The Obelisk Radio Adds: Woodsplitter, Shroud Eater & Dead Hand, Moaning Cities, Wartime and MegaritualPosted in Radio on February 6th, 2017 by JJ Koczan
A round of adds to The Obelisk Radio once a month doesn’t seem like too much to ask, right? Well, it probably will be as the rest of the year plays out amid my meandering attention span, onslaught of reviews, etc., but for now, I’m at least two-for-two on 2017, and that should count for something. I won’t speculate as to what.
Pretty varied batch this time around, with some familiar names stepping outside what might be perceived as their comfort zone and others digging into various traditions in rock, blues, psych, sludge and doom. Much as I try to keep the stream running at all times — one has server blips; it happens — I also try to mix things up at least in a context that makes sense from one song to the next, though every now and again as I listen I hear something that completely blindsides me. That can be fun too.
As always, I hope you find something in here you dig.
The Obelisk Radio adds, Feb. 6, 2017:
For those who know guitarist Ben McLeod for the bluesy, psychedelic flow he brings to the languid jamming of All Them Witches, no doubt the Inflamed debut from his Woodsplitter solo/side-project is going to be a marked surprise. That would seem to be at least in part the intent. Working in a fire-fueled vein of instrumental progressive metal, “Liturgy” introduces a sense of extremity yet unheard from McLeod. Backed only by his own programmed drums, self-recorded, -mixed and -released, it’s a 39-minute mostly-onslaught that calls to mind a sans-vocal Genghis Tron at times while perhaps nodding at Steve Vai technicality via Devin Townsend‘s more metallized approach. McLeod locks in a plodding groove on “Fatty’s Waltz,” but even this is a bold step stylistically, and subsequent “Pile” and two-part title-track — the second piece of which secures Inflamed‘s ultimate triumph — only continue the push into experimentation. Ultimately, McLeod lands sure-footed in this exploration, showcasing roots that many who’ll take on Woodsplitter probably didn’t know he had — including some post-rock layering at the tail end of closer “The Weather Outside is Frightful” — and setting up a future progression almost entirely distinct from that of his main outfit. Won’t be for everybody, but hits with an equal measure of purpose and force.
Shroud Eater & Dead Hand, Split
As to what unites Georgian five-piece Dead Hand and Floridian trio Shroud Eater on this late-2016 Southern Druid Records split 7″, it won’t take long to figure out. Both bands are heavy as hell. With “Guaiacol” from the former going head-to-head with the latter’s “Destroy the Monolith” it becomes a contest of churn vs. roll, Dead Hand taking an atmospheric approach that feels in comparison more derived from post-metal than Shroud Eater‘s nonetheless spacious sludgy pummeling. Either way you go, you’re getting crushed by a six-minute track that seems only to revel in the cruelty of its lumbering, Dead Hand‘s chug arriving over a torrent of double-kickdrum before opening to a more forward thrust on “Guaiacol” and locking into a nod that persists even in the relatively minimalist midsection before, the lumbering, growling extremity resumes. As a title like “Destroy the Monolith” might hint, Shroud Eater aren’t exactly taking it easy either. With a multi-vocalist arrangement and vastness of groove, they represent their core sound well as a precursor to the awaited arrival of their second album hopefully sometime in 2017. It’s a quick release — in and out in 12 minutes — but both acts are bound to make an impression on the listener as each shows off their own brand of brutality.
Moaning Cities, D. Klein
Issued through EXAG Records, the oddly-but-somehow-appropriately-stylized D. Klein is the second full-length from Belgium’s Moaning Cities, who seem as much at home in referencing The Velvet Underground and The Stooges on “Solitary Hawk” as drifting out All Them Witches-esque on the earlier “Sex Sells.” At 10 tracks/39 minutes, the Brussels-based outfit don’t express any particular need to settle into one sound-niche or another, but they keep a languid flow of psychedelic heavy blues in songs like “Insomnia” and the poetically-stomping “Vertigo Rising” that makes the okay-it’s-freakout-time arrival of the penultimate “Drag” all the more satisfying, even if their clear element of control is well maintained throughout. Flourish like the electronic beats in opener “Expected” and the soundscaping guitar in the finale “Daggers” add further depth to a release that already offers plenty, but Moaning Cities retain a classy, nigh-on-chic atmosphere without losing the tonal substance needed beneath to hold up such a strong aesthetic presentation. Whether they’re digging into ’90s alt vibes on “Born Again” — Violent Femmes goes West? — or tossing some sitar to go along with the spoken word of “Yell-Oh-Bahn,” Moaning Cities thrive on never quite letting their listeners know what’s coming next, and that nuance suits D. Klein well.
Wartime, Wartime Vol. 1
Between its five-minute, horror-sample-topped intro “Breaking Wheel” and its corresponding five-minute, horror-sample-topped outro “Magical Law,” Wartime‘s Wartime Vol. 1 delves so deep into classic doom via NWOBHM cultishness that I’m amazed Shadow Kingdom Records has yet to pick it up for a release. The Colombian trio’s 2016 debut, it’s as effective in the moodiness of its acoustic centerpiece “A Whisper” as in the brash Sabbathism of the eponymous “Wartime,” and an overarching rawness in the tracks only feeds the vision of doomed purity within them. Pressed in a limited number of CDs that, like their prior 2015 demo tape, are already long gone, it’s a fist-pump-worthy execution of doom for doomers that asks little by way of indulgences and delivers much in riff, metal-of-yore ambience and the songcraft of drummer/vocalist Alejandro, guitarist D-Pig and bassist Scum, who hold onto a punkish thrust for “Another Reality” before the Vitus-style plod of “Wicked Son.” Children of doom indeed. At 32 minutes, it’s on the shorter end of a full-length album, but it unquestionably sets the groundwork for an LP-style flow, and as Wartime‘s debut, impresses double with the realization of its conceptual bleakness. Special thanks to Juan Lopez for the recommendation on this one. I’m glad I got to check it out and will look forward to what Wartime do next.
I’ve been doing my dernedest to keep up with Australian one-man outfit Megaritual since getting hip to the White Dwarf aptly-named LP compilation, Mantra Music (review here), late last year. The product of multi-instrumentalist/vocalist Dale Paul Walker, Megaritual followed that release with the 25-minute single-song Eclipse EP (review here), and it’s to that offering that the 18-minute single-tracker Temple seems to have direct lineage, though actually the recording dates back further, to 2013/2014, and finds Walker joined by drummer Govinda Das in a duo incarnation of the band. Not entirely to find “Temple” is a little older, since Megaritual seem to be finding the patience later shown throughout the Mantra Music EPs that comprised the vinyl and then Eclipse afterward here, but you absolutely will not find me complaining about the edge of tonal buzz that complements the massive riff of this track, nor the improvised-sounding spaces around it being explored early on, nor the noise/drone that plays out over the course of the second half. If this is Walker giving a look at the project’s origins, he would seem to have come into Megaritual with an expressive concept in mind, and while it’s clear he’s put himself to the task of refining it, Temple demonstrates it was immersive even in its most formative moments.
To see everything that joined The Obelisk Radio playlist today, click here.
Thanks for reading and listening.