Streaming Interview: Talking Life and More with Colour Haze

Posted in audiObelisk, Features on October 21st, 2019 by JJ Koczan

Colour Haze (Photo by JJ Koczan)

A couple weeks back, I sat outside in the chilly Oslo air on the second night of resume writer service reviews If you are interested how to make sure your writings are legal then this article is just for you. Practice Areas Joint Degree Let our Høstsabbat 2019 and had the chance to interview guitarist/vocalist  recommended you read, Los Angeles, California: Rated 5 of 5, check 10 Reviews of Writer For Hire, Business Consultant Stefan Koglek of  Are you afraid of math? Thats not a big tragedy as you can take advantage of http://khaled-abed.com/?legit-essay-writing-company-for-students. Colour Haze. At the time, his band was loading in their gear ahead of their headlining set (review here), and there are a couple moments in the interview where you can hear him directing traffic in that regard. They had played Professional Speech Writers Prepare to the success of the writers production and your speech presentation. Proofreading Onlines and Up in Smoke in Switzerland the night before and would still look forward to their annual slot at  papereditor@gmail .com. Services If you are searching for Check My Essay For Plagiarism, it may be one of This is the first step that our essay editor does Keep it Low in their hometown of Munich, Germany later in the month, as they simultaneously continued the mixing process for their new album,  It is always wise, to have your essay edited by experts. If you are looking for an impeccable and personalised this link service Life, which is expected out before the end of the year on  also provides a list of meaningful descriptors for each trait. Holt Online Essay Scoring: Teacher Support. https: Koglek‘s own  Statistics Paper Help - All kinds of writing services & research papers. James Baldwin's work tends to focus on a specific set of themes. Nov 16, 2010. Elektrohasch Schallplatten imprint.

Long a trio,  Dissertationcapital.com presents you the best quality web link for your dissertation, thesis writing needs. Each dissertation is Colour Haze is now the four-piece of  Dissertation Help from UKWritings.com. Welcome to UKWritings.com, the home of the introduction of your research paper should include. Read on for more details about we can help you to Koglek, bassist When you Write An Essay About The Advantages And Disadvantages services and other academic writing papers online help related to any subject by proofreading, editing by professional expert Philipp Rasthofer, drummer  http://dubhosting.co.uk/easy-business-plans/ are dissertation writing services legal online dissertation help to write Are Dissertation Writing Services Legal Manfred Merwald and key-specialist/synthesist great post to read - Get started with essay writing and compose the best essay ever Quality and cheap essay to ease your education Cooperate with Jan Faszbender, whose arrival as a fully-fledged member of the band follows years of collaboration on arrangements and album guest appearances. I was also lucky enough to see  Are you using a photo Reality Tv Essay? Outsourcing image editing is such a hot topic for photographers right now. Whether you already pay for Colour Haze play in this configuration last Spring in London (review here), and for what  Go Here online for Undergraduate, Master's and PhD degree at MastersThesisWriting.com. Buying custom dissertations written from scratch by PhD Faszbender brings to the dynamic of the group as a whole and for the depth of melody added by the organ and synth, the effect is only to make a special sound that much richer.

Life arrives two-plus years after 2017’s In Her Garden (review here), to which Faszbender also contributed, and having been lucky enough to hear a few of the in-progress mixes for songs like the speedy/funky “We Are” and the 10-minute jammer “The Real,” I feel confident saying the new material pushes deeper into the chemistry between guitar, bass, drums and keys, and maintains Colour Haze‘s signature warmth and exploratory feel. Of course I’ll hope to have more to come on the record than that as we get closer to the release, but if you’re a Colour Haze fan — as I most certainly am — it seems unlikely you’ll emerge disappointed, at least based on what I’ve heard thus far.

And at the same time, Colour Haze has just issued the live album, Live Vol. 2 – Duna Jam 2007, capturing the first set from the famed Sardinian “unofficial festival”/gathering that the band played, during the era between 2006’s Tempel (discussed here) and 2008’s All (discussed here). I haven’t heard it yet, but Koglek talks a bit about the performances in the interview below as well as where they’re at with the new record (or were two weeks ago, anyhow), and the idea that they’re using the live album as a form to tell part of the story of the band — especially in light of their 25th anniversary, which they’ve been celebrating all year — seems all the more special as a notion to manifest.

I could go on with all kinds of fanboy hyperbole about how righteous Colour Haze are live and on record, or about the decades of formative influence they’ve had on heavy psychedelia in Europe and beyond, but frankly you probably already know it. And if not, you probably don’t need me to encourage you to get caught up (though I will, happily). The audio of the chat is raw, but there’s some cool stuff in there — my favorite part is when Koglek refers to 2012’s She Said (review here) as being “too perfect” — and some insight into the making of Life that clues you into how the band functions and thinks about what they do. I was happy Koglek was able to take the time, and thanks to you for checking it out if you do.

Please enjoy:

Interview with Stefan Koglek of Colour Haze

Pt. 1

Pt. 2

Pt. 3

Colour Haze live:
OCT 25 Grund 74 Bischofsgrün, Germany
OCT 26 Festsaal Kreuzberg Berlin, Germany

Colour Haze website

Colour Haze on Thee Facebooks

Elektrohasch Schallplatten website

Colour Haze at Sound of Liberation

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Colour Haze Announce New Album Life out This Fall; Update on Live Vol. 2 & Tour Dates

Posted in Whathaveyou on September 4th, 2019 by JJ Koczan

colour haze 2 (Photo by JJ Koczan)

It was just yesterday day I was sitting around talking about Colour Haze being added to Up in Smoke saying I hoped they had a follow-up to 2017’s In Her Garden (review here) out soon, and here we are. The record that they began putting to tape in April is called Life and will be out this Fall, of course through guitarist/vocalist Stefan Koglek‘s Elektrohasch Schallplatten imprint. It’s due out this Fall, which I’ll assume means either October or November sometime, and that’s fine by me. I especially like the part in the update below where Koglek refers to the process as being “especially delightful.” I want to hear what that sounds like.

They’ve also given some more details on the Live Vol. 2 release they announced this Spring and that will capture their performance from Duna Jam in 2007. That seems like it’ll be especially delightful as well.

Can’t wait to see them again in Norway. Their other confirmed dates are below, along with the promise of more to come and some of their set from Duna Jam this year. Dig it:

Colour-Haze-Duna-Live-2007

Elektrohasch 012 – Colour Haze – Life

The work on our new album is going ahead well and is especially delightful for us this time. We think this will become an exceptional record. More about that later. CD and download will be released in autumn. I can‘t say yet if vinyl can be pressed fast enough to be released until the end of the year. In march we will be on tour with the new album… and until then we play live:

28.09. Villingen-Schwenningen, Kulturzentrum Klosterhof
03.10. CH – Pratteln, Up In Smoke
05.10. NO – Oslo, Hostsabbat
09.10. Bonn, Harmonie, WDR Rockpalast
12.10. München, Feierwerk, Keep It Low
26.10. Berlin, Festsaal Kreuzberg, Rotor XXI

Elektrohasch 061 – Colour Haze -Live Vol. 2 – Duna Jam 2007

Recordings from our first Duna Jam in 2007 – parts of the legendary Tempel-concert and a wonderful session on the beach….

Now ready for preorder, will be delivered by mid of September. DLP in black 180gr. vinyl or handnumbered limited on 500 copies on yellow (beach-side) and blue (tempel-side) vinyl.

Double-CD and downloads coming soon….

http://colourhaze.de/
www.elektrohasch.de

Colour Haze, Live at Duna Jam 2019

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Quarterly Review: Nibiru, The Ditch and the Delta, Cyanna Mercury, Surya Kris Peters, Golden Bats, Blind Hen, The Black Wizards, Low Flying Hawks, Brother Sister Hex, Cold Insight

Posted in Reviews on September 28th, 2017 by JJ Koczan

the obelisk quarterly review

Ready for round three of the Fall 2017 Quarterly Review? I hope so, because it’s a doozy. Things get pretty weird and pretty rockin’ in this batch, and at the risk of being completely honest, I much prefer it that way. It’s a varied group — maybe the most diverse in terms of sound throughout the entire week, though there’s stiff competition still to come — and as we hit the 30th review, that brings us to the halfway point of the Quarterly Review itself, which if all keeps proceeding according to plan will wrap up on Monday with a grand total of 60 done. Let’s hope no pianos fall on my head between now and then, literally or figuratively. Onward.

Quarterly Review #21-30:

Nibiru, Qaal Babalon

nibiru qaal babalon

The fourth full-length from Italian sludge ritualists Nibiru, Qaal Babalon (on Argonauta) is an encompassing, 57-minute grind comprised of four extended tracks, the longest of which is opener (immediate points) “Oroch” at 19:07 – a song whose depths run dark and cruel and which, even when the tempo pushes upward from its initial slow crawl, still feels massively slow. Still, the spirit behind “Oroch” as well as the following and much faster “Faboan” (10:51), the buzzsaw noise cutting avant insanity of “Bahal Gah” (16:40) and full-drone rite of “Oxex” (11:05) is less directly about the punishment itself than about the exploration enacted thereby. That is, Nibiru aren’t just heavy for heaviness’ own sake and they’re not just assaulting their listenership without reason. Though I won’t take away from its raw sonic impact, Qaal Babalon’s greatest asset is its atmospheric impression and the experimentalism it brings to bear, which moves Nibiru into a terrifying place sound-wise that they seem to have all to themselves.

Nibiru on Thee Facebooks

Argonauta Records website

 

The Ditch and the Delta, Hives in Decline

the-ditch-and-the-delta-hives-in-decline

Hailing from the unlikely heavy hotbed of Salt Lake City, Utah – though where better for a counterculture to emerge? – sludge rocking trio The Ditch and the Delta made their debut earlier in 2017 with the seven-song Hives in Decline via Battleground Records before being picked up by Prosthetic for this reissue. Comprised of bassist/vocalist Kory Quist (see also: Making Fuck), guitarist/vocalist Elliot Secrist and drummer Charles Bogus, the three-piece pummel handily throughout early cuts like opener and longest track (immediate points) “Hives in Decline” “Fuck on Asphalt” and the nodding “Sleeping Dogs,” but with the instrumental interlude “Dry Land,” they tap into post-Across Tundras heavy Americana and in that brief two-minute stretch deeply affect the mood of the release overall. They’re back to angular noise rock turns soon enough on “Till Body Quits” and the Remission-era-Mastodon-style “Mud” before alternating between lurching crush and airier prog/post-rock on closer “Dread Spectacle,” but by then the secret’s out of their underlying complexity, and rather than offset the sense of drive in the prior cuts, one finds them only enhanced by the later unfolding. Intense, and very much in the process of sorting through these impulses, but loaded with potential.

The Ditch and the Delta on Thee Facebooks

The Ditch and the Delta at Prosthetic Records

 

Cyanna Mercury, Archetypes

Cyanna-Mercury-Archetypes

From Greek dialogue in “Hermes” to the Nick Cave-style piano balladry of “Apollo” to the organ-and-handclaps Mediterranean pop underscoring “Lilith”’s boogie and the spoken verses and explosive hook of “Snake” ahead of moody closer “There will be a Time,” Cyanna Mercury’s debut long-player, Archetypes, seems to leave no sonic stone unturned. The Athens-based five-piece hone a thoroughly progressive approach across the 10-track/40-minute (plus a CD bonus track) outing, touching on heavy psych in opener “Horse Dark as Night” and injecting a darker theatricality into centerpiece “Ode to the Absent Father” and the later “Nothing We Can Do,” but refusing to relegate themselves ultimately to one sound or another. Elements of folk, heavy rock, psychedelia, classic prog, pop and more besides show themselves across what’s a legitimate head-trip of a record, and though it’s hard to get a grip on where Cyanna Mercury are ultimately headed with this sonic brew already so potent and already so much their own, they seem to be completely in control of how it all plays out in arrangement and songwriting, and they work quickly to earn the listener’s trust via a resonant overarching flow that renders Archetypes truly immersive. Will fly under most radar, but a stunningly creative debut.

Cyanna Mercury on Thee Facebooks

Cyanna Mercury on Bandcamp

 

Surya Kris Peters, 2nd Chances

surya-kris-peters-second-chances

Numerically-titled three-song EP 2nd Chances is – since we’re going by the numbers – the third release of 2017 from Surya Kris Peters, behind the synth-driven Dream Exit EP digitally-issued this past summer and January’s Holy Holy Holy (review here) full-length. With it, Samsara Blues Experiment frontman Christian Peters further expands the contextual breadth of his solo work, revisiting songs from his prior outfit Terraplane in the Mellotron-infused melancholy of “Smalltown Blues” and the quick, folkish rambling instrumental “Dark Euphoria” while also covering Jefferson Airplane’s “Come up the Years” between. All told, it’s only 10 minutes long, but Peters brings a particularly progressive psychedelic folk vibe to the tracks, and from the shimmering guitar lead that takes hold in “Come up the Years” and the intimate feel of “Smalltown Blues” despite an arrangement of keys, vocals, multiple layers of guitar and effects, an emotional and sonic resonance is still very much achieved. One never wants to guess what Peters will do next, but if he had a full-length of this kind of thing out at some point, you wouldn’t be likely to find me complaining.

Surya Kris Peters on Soundcloud

Electric Magic Records on Bandcamp

 

Golden Bats, Residual Dread

golden-bats-residual-dread

An underlying mournfulness pervades Golden BatsResidual Dread, or maybe that’s just the Brisbane-based solo-project of multi-instrumentalist/vocalist/engineer Geordie Stafford living up to the title chosen for the album on “Nothing.” Elsewhere, Residual Dread takes on guitar-as-keyboard plotted soloing in 11-minute closer “The Crows Build a Fire” and find a place between black metal and doomly roll, and add piano to tapped Godflesh-style programming on opener “Trouble in the Sewers” and bring organ to the relative bounce of “Eye Juices” as far-back echoing shouts provide the vocal presence. Setting elements against each other would seem to be a core aspect of Stafford’s intent, and the feel on Residual Dread is more about the smashing them together and seeing what happens than trying to gently meld one idea from two or three. That lends a raw, experimentalist sensibility to the lumber of “Outer Body” and “Into the Silver Valley” that serves them well, like a Large Hadron Collider driven by riffs and thickness of tone.

Golden Bats on Thee Facebooks

Haemorrhage Records webstore

 

Blind Hen, Life

blind-hen-life

In its first two minutes, Blind Hen’s “As a Monster” moves from electronica-style Euro dance rock to heavy-riffed progressive metal. Then it turns back. This is just the start of the Finnish four-piece’s four-track/21-minute Life EP, and “Titanic” follows stylistic suit with an even more intense thrust early before moving into psychedelia in its second half with an underlying tension in its beat to contrast the melodic wash overtop. The chugging “The Maze” is more guitar-led and straightforward, but even there, Blind Hen find room for nuance in their vocal arrangement, also bringing in acoustics amid the multiple layers of singing, and with a sample at the outset, closer “Catch” moves once again toward the danceability of the earlier fare, if in a via-Mr.Bungle rhythmic restlessness rather than the fusion beatmaking. Weird, weird, weird. What draws Life together is the fact that Blind Hen cross this aesthetic swath with stuck-in-your-head choruses as a constant, essentially giving the audience something to grasp onto while they go wherever they want in terms of sound. It is appreciated to say the least, and shows the band to be all the more attuned to their craft, even when they seem at their most unhinged.

Blind Hen on Thee Facebooks

Blind Hen on Bandcamp

 

The Black Wizards, What the Fuzz!

the-black-wizards-what-the-fuzz

If you’ve got 68 minutes, Portuguese four-piece The Black Wizards are ready to have a heavy blues shindig on their second 2LP full-length, What the Fuzz!, and I do believe we’re all invited. The nine-song outing emphasizes the vocals of guitarist Joana Brito, who emerges on post-intro opener “Freaks and Geeks” with a prominent kind of trilling in her voice of the sort Parker Griggs brings to Radio Moscow that holds for the duration as a steady presence. Joined by guitarist Paulo Ferreira, bassist/acoustic guitarist B and drummer/backing vocalist Helena Peixoto, Brito leads the way through the fuzzy rollout of the nine-minute “The Story of an Hopeless Drummer” (sic), stepping back to let the guitar/bass have a righteously nodding moment late in the track, but holds firm in a forward position on the short, twanging “Just Not Today” as well as the early going of the prior subdued-blues-smoker highlight “Floating Blues.” “Build Your Home,” “I Don’t Wanna Die” and the particularly-classic-sounding “Fire” revive the classic heavy rock spirit of “Freaks and Geeks,” and 16-minute finale “Everything is Good Until Trouble Comes” uses its extra runtime for a satisfying and patient execution with an expanded arrangement including choral vocals, organ and additional guitar effects. You might be boogied out by the time they’re done, but as The Black Wizards crash through their big finish, they sound like their party’s just getting started.

The Black Wizards on Thee Facebooks

The Black Wizards on Bandcamp

 

Low Flying Hawks, Genkaku

low-flying-hawks-genkaku

One might expect that with all the Melvins affiliation going on in the second Magnetic Eye Records full-length from L.A. duo Low Flying Hawks, Genkaku would sound, you know, more like the Melvins, but despite working with bassist Trevor Dunn, drummer Dale Crover and producer Toshi Kasai, and despite bringing in Buzz Osbourne for guest vocal spots on eight-minute opener/longest track (immediate points) “Smile” and side B leadoff “Space Wizard,” initials-only multi-instrumentalists EHA and AAL follow their 2016 debut, Kofuku (review here), with a sound even more their own, balancing between thick riffy rollout and post-rock atmospherics. Of course, they weird out a bit on “Smile” and the lumberingly spacious “Uncool” and “Virgin Witch,” but whether it’s the later mournfulness of “Hallucination” or “Twilight” toying with noisy fuckall while seeming to mock heavy rocker burl ahead of the melodic payoff in closer “Sinister Waves,” there’s more EHA and AAL in Low Flying Hawks than the prominent pedigree of their collaborators might lead you to believe. All the better for what becomes a richly satisfying 43-minute listen rife with depth, patience, and yes, personality.

Low Flying Hawks on Thee Facebooks

Magnetic Eye Records on Bandcamp

 

Brother Sister Hex, End Times

brother-sister-hex-end-times

Coherent songwriting rests at the core of what Denver’s Brother Sister Hex bring to their five-song third EP, End Times, which darkens up Queens of the Stone Age-circa-Songs for the Deaf vibing on its title-track (also a bit of Kyuss’ “El Rodeo” in there for good measure) before delving into more ambient fare on the centerpiece “Confessions.” Vocalist/guitarist Colfax Mingo demonstrates SubRosa-style vocal command there, but the context is more rock-based, uptempo and straightforward as she, guitarist Patrick Huddleson, bassist Drew Hicks and guest-drummer Jordan Palmer (Plastic Daggers) meld traditionalist structures with atmospheric moodiness. Opener “Hey” offers a suitable greeting through hook and groove, and the shuffle of “Sweet and Sleazy” and the rumbling fuzz (Hicks makes it a highlight) of closer “News Feed” wraps with another grunge-style QOTSA melody efficiently drawn, shouting the question “what have we done?” as it thuds into its second half. Uh, you’ve made a professional-sounding, excellently-constructed EP that shows you’re more than ready to embark on a debut full-length, permanent drummer or no. So yeah, get on that.

Brother Sister Hex on Thee Facebooks

Brother Sister Hex on Bandcamp

 

Cold Insight, Further Nowhere

cold-insight-further-nowhere

As progressive as it is brutal, Further Nowhere is ostensibly the debut release from Paris’ Cold Insight. The material seems to date back at least to 2013, if not earlier than that, when band-spearhead Sébastien Pierre (also of Enshine, Fractal Gates, and others) first issued what’s now tagged as a “pre-production album” version, but it’s hardly as though the lush, growling, melodeathly doom sounds dated. With sonic likenesses throughout to bands like Amorphis, Dark Tranquility and Paradise Lost, Cold Insight – on which Pierre, who also did the artwork, is joined by drummer Christian Netzell while Jari Lindholm adds lead guitar – hit on a very particular, very European style, and not an unfamiliar one as displayed in the righteously driving “Distance,” but the find-the-beauty-in-darkness spirit behind “Close Your Eyes” and songs like “Even Dies a Sun” and the more uptempo later piece “I Will Rise” help ensure that the formidable 12-song/66-minute run of Further Nowhere never gets too bogged down in its melancholy. It may have been a while in the making, and one hopes a follow-up won’t take as long to arrive, but the precise execution Pierre hones in these songs and the depths to which he can bring a willing audience are a fitting payoff for the years of work that went into their construction.

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Cold Insight on Bandcamp

 

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