The Obelisk Show on Gimme Radio Playlist: Episode 27

Posted in Radio on January 31st, 2020 by JJ Koczan

the obelisk show banner

As I sit and type this, I just recorded (on my phone, because professionalism!) the voice tracks for this episode of The Obelisk Show on Gimme Radio, and in the first of them I tried and probably failed to explain that the show’s moving. Instead of every other week on Friday at 1PM Eastern (which it is now), it’s going to be every week, Friday 5PM Eastern. New episodes will still be every other week, but it’s a dedicated spot to The Obelisk Show and that’s that. The Sunday replays will still air. Bullet points:

– Starting Feb. 14.
– Airing every week, Friday 5PM, plus Sundays at 7PM
– New episodes every other week
– Listen to The Obelisk Show at Gimmeradio.com or on the app.
– Thank you

Probably should’ve written that out before I tried explaining it off the cuff on the show itself. So it goes.

There’s a ton of killer, killer, killer new music in this episode, so, you know, business as usual. I know I’m biased. Anyone who says they’re not is playing pretend. I was glad to include new Goblinsmoker here, which I haven’t had the chance to write about yet, as well as Insect ArkThe RiverGrandpa Jack and Godthrymm. Look out for a full stream of the OZO record next Tuesday, if you like what you hear in the title-cut.

Which, of course, I hope you do.

The Obelisk Show airs 1PM Eastern today at http://gimmeradio.com

Thanks if you check it out.

Full playlist:

The Obelisk Show – 01.31.20

Lowrider Red River Refractions*
Elephant Tree Sails Habits*
Brant Bjork Jungle in the Sound Brant Bjork*
Big Scenic Nowhere Glim Visions Beyond Horizon*
BREAK
Orbiter Bone to Earth The Deluge*
Sleepwulf Misty Mountain Misty Mountain*
Grandpa Jack Imitation Trash Can Boogie*
Dirt Woman Lady of the Dunes The Glass Cliff*
BREAK
Goblinsmoker Let Them Rot A Throne in Haze, a World Ablaze*
Insect Ark Philae The Vanishing*
The River Vessels Vessels into White Tides*
Deathwhite Further From Salvation Grave Image*
Godthrymm The Sea as My Grave Reflections*
BREAK
SEA Dust Impermanence*
OZO Saturn Saturn*

The Obelisk Show on Gimme Radio airs every Friday 5PM Eastern, with replays Sunday at 7PM Eastern. Next new episode is Feb. 14. Thanks for listening if you do.

Gimme Radio website

The Obelisk on Thee Facebooks

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

Orbiter to Release Debut EP The Deluge Next Week

Posted in Whathaveyou on January 22nd, 2020 by JJ Koczan

Following up on their announcement last November of the single Bone to Earth, Finnish heavy five-piece Orbiter have now put out word that their debut EP, a four-tracker titled The Deluge, will be out on Jan. 29. Rest assured, I have no frickin’ idea what day it is as I write this, but when I take the millisecond to glance downward at the calendar, it says that’s next week, so there you go. Quick turnaround.

“Bone to Earth” will lead off the EP, and its rolling groove is welcome to be sure. Orbiter‘s take is in a place between heavy rock and doom, and Carolin Koss‘ vocals highlight an edge of psychedelia in the guitar, but that only makes the overall outing richer in sound. The Deluge‘s scope might be familiar to experienced heads, but that does nothing to make it less enjoyable, particularly in the righteously atmospheric eight-minute closer “In Echoes.” Admittedly, I’m still digging into the release, but that’s an immediate standout.

One to keep an eye on. Maybe mark your calendar. Set a reminder. Do the thing. Get involved. Make your way. Blah blah blah. Whatever, it’s right on. You like music, right?

Dig:

orbiter (photo by Pauli Bostrom)

Finnish doom metal band Orbiter to release debut EP “The Deluge” on January 29, 2020

The Finnish doom metal band Orbiter will release their debut EP The Deluge on Wednesday, 29 January. The four-song EP is a blend of heavy riffing, atmospheric psychedelia, and soaring vocals. The central theme of the record is human nature and its contradictions: over and over again people’s aspirations towards wisdom are in danger of being drowned under the waves of their own greed. The EP has been mastered by Brad Boatright (Audiosiege), one of the most renowned mastering engineers in the industry worldwide.

Orbiter released a pre-single Bone to Earth in late November. In addition to the Finnish media, the song also received international attention in Germany, Spain, France, and America.

Founded at the turn of the year 2014-2015, the band has been influenced by the genre’s founder Black Sabbath, 90s stoner bands like Kyuss, and 21st century doom bands. Additional influences have been drawn from psychedelic and progressive rock.

Orbiter’s new vocalist Carolin Koss joined the band last April. She’s an artist, filmmaker, and singer originally from Germany, and now residing in Finland. This is Orbiter’s first record with Koss. The band has previously released three singles, most recently Anthropocene in early 2019.

Upcoming gigs (in Finland)
6.2. Lepakkomies, Helsinki
10.4. Ravintola Cactus, Helsinki

Orbiter: The Deluge
1. Bone to Earth
2. Astral Racer
3. Orchids
4. In Echoes

Orbiter
Carolin Koss – Vocals
Alexander Meaney – Guitar
Jere Remes – Guitar
Tuomas Talka – Bass
Sami Heiniö – Drums

https://www.facebook.com/orbiterconnection
https://www.instagram.com/orbiterband/
https://orbiterconnection.bandcamp.com/

Orbiter, “Bone to Earth”

Tags: , , , , ,

Orbiter Announce New Single “Bone to Earth” Due out Nov. 28

Posted in Whathaveyou on November 27th, 2019 by JJ Koczan

Orbiter (photo by Pauli Bostrom)

Not the kind of thing I usually say when I put up a track with a news post, but the song at the bottom here, which comes from Orbiter‘s 2019 split with Roadog (review here), doesn’t really do much to represent where the Helsinki five-piece are coming from on their new single, “Bone to Earth.” Sure, the new cut still has some of those haze-doom underpinnings — a feeling of psychedelic immersion set to big-feeling riffly-roll derived in part from “Witchcult Today” but transmogrified into something less willfully cartoonish, but with vocalist Carolin Koss making her debut in the band, it’s nonetheless a significant change that’s taken place, and it has an effect on their sound of course. For what it’s worth, I’ve heard the new song — it’s out tomorrow, so you know, not really so much advance listening there — and it’s awesome. Also of note is the uptick in the production of the drums. The snare sounds right on in the new track.

Promises of good things to come? Here’s hoping. We’ve got a whole new decade arriving in a little over than a month. Time to start filling it with killer tunes.

From the PR wire:

orbiter bone to earth

Orbiter – New single ‘Bone to Earth’ out on November 28!

Founded at the turn of the year 2014-2015, the band has been influenced by the genre ancestor Black Sabbath, 90s stoner bands like Kyuss, and 21st century doom bands. Additional influences have been drawn from psychedelic and progressive rock.

Now Orbiter is releasing new music! Bone to Earth single will be released on Thursday 28 November. The song is a pre-release from the band’s upcoming debut EP The Deluge, which will come out on January 29.

Bone to Earth is a song about the duality of human nature, which is self-destructive and yet longing for wisdom. The song’s unhurried and heavy riffing blends hypnotically with the voice of the new vocalist, Carolin Koss, who joined the band in April. Koss is an artist, filmmaker and singer originally from Germany, and now residing in Finland.

The upcoming four-song EP contains previously unrecorded material from the band’s earlier days as well as newer songs composed with Koss. Orbiter has previously released three singles, most recently Anthropocene in early 2019.

Upcoming gigs (in Finland)
30.11.19 Ravintola La Barre, Joensuu
11.1.20 UUS HOI SIE, Lappeenranta
10.4.20 Ravintola Cactus, Helsinki
23.5.20 Henry’s Pub, Kuopio

Orbiter
Carolin Koss – Vocals
Alexander Meaney – Guitar
Jere Remes – Guitar
Tuomas Talka – Bass
Sami Heiniö – Drums

https://www.facebook.com/orbiterconnection
https://www.instagram.com/orbiterband/
https://orbiterconnection.bandcamp.com/

Orbiter, “Anthropocene”

Tags: , , , , ,

Quarterly Review: Electric Octopus, Crypt Trip, Love Gang & Smokey Mirror, Heavy Feather, Faith in Jane, The Mound Builders, Terras Paralelas, The Black Heart Death Cult, Roadog & Orbiter, Hhoogg

Posted in Reviews on March 21st, 2019 by JJ Koczan

quarterly-review-spring-2019

Day four of the six-dayer. Head’s a little reeling, but I’m not sure any more so than, say, last week at this time. I’d be more specific about that, but oddly enough, I don’t hook my brain up to medical scanners while doing reviews. Seems like an oversight on my part, now that I think about it. Ten years later and still learning something new! How about that internet, huh?

Since I don’t think I’ve said it in a couple days, I’ll remind you that the hope here is you find something you dig. There’s a lot of cool stuff in this batch, so that should at least make skimming through it fun if you go that route. Either way, thanks for reading if you do.

Quarterly Review #31-40:

Electric Octopus, Smile

Electric Octopus Smile

It’s been about two months since Electric Octopus posted Smile, so they’re about due for their next release. So, quick! Before this 82-minute collection of insta-chill jams is out of date, there’s still time to consider it their latest offering. Working as the four-piece of Tyrell Black and Dale Hughes — both of whom share bass and guitar duties — drummer Guy Hetherington and synthesist Stevie Lennox, the Belfast improv jammers rightfully commence with the 25-minute longest track (immediate points) “Abberation” (sic), which evolves and devolves along its course and winds up turning from a percussive jam to a guitar-led build up that still stays gloriously mellow even as it works its way out. You can almost hear the band moving from instrument to instrument, and that’s the point. The much shorter “Spiral,” “Dinner at Sea, for One” and closer “Mouseangelo” bring in a welcome bit of funk, “Moth Dust” explores minimalist reaches of guitar and ambient drumming, and “Hyperloop” digs into fuzz-soaked swirl before cleaning up its act in the last couple minutes. These cats j-a-m. May they do so into perpetuity.

Electric Octopus on Thee Facebooks

Electric Octopus on Bandcamp

 

Crypt Trip, Haze County

crypt trip haze county

Onto the best-albums-of-2019 list go San Marcos, Texas, trio Crypt Trip, who, sonically speaking, are way more Beto O’Rourke than Ted Cruz. The three-piece have way-way-upped the production value and general breadth from their 2018 Heavy Psych Sounds debut, Rootstock, and the clarity of purpose more than suits them as they touch on ’70s country jams and hard boogie and find a new melodic vocal confidence that speaks to guitarist Ryan Lee as a burgeoning frontman as well as the shredder panning channels in “To Be Whole.” Fortunately, he’s backed by bassist Sam Bryant and drummer Cameron Martin in the endeavor, and as ever, it’s the rhythm section that gives the “power trio” its power. Centerpiece “Free Rain” is a highlight, but so is the pedal steel of intro “Forward” and the later “Pastures” that precedes six-minute closer “Gotta Get Away,” which makes its transport by means of a hypnotic drum solo from Martin. Mark it a win and go to the show. That’s all you can do. Haze County is a blueprint for America’s answer to Europe’s classic heavy rock movement.

Crypt Trip on Thee Facebooks

Heavy Psych Sounds website

 

Love Gang & Smokey Mirror, Split Double EP

smokey mirror love gang split double ep

A bit of Tull as Love Gang‘s flute-inclusive opener “Can’t Seem to Win” skirts the line of the proggier end of ’70s worship. The Denver outfit and Dallas’ Smokey Mirror both present three tracks on Glory or Death RecordsSplit Double EP, and Love Gang back the leadoff with “Break Free” and “Lonely Man,” reveling in wall-o’-fuzz chicanery and organ-laced push between them, making their already unpredictable style less predictable, while Smokey Mirror kick off side B in particularly righteous fashion via the nine-minute “Sword and Scepter,” which steps forth to take ultra-Sabbathian ownership of the release even as the filthy tone of “Sucio y Desprolijo” and the loose-swinging Amplified Heat-style megashuffle of “A Thousand Days in the Desert” follow. Two bands in the process of finding their sound coming together to serve notice of ass-kickery present and future. If you can complain about that, you’re wrong.

Love Gang on Thee Facebooks

Smokey Mirror on Thee Facebooks

Glory or Death Records BigCartel store

 

Heavy Feather, Débris & Rubble

Heavy Feather Debris & Rubble

Very much a solid first album, Heavy Feather‘s 11-song Débris & Rubble lands at a run via The Sign Records and finds the Stockholm-based classic heavy blues rockers comporting with modern Euro retroism in grand fashion. At 41 minutes, it’s a little long for a classic-style LP if one measures by the eight-track/38-minute standard, but the four-piece fill that time with a varied take that basks in sing-along-ready hooks like those of post-intro opener “Where Did We Go,” the Rolling Stones-style strutter “Waited All My Life,” and the later “I Spend My Money Wrong,” which features not the first interplay of harmonica and lead guitar amid its insistent groove. Elsewhere, more mellow cuts like “Dreams,” or the slide-infused “Tell Me Your Tale” and the closing duo of the Zeppelinian “Please Don’t Leave” and the melancholy finisher “Whispering Things” assure Débris & Rubble never stays in one place too long, though one could say the same of the softshoe-ready boogie in “Hey There Mama” as well. On the one hand, they’re figuring it out. On the other, they’re figuring it out.

Heavy Feather on Thee Facebooks

The Sign Records on Bandcamp

 

Faith in Jane, Countryside

Faith in Jane Countryside

Five full-lengths deep into a tenure spanning a decade thus far, Faith in Jane have officially entered the running to be one of the best kept secrets of Maryland heavy. Their late-2018 live-recorded studio offering, Countryside, clocks in at just under an hour of organic tonality and performance, bringing a sharp presentation to the chemistry that’s taken hold among the three-piece of guitarist/vocalist Dan Mize, bassist Brendan Winston and drummer Alex Llewellyn, with Mize taking extended solos on the Wino model throughout early cuts “All is All” and “Mountain Lore” while the trio adds Appalachian grunge push to the Chesapeake’s flowing groove while building “Blues for Owsley” from acoustic strum to scorching cacophonous wash and rolling out the 9:48 “Hippy Nihilism” like the masters of the form they’re becoming. It’s not a minor undertaking in terms of runtime, but for those in on what these cats have been up to all the while, hard to imagine Countryside is seen as anything other than hospitable.

Faith in Jane on Thee Facebooks

Faith in Jane on Bandcamp

 

The Mound Builders, The Mound Builders

The Mound Builders The Mound Builders

Lafayette, Indiana’s The Mound Builders last year offered a redux of their 2014 album, Wabash War Machine (review here), but that was their last proper full-length. Their self-titled arrives as eight bruiser slabs of weighted sludge/groove metal, launching with its longest track (immediate points) in the 7:30 “Torchbearer,” before shifting into the outright screams-forward pummel of “Hair of the Dogma” and the likewise dry-throated “Separated from Youth.” By the time they get to the hardcore-punk-via-sludge of “Acid Slugs,” it’s not a little heavy. It’s a lot heavy. And it stays that way through the thrashing “Star City Massacre” and “Regolith,” hitting the brakes on “Broken Pillars” only to slam headfirst into closer “Vanished Frontier.” Five years later and they’re still way pissed off. So be it. The four-formerly-five-piece were never really all that gone, but they still seem to have packed an extended absence’s worth of aggro into their self-titled LP.

The Mound Builders on Thee Facebooks

Failure Records and Tapes

 

Terras Paralelas, Entre Dois Mundos

TERRAS PARALELAS ENTRE DOIS MUNDOS

It’s a fluid balance between heavy rock and progressive metal Terras Paralelas make in the six inclusions on their debut full-length, Entre Dois Mundos. The Brazilian instrumentalist trio keep a foundation of metallic kickdrumming beneath “Do Abismo ao Triunfo,” and even the chugging in “Espirais e Labirintos” calls to mind some background in harder-hitting fare, but it’s set against a will toward semi-psychedelic exploration, making the giving the album a sense of refusing to play exclusively to one impulse. This proves a strength in the lengthier pieces that follow “Infinito Cósmico” and “Do Abismo ao Triunfo” at the outset, and as Terras Paralelas move from the mellower “Bom Presságio” and “Espirais e Labirintos” into the more spaciously post-rocking “Nossa Jornada Interior” and the nine-minute-plus prog-out title-track that closes by summarizing as much as pushing further outward, one is left wondering why such distinctions might matter in the first place. Kudos to the band for making them not.

Terras Paralelas on Thee Facebooks

Terras Paralelas on Bandcamp

 

The Black Heart Death Cult, The Black Heart Death Cult

the black heart death cult the black heart death cult

Though one wouldn’t accuse The Black Heart Death Cult of being the first cumbersomely-named psych-rocking band in the current wave originating in Melbourne, Australia, their self-titled debut is nonetheless a gorgeous shimmer of classic psychedelia, given tonal presence through guitar and bass, but conjuring an ethereal sensibility through the keys and far-back vocals like “She’s a Believer,” tapping alt-reality 1967 vibes there while fostering what I hear is called neo-psych but is really just kinda psych throughout the nodding meander of “Black Rainbow,” giving even the more weighted fuzz of “Aloha From Hell” and the distortion flood of “Davidian Dream Beam” a happier context. They cap with the marshmallowtron hallucinations of “We Love You” and thereby depart even the ground stepped on earlier in the sitar-laced “The Magic Lamp,” finding and losing and losing themselves in the drifting ether probably not to return until, you know, the next record. When it shows up, it will be greeted as a liberator.

The Black Heart Death Cult on Thee Facebooks

Oak Island Records webstore

 

Orbiter & Roadog, Split

orbiter roadog split

I’m pretty sure the Sami who plays drums in Orbiter is the same dude playing bass in Roadog, but I could easily be wrong about that. Either way, the two Finnish cohort units make a fitting complement to each other on their two-songer 7″ single, which presents Orbiter‘s six-minute “Anthropocene” with the hard-driving title-track of Roadog‘s 2018 full-length, Reinventing the Wheels. The two tracks have a certain amount in common, mostly in the use of fuzz and some underlying desert influence, but it’s what they do with that that makes all the difference between them. Orbiter‘s track is spacier and echoing, where “Reinventing the Wheels” lands more straightforward in its three minutes, its motoring riff filled out by some effects but essentially manifest in dead-ahead push and lyrics about a motorcycle. They don’t reinvent the wheel, as it happens, and neither do Orbiter, but neither seems to want to do so either, and both bands are very clearly having a blast, so I’m not inclined to argue. Good fun and not a second of pretense on either side.


Orbiter on Thee Facebooks

Roadog on Thee Facebooks

 

Hhoogg, Earthling, Go Home!

hhoogg Earthling Go Home

Space is the place where you’ll find Boston improvisationalists Hhoogg, who extend their fun penchant for adding double letters to the leadoff “Ccoossmmooss” of their exclamatory second self-released full-length, Earthling, Go Home!, which brings forth seven tracks in a vinyl-ready 37 minutes and uses that opener also as its longest track (immediate points) to set a molten tone to the proceedings while subsequent vibes in “Rustic Alien Living” and the later, bass-heavy “Recalled to the Pyramids” range from the Hendrixian to the funkadelicness he helped inspire. With a centerpiece in “Star Wizard, Headless and Awake,” a relatively straightforward three-minute noodler, the four-piece choose to cap with “Infinitely Gone,” which feels as much like a statement of purpose and an aesthetic designation as a descriptor for what’s contained within. In truth, it’s a little under six minutes gone, but jams like these tend to beg for repeat listens anyway. There’s some growing to do, but the melding of their essential chemistry is in progress, and that’s what matters most. The rest is exploration, and they sound well up for it.

Hhoogg on Thee Facebooks

Hhoogg on Bandcamp

 

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

Orbiter Premiere “To the Crows” from Resist, Submit, Repeat

Posted in audiObelisk on February 27th, 2019 by JJ Koczan

orbiter (Photo by Olya Lavrik)

Oslo-based heavy rockers Orbiter are set to make their full-length debut on March 1 — two days from now — with Resist, Submit, Repeat on Negative Vibe Records. The offering runs a brisk 28 minutes, and for most of its seven tracks, the operative word there is “runs.” The album’s promo materials, part of which you can see below, tag Clutch and Motörhead as key influences, and listening to the sprinting verse of opener “To the Crows” give way to a more weighted groove in the chorus, I can hardly disagree, but there’s a metallic underpinning of chug in the bridge of “To the Crows” before the gallop resumes that not only foreshadows what will cap the record and serve as its crescendo in the mammoth stomp of the instrumental “Voyage,” but hints toward some of the aggression heard in punkish centerpiece “Dave” or in the brisk 2:44 rush of “Fratican Shitty,” which would seem to be about more than a downer tourist experience. It’s only hard to say for sure because by the time you’ve caught up to the hook, the track is already en route to beating you over the head with the next verse.

Even the vocal patterning there, though, could be argued as derived from Clutch, but that comes more forward in mid-paced swing-rockers like “Six Line” as guitarist Kim Rune Johansen complements the riffing with a gruff, dudely shout that stays on rhythm and ultimately helps set the brash mood of Resist, Submit, Repeat on the whole. In the only two songs that top five minutes long, “Misery Season” and “Mt. Fuzzo,” there’s a little more room to flesh parts out, but that dynamic serves Orbiter well — particularly as “Mt. Fuzzo” directly precedes “Fratican Shitty” — and the overall burl factor is well met by Ivan Reigstad‘s bass and Pål G Sivertzen‘s drumming, which provide the bounce that makes cuts like “Six Line” and “Misery Season” the highlights that they are, as well as being a bit of a drawback from the all-go spirit of the faster material. It’s not an unfamiliar blend on the whole, but Orbiter bend it effectively to suit their purposes, and the chug they dig into periodically throughout becomes a kind of secret weapon waiting to be fully unleashed in the finale.

The stated theme of the album is the process of coping with — or at least losing to — one’s demons, and whether that’s substance abuse, mental illness, etc., it’s fair enough ground for them to trod. Still, listening to the fueled shuffle of “Dave,” I wouldn’t call Resist, Submit, Repeat a downer in the slightest. Its brazen take hints at future melodicism in their sound and it’s less than a half-hour of absolutely pretense-free, high-energy riff-led heavy rock. There’s plenty to get down with if you’re up for it, and really, the bass alone on the closer is right there in gotta-hear status. I’m a sucker for rumble anyway, but that’s the good stuff.

Before that, however, there’s there punch in the face of “To the Crows,” which you can hear premiering on the player below, followed by the aforementioned PR wire info.

Have at it, and please enjoy:

Negative Vibe Records has announced the March 1st album release of Resist, Submit, Repeat. This is the debut full-length from Norwegian muck-rock merchants, Orbiter. Composed of Kim Rune Johansen (guitar/vocals), Ivan Reigstad (bass) and Pål G Sivertzen (drums) this trio splits the difference between the stoner grooves of bands like Clutch and the amphetamine riff fury of Motorhead.

In the three years between their debut EP Crooked and the new full-length the band has become a super-tight live fixture on the Oslo music scene. Practicing and refining some of the new tunes through years of rehearsal and performances. Johansen said of the difference between releases “there’s a filthy rawness to much of the music which we draw in from the nature around us, however the energy is much more refined on this release, the riffs are bigger and the production is huge!”

Orbiter on Thee Facebooks

Orbiter on Instagram

Negative Vibe Records on Thee Facebooks

Negative Vibe Records website

Tags: , , , , ,