The Obelisk Radio Adds: Primitive Man, Sandrider + Kinski, Hiram-Maxim, Obrero and Elbrus

Posted in Radio on February 16th, 2015 by JJ Koczan

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I know it’s not the usual custom to do Radio adds on Mondays, but what the hell, it’s not exactly like there are rules one way or another, and my desktop has hit eight rows deep of folders with albums in them, so whatever day it might be, it’s time to clear out as much of it as possible. A full 22 records join The Obelisk Radio playlist today. Some of it is very strange, some of it pretty straightforward, but one way or another, I think it all makes the stream better and more diverse, and that’s what it’s all about. For the full list of everything added, check out the Playlist and Updates page.

The Obelisk Radio adds for Feb. 16, 2015:

Primitive Man, Home is Where the Hatred Is

12 Jacket (3mm Spine) [GDOB-30H3-007}

After their destructive 2013  http://www.hotelsb.eu/thesis-and-dissertation-office-csulb/ is a professional expert in academic field. We offer proofreading service, including dissertation proofreading, of high quality! Relapse Records debut,  While I was desperately looking for some online writers who would write my assignment for me, some guy on a forum sent me a link to WriteMyPapers.org. How Can I Contact WriteMyPapers.org? I couldn't believe that the only thing I had to do was send them a request with a "like it" request. Scorn (review here),  Essay Dissertation Research Shows No Significance - we have a writer just for you! Whatever the deadline or the budget is, ask us for help Primitive Man‘s reputation for brutality precedes them. The Denver trio’s new EP,  We At Buyassignment.com Offer The Best Help With Assignments For All Those Students Who Wish To Attain Highest Scores. Purchase watch Online Home is Where the Hatred Is, is only likely to further that reputation, its four tracks alternating between grueling, unrepentantly slow-lumbering, ungodly-toned extremity and fits of grinding megaviolence. The release is arranged longest to shortest so that opener “Loathe” (11:03) is sure to weed out the weaker constitutions en route to the ensuing crushers “Downfall” (8:43) and “Bag Man” (7:09). The closer, “A Marriage with Nothingness” (4:17) is a collage of noise and fedback threat topped with a sample of a woman either in ecstasy or agony — in context it’s kind of hard to tell — but the message is plain either way. One might think of that cut as an answer to homework help center coordinator dissertation electronic history extended essay help Primitive Man‘s 2013  click. Purchase a custom research paper thats tailor-made for your needs. Our writing is original, non-plagiarized and high quality. P//M Noise Tape, which also explored droning forms between covers of  writing phd research proposal graduate school essay writers loginto how long should a college admission essay be Portishead What term paper writing service do you trust? Trust WritingsGuru.com when you need to Good College Admission Essays. Order your paper today! Black Sabbath and  Buy get more & Meet Short Deadlines with Great Papers. As a student, you are probably pressed for time, perpetually trying to balance studies and work Crowbar. Perhaps most foreboding of all is how smoothly  i have to write an essay about myself How Do I go to link free homework help earthquake research paper Primitive Man shift between the facets of their increasingly diverse sound, since it speaks to a progression in progress in terms of bringing the various elements together. A beast is one thing, but a thinking beast seems all the more ominous. They may be in the process of outgrowing their name, but a savage force remains at the heart of their bludgeoning. Primitive Man on Thee Facebooks, Relapse Records.

Sandrider and Kinski, Sandrider + Kinski Split

sandrider kinski split

With geography in common in their Seattle base of operation,  check over here - begin working on your report right away with qualified assistance guaranteed by the service All sorts of academic writings & custom Sandrider and  Best 10 Resume Writers provides trusted reviews of the top resume writing services and hop over to here today. Find out who's on the list. Kinski present their  Speedy Essay is a top leading online firm in UK to write your essay soundly. Just ask us, please Websites For Writing and get quality cheap paper on-time. Sandrider + Kinski split on  Get great quality http://www.nutritiamea.ro/?essay-about-love-is-blind at affordable prices. Experienced business writers from Sydney and Melbourne delivers business assignment help Good to Die Records with three new songs from the former, including a cover of  The Dissertation Abstracts Online Microfilms, which is started under the user account with SYSDBA privileges, runs separately from the database instance. Jane’s Addiction‘s “Mountain Song,” and two from the latter, working in instrumental, textured heavy psychedelic forms that complement Sandrider‘s bombastic approach as heard on their two full-lengths to date, 2013’s Godhead (review here) and 2011’s self-titled debut (review here). Both “Beyond in Touch with My Feminine Side” (8:42) and “The Narcotic Comforts of the Status Quo” (5:17) flesh out open spaces, rich in tone and flowing movement, with the closer more of a riffy, space-rock feel while “Beyond in Touch with My Feminine Side” is more exploratory, fading out at its end is the jam sort of deconstructs below lead guitar. As for Sandrider‘s “Rain” (4:47) and “Glaive” (4:40), for anyone who’s heard the rolling punk heaviness of their albums, it should be enough to say they sound like Sandrider — upbeat and catchy and furious and kinetic — and while I’m not sure anyone ever needed to hear a Jane’s Addiction song ever again (ever.), they take what was probably the band’s best riff and re-suit it to their own purposes, which if you’re going to do it at least is the right way to go about it. Sandrider on Thee Facebooks, Kinski on Thee Facebooks, Good to Die Records.

Hiram-Maxim, Hiram-Maxim

hiram-maxim hiram-maxim

Ultimately, Hiram-Maxim‘s self-titled Aqualamb debut reads more like an experiment in the deconstruction of sound than an album in the traditional sense, and perhaps I use the word “reads” because it’s a book. As has become Aqualamb‘s modus, the four-track release comes as a 100-page artbook and a download that contains its nonetheless-vinyl-ready darkened forms, whether it’s the brooding “One” (11:47) with backing drones and open guitars or the preceding “Can’t Stop” (11:55) with its rising current of abrasive, almost grating noise that gradually consumes whatever song was there to start with. It is a dark atmosphere, and the opener, “Visceral”  (7:14), is well titled, but the pervading vibe is more exploratory than theatrical; like the listener, the Cleveland four-piece are feeling their way through these deep reaches, and when they come around to the apex of closer “Worship” (6:25), the resolution they seem to find is frantic and desolate in turn. In another universe, one might call it punk rock. Here, it is gleefully and thoroughly fucked. Hiram-Maxim on Thee Facebooks, Aqualamb.

Obrero, The Infinite Corridors of Time

Obrero The Infinite Corridors of Time

The Infinite Corridors of Time, the second long-player from Stockholm old-schoolers Obrero should — contrary to their logo — appeal to fans of Hour of 13 and Argus and others who’ve made preservation of classic metal their mission, skirting the fine line between doomly Sabbath worship and proto-NWOBHM stylized forwardness of purpose. The double-guitar five-piece show some penchant for ’70s heavy rock on cuts like “Oneironaut” (6:20) and “The Axial Age” (5:40) but by and large their purposes are more metallic, meshing AC/DC and Judas Priest impulses into the keyboard-laden “Manchester Morgue” (5:01) or “Phobos and Deimos” (5:42), which stands out for its hook and successful blend alike. At eight tracks/52 minutes, The Infinite Corridors of Time is no minor undertaking — there is no song under five minutes long — but their use of keys allows Obrero to work in various moods, and for those seeking purity in their metal, the Swedish outfit offer glimpses without being wholly derivative of what’s come before. Obrero on Thee Facebooks, To the Death Records.

Elbrus, Far Away and into Space Pt. 2

Elbrus Far Away and into Space Pt. 2

If you feel like you missed out on Far Away and into Space Pt. 1, don’t worry about it. Melbourne, Australia, four-piece Elbrus are actually starting out with Pt. 2, and it’s their debut single, an 11-minute psychedelic push of heavy blues rock, stoner rollout and organ-blessed jamming. I’m not sure it’s safe yet to call what’s happening in Melbourne right now a “heavy blues revival” as acts like Elbrus and Child delve into such sonic territory — if only because with bands like Horsehunter and Hotel Wrecking City Traders out there, the city’s take on heavy isn’t so easily categorized — but one rarely recognizes such things until beaten over the head by them. Either way, “Far Away and into Space Pt. 2” gracefully looses a molten flow over its 11:06 stretch, vocalist/organist Ollie Bradley-Smith unafraid to cut through the natural-sounding, weighted tones of guitarist Ringo Camilleri and bassist Mafi Watson while Tom Todorovic‘s drums smooth the way between volume and tempo changes and add cymbal-crash swing to both. It’s a smooth-grooved nod, and aside from making me curious to hear the first installment of “Far Away and into Space,” it makes me wonder what Elbrus might next encounter as that journey unfolds. Elbrus on Thee Facebooks, on Bandcamp.

One more time, this is not even a quarter of what’s been added today. There’s also stuff from Black Rainbows, Felipe Arcazas, Headless Kross, Warhorse, Twingiant and others, so please make sure you hit up the Obelisk Radio Playlist and Updates page to see the full list.

Thanks as always for reading and listening.

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Obrero, Mortui Vivos Docent: The Lessons of the Dead

Posted in Reviews on November 1st, 2011 by JJ Koczan

After a few initial listens, the core contrast of Mortui Vivos Docent – the Night Tripper Records debut album from Swedish heavy/doom rockers Obrero – begins to sink in. It’s the vocals. Even before doing any research at all on the band or its personnel, there was something about them that seemed pulled right out of classic metal, right out of the thrash era. It wasn’t until I went so far as to (gasp!) read the liner notes that I discovered the man behind the mic in Obrero is Martin Missy of the once-and-apparently-again German thrash unit Protector. In Obrero, he partners with guitarists Fredrik Pihlström and Mathias Öjermark (the latter also the occasional keys), bassist Magnus Karkea and drummer Calle Sjöström — who would all seem to be the Stockholm contingent in the band, if names are anything to go by – to nestle the sound of Mortui Vivos Docent somewhere between Euro-style stoner metal and doom. If the band represents a side-project for Missy from the reactivated Protector, he’s not the only one; everyone in the band either was or is active in the thrash or speed metal genres. Karkea and Sjöström are both members of Talion, as are Missy and Pihlström, who’s also been in Melting Flesh and Bloodbanner, among others. The only member of Obrero not also found in Talion’s lineup is Öjermark, who was both in Melting Flesh with Pihlström and an outfit called Ruins of Time with Missy, so everyone’s connected here multiple times over, all seem to be familiar with each other’s playing – Obrero’s relative ease of execution backs that theory – and all are stepping outside of the styles in which they’ve made a home to explore new ground.

They’re not the first from thrash to do so (at times Obrero reminds of a less directly blues-derived version of The Cursed, which featured vocalist Bobby Blitz of OverKill and HadesDan Lorenzo), but one of the factors that most stands Mortui Vivos Docent out among the throng of heavy rock and doom out there is how seamlessly it blends the two. Where “Svantovit” – particularly in Sjöström’s drums, but also in the guitar – reminds at first of something Kyuss might have done in their middle period, it soon moves into Trouble-styled classic guitar-led doom, the synth from Öjermark adding class and melody behind Missy’s mostly-rhythmic verse, which follows the guitar line well in metallic tradition. That song is among the high points of Mortui Vivos Docent (which translates from the Latin to “The Dead Teach the Living”), but it has plenty of company in its quality level. The center portion of the album’s total eight tracks finds one of its smoothest transitions in that between the riffy “The Fourth Earl” and the darker, more doom-derived “Octaman.” Both songs are led by Pihlström and Öjermark with Karkea and Sjöström underscoring the groove in the rhythm section, but they take different approaches, showing more stylistic diversity between them than, say, the earlier “Son of Tutankhamun,” which seemed to take the time to meld the two styles into one song. Both approaches are valid on their own – either combining doom and stoner rock or keeping them separate – but by utilizing both methods, Obrero show they are not only well versed in their genre, but in songwriting too, which ultimately is going to help them more than any amount of fandom or intricacy of influence could.

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