission 063

Posted in Podcasts on November 23rd, 2017 by JJ Koczan

the obelisk podcast 63

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I don’t do podcasts that often at this point. I figure between the radio stream — which runs 24/7 — and the sundry track streams and other media, video premieres, and so on, there’s not much need. But every now and then I feel completely overwhelmed by the onslaught of music and the chance to put together a compilation of tracks is just too good to pass up. Most of the time, nobody complains. It being the internet, I generally take that as a good sign. If it sucked or was a crappy idea, for sure someone would be telling me to screw off.

So is there a running theme for this latest podcast transmission? Nope, not really. If you’re looking for something to tie it all together, it’s just stuff that I’ve been listening to lately. Some of it has already been covered — Low Orbit, T.G. Olson, 3rd Ear Experience — and some of it has coverage pending — Bong Wish, The Discussion, Arcadian Child, Zong, etc. — but basically this is all what that might be coming out of my speakers over the last however long. Couldn’t be any simpler than that, but for what it’s worth, I think it came together really well, whether it’s Telescope moving into Bong Wish or the transition into the second hour, which is ultra-tripped out, as usual.

As always, I hope you enjoy.

Track details follow:

First Hour:

0:00:00 Son of the Morning, “Left Hand Path” from Son of the Morning EP
0:05:08 All Souls, “Silence” from All Souls
0:09:15 Telescope, “With Your Truth” from Telescope EP
0:13:06 Bong Wish, “My Luv” from Bong Wish EP
0:15:29 Torso, “Mirror of My Mind” from Limbs
0:20:17 The Discussion, “Surf Jesus” from European Tour EP 2017
0:24:14 Arcadian Child, “Electric Red” from Afterglow
0:27:01 Comacozer, “Nystagmus” from Kalos Eidos Scopio
0:39:23 Deadly Vipers, “Dead Summer” from Fueltronaut
0:45:20 Low Orbit, “Dead Moon” from Spacecake
0:51:31 T.G. Olson, “On a High Like a Mountain” from Searching for the Ur-Plant
0:55:28 Jesus the Snake, “Karma” from Jesus the Snake

Second Hour:

1:03:31 Zong, “Cosmic Embryo” from Zong
1:16:18 Les Lekin, “Morph” from Died with Fear
1:29:50 3rd Ear Experience, “Infinite Unmanifest (Warm-up Jam Day One)” from Stoned Gold
1:46:34 Sleeping Pandora, “Sunrizer” from Quiet Pass

Total running time: 2:02:04

 

Thank you for listening.

Download audiObelisk Transmission 063

 

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Les Lekin Set Dec. 1 Release for Died with Fear; New Track Streaming

Posted in Whathaveyou on October 13th, 2017 by JJ Koczan

les lekin

Trippy trio Les Lekin are set to release their second long-player, the ominously titled Died with Fear, on Dec. 1 through Tonzonen Records, and to go with the announcement of the blue-marble gatefoldness to come, they’ve newly unveiled the immersive and instrumental thrush of a track called “Morph.” It’s 13 minutes long, which when you’re listening to it as I am now sounds about right, and has a super-easy flow in following up on what the Austrian three-piece brought to their 2014 debut, All Black Rainbow Moon (review here), as regards tonal richness, listener encapsulation via groove, heavy psychedelic reach and so on. I’m digging it, in short. Look forward to hearing the rest of the record.

Info, background and audio came down the PR wire. Track is at the bottom of the post. Suggest you hit it up:

les lekin died with fear

LES LEKIN Announce New Album “Died With Fear”, First Track Revealed

Heavy psychedelic rock Trio Les Lekin announce new album Died With Fear for a December 1, 2017 release on Tonzonen Records!

A room in an industrial area in Salzburg, Austria. Tuesday evening, 8 pm. After the neon suns have gone out, only candles light the place. You hear the high-pitched whine of the fully opened Marshall, the Ampeg fan going at full blast, and the rattle of a snare drum. The whine builds up more and more into a room- filling feedback noise. A fist hitting the body of the bass fills the space between with deep frequencies.

The cymbals’ attack becomes louder and louder. Then… silence… a stroke at the snare- drum. Three people throw out all they have, all they are, and all of what they have in them. Inspired by the desert and the moon, sand and space. Welcome to the heavy-psych-three-piece-noise-machine that is Les Lekin.

Died With Fear new album from Les Lekin will be available from Tonzonen Records on limited edition blue marbled gatefold vinyl of 500 copies with download code as well as on CD and digital.

https://www.facebook.com/leslekin
https://twitter.com/LesLekin
http://www.leslekin.com/
https://leslekin.bandcamp.com/
http://www.tonzonen.de
https://www.facebook.com/Tonzonen/

Les Lekin, “Morph”

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Quarterly Review: Minsk, King Bison, Les Lekin, The Vintage Caravan, Jim Healey, Anu, Iron & Stone, Gorgantherron, Elephant Riders, Lend Me Your Underbelly

Posted in Reviews on July 1st, 2015 by JJ Koczan

the obelisk summer quarterly review

And so we cruise into day three. Not sure how you’re holding up, but I feel like I’m hanging in pretty well. We pass the halfway point today, which is significant, but of course there are still plenty of records to come. I’m not sure I have a favorite day — I tried to spread stuff around as best I could when I was planning the whole thing — but there are definitely a couple highlights today as well. No doubt the standouts will stand out as we make our way through.

Quarterly Review #21-30:

Minsk, The Crash and the Draw

minsk the crash and the draw

Six years after the release of their third album, With Echoes in the Movement of Stone (review here), the 75-minute breadth of The Crash and the Draw (on Relapse) marks a welcome resurgence for Illinois post-metallers Minsk. Only keyboardist/vocalist Timothy Mead and guitarist/vocalist Christopher Bennett (also of Lark’s Tongue) remain from what was a four-piece and is now five with Aaron Austin on guitar/vocals, Zachary Livingston on bass/vocals and Kevin Rendleman on drums, but Minsk’s cascading heft is well intact as they show immediately on 12-minute opener and longest cut (immediate points) “To the Initiate.” True enough one is bound to be initiated after it, but it hardly scratches the surface of the atmospheric sludge Minsk continue to develop over the course of the four-parter “Onward Procession,” the glorious later melodies of “The Way is Through,” or the tribal tension in the percussion-led “To You there is No End.” They cap with the 10-minute “When the Walls Fell” and find themselves standing after all else has crashed down. A sprawling and triumphant return.

Minsk on Thee Facebooks

Minsk at Relapse Records

King Bison, King Bison

king bison king bison

Not to be confused with New York’s King Buffalo, Michigan’s Bison Machine or any number of other large mammals in the well-populated fur-covered contingent of American heavy rockers, King Bison make their self-titled debut via Snake Charmer Coalition, comprising seven riffy bruisers owing a deep debt to Clutch and, in that, reminding a bit of their Pennsylvanian countrymen in Kingsnake. Songs like “One for the Money” and “March of the Sasquatch” signal a watch for stoner-roller grooves to come in “Queen of the South” and “Pariah,” the dudeliness of the proceedings practically oozing from the speakers in the gruff vocals of guitarist/vocalist Chris Wojcik, who’s joined in the trio by bassist Dean Herber and drummer Scott Carey. The penchant for booze and blues, ladies and US auto manufacturing holds firm in “Night Ride” and the slower “I’m Gone,” and while one might expect a closer called “Space Boogie” to flesh out a bit, King Bison instead reinforce the foundation they’ve laid all along of Southern-style heft, remaining light on pretense and heavy on riffs.

King Bison on Thee Facebooks

Snake Charmer Coalition

Les Lekin, All Black Rainbow Moon

les lekin all black rainbow moon

Originally issued digitally late last year, Salzburg, Austria, instrumental trio Les Lekin are set to give their debut long-player, All Black Rainbow Moon, a second look with a 180g vinyl pressing in Fall 2015. Comprised of six tracks, the record is a spacious 49 minutes, and the three-piece of guitarist Peter G., bassist Stefan W. and drummer Kerstin W. enact a fluid heavy psych groove, somewhat less dense in its fuzz than the post-Colour Haze sphere and following plotted courses throughout, whether it’s in the Arenna-esque “Solum,” which unfolds after the album’s wash of an intro, the efficient exploration of “Useless,” which seems to pack a 12-minute jam into a six-minute song, or the still-open-sounding bluesy stretchout of “Loom,” the longest inclusion here at 13:16. Familiar in aesthetic perhaps, the songs are nonetheless complex enough to represent the band’s beginnings well, the closer “Release” coming to a heavier apex that could perhaps foreshadow future expansions of the chiaroscuro elements at which the title of this debut is hinting.

Les Lekin on Thee Facebooks

Les Lekin on Bandcamp

The Vintage Caravan, Arrival

the-vintage-caravan-arrival

After releasing their 2012 debut, Voyage, on Nuclear Blast last year, young Icelandic trio The Vintage Caravan return in 2015 with their sophomore full-length, Arrival – the second record seeming by title to be an answer to the first. Maybe that’s the intention musically, but the 10 tracks/55 minutes comprising Arrival do well to stand on their own, with the impressive lead work of guitarist/vocalist Óskar Logi never too far from the fore on songs like the standout “Babylon” or “Sandwalker,” though backed capably by the rhythm section of bassist Alexander Örn (also backup vocals) and drummer Stefán Ari Stefánsson. While unquestionably a more mature outing than their debut and more accomplished in its chemistry and songwriting, Arrival still gives a sense of the progression to come, and it’s easy to worry that by the time the listener gets to the powerful closing trio of “Innerverse,” “Carousel” and “Winter Queen,” the dizzying play throughout will have dulled the senses past the point of full appreciation. Room to tighten? Perhaps, but still a strong second outing for a band loaded with potential.

The Vintage Caravan on Thee Facebooks

The Vintage Caravan at Nuclear Blast

Jim Healey, This is What the End Looked Like

jim healey this is what the end looked like

Guitarist/vocalist Jim Healey is known more for the aggressive edge he’s brought over the years to bands like We’re all Gonna Die, Black Thai and most recently Shatner, but his solo material brings a different look. Joined in this “solo” endeavor by guitarist/vocalist/organist Joe McMahon, cellist/backing vocalist Dana Fisher, drummer Kyle Rasmussen and accordionist/backing vocalist Bridget Nault, Healey’s songwriting is nonetheless front and center across the nine tracks of This is What the End Looked Like, memorable cuts like “A Whole Lot of Nothing,” the more subdued “Radio” (written by Eddy Llerena) and closer “World War Eight” fleshing out arrangements that could work and/or have worked just as well on solo acoustic guitar for Healey in live performances. Worth noting that for all the vocal and instrumental embellishments on the studio incarnations, the songs lose none of the heartfelt feel at their core, Healey’s voice remaining a lonely presence despite obviously keeping good company.

Jim Healey on Thee Facebooks

Jim Healey on Bandcamp

Anu, Nighthymns

ANU Nighthymns

Nighthymns marks a return for ANU and the band’s sole inhabitant Chad “Drathrul” Davis (Hour of 13/Night Magic, Tasha-Yar, The Sabbathian, and so many others) after a four-year absence following the release of 2011’s III EP. Offsetting blasting, ripping black metal on cuts like “Enter the Chasm” and “The Eternal Frost” with the ambient drones of “Risen within the Mist of Obscurity,” the longer “Winterfall” and the title-track, Nighthymns nonetheless gnashes its teeth in a dense blackened murk, screams far back in “Enter the Chasm” beneath programmed-sounding thud and full-on guitar squibblies. A project Davis has had going in one form or another since releasing a first demo in 1999, and likely before that, ANU’s slicing extremity and atmospherics rest well alongside each other, but neither is accessibility a remote concern. If you get it, you get it, and if you don’t, you don’t. Nighthymns is way more concerned with separating wheat from chaff than it is with making friends, and that plays much to its ultimate success.

Anu on Thee Facebooks

Wohrt Records

Iron and Stone, Old Man’s Doom

iron and stone old man's doom

Comprised of gruff-shouting vocalist Henning L., guitarists Christopher P. and Stephan M., bassist Matthias B. and drummer Torsten H., German riff idolizers Iron and Stone debuted in 2013 with an EP titled Maelstrom and Old Man’s Doom is a follow-up short release. Pressed to DIY cassettes, the three-tracker preaches loud and clear to the nod-ready converted in “Place in Hell” and “Into the Unknown,” big riffs lumbering out stone vibes, intertwining rhythms and leads in the latter as Henning works his shouting into a corresponding notation. “Into the Unknown” ends large and Sabbathy, but speedier closer “Bliss of Diversion” is a high point unto itself for the consistency of the tonal morass that the uptick in pace brings out of the guitar and bass, resulting in a kind of noisy, dense-in-the-low-end punk that suits Iron and Stone well despite operating in defiance of the EP’s title. New material reportedly in the works as well.

Iron and Stone on Thee Facebooks

Iron and Stone on Bandcamp

Gorgantherron, Second Sun

gorgantherron second sun

Their first album, Second Sun follows a 2012 self-titled EP from Indiana trio Gorgantherron, but is in a different league entirely. A well-set mix balance establishes itself on the opening title-track and develops throughout “Superliminial” and “Bookbinder” as they get rolling, and Gorgantherron – guitarist/vocalist Clint Logan, bassist/vocalist Toby Richardson and drummer Chris Flint – continue to foster grooving largesse over the nine tracks/47 minutes, veering skillfully between boogie and doom on “Pre-Warp Civilization” before airing out an atmospheric take on “Seventh Planet,” the rough-edged vocals prevalent in quieter surroundings. Richardson’s fuzz on “The Stone” ensures the song lives up to its name, and the soft guitar noodling that opens “Paranoia” brings a surprising touch of Colour Haze influence out of the blue before a count-in from Flint puts the band’s roll back on its appointed track. Closing duo “Entropy” and “Defy” offer some shuffle and chug, respectively, but by then the trio have already made the album’s primary impression in their heavy riffs, burl and more than capable execution.

Gorgantherron on Thee Facebooks

Gorgantherron on Bandcamp

Elephant Riders, Challenger

elephant riders challenger

The two cuts of Spanish trio Elephant RidersChallenger EP take Kyuss-style desert riffing and reset the context to something altogether less jammy. Tight and presented with a near-metallic crispness in their production, both “Challenger” – rerecorded from an earlier EP – and its more rolling B-side “Lone Wolf” push the line between heavy and hard rock, but riffs remain central to their purposes. Having released their debut full-length, Supernova, in 2014, they’re still getting settled into their sound, but a blend of heavy rock, grunge and metal impulses pervades these two songs, and when “Lone Wolf” shifts into a couple measures of start-stop fuzz riffing in its second half, they show off just a reminder nod for where they got their name. Two catchy tracks that maybe aren’t reinventing the stoner rock game, they nonetheless provide a quick sample of Elephant Rider’s songwriting development in progress and plant the seeds of future hooks to come.

Elephant Riders on Thee Facebooks

Elephant Riders on Bandcamp

Lend Me Your Underbelly, Hover

lend me your underbelly hover

When placed next to each other, the five one-word titles on Lend Me Your Underbelly’s Hover – either the project’s third or fourth full-length, depending on what you count – result in the phrase “Everything” “Was” “Deep” “Dark” “Green.” Whether or not that is of special significance to Netherlands-based multi-instrumentalist/sampler Christian Berends, I don’t know. The whole idea across these tracks seems to be experimentation and improvisation, so if the titles were grabbed from somewhere at random or carrying a rich emotional connection, either is just as likely. Not knowing turns out to be half the fun of Hover itself – not knowing that, not knowing what Berends is going to do around the next turn as each track builds, not knowing where all this noise is leading as the swirls and riffs of “Green” close out. Layers careen, appear and disappear throughout, but the wide open structures and creative sensibility remain consistent and tie Hover together as an intricate work of exploratory psychedelia.

Lend Me Your Underbelly on Thee Facebooks

Lend Me Your Underbelly on Bandcamp

 

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audiObelisk Transmission 048

Posted in Podcasts on May 26th, 2015 by JJ Koczan

Click Here to Download

 

Here is the Music Player. You need to installl flash player to show this cool thing!

The second hour starts a little early this time around, and what I mean by that is when you’re like five minutes into hour two and trying to figure out on the tracklisting below what improv-sounding brilliant cut you’re hearing, pay careful attention to when hour one ended. Just 11 seconds from the start of the second half of the podcast. So yeah, that 18-minute wonder gets filed under hour one instead, but it comes with a wink and a nod. I just couldn’t bring myself to file something under hour two without a one at the front of the time stamp, which shows you how sad and compulsive I am because I’ve only been time-stamping these podcasts for two months now. What a dork.

It’s good stuff this. Always is, I suppose, but starting out with Goatsnake into The Machine and then on from there, it builds a flow that makes some sense one into the next in a way that, listening back to it after I put it together, was especially satisfying. Hopefully you agree as you make your way though.

As always, hope you enjoy:

First Hour:
0:00:00 Goatsnake, “Grandpa Jones” from Black Age Blues
0:04:36 The Machine, “Coda Sun” from Offblast!
0:09:55 Galley Beggar, “Pay My Body Home” from Silence and Tears
0:18:51 Steve Von Till, “Night of the Moon” from A Life Unto Itself
0:25:48 Venomous Maximus, “Through the Black” from Firewalker
0:29:42 Black Pyramid, “Open the Gates” from Dead Star 7”
0:34:59 Ape Skull, “A is for Ape” from Fly Camel Fly
0:39:54 Sunder, “Deadly Flower” from Demo
0:43:53 Eternal Fuzz, “Sea Change” from Nostalgia
0:47:37 Geezer, “Long Dull Knife” from Long Dull Knife
0:53:31 Fogg, “Joy of Home” from High Testament
0:59:49 Shiggajon, “Sela” from Sela

Second Hour:
1:18:07 Blown Out, “Thousand Years in the Sunshine” from Planetary Engineering
1:34:01 Les Lekin, “Loom” from All Black Rainbow Moon
1:47:14 Undersmile, “Knucklesucker” from Anhedonia

Total running time: 1:59:00

 

Thank you for listening.

Download audiObelisk Transmission 048

 

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