Kristonfest 2019 Completes Lineup: The Hellacopters, Earthless, Dozer and Mondo Generator Added

Posted in The Obelisk Presents, Whathaveyou on November 15th, 2018 by JJ Koczan

kristonfest 2019 logo

I can only be honest with you — I have no fucking idea why Kristonfest was like, ‘Hey, we’ll put an Obelisk logo on our poster.’ Anyone with the kind of pull to put together a festival with the likes of EarthlessThe HellacoptersDozerKadavar, Mondo GeneratorChurch of the Cosmic SkullArabrot and Turbowolf needs me like they need a hole in the head. It’s there, the round one next to the memento mori skull at the bottom, and I’m proud as hell of it. But yeah, I don’t deserve that. Here’s a festival in Madrid that will have at least six years of history behind it by the time it comes around in May, and I’m some schlub sitting at my laptop. Something there doesn’t make sense. I’m honored, as the robot said: Does not compute.

Hey, thanks to Kristonfest 2019 for letting me be involved in the small way that I am. I was touched at the sentiment before, but now that the lineup is complete, that’s even more the case. If you can make it to Madrid, you should do that. I mean, you should do that anyway because traveling is amazing, but all the more so when an event of this caliber is involved. Thank you. And thank you for reading, because I’ll tell you outright the only reason anyone gives a shit about this site is because you read it. You will not find me deluding myself that it’s my charming personality and copious wordsmithery making the difference. It’s you. So thanks.

Here’s the final lineup announcement:

kristonfest 2019 poster

Kristonfest 2019

FRIDAY, MAY 10 | WARM UP PARTY KRISTONFEST 2019
SALA CARACOL (MADRID)

SATURDAY MAY 11 | KRISTONFEST 2019
SALA LA RIVIERA (MADRID)

For this 2019, the main novelty is that the next edition will be composed of 2 days: A first day framed in a Warm Up Party or party presentation in the Caracol Room and a second day in the usual La Riviera, both in Madrid.

The Hellacopters, Earthless, Dozer and Nick Oliveri’s Mondo Generator complete the poster of the next Kristonfest 2019, joining KADAVAR, Turbowolf, Church of the Cosmic Skull And Arabrot.

Tickets per day and bonuses now available: www.kristonfest.com

https://www.facebook.com/events/391742591310823/
http://www.kristonfest.com
https://www.facebook.com/kristonfest
https://twitter.com/Kristonfest
https://www.instagram.com/kristonfest

Dozer, “Empire’s End” official video

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Kristonfest 2019 Tickets on Sale; Kadavar, Church of the Cosmic Skull, Arabrot and Turbowolf to Play

Posted in The Obelisk Presents, Whathaveyou on August 31st, 2018 by JJ Koczan

Looks like good times ahead. I’ve been asked if I’d like to be a media sponsor for Kristonfest 2019 and my answer was pretty much, “duh yes.” I framed it nicer than that, but that was the gist of it. The festival will be held in Madrid on May 10 (a pre-show) and May 11 (the fest proper) and so far four bands have been announced: KadavarArabrotTurbowolf and Church of the Cosmic Skull, giving an immediate sense of variety in underground heavy from the ultra-harmonies of the latter UK outfit to the mega-hooks of the former to Arabrot‘s noise assault and Turbowolf‘s classic-styled hard rock. Much to dig for just being four acts so far, but I have it on good authority more killer stuff is to be announced, so keep an eye out.

The info below was run through a major internet company’s translation matrix, so keep that in mind as you peruse, but I think the point gets across. Tickets are on sale now:

kristonfest 2019 poster

Kristonfest 2019

FRIDAY, MAY 10 | WARM UP PARTY KRISTONFEST 2019
SALA CARACOL (MADRID)

SATURDAY MAY 11 | KRISTONFEST 2019
SALA LA RIVIERA (MADRID)

For this 2019, the main novelty is that the next edition will be composed of 2 days: A first day framed in a Warm Up Party or party presentation in the Caracol Room and a second day in the usual La Riviera, both in Madrid.

Having said that, the eighth edition of the Kristonfest will be held on May 10 and 11, 2019 and as the first round of confirmations we are proud to present the KADAVAR Germans, who in a short time have become the spearhead of a new generation of artists who have revived and refreshed the most classic sounds of legends like Black Sabbath or Pentagram, adding rhythms more typical of psychedelia or stoner-rock.

Another great confirmation is the TURBOWOLF, English quartet that burst with great force with the edition of its first disc in 2011 and that dragged a debt after having recorded 3 discs and still not to come to Madrid to present it. The wait has been long but we are sure it will be worth it!

In similar circumstances we find CHURCH OF THE COSMIC SKULL, a kind of hippie commune formed by 7 musicians reminiscent of the Electric Light Orchestra, Deep Purple or Fleetwood Mac and that in the European scene is one of the sensations of the moment, Mission fulfilled! It will be the first time they have performed in Spain and we are sure that their show will be one of the highlights of Kristonfest 2019.

To close this first round of confirmations, we are especially excited to announce ARABROT, one of the successful bands of the past Roadburn and that will delight us with their vision of the darker side of rock, evoking the icy landscapes of their native Norway and reminding us of brushstrokes of artists that we admire a lot like Wovenhand, Neurosis or Melvins to name a few.

TICKETS ALREADY ON SALE: WWW.KRISTONFEST.COM

https://www.facebook.com/events/391742591310823/
http://www.kristonfest.com
https://www.facebook.com/kristonfest
https://twitter.com/Kristonfest
https://www.instagram.com/kristonfest

Church of the Cosmic Skull, “Evil in Your Eye” official video

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VOR Premiere Video for “Cudgel”; Depravador out May 19

Posted in Bootleg Theater on April 25th, 2018 by JJ Koczan

vor

Framed by images of roaches, needles, faceless masks and other visually striking and abrasive imagery, the new video from Spanish noise-slinging sludge duo VOR tells a good portion of the tale. On May 19, the Madrid-based outfit will issue Depravador through a host of involved labels, including Third I Rex, Noizeland Records, Noorirax Producciones, Odio Sonoro, Sacramento Records, Base Record Production and Fuzz T-Shirts, the latter two of which I’ll confess I’m not even sure if they are record labels, but it’s yet more companies standing behind the band’s work and it goes to prove the overarching point that this is material and this is a band that a lot of people really believe in and are willing to support.

The bass/drum filth-revelry of thevor depravador track “Cudgel,” which is the single for which the new video has been put together, justifies that, I think. It’s a quick blast of ’90s-style sludge intensity, reminiscent maybe of Buzzov*en or Eyehategod in some of their especially biting moments, but the rawness they conjure as only being a two-piece becomes part of the aesthetic in a fascinating way, feeding into the overarching rawness of their approach and making the whole affair even meaner than it started out. I haven’t heard the full record yet — so many cooks in the kitchen on a release, sometimes these things are hard to come by — but once again, it’s easy to understand why people would believe in what VOR are up to stylistically, taking the classic tenets of mud-in-your-eye sludge and bringing something of their own to it. One way or another, it’s noisy as all hell.

My go-to word for this kind of sludge always seems to be “nasty,” and the crust that outlines “Cudgel” much the same way those needles, roaches, etc. frame the video, certainly meets that standard. Depravador, one more time, lands May 19, and it’s with the permission of Third I Rex that I have the pleasure of hosting the premiere of the clip that you’ll find below, with more background beneath, courtesy of the PR wire.

Please enjoy:

VOR, “Cudgel” official video premiere

The Spanish noisemongers VOR bring to the table one of the most corrosive releases of the year. This bass and drum duo is no joke! Coming from projects such as Lazharus, Warchetype, Moho, Cuzo, The Eyes Y and more levels of filth, these guys have got something you should really take a listen to.

Their new album “Depravador” comes after another killer release, the band’s debut album “Tu Clave Es Jonàs”, pressed early in 2017 by another bunch of labels, including some of those collaborating for this new LP. Seven tracks of trippy, abrasive, odd, heavy sludge which, funneled through a punk attitude, is able to take off your face like thick tar on naked skin.

An absolute must listen to for all of the uncompromised sludge supporters, fuzzy doom sounds lovers, punk-fueled hatred preachers, and all of those people out there who wanna listen to something new after tons of boring late releases! “Depravador” will be out on May 19th!

Recorded at La Cortina Roja in 2017.
Mastered at Kadifornia Mastering in 2018.
Front cover art by Calabaza Cosmica.
Photo by Sergio Albert Aviles.

VOR is:
Iván: bass, noise & shrieks
Edu: drums & noise
Anxela (Bala): guest vocals in “Dark Fraga”

VOR on Thee Facebooks

VOR on Bandcamp

VOR on Tumblr

Third I Rex on Thee Facebooks

Third I Rex on Bandcamp

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Bones of Minerva Premiere Video for “Overcoming”

Posted in Bootleg Theater on June 27th, 2017 by JJ Koczan

bones of minerva

Spanish four-piece Bones of Minerva issued their debut album, Blue Mountains, earlier this year, and cast themselves in a place somewhere between heavy rock, psychedelia and more aggressive, loosely-metallic fare. One finds this position established in the opening track, “Overcoming,” which though it clocks in at under five minutes long moves from noise-inspired start-stop riffing and soaring melodies into a fervent push of growls and tonally dense nastiness. This line, between heavy rock and metal, can be finer and finer depending on how a given band wants to toy with it, and Bones of Minerva do well throughout their hook-laden, self-released first outing to vary their methods on an almost per-track basis, so that while “Overcoming” makes that shift, an upbeat rocker like “Fear is a Biscuit,” which immediately follows, does not.

Accordingly, the four-piece of vocalist Blue, guitarist Ruth, bassistbones of minerva blue mountains Chloé and drummer Koa don’t fall into a predictable pattern one way or the other. “Defenders” is pissed off almost to a blackened degree, but centerpiece “Eery Octopus” offers more drift, and in a mere 3:47, “Plastic Crown” efficiently ties the two sides together leading into the High Fighter-esque “Aces” and progressively-tinged finale “Whales.” Each cut has something different to offer that broadens the context of the record as a whole, and as their first full-length behind a 2014 EP titled Shot, the seven-song long-player both sees Bones of Minerva find their niche in terms of aesthetic and set themselves up for development going forward within that.

I’m not entirely sure where they’re headed or what exactly the ritual is in the video for “Overcoming,” but if they’re working on their own level, all the better as far as I’m concerned. Either way, I’m happy to host the premiere of the clip, which you’ll find below, followed by more background on the band, who’ll share the stage tomorrow night, June 28, at Wurlitzer Ballroom in their hometown with UK psych revelers Vodun. More info on that show can be found at the Thee Facebooks event page here.

Please enjoy:

Bones of Minerva, “Overcoming” official video

Bones of Minerva formed in 2013 in Madrid, Spain. Their eclectic sound is rooted in the genre of alt metal.

Formed by Blue (vocals), Chloé (bass), Koa (drums) and Ruth (guitars), they seek to merge heavy riffs with hypnotic rhythms, dreamy landscapes with vocals which range between shamanic and aggressive.

“Blue Mountains” is their first self-released album, after a previous Ep “Shot” in 2014, and they have thrown themselves completely into this new release, carrying out everything from the songwriting to the design and album art themselves. With it they intend to prove themselves and take their music as far as possible, with a raw live show which leaves no one indifferent. The band also does acoustic sets, adapting their music and using violin, acoustic guitar, percussion and even acapella vocals.

They are currently promoting the album, seeking to take their music as far as possible, with everything to gain and nothing to lose.

Bones of Minerva website

Bones of Minerva on Bandcamp

Bones of Minerva on Thee Facebooks

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MotherSloth Premiere Video for “Shadow Witch”

Posted in Bootleg Theater on March 28th, 2017 by JJ Koczan

mothersloth

MotherSloth‘s new album, Moon Omen, is a weird one. Issued through Argonauta Records at the beginning of the month, it brings forth a cultish vision of doom that dips into influences from Alice in Chains to Danzig as it traverses a dark path of six deceptively memorable tracks — the sort of earworms that don’t beat you over the head with hooks, but wind up replaying themselves on the mental jukebox anyway in a “what just happened?” kind of retread. From the title-line howls in the opening cut “Shadow Witch” to the ambient unfolding of nine-minute closer “Moon Omen” and across the melodically resonant “Doomsday Cyborg” and mournful Cantrell-style churn of “Once Human” between, it’s a record that brings a deeply individualized context to a style of doom that draws from both modern and classic spheres. Also from who knows where else.

One would expect for any visual representation of Moon Omen to be accordingly bizarre, and the dark-hued video for “Shadow Witch” most certainly is that. I’m pretty sure the band is in there somewhere, but the whole affair is pretty obscure and willfully vague, and where later in the album, the Madrid three-piece dip into progressive melodies underscored by melancholy lead guitar on “The Firemill,” with “Shadow Witch,” it’s more about the dirge and the ritual, even unto the quiet, whispering break in the song’s second half that leads to the surprising, if brief, apex of all-out cacophony. I’m telling you, and I’m not lying, they do it strange and they do strange well. Moon Omen finds MotherSloth as much centered around atmosphere as basic songwriting, but both work together to serve an overarching purpose of bizarre evocation that’s almost bound to stay with you after the record is done, which of course is the whole idea.

If you haven’t heard Moon Omen in its entirety as yet, it’s available now through Argonauta and streaming in full on MotherSloth‘s Bandcamp page — both of which are linked at the bottom of this post. More background on the band and the video credits follow the clip itself, which you’ll find immediately below.

Hope you enjoy:

MotherSloth, “Shadow Witch” official video

Directed by: Hugo “Brutal Panacota” Martín
Production/ Film making/ Post production: Iván “Lobo” Moreno
Camera , Edition and VFX : Iván ”Lobo” Moreno
Production assistant: Malina Gancarz
Make up: Andrea Mena / Iris “Assa” Erza
Actors: Druid: Juan Carlos Zar
Punk guy: Jimmy Jazz
Witch: Leila Díaz
Witch Follower 1: MOnica Garcia .
Witch Follower 2: Iris ”Assa” Erza
Special thanks to Gloria Crespo and Mayte Moraleda for their support

MotherSloth is a Madrid-based band formed in 2008. In the band’s style, you can find several influences – ’70s inspired sounds combined with heavy guitar riffs and open chords, blended with spirally progressive melodies. After various formations, the band records demos under the title “Death Flowers” (2009), and plays live throughout Madrid with other avant-garde stoner bands. In 2012, with a more defined musical path, MotherSloth recorded their debut EP “Hazy Blur Of Life“, edited in 2013 by Peruvian underground label Dooom Records.

In late 2013, MotherSloth decided to focus on the instrumental songs they had been writing throughout the years, recording their new LP “Moribund Star” (2014), edited in 2015 with Germany’s Voodoo Chamber Records. In 2016 the band entered the studio to record their next album, consisting of 6 brand new songs, released by ARGONAUTA Records in CD/DD during Spring 2017.

MotherSloth is:
Dani – guitars and vocals
Moline – bass guitar and vocals
Oscar – drums

MotherSloth on Thee Facebooks

MotherSloth on Twitter

MotherSloth on Instagram

MotherSloth on Bandcamp

Argonauta Records website

Argonauta Records on Thee Facebooks

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MotherSloth Sign to Argonauta Records; New Album in 2017

Posted in Whathaveyou on December 2nd, 2016 by JJ Koczan

So the title of Spanish doomers MotherSloth‘s impending second album may or may not be Moon Omen. How do I know? Keen investigative reporting, of course. Digging deep. Meeting secret sources in underground parking garages while wearing overcoats and fedoras, smoke-obscured faces trading classified information back and forth. And then after all that I checked out their Thee Facebooks page and there’s a whole collection of photos there under the heading, “Recording Moon Omen.” That could also be a pretty reliable tell.

Whether or not that’s the name of the thing, the follow-up to MotherSloth‘s 2014 Moribund Star full-length debut will be released in Spring 2017 via Argonauta Records. That information is not classified — or at least not anymore — and the PR wire offers this public briefing:

mothersloth

Argonauta Records New signing: MOTHERSLOTH

We’re excited to welcome in our roster a new excellent act from Spain: MOTHERSLOTH.

MotherSloth is a Madrid-based band formed in 2008. In the band’s style, you can find several influences – 70?s inspired sounds combined with heavy guitar riffs and open chords, blended with spirally progressive melodies.

The band says: “We are happy to have arrived to Argonauta and cannot be more excited with the prospect of working together with Gero and the label, plus having high expectations on our next album which we believe it’s our best so far…”

After various formations, the band records demos under the title “Death Flowers” (2009), and plays live throughout Madrid with other avant-garde stoner bands. In 2012, with a more defined musical path, MotherSloth recorded their debut EP “Hazy Blur Of Life“, edited in 2013 by Peruvian underground label Dooom Records.

MotherSloth created and gathered a good impression after playing at Kanina Rock festival (2012+DVD), Madrid Stoner Festival (2013), and being featured in various compilations, genre specialized blogs, magazines and radios. In late 2013, MotherSloth decided to focus on the instrumental songs they had been writing throughout the years, recording their new LP “Moribund Star” (2014), edited in 2015 with Germany’s Voodoo Chamber Records and available here:

In 2016 the band entered the studio to record their next album, consisting of 6 brand new songs, to be released by ARGONAUTA Records in CD/DD during Spring 2017.

The band is:
Dani – guitars and vocals
Adrian – bass guitar and vocals
Oscar – drums

https://www.facebook.com/MotherSloth
https://twitter.com/MotherSloth
https://mothersloth.bandcamp.com/album/moribund-star
http://www.argonautarecords.com/

MotherSloth, Moribund Star (2014)

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audiObelisk: Adrift’s “Wolves Searching Dams” from Black Heart Bleeds Black Now Available for Streaming

Posted in audiObelisk on April 26th, 2012 by JJ Koczan

After a couple starter splits, singles and EP releases, Spanish four-piece Adrift made their full-length debut in 2008 with Monolito, an album that wore its winding post-Mastodon neo-prog metal influence on its sleeve. The complexity of rhythm and overall extremity finds further push in the forthcoming Alone Records follow-up, Black Heart Bleeds Black, which is darker atmospherically and more conscious of but not modeled after mid-period Neurosis‘ apocalyptic churn. Doomed in mood and guitar-led sensibility, its songs follow progressive structures to vicious ends and offer little hope to those who’d take them on.

More importantly, the overall impression Black Heart Bleeds Black gives is more individualized than was the first record, and Adrift work within a variety of forms that maintain their pummel even as they change the direction from which that pummel comes. Tonally, it’s metal, and I hear a bit of Converge‘s bombast in the screams of “Mallet Man,” but there’s more happening in these songs than any one band comparison can really convey, the two guitars of Macon and Jorge (the latter also vocals) working into and out of tandem stretches with an ease that skillfully undercuts the difficulty of what they’re actually doing.

And where a lot of prog (neo- or otherwise) seems to forgo its sense of songwriting to convey musicianship, even on the trace-state instrumental “Erich Zann Movement,” Adrift don’t lose the human feel to what they do — they’re just reeling back for the next blast, which of course arrives in the form of the 9:48 “Fury Roof.” In terms of giving a concise impression of what Black Heart Bleeds Black does, though, the seven-minute “Wolves Searching Dams” is densely packed with aggression and ambience in kind, relentlessly driven forward by frantic guitars, Jaime‘s drums and Dani‘s bass, as you can hear for yourself on the player below:

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

For CD and/or vinyl preorders of Black Heart Bleeds Black, click here. Much thanks to Alone Records for granting permission to host the stream, and to find out more about Adrift, be sure to hit them up on Thee Facebooks or their Something Called MySpace page.

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The Skinny on Reznik

Posted in Reviews on April 29th, 2010 by JJ Koczan

Spanish instrumentalists Reznik formed in 2005, and since the movie The Machinist was released in Spain in December 2004, it’s entirely possible the band — initially a four-piece, now a duo — took their name from Christian Bale’s character in that film, Trevor Reznik. Whether or not that’s the case, I don’t know, but the dates work out and I thought that movie kicked ass, so I’m going to run with it. If I’m incorrect and there’s some other significance to the band’s moniker, I’ll leave it up to the vast knowledge of the intertubes to correct my erroneous thinking.

Wherever they got their name, Didi (guitarra) and Lolo (batería) offer a ‘90s-influenced mix of noise rock and stoner groove, occasionally hitting a reference point of Fatso Jetson or some others from the Palm Desert scene, but usually relying on more grit than fuzz sonically. Of the 15 tracks on their first LP, El Mal (Alone), which follows two demos and a number of splits, not one of them is over three minutes long, which is probably for the best. What makes El Mal work is that it never really has time to get mired down in its sameyness. If Reznik were just jamming endlessly on the same riff for six or seven minutes, it might get tired really quick, but by the time a riff has worn out its welcome, à la later cut “Octiembre,” the song is over. It’s not a bad system they have worked out.

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