Quarterly Review: Sandrider, Witchkiss, Satta Caveira, Apollo80, The Great Unwilling, Grusom, Träden, Orthodox, Disrule, Ozymandias

Posted in Reviews on December 5th, 2018 by JJ Koczan

quarterly-review

Good morning from the kitchen table. It’s a couple minutes before 4AM as I get this post started. I’ve got my coffee, my iced tea in the same cup I’ve been using for the last three days, and I’m ready to roll through the next 10 records in this massive, frankly silly, Quarterly Review. Yesterday went well enough and I’m three days into the total 10 and I don’t feel like my head is going to explode, so I’ll just say so far so good.

As ever, there’s a lot to get through, so I won’t delay. I hope you find something here you dig. I certainly have.

Quarterly Review #21-30:

Sandrider, Armada

sandrider armada

Armada is the third full-length from Seattle noiseblasters Sandrider, and at this point I’m starting to wonder what it’s going to take for this band to get their due. Produced by Matt Bayles and released through Good to Die Records, the album is an absolute monster front to back. Scathing. Beastly. And yet the songs have character. It’s the trio’s first outing since 2015’s split with Kinski (review here) and follows 2013’s Godhead (review here) and 2011’s self-titled debut (review here) in melding the band’s West Coast noise superiority with a sense of melody and depth as the trio of guitarist/vocalist Jon Weisnewski, bassist/vocalist Jesse Roberts, and omegadrummer Nat Damm course and wind their way through intense but varied material. “Banger” has been tapped for its grunge influence. Eh. Maybe in the riff, but who cares when there’s so much more going on with it? “Brambles” is out and out brutal but still has a hook, and cuts like “Industry” and the closing “Dogwater” remind of just how skilled Sandrider are at making that brutality fun. If the record was six minutes long and just had “Hollowed” on it, you’d still call it a win.

Sandrider on Thee Facebooks

Good to Die Records website

 

Witchkiss, The Austere Curtains of Our Eyes

witchkiss the austere curtains of our eyes

Goodness gracious. Cavernous echo accompanies the roars of guitarist Scott Prater that are offset by the more subdued melodies of drummer Amber Burns, but even in the most spacious reaches of 11-minute second cut “Blind Faith,” Witchkiss are fucking massive-sounding. Their debut album, The Austere Curtains of Our Eyes, presents an especially crushing take on ritualistic volume, sounding its catharsis in a song like “Spirits of the Dirt” and sounding natural as it trades between a rolling assault and the atmospheres of its quieter moments. With the departure since the recording of bassist Anthony DiBlasi, the New York-based outfit will invariably shift in dynamic somewhat coming out of this record, but with such an obvious clarity of mission, I honestly doubt their core approach will change all that much. A band doesn’t make a record like this without direct intention. They may evolve, and one hopes they do just because one always hopes for that, but this isn’t a band feeling their way through their first record. This is a band who know exactly the kind of ferocity they want to conjure, and who conjure it without regret.

Witchkiss on Thee Facebooks

Witchkiss on Bandcamp

 

Satta Caveira, MMI

Satta Caveira MMI

Argentinian instrumentalist trio Satta Caveira make a point of saying they recorded MMI, their second or third album depending on what you count, live in their home studio without edits or overdubs, click tracks or anything else. Clearly the intention then is to capture the raw spirit of the material as it’s happening. The eight songs that make up the unmanageable 62-minute listen of MMI — to be fair, 14 of those minutes are opener “Kundalini” and 23 are the sludge-into-jam-into-sludge riffer “T.H.C.” — are accordingly raw, but that in itself becomes a component of their aesthetic. Whether it’s the volume swell that seems to consume “Don Santos” in its second half, the funk of closer “Afrovoid” or the drift in “Kalifornia,” Satta Caveira manage to hone a sense of range amid all the naturalism, and with the gritty and more aggressive riffing of the title-track and the rush of the penultimate “Router,” their sound might actually work with a more elaborate production, but they’ve got a thing, it works well, and I’m not inclined to argue.

Satta Caveira on Thee Facebooks

Satta Caveira on Bandcamp

 

Apollo80, Lizard! Lizard! Lizard!

apollo 80 lizard lizard lizard

Vocalized only by spoken samples of astronauts, the thrice-exclamatory Lizard! Lizard! Lizard! is the debut EP from Perth, Australia, three-piece Apollo80, who are given mostly to exploring an outpouring of heavy molten vibes but still able to hone a bit of cacophony following the “godspeed, John Glenn” sample in second cut “FFH.” There are four songs on the 26-minute offering, and its spaciousness is brought to earth somewhat by the dirt in which the guitar and bass tones are caked, but it’s more the red dust of Mars than anything one might find kicking around a Terran desert. Unsurprisingly, the high point of the outing is the 10:46 title-track, where guitarist Luke, bassist Brano and drummer Shane push farthest into the cosmos — though that’s debatable with the interstellar drone of closer “Good Night” — but even in the impact of “Apollo” at the outset, there’s a feeling of low-oxygen in the atmosphere, and if you get lightheaded, that’s exactly how it’s supposed to be.

Apollo80 on Thee Facebooks

Apollo80 on Bandcamp

 

The Great Unwilling, EP

the great unwilling ep

The prevailing influence throughout the untitled debut EP from Minnesota’s The Great Unwilling is Queens of the Stone Age, but listening to the layer of wah intertwine with the solo on “Sanguine,” there’s more to their approach than just that, however dreamy the vocal melodies from guitarist Jesse Hoheisel might be. Hoheisel, bassist Joe Ulvi and Mark Messina present a clean four tracks and 20 minutes on their first outing, and for having been together for about 18 months, their songwriting seems to have a firm grasp on what they want to do. “If 3 was 7” rolls along at a heavy clip into an effectively drifting midsection and second half jam before returning to the initial riff, while “Current” leads off with a particularly Hommeian construction, and soon gives way to the flowing pace and apparent lyrical references of the aforementioned “Sanguine.” They finish with the dirtier tonality of “Apostasy” and cap with no more pretense than they started, bringing the short release to a close with a chorus that seems to finish with more to say. No doubt they’ll get there.

The Great Unwilling on Thee Facebooks

The Great Unwilling on Bandcamp

 

Grusom, II

grusom ii

A prominent current of organ alongside the guitars gives Grusom‘s aptly-titled second album on Kozmik Artifactz, II, a willfully classic feel, and even the lyrics of “Peace of Mind” play into that with the opening lines, “I always said I was born too late/This future is not for me,” but the presentation from the Svendborg six-piece isn’t actually all that retro-fied. Rather, the two guitars and organ work in tandem to showcase a modern take on those classic ideas, as the back and forth conversation between them in the extended jam of “Skeletons” demonstrates, and with a steady rhythmic foundation and soulful vocals overtop, Grusom‘s craft doesn’t need the superficial trappings of a ’70s influence to convey those roots in their sound. Songs like “Dead End Valley” and “Embers” have a bloozy swing as they head toward the melancholy closer “Cursed from Birth,” but even there, the proceedings are light on pretense and the atmosphere is more concerned with a natural vibe rather than pretending it’s half a century ago.

Grusom on Thee Facebooks

Kozmik Artifactz website

 

Träden, Träden

traden traden

Having originated as Träd Gräs och Stenar, the group now known as Träden is the product of a psychedelic legacy spanning generations. Founder Jakob Sjöholm has joined forces with Hanna Östergren of Hills, Reine Fiske of Dungen and Sigge Krantz of Archimedes Badkar to create a kind of supergroup of serenity, and their self-titled is blissful enough not only to life up to Träd Gräs och Stenar‘s cult status, but to capture one of its own. It’s gorgeous. Presumably the painting used on the cover is the cabin where it was recorded, and its eight tracks — sometimes mellow, sometimes more weighted, always hypnotic — are a naturalist blueprint that only make the world a better place. That sounds ridiculous, I know. But the truth is that for all the terrible, horrifying shit humanity does on a daily basis, to know that there are people on the planet making music like this with such a genuine spirit behind it is enough to instill a bit of hope for the species. This is what it’s all about. I couldn’t even make it through the Bandcamp stream without buying the CD. That never happens.

Träden on Thee Facebooks

Träden on Bandcamp

 

Orthodox, Krèas

orthodox kreas

Last year, Spanish experimentalists Orthodox released Supreme and turned their free-jazz meets low-doom into a 36-minute fracas of happening-right-now creativity. Krèas, a lone, 27-minute track with the core duo of bassist Marco Serrato and drummer Borja Díaz joined by saxophonist Achilleas Polychronidis, was recorded in the same session but somehow seems even more freaked-out. I mean, it’s gone. Gone to a degree that even the hepcats who claim to appreciate free-jazz on anything more than a theoretical level (that is, those who actually listen to it) will have their hair blown back. The rest of the universe? Well, they’ll probably continue on, blissfully unaware that Orthodox are out there smashing comets together like they are, but wow. Challenging the listener is one thing. Krèas is the stuff of dissertations. One only hopes Orthodox aren’t holding their breath waiting for humanity to catch up to what they’re doing, because, yeah, it’s gonna be a while.

Orthodox on Thee Facebooks

Alone Records webstore

 

Disrule, Sleep in Your Honour

Disrule Sleep in Your Honour

Danish bruisers Disrule run a brash gamut with their second album, Sleep in Your Honour (on Seeing Red). Leading off with the earworm hook of the title-track (premiered here), the album puts a charge into C.O.C.-style riffing and classic heavy rock, but shades of Clutch-y funk in “Going Wrong” and a lumbering bottom end in “Occult Razor” assure there’s no single angle from which they strike. “(Gotta Get Me Some) Control” elicits a blues-via-Sabbath vibe, but the drums seem to make sure Disrule are never really at rest, and so there’s a strong sense of momentum throughout the eight-song/29-minute EP, perhaps best emphasized by two-minute second cut “Death on My Mind,” which seems to throw elbows as it sprints past, though even shouted-chorus closer “Enter the Void” has an infectious energy about it. If you think something can’t be heavy and move, Disrule have a shove with your name on it.

Disrule on Thee Facebooks

Seeing Red Records on Bandcamp

 

Ozymandias, Cake!

ozymandias cake

First clue that all is not what it seems? The artwork. Definitely not a picture of cake on the cover of Ozymandias‘ debut album, Cake!, and accordingly, things don’t take long before they get too weird. “Jelly Beans” hits on harshest Nirvana — before it goes into blastbeats. “Mason Jar” scathes out organ-laced doom and vicious screaming, before “Hangman” gets all danceable like “All Pigs Must Die” earlier in the record. The wacky quotient is high, and the keyboards do a lot to add to that, but one can’t really call “Doom I – The Daisies” or the later “Doom II – The Lilies” anything but progressive in the Devin Townsend-shenanigans-metal sense of the word, and as wild as some stretches of Cake! are, the trio from Linz, Austria, are never out of control, and they never give a sense that what they’re doing is an accident. They’re just working on their own stylistic level, and to a degree that’s almost scary considering it’s their first record. I won’t claim to know where they might be headed, but it seems likely they have a plan.

Ozymandias on Thee Facebooks

StoneFree Records website

 

Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Quarterly Review: Wucan, Lucifer in the Sky with Diamonds, Thera Roya, Ojos Rojos, Ett Rop På Hjälp, BongCauldron, Nomadic Rituals, Mental Tremors, Gin Lady, Swanmay

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

the obelisk quarterly review

Round five of the Fall 2017 Quarterly Review begins now. After dealing with the technical issues this week and changing hosts and having the site down for – well, as I write this, it’s still down, so I don’t really have a finished count yet, though obviously by the time you’re reading it it’ll be back up – yeah, it’s made putting together a batch of 10 reviews a day seem like a breeze. “Oh, you mean you’re only writing 10 reviews today? Well now this is happening.” That kind of thing. Didn’t I say something earlier this week about a piano falling on my head? Prescient.

Plan is to finish the QR on Monday and then get back to what passes for normalcy around here. Still plenty of good stuff to come between now and then though, so let’s dive in.

Quarterly Review #41-50:

Wucan, Reap the Storm

wucan reap the storm

Bilingual heavy blues rockers Wucan offer their second full-length, Reap the Storm, through MIG Music, and with it showcase a stunning range of songwriting. The album is set up as a 2LP and runs eight songs/73 minutes from the Dresden, Germany, four-piece of vocalist Francis Tobolsky (also flute, guitar, theremin, sitar and percussion), guitarist/keyboardist Tim George, bassist Patrik Dröge and drummer Philip Knöfel, and from the expansive jamming of 10-minute opener “Wie Die Welt Sich Dreht,” it solidifies into the classic-prog-meets-heavy-boogie of “Ebb and Flute/The Eternal Groove” and nestles into driving semi-psychedelic rock on “Out of Sight out of Mind” to lead the charge on a side B marked out by the organ in “I’m Gonna Leave You,” the interplay of trippy/soulful vocals and flute on “The Rat Catcher” and the quiet, German-language post-Zeppelin acoustic folk of “Falkenlied.” Okay. Already your head’s spinning. Then Wucan dive into “Aging Ten Years in Two Seconds” and “Cosmic Guilt,” which together comprise the second of the two LPs, the former running 21:05 and the latter 18:04, and basically between them represent another album entirely, tying all of the elements previously listed together into one richly complex, progressive-but-still-warm delivery. Their breadth is met by an overarching organic feel – the flute and Tobolsky’s vocals help greatly in this – and though the results are somewhat unmanageable, Wucan remain impressively cohesive throughout the many twists and turns.

Wucan on Thee Facebooks

MIG Music website

 

Lucifer in the Sky with Diamonds, Silent Echo

Lucifer-in-the-Sky-with-Diamonds-Silent-Echo

The new single “Silent Echo” is an awaited return from Moscow progressive heavy rockers Lucifer in the Sky with Diamonds, who showed up with an encouraging debut, The Shining One (review here), in 2014. In the rhythmic push and balance of melody and hook, “Silent Echo” reaffirms the appeal of that album and presses it forward, and the band – now comprised of guitarist/bassist/vocalist Oleg Sakharov, guitarist Sergey Starykh, drummer Ramis Cervantes and backing vocalist Alexey Fedotov – hold fast to the underlying proggy sensibilities that fall so well in line with the crispness of their production and the clarity of intent in their songcraft. If they were German or Swedish, they’d already be signed. After three years, a new album would be welcome, but perhaps “Silent Echo” is a harbinger of things to come, and if indeed the six-minute track is all we’re getting for now, it’s got resonance enough behind it to last at least for a while. Hard to hear it though and not want more from these guys.

Lucifer in the Sky with Diamonds on Thee Facebooks

Lucifer in the Sky with Diamonds on Bandcamp

 

Thera Roya, Masterful Universe

thera-roya-masterful-universe

Tracked a year ago in North Carolina, Thera Roya’s Masterful Universe two-songer follows behind their earlier-2017 debut long-player, Stone and Skin (review here), and continues their headfirst dive into noise-laden riotousness across the seven-minute “Static Transmission” (I’m sorry, but are those monkey sounds around the three-minute mark?) and five-minute “Confused Population,” which starts out with a sample of the bomb-riding end sequence of Dr. Strangelove, because I guess the Brooklyn/NJ trio of drummer/vocalist Ryan Smith, guitarist Christopher Eustaquio and bassist Jonny Cohn are feeling topical. Fair enough. That song pushes into cleaner vocals, almost drone-chants, for a particularly experimental feel, and keeps samples as a running theme (at least until the blackened cave-echo screams at the end), where “Static Transmission” is more scathingly aggressive at its core, but in both tracks, the message of Thera Roya getting weirder and weirder comes through clearly, and that only works to their benefit on this short but consuming offering. Run with it, dudes.

Thera Roya on Thee Facebooks

Thera Roya on Bandcamp

 

Ojos Rojos, Sons of Love and Death

Ojos-Rojos-Sons-of-Love-and-Death

It’s been seven years since California-based heavy psych rockers Ojos Rojos made their debut with the full-length Disappear (review here), but you’d hardly know it from the vibrancy of their new five-song/26-minute Sons of Love and Death EP, which from its opening title-track – also the longest here (immediate points) – through the rightly spacious “Atmosphere” and smoothly rolling centerpiece “Say Goodbye” affects desert-hued shoegaze engagement that asks little of the listener more than to drift along with its easy path. “A Hole Inside” (pun sense tingling) brings especially satisfying fuzz in the guitar and a swirling couple leads to complement like stars overhead, and closer “So Free” doesn’t at all let the fact that it’s so darn laid back let it stop it from strutting its start-stop groove with such swagger. All told, Sons of Love and Death is a work of drippingly lysergic vibe, reminiscent of Dead Meadow at their most languid, but it comes across neither as staid nor redundant. Be it in the rhythmic push of “Atmosphere” or the final crashes of “So Free,” Ojos Rojos find the means to portray an active ecosystem in something that, from the surface, seems still and peaceful.

Ojos Rojos on Thee Facebooks

Ojos Rojos on Bandcamp

 

Ett Rop På Hjälp, Sans och Balans

ett-rop-pa-hjalp-sans-och-balans

Ett Rop På Hjälp, quite simply, deserve a higher profile than they’ve got for their second album, Sans och Balans. The Gothenburg natives are a half-decade removed from their 2012 debut, Hur Svårt Kan Det Vara? (review here), on Transubstans, and the new collection is a more than worthy follow-up, offering classic-style boogie rollout on cuts like “En Djavuls Falla” and the later solo work on “Blanka Eftermiddagen,” while “Defenestration” (the only English title present, though it’s still sung in Swedish), highlights organ/keys alongside its low end depth and catchy movement, shifting at its midpoint to an instrumental jam that carries it into the bluesy build and harmonies of “Snomannen.” The penultimate “Leker Med Karlek” is particularly heavy ‘70s, but skirts the trap of sounding like Graveyard, Witchcraft or most others of that vintage ilk, and the finish in “Slutat Tro” prefaces its payoff with a subtle heft that comes to the fore late, manifesting a proto-doom working well to contrast the sweetness of the earlier vocal melody. It may be harder for those who don’t speak Swedish to grasp the verses and howling chorus of “Folkhemsdesperado” and the other inclusions here, but Sans och Balans is nothing if not worth that effort and clearly a record that earns more attention than it’s getting.

Ett Rop På Hjälp on Thee Facebooks

Sans och Balans on Spotify

 

BongCauldron, Binge

bongcauldron-binge

Leeds trio BongCauldron have been kicking around the UK’s fertile heavy underground for the last five-plus years since their self-titled EP, issuing a series of shorter releases and splits and gradually readying themselves for a larger attack. That arrives as their eight-song/40-minute debut full-length, Binge, which sludge-bludgeons (yes, it sludgeons) its listener into submission with thickened nod, growls and an attitude that’s best represented perhaps in the title of second cut “Bury Your Axe in the Crania of Lesser Men.” Yeah, it’s like that. “68” and closer “Yorkshire Born” offer a Motörhead/High on Fire-style gallop, but the larger impression Binge makes comes from the pairing of the title-track and “Bigfoot Reigns” in the middle of the album. These two longest tracks, back to back, pummel their viscous onslaught, and even when the latter swaps out its faster first half for the massive slowdown of its second, its shift is purely from one extreme to the other. Feels like it’s been a while in the making, and maybe it has, but BongCauldron’s first long-player has nastiness a-plenty to make up for any and all lost time.

BongCauldron on Thee Facebooks

APF Records on Thee Facebooks

 

Nomadic Rituals, Marking the Day

nomadic-rituals-marking-the-day

Marking the Day builds from minimalist drone over the first couple minutes of “From Nothing” into a maddeningly heavy, grueling, hour-long slog of noise-soaked and extremist post-sludge. It is the second album from Belfast, Northern Ireland, three-piece Nomadic Rituals, and its cosmically-themed lumber is utterly vicious as it plays out across six tracks, the shortest of which, “Expansion,” is just under eight minutes long. Over the course of this creation-to-destruction journey, guitarist/vocalist Peter Hunter, bassist/vocalist Craig Carson and drummer Mark Smyth (all three also contribute noise and/or synth) take listeners “From Nothing” and leave them “Face Down in the Sea of Oblivion,” and it’s that 14-minute finale and specifically the tumultuous, pushed-even-further apex thereof, that is intended to capture the grand undoing of everything. One imagines when the end comes it won’t actually sound quite so glorious, but an interpretive representation, Nomadic Rituals give brutal portrayal that seems to fit the onslaught of chaos, and the final amp hum reminds that every ending is likewise a new beginning, even one so mammoth and consuming as this.

Nomadic Rituals on Thee Facebooks

Nomadic Rituals on Bandcamp

 

Mental Tremors, Mental Tremors

mental-tremors-mental-tremors

A duo who manage to sound like a full band on a studio album is nothing new at this point, between layering and tonal heft and whatever else might be at play in a given act’s aesthetic. Fortunately, Melbourne two-piece Mental Tremors don’t need to rely on novelty. In the fuzz of songs like “Bastard Son” and “Violently” – that’s a riff you should hear – their self-titled debut long-player offers legit chops in craft and performance, yes, sounding full, but still natural as it makes its way through the weirdo-psych nod of the six-minute “Patient Man,” solidifying as it goes, and seeming to turn the classic LP dynamic of straightforward A and more expansive B sides on its head as it rounds out with “Hunters” and “The Fevering,” individualizing catchy, post-Queens of the Stone Age impulses and hairy riff-led raucousness. Initially self-released earlier this year, Mental Tremors was picked up for a vinyl pressing by Cursed Tongue Records, and whether it’s the clarion groove of opener “Like a Broken Town” or the nods and echoes that pervade “The Cascade,” there’s no question it earns that preservation that only physical media can provide.

Mental Tremors on Thee Facebooks

Cursed Tongue Records webstore

 

Gin Lady, Electric Earth

gin-lady-electric-earth

Modern enough in its production, Gin Lady’s fourth album, Electric Earth (on Kozmik Artifactz) is nonetheless in pretty direct conversation with the ‘60s, whether it’s “I’m Your Friend” chatting it up with Paul McCartney circa Rubber Soul or the acoustic/piano stomp of “Mercy” in a back and forth with The Rolling Stones, even going so far as to reference “Satisfaction” in the lyrics. These pop-minded textures are met with some heavier rock vibes, but at its loudest, Electric Earth still sticks to a pretty serene feel, starting off at a dancey clip with “Flower People” and capping with the quick Lennonism of “Running No More,” while in between, the four-piece of vocalist Magnus Kamebro, guitarist/vocalist Joakim Karlsson, bassist/vocalist Anthon Johansson and drummer Fredrik Normark gracefully capture bygone vibes on the wistful “The Things You Used to Do,” the jammy “Brothers of the Canyon” and the crisp, clear “Water and Sunshine,” the hook of which could’ve easily come from a lost single from 1965. It’s a niche not everyone’s playing toward at this point, but still instantly familiar and engagingly, efficiently done.

Gin Lady on Thee Facebooks

Electric Earth at Kozmik Artifactz

 

Swanmay, Stoner Circus

swanmay-stoner-circus

Unabashed stoner rock riff-led ideology persists throughout Stoner Circus, the hard-driving debut full-length from Linz, Austria, three-piece Swanmay. Working from a center of dense but not overblown fuzz, the rockers cast forth a clear-in-its-purposes nine tracks highlighted by “Lake on Fire,” which one can only wonder if whether or not was written in homage to the Austrian annual festival of the same name. In any case, that hook is one of several that feel particularly engaging throughout Stoner Circus, and the depth of tone on the instrumental “Dopechild” is enough to make that song memorable despite a lack of lyrics. Far from revolutionary, ultimately, but clearly not trying to be either, Swanmay’s first LP preaches its post-Kyussism on “Dharma” and in the Lowrider-style roll of “Sylvan” earlier on, but there’s an aggressive edge to it as well that comes to the fore on “Padawan” ahead of closer “Shiva,” which rounds out with a satisfying-if-telegraphed slowdown to make the point one more time about putting the groove first. So be it. As a debut, Stoner Circus gives Swanmay something to build on and already shows promise in songwriting and its well-honed execution of genre tenets.

Swanmay on Thee Facebooks

Swanmay on Bandcamp

 

Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,