More than content to let their freak flag fly, Philly trio Ecstatic Vision released their debut long-player earlier this month on Relapse Records. That album, Sonic Praise (review pending), is as informed by the bright multi-color vividness of Goat as it is by classic Hawkwindian space rock, and it serves notice of the three-piece’s arrival on the heavy psych scene, their only prior work a demo that got them picked up by Relapse and found them on tour with the likes of YOB and Enslaved earlier this year. Not a bad way to start out.
“Astral Plane” is the first video to come from Sonic Praise and it is little surprise that it’s trippy as hell. Directed by Philadelphia’s Woodshop Films, it’s essentially a performance clip, but like the song itself, it takes traditional forms and manipulates them through a cosmic sprawl to get a weirdo result that’s multifaceted and oddly familiar at the same time. Hard to imagine it’ll be long before Ecstatic Vision are back out supporting their first full-length’s arrival, but for anyone who hasn’t yet had the chance to see them on stage, the clip gives a decent sense of what they’re all about.
Have at you:
Ecstatic Vision, “Astral Plane” official video
Ecstatic Vision take us on a ride with their new live video “Astral Plane”. Their stunning debut, Sonic Praise earned them a signing with Relapse Records just a little after a year of coming together as a band and they’ve already toured North America with Yob and Enslaved. You can’t miss this one. Sonic Praise weaves the guitar heroics of the 70’s heavy classics of UFO and Hawkwind with the rhythmic intensity of Sun Ra and Fela Kuti. Massive riffs vibe seamlessly with deep rhythms to create one of the most original and best heavy psych debuts in years.
Posted in Reviews on July 3rd, 2015 by H.P. Taskmaster
The final day of the Quarterly Review is upon us. It has been one hell of a week, I don’t mind saying, but good and productive overall, if in a kind of cruel way. I hope that you’ve been able to find something in sifting through all these releases that you really dig. I have, for whatever that’s worth. Before we dig into the last batch, I just want to thank you for checking in and reading this week. If you’ve seen all five of these or if this is the first bunch you’ve come across, that you’re here at all is appreciated immensely.
Quarterly Review #41-50:
Lucifer, Lucifer I
Vocalist Johanna Sadonis, who burst into the international underground consciousness last year with The Oath, resurfaces following that band’s quick dissolution alongside former Cathedral guitarist and riffer-of-legend Gary “Gaz” Jennings in Lucifer, whose Lucifer I eight-song debut LP is released on Rise Above Records. Joined by bassist Dino Gollnick and drummer Andrew Prestidge, Sadonis and Jennings wind through varied but thoroughly doomed atmospheres across songs like opener “Abracadabra” – the outright silliness of the “magic word” kind of undercutting the cultish impression for which Lucifer are shooting – or early highlights “Purple Pyramid” and “Izrael.” A strong side A rounding out with “Sabbath,” Lucifer I can feel somewhat frontloaded, but on repeat listens, the layered chorus of “White Mountain,” “Morning Star”’s late-arriving chug, the classically echoing “Total Eclipse” and the atmospheric finish of “A Grave for Each One of Us” hold their own. After a strong showing from Lucifer’s debut single, the album doesn’t seem like it will do anything to stop the band’s already-in-progress ascent. Their real test will be in the live arena, but they sustain a thematic ambience across Lucifer I’s 44 minutes, and stand ready to follow Rise Above labelmates Ghost and Uncle Acid toward the forefront of modern doom.
Drone-prone Philadelphia post-metallers Rosetta return with Quintessential Ephemera, the follow-up to 2013’s The Anaesthete and their fifth LP overall, which resounds in its ambience as a reinforcement of how little the band – now a five-piece with the inclusion of guitarist Eric Jernigan – need any hype or genre-push to sustain them. Through a titled intro, “After the Funeral,” through seven untitled tracks of varying oppressiveness and rounding out with the unabashedly pretty instrumental “Nothing in the Guise of Something,” they continue to plug away at their heady approach, relentless in their progression and answering the darker turns of their prior outing with a shift toward a more colorful atmosphere. At 52 minutes, Quintessential Ephemera isn’t a slight undertaking, but if you were expecting one you probably haven’t been paying attention to the last decade of Rosetta’s output. As ever, they are cerebral and contemplative while staying loyal to the need for an emotional crux behind what they do, and the album is both dutiful and forward-looking.
Pressed up by Brutal Panda Records for Stateside issue following a 2014 release in Europe on Svart, Death by Burning is the debut full-length from sans-bass Hamburg duo Mantar – vocalist/guitarist Hanno, drummer/vocalist Erinc – and as much as it pummels and writhes across its thrash-prone 10 tracks, opener “Spit” setting a tone for the delivery throughout, there are flourishes of both character and groove to go with all the bludgeoning throughout standout cuts like “Cult Witness,” “The Huntsmen,” the explosive “White Nights,” “The Stoning” and the more lumbering instrumental closer “March of the Crows,” the two-piece seamlessly drawing together elements of doom, thrash and blackened rock and roll into a seething, tense concoction that’s tonally weighted enough to make one’s ears think they’re hearing bass strings alongside the guitar, but still overarchingly raw in a manner denoting some punk influence. Bonus points for the Tom G. Warrior-style “ough!” grunts that make their way into “The Stoning” and the rolling nod of “Astral Kannibal.” Nasty as hell, but more subtle than one might expect.
Though it seems King Giant’s fate to be persistently underrated, the Virginian dual-guitar five-piece offer their most stylistically complex material to date on their third full-length, Black Ocean Waves (released on The Path Less Traveled Records and Graveyard Hill), recorded by J. Robbins (Clutch, Murder by Death, etc.) as the follow-up to 2012’s Dismal Hollow (streamed here). Still commanded by the vocal presence of frontman Dave Hammerly, the album also finds moments of flourish in the guitars of David Kowalski and Todd “T.I.” Ingram on opener “Mal de Mer,” the leads on “Requiem for a Drunkard” or the intro to extended finishing move “There Were Bells,” bassist Floyd Lee Walters III and drummer Keith Brooks holding down solid rhythms beneath the steady chug of “The One that God Forgot to Save” and “Blood of the Lamb.” Side A closer “Red Skies” might be where it all ties together most, but the full course of Black Ocean Waves’ eight tracks provides a satisfying reminder of the strength in King Giant’s craftsmanship.
The 14 single-word-title tracks of Si Ombrellone’s Horns on the Same Goat were originally recorded in 2006, but for a 2015 release, Connecticut-based multi-instrumentalist/vocalist Simon Tuozzoli (Vestal Claret, King of Salem) took them back into his own UP Recording Studio for touch-ups and remastering. The endeavor is a solo outing for Tuozzoli, styled in a kind of post-grunge rock with Frank Picarazzi playing drums to give a full-band feel, and finds catchy, poppy songwriting coming forward in the layered vocals of “Innocence,” while later, “Forgiveness” and “Darkness” offset each other more in theme than sound, as “Love” and “Hate” had done earlier, the album sticking to its straightforward structures through to six-minute closer “Undone,” which boasts a more atmospheric take. It’s an ambitious project to collect 14 sometimes disparate emotional themes onto a single outing, never mind to do it (mostly) alone – one might write an entire record about “Trust,” say, or “Rage,” which opens – but Tuozzoli matches his craftsmanship with a sincerity that carries through each of these tracks.
Boasting a close relationship to Duster69 and Mother Misery and featuring in their ranks Daredevil Records owner Jochen Böllath, who plays guitar, German heavy rockers Grand Massive revel in commercial-grade Euro-style tonal heft bordering on metallic aggression. 2 is their aptly-titled second EP (on Daredevil) and it finds Böllath, lead guitarist Peter Wisenbacher, vocalist Alex Andronikos, bassist Toby Brandl and drummer Holger Stich running through six crisply-executed tracks of catchy, fist-pumping riffy drive, slowing a bit for the creepy ambience of the interlude “Woods” or the more lurching tension of “I am Atlas,” but most at home in the push of “Backseat Devil” and closer “My Own Sickness,” a mid-paced groove adding to the festival-ready weight Grand Massive conjure. Word is they’re already at work on a follow-up. Fair enough, but 2 has plenty to offer in the meantime in its tight presentation and darker vibes, Grand Massive having been through a wringer of lineup changes and emerged with their songwriting well intact.
Carlton Melton Meets Dr. Space, Live from Roadburn 2014
If you guessed “spacey as hell” as regards this meeting between NorCal psych explorers Carlton Melton and Scott “Dr. Space” Heller of Danish jammers Øresund Space Collective, go ahead and give yourself the prize. Limited to 300 copies worldwide courtesy of Lay Bare Recordings and Space Rock Productions, Carlton Melton Meets Dr. Space’s Live from Roadburn 2014 is a consuming, near-100-minute unfolding, Heller joining Carlton Melton on stage for four of the total seven inclusions, adding his synthesized swirl to the swirling wash, already by then 26 minutes deep after the opening “Country Ways > Spiderwebs” establishes a heady sprawl that only continues to spread farther and farther as pieces unfold, making “Out to Sea” seem an even more appropriate title. It will simply be too much for some, but as somebody who stood and heard the sounds oozing from the stage at Cul de Sac in Tilburg, the Netherlands, as part of the Roadburn 2014 Afterburner event, I can say it was a special trip to behold. It remains so here.
According to El Paraiso Records, Sela was held up as so many releases have been owing to plant production having been overwhelmed by Record Store Day and will be out circa August. Fair enough. Consider this advance warning of Danish improve collective Shiggajon’s first outing for the Causa Sui-helmed imprint, then, and don’t be intimidated as we get closer to the release and people start talking about things like “free jazz” and dropping references to this or that Coltrane. The real deal with Shiggajon – central figures Mikkel Reher-Lanberg (percussion, drums, clarinet) and Nikolai Brix Vartenberg (sax) here joined by Emil Rothenborg (violin, double bass), Martin Aagaard Jensen (drums), Mikkel Elzer (drums, percussion, guitar), Sarah Lorraine Hepburn (vocals, flute, electronics, tingshaws) – is immersive and tipped over into music as the ritual itself. One might take on the two 18-minute halves of Sela with a similarly open mind as when approaching Montibus Communitas and be thrilled at the places the album carries you. I hope to have more to come, but again, heads up – this one is something special.
“The Spell” proves right away that Alps-based heavy rockers Mount Hush (I love that they don’t specify a country) have the post-Queens of the Stone Age fuzz-thrust down pat on their debut EP Low and Behold, but the band also bring an element of heavy psychedelia to their guitar work and the vocals – forward in the mix – have a bluesier but not caricature-dudely edge, so even as they bounce through the “Come on pretty baby” hook of “The Spell,” they’re crafting their own sound. The subsequent “King Beyond” showcases how to have a Graveyard influence without simply pretending to sound like Graveyard, even going so far as to repurpose a classic rock reference – “Strange Days” by The Doors – in its pursuit, and the seven-minute “The Day She Stole the Sun” stretches out for a more psychedelic build. Most exciting of all on a conceptual level is closer “Levitations.” Drumless, it sets ethereal vocals and samples over a tonal swirl and airy, quieter strumming. Hardly adrenaline-soaked and not intended to be, but it shows Mount Hush have a genuine will to experiment, and it’s one I hope they continue to develop.
Joined for the first time by drummer Bas Snabilie (apparently since replaced by Aletta Verwoerd) Amsterdam heavy art rockers Labasheeda mark four full-length releases with Changing Lights on Presto Chango, the violin/viola of vocalist/guitarist Saskia van der Giessen and guitar/bass/keyboard of Arne Wolfswinkel carrying across an open but humble atmosphere, touching here on Sonic Youth’s dare-to-have-a-verse moments in “My Instincts” and pushing into more blown-out jarring with the slide-happy “Tightrope.” They bring indie edge to a cover of The Who’s “Circles,” and round out with a closing duo of the album’s only two tracks over five minutes, “Cold Water” and “Into the Wide,” van der Giessen’s croon carrying a sweetness into the second half of the former as the latter finishes Changing Lights with a rolling contrast of distortion and strings as engrossing as it is strange. Labasheeda will go right over a lot of heads, but approached with an open mind it can just as easily prove a treasure for its blatant refusal to be pinned to one style or another.
Posted in Features on June 16th, 2015 by H.P. Taskmaster
So this is part one of the Clamfight recording update — the heavy thrashing Philly four-piece in the studio at Gradwell House with Steve Poponi at the helm as they track their third full-length, yet untitled — but it might be a while before we see part two. As drummer/vocalist/smith of words Andy Martin explains, the process of making this outing is different from either their self-titled 2010 debut (review here) or the subsequent I vs. the Glacier (track-by-track here), which was released on this site’s then-not-at-all-defunct in-house label, The Maple Forum, in that it will have a two-month break in between its start and its completion.
A strange process? Yes. But as Martin — joined in the band by lead guitarist Sean McKee, guitarist Joel Harris and bassist Louis Koble — informs, the album itself is also pretty different from what they’ve done before, so maybe in a way it’s fitting. Perhaps best to let him tell the tale:
DIG IF YOU WILL, A PICTURE:
It’s 2:30 or 2:40 last Sunday, and after setting up since noon, we are finally about to start recording our third full-length record. We’re a little nervous, but we’re excited; we’ve practiced as much our suddenly-super-adult schedules allowed, and the general vibe is, “we are ready.”
I might have the geography of this slightly backwards, but I’m fairly certain Steve Poponi (who did our last two records, and as far as we’re concerned knocked them both of the park) was in the big room doing some last-minute dicking with cables* and we were in the control room discussing what song we were going to start with, when a sweaty, middle-aged guy with the standard issue South Jersey manual labor pompadour appeared in the control room and uttered one of nobody’s favorite phrases in the English language, “Which one of you drives the…”
And just like that, Joel’s car needed a new door, and that “we are so ready for this session” vibe when right out the fucking window.
Sunday ended up being a really long day, and though I managed to finish all my drum tracks, and since that was technically our only concrete goal for this session, you could argue that we ended up ahead of the game, but our shaky-as-a-baby-deer’s-first-steps beginning kind of put a pale over the session. It’s actually why this writeup took me a little longer to get together; I had to ask myself whether I was going to be honest and say, “this was a tough one,” or lie and say, “great times guys! Pay no attention to Joel having to sweep up broken glass and file police reports when he’d rather be recording.”
So in the end, and as you can guess because you’re reading this, I opted for honesty. But here’s me also being honest: the new stuff smokes and it’s made the rough way this session began okay in our books. Though it felt really slow in coming, the change really started Sunday. “Whale Road” which will lead off the next record, was a bear to record, but then “Selkie” went a lot smoother, and “Echoes” and “The History of the Earls of Orkney” were both real close to being first-takers. Our crazy non-Clamfight-related schedules, the accident, all of that stuff was something we got over, but realistically it did make the start of this session a little clumsier than any of us wanted.
Speaking of another unanticipated monkey wrench: the length of these songs. Clamfight III, or whatever we end up calling it (A Vulgar Display of a Tree Service Guy Not Using His Mirrors?), is made up of big, long songs, and though there’s been a seven-minute song or two on each of our prior records, we’d never recorded anything in the 10-or-beyond-minute range, and hence, didn’t quite realize the time commitment that is. If one take of the song lasts 10, or nearly 13 minutes as in the case of “History…,” then the playback takes at least that long. More, if you count the number of times, myself included, that one of us dopes has a fascinating dick joke that can’t wait until the listening is done. If there’s one downside to being in a band with three of your best friends, and making records with a good friend like Poponi, it’s that there is a lot of gum flapping… and when your songs are all 10 minutes, that adds up to a lot of time gone when you’re not recording.
With the drums done and 5AM wake ups for Joel and I looming, we called it a day (the other guys have inside jobs, I’m not sure when they wake up… 10? 11? I picture their morning routines like Eddie Murphy’s in the beginning of Coming to America). We reconvened Monday night and Sean got to work on his rhythm tracks, and in predictable Sean fashion he banged it out at warp speed. The funny thing about Sean’s recording chops versus my own is that since we both do the majority of writing for Clamfight, you might assume that we’d both be similarly hassle free about recording. You would however, be wrong. In fact, if you watched the two of us record, you’d be forgiven for thinking that Sean wrote and practiced these songs for months by his lonesome, and the first time I heard them was the morning of the session.
But I digress. The takeaway is that Sean crushed it on this, and Steve’s ability to get a great tone out of his rig remains intact. We quit around midnight, I believe, and tired from a seemingly endless day we hit home. To be brutally honest, I still didn’t know what we had yet. I was hearing glimmers of the record now, and was liking what I could hear, but I was still too rattled from what I expected to be an easy session turning into a battle to really have an opinion on it. I was edgy but starting to get a sense that maybe this stuff was turning out alright.
Day three, and our final day for this session, began around six the next night, and Louis stomped through his tracks fairly quickly. Not to get a bunch of angry (but probably deserved) comments from my many bass-playing buddies, but I’m not sure I ever appreciated the bass as much as I did listening to Louis lay down his tracks. I gained a newfound appreciation of how much fuller the bass makes things, and how crucial its role as “the sound between sounds” really is. We were pressed for time at this point, so Joel only managed to get tracking done on two of the songs (which after being up since five and still answering phone calls about his car I think gives him MVP status), but we had enough for our other stated goal of the session; rough mixes for which Sean could write solos for and I could write lyrics.
Because here’s the rub, and why this session is a bit different than our prior records: we went into the making of this record knowing there was going to be a two month break in the proceedings. It’s good because as much as we wanted and tried to schedule this record in a big block of time in the manner we did I Versus the Glacier it was impossible. Somewhere in the five years since we recorded our last full-length we got mired into a whole host of outside-of-Clamfight, adult responsibilities, and adding to that mix Steve and the Gradwell House’s ever more packed schedule (he just did Fight Amp’s stellar new record, Constantly Off), it meant that blocking out a week to make this record happen wasn’t going to work. If there’s an upside to us being older and busier, it’s that we’ve all maybe grown a bit more patient, so fighting overall schedules, we managed to figure out a way to make it go, even if that way for us is a little different than what we’re used to.
So here we are, with a record 50 percent of the way done, and a few months off to tighten up solos and lyrics, and then come back in the fall and finish this pig in a weekend. As for how we feel about the material now? We’re happy. Real happy. There was a flood of back and forth, “oh man, did you hear that?” messages in the days following finishing this session. Even in its current state, missing half of Joel’s parts, and all of the solos and vocals, it sounds big. Booming. Dynamic. We’re this-is-the-best-thing-we’ve-ever-done stoked on it. We’re proud of it enough that’s actually put us in a good place about this weirdly tough session, and we’re all dying to come back and finish this thing so we can start letting people hear it.
One decade after the release of their Translation Loss debut, The Galilean Satellites, Philadelphia’s Rosetta stand on the cusp of their fifth long-player, Quintessential Ephemera. Released in association with Golden Antenna Records, the new album follows 2013’s independently-released The Anaesthete and the 2014 Flies to Flame EP, as well as an original score produced earlier this year for a film about the band, Rosetta: Audio/Visual, and is the latest in a line of deeply creative outings furthering the band’s stylstic meld of atmospheric metal, sludge, post-rock and ambience. Noteworthy also for being their first full-length with the lineup of vocalist/noisemaker Mike Armine, guitarist Matt Weed, bassist Dave Grossman, drummer BJ McMurtrie and guitarist Eric Jernigan after having brought the latter on board in 2014 (he doubles in City of Ships), Quintessential Ephemera continues Rosetta‘s workman-style approach to progressive, fluid and exploratory songwriting, their commitment more to going places they’ve never gone than to any particular genre or other.
Weed took some time out recently to respond to The Obelisk Questionnaire and you’ll find his answers below. Please enjoy:
The Obelisk Questionnaire: Matt Weed
How did you come to do what you do?
Hard to say, since I’ve been in one band or another with our drummer BJ for over half my life. I picked up a guitar when I was 14 and it has always been a kind of territory that I explored, rather than an object I tried to master. So I’ve always written music by default – it was much harder to learn music written by other people. I went to school for totally unrelated stuff and that was probably a good thing, since academic study tends to destroy one’s enjoyment of a thing. I’m a bit of a robot in personality anyway, and music was one of the only ways I could ever access, understand, and communicate about emotion. The verbal language of emotion is either mystifying or outright off-putting to me, but playing an instrument I always felt like I had access to a more truthful way of communicating with people.
Describe your first musical memory.
My parents played a lot of classical LPs on a really crappy integrated turntable/amp system from the ’70s when I was a kid. My dad liked Romantic composers like Brahms and Tchaikovsky a lot, and my mom played the piano in the house, often old hymns. I would sit at the piano and play individual notes to see which I liked. I liked the A two octaves below middle-C the best. I would wail on that note for long periods, sometimes chanting over it (I was about four or five), but my family never complained about it. I guess that was my first foray into drone music.
Describe your best musical memory to date.
In high school, when I was still training on violin, I did a program where high school kids got to sit with members of the Philadelphia Orchestra and play together. Each pair of stand partners was one PO member and one high school student. It was remarkable mainly because I was a “just-okay” student of the violin, but while I was on-stage with such serious players, my technique just seemed like it magically improved, instantly. I had no idea I could play like that. It wasn’t objectively great but it was an order of magnitude better than I was normally capable of. I never forgot it, because it was proof to me that everyone does their best work in collaboration; one person who develops skill and takes risks has a beneficial effect on everyone he or she plays with. Likewise, being lazy or self-satisfied drags down everyone around you.
When was a time when a firmly held belief was tested?
There have been several extended periods where I really struggled with the idea that having integrity and good character is more important than success. I was brought up believing that (my parents were neither achievement-oriented nor overly accommodating), and I still do. But it’s easy to make that statement when you have enough to eat and can make rent and people are regularly affirming the work you do. Society says that integrity matters, but then turns around and judges you exclusively on indicators of wealth, prestige, or social significance. That would probably explain why so many truly awful people are among the most successful. Especially in the world of art, you need to be profitable, popular, or critically acclaimed. If you’re none of the three, you must not be very good at what you do. Then you feel pressure either to adapt your work to the market or to quit entirely. But neither of those options demonstrates integrity. I’m not sure it’s possible to resolve that conflict, ultimately.
Where do you feel artistic progression leads?
Laying aside questions about marketability, it seems like it’s a progression of greater risk-taking. You try something new and then ask, did it communicate what I wanted to say? Was it satisfying? Did I learn something in the process? If it didn’t work, then you go back and try again. If it worked, then you jump off from there and take more risks. If you’re not taking risks, then you’re not making art, you’re producing a commodity. But taking risks necessarily means failing sometimes.
How do you define success?
Sustainability. I don’t just mean that in the financial sense. I’ve never made any money from the band and I probably never will, but I’m happy for the band to support itself. Money hasn’t ever been a goal, it’s just one means to the end of being able to keep going for as long as there is music we want to make. But there are other dimensions to sustainability, like avoiding personal burnout and cultivating new audiences, not getting stuck in unproductive habits, becoming more disciplined people as time goes on. During periods where Rosetta was broke and almost unable to continue, money always loomed as the largest dimension. But once we went independent and the band more or less began to pay for itself, I started to see a lot of different ways it could be derailed that had nothing to do with money. I think success would be a situation where we had what we needed and were spending more time creating than problem-solving.
What is something you have seen that you wish you hadn’t?
A No Doubt show at the Electric Factory in Philadelphia in 2002. Yes, it was for a girlfriend. Someone puked on my shoes.
Describe something you haven’t created yet that you’d like to create.
A drone record made with a guitar and found sounds from my house to a four-track tape recorder.
Something non-musical that you’re looking forward to?
Every year my wife and I try to go on a wilderness backpacking trip to some weird remote location. I always look forward to that. I feel most human in situations where I have to submit to the law of nature, rather than using technology to bend nature to my wishes. Real life seems totally unreal by comparison.
Rosetta, Rosetta: Audio/Visual Original Score (2015)
Posted in Whathaveyou on May 14th, 2015 by H.P. Taskmaster
By now, Philly five-piece Rosetta are pretty much self-sustaining. What I mean is, the band, who picked up guitarist/vocalist Eric Jernigan from City of Ships in 2014 as their fifth member, seem to be able to just keep going. They tour hard consistently and do well, and they put out records that usually reap some measure of positive response, but more than anything else, what they’ve become in the decade since they issued their The Galilean Satellites debut on Translation Loss in 2005 is steady. Sustainable. They’ve built a loyal following and can probably keep Rosetta going until they decide it’s time to stop. Not saying it’ll make them rich, not saying it’s not work, but the band has a life of its own without being propped up by hype.
Rosetta‘s new album, Quintessential Ephemera, will be released on CD and LP this summer via Golden Antenna Records and follows a score the band put together for a documentary about them called Rosetta: Audio/Visual that can be name-your-price downloaded from their Bandcamp. They’ll head back to Europe following the upcoming full-length’s arrival, and you can find the dates below for that tour, courtesy of the PR wire:
Golden Antenna Records: ROSETTA “Quintessential Ephemera” (Members of CITY OF SHIPS, Post Metal/ Rock)
Artist: Rosetta Title: Quintessential Ephemera Format: CD, 2xLP Label: Golden Antenna Records Distribution: Broken Silence Release Date: 03/07/2015
With four albums under their belt, and over a thousand shows across a decade of touring, the four people behind Rosetta have branched out.
In 2014, Rosetta made their first-ever lineup change, adding Eric Jernigan of longtime tourmates City of Ships on guitar and vocals. As a five-piece, they recorded 2015’s Quintessential Ephemera, a many-layered collection of songs at once existential and deeply hopeful. Containing some of the band’s most moody and yet accessible work to date, it still has an upward force to it that delivers an appropriate counterpoint to the darkness and disintegration ofThe Anaesthete. After a 12-year journey, Quintessential Ephemera is a rebirth.
On their fifth full length album, Rosetta continues to broaden their harmonic and sonic experiments. Carrying the torch of 90s experimental rock with , they merge a deep melodic sobriety with progressive and confrontational heaviness. Quintessential Ephemera is both existential and deeply hopeful. It has some of the bands most moody work to date, but has an upward force to it that delivers an appropriate counterpoint to the darkness and nihilism of their previous record.
Quintessential Ephemera was recorded and mixed at Machines With Magnets (Battles, The Body, Braveyoung) in Providence, USA and mastered by Colin Marston (of Gorguts, Krallice, Dysrhythmia) at The Thousand Caves in New York. Artwork was designed by american artist called Mark Price.
European Tour 28.07 BEL – Knokke Heist @ Korenbloem 29.07 NL – Utrecht @ dB’s 30.07 GER – Würzburg @ Immerhin 31.07 GER – Bad Kötzting @ VOID FEST 01.08 SK – Trnava @ Art Klub 02.08 HUN – Budapest @ Dürer Kert 03.08 SRB – Belgrade @ KC Grad 04.08 BIH – Sarajevo @ Club Underground 05.08 CRO – Sibenik @ SUPERUHO FEST 06.08 CRO – Cakovec @ Prostor Cezam 07.08 AUT – Vienna @ Chelsea 08.08 CZ – Jaromer @ BRUTAL ASSAULT FEST 09.08 POL – Warsaw @ Klub Hydrozagadka 10.08 GER – Dresden @ Chemiefabrik 11.08 GER – Essen @ Panic Room 12.08 DK – Copenhagen @ Underwerket 13.08 GER – Berlin @ Tiefgrund (Theatersaal) 14.08 GER – Wiesbaden @ Schlachthof 15.08 FRA – Paris @ Le Point Ephémère 16.08 BEL – Ieper @ IEPER SUMMER FEST
Posted in Whathaveyou on May 6th, 2015 by H.P. Taskmaster
Initially signed to Relapse on the strength of their first demo, Philly heavy psych trio Ecstatic Vision will make their full-length debut in the heat of summer with Sonic Praise. The album is available to preorder now and follows a spring tour the three-piece undertook with YOB and Enslaved — because if you’re going to do something, god damn it, do it right — and arrives with a sense of intrigue as to how the band’s penchant shown onstage for rhythmic intricacy and jamming spiritualism will translate to a studio setting. The album is five songs, so I’m guessing it translates to a couple pretty extended tracks.
No problem there. Sonic Praise is out June 30 on Relapse and the PR wire has details, a stream of the song “Don’t Kill the Vibe” and those preorder links for those who like to be ahead of the game.
ECSTATIC VISION DETAIL DEBUT ALBUM ‘SONIC PRAISE’ OUT ON RELAPSE RECORDS JUNE 30TH
Philadelphia’s Ecstatic Vision explode onto the scene with one of the most thrilling guitar driven records in a long, long time. Sonic Praise weaves the guitar heroics of the 70’s heavy classics of UFO and Hawkwind with the rhythmic intensity of Sun Ra and Fela Kuti. Massive riffs vibe seamlessly with deep rhythms to create one of the most original and best heavy psych debuts in years. The album is out June 30th on Relapse Records.
Recorded at various studios throughout Philadelphia, the group’s debut is an acid-tinged mix of trance inducing, primitive African tribal and heavy psych a la Hawkwind, Goat and Amon Düül II. The band formed in early 2014 and have already played numerous high profile shows like Pallbearer, Georgia’s Meltasia Festival alongside Black Lips, Nik Turner’s Hawkwind and toured North America with YOB and Enslaved.
ECSTATIC VISION SONIC PRAISE RELAPSE RECORDS JUNE 30, 2015 PRE-ORDER:PHYSICAL|DIGITAL
1 – Journey 2 – Astral Plane 3 – Don’t Kill The Vibe 4 – Sonic Praise 5 – Cross The Divide
Posted in Whathaveyou on April 21st, 2015 by H.P. Taskmaster
The news is good and has been a while in coming. Philadelphia trio Wizard Eye, whose stonerly sludge is one of the Mid-Atlantic’s best kept secrets at this point in heavy, have signed a deal with the newly-christened Black Monk Records and will release their self-titled sophomore full-length through the label this Summer. This comes after the band hooked up with 313 Artist Management late last year, concurrent to the release of their live EP, Riff Occult Live (review here), back in December.
Since Wizard Eye‘s Wizard Eye will come five years after their 2010 debut, Orbital Rites, I doubt anyone will accuse the three-piece of not being due for a second outing, but while it might have been a while coming together, I’ve little doubt the new record will earn a fair share of nods. Not saying I’ve heard it or anything, just saying keep an eye or an ear out.
Here’s the announcement from the band, pictured below with the Black Monk Records crew:
Wizard Eye Signs With Black Monk Records for Upcoming Vinyl Release
Philadelphia-based stoner/doom band, Wizard Eye, recently announced its partnership with emerging Philadelphia area label, Black Monk Records for the release of its upcoming self-titled album.
“Wizard Eye is thrilled to be working with Black Monk Records,” says David Shahriari, the band’s bassist/vocalist. “As a Philly-based label whose owners have been fans of ours since day one, we can’t imagine a more ideal partnership for our first release on vinyl. Black Monk Records has empowered us to bring our titanic wizard riffs to the masses in exactly the format they need and with complete artistic integrity.”
The newly formed label, started by the owners of Philadelphia record store, Vinyl Altar, will focus on releases from local artists who share their love for high-quality albums with strong aesthetics.
“Wizard Eye has been one of our favorite bands from Philly for some time now,” Christopher Mazeika, one half of Vinyl Altar explains. “When Black Monk Records was ready to put out its first release, it was only natural that we approach Wizard Eye. Black Monk Records is all about local pride with worldwide appeal, and Wizard Eye is all that and more!”
The band and its management see this pairing as natural and highly advantageous for all parties involved.
“Just visit Philadelphia’s Vinyl Altar once, and you’ll know the heart that Chris puts into making it one of the best record shops around,” says the band’s manager, Scott Harrington of 313 INC Artist Management. “It makes sense that his passion would lead him to starting his own label. And that passion is just one of the many reasons we are extremely excited to announce Wizard Eye’s partnership with Black Monk Records for this album.”
The nine-track album, Wizard Eye, was recorded in Haddon Heights, New Jersey, at Gradwell House Recording Studio and is slated for mid-summer release. This collection will be initially made available at a release show to be held at the Vinyl Altar store location, but it will be also be distributed internationally via web and mail orders.
Photo Caption l-r: Erik Caplan (Wizard Eye vocals, guitar, theremin), David (Wizard Eye bass, vocals), Mike Scarpone (Wizard Eye drums), Annmarie Lamon (Black Monk Records), Christopher Mazeika (front, Black Monk Records)
Posted in Reviews on April 3rd, 2015 by H.P. Taskmaster
Here we are, the final day of The Obelisk’s Quarterly Review. I won’t lie and say it’s been easy this whole time, but the challenge has been worth it. Will I do another one? I guess that depends on how backed up records get. Even with all of this, I haven’t managed to fit in everything, so yeah, it doesn’t seem unlikely I’ll wind up with fodder for more of this kind of thing. Once again, not at all a hardship to have people interested enough in having me write about their music to send it to me. Not at all something I’m going to complain about.
Thanks to everyone who’s taken the time to read or share the link or whatnot, and of course to bands and labels for caring enough to send the music.
Quarterly Review #41-50:
Bubonic Bear, Shaved Heat
In and out of their three-song Shaved Heat tape in under 10 minutes, one could hardly accuse Philly guitar/drum duo Bubonic Bear of being overly elaborate in their approach, but the tracks, particularly closer “Clean,” drive home their post-hardcore rawness with suitable intensity. No frills, just impact. Vocals are raw shouts and the blue tape, which is limited to 50 copies through Bastard Sloth Records, has a kind of avant garde charm, underground in the house-show sense and mean, mean, mean, but probably nice enough to talk to. “Chlorine,” “Witch Pyle” and “Clean” are arranged shortest to longest, but all three hover around three minutes and tear into frenetic turns and let’s-call-it-spirited pummel. Andrew and Dustin, the pair involved, have a slew of EPs and splits and one full-length under their belt, and their six-plus years together are evident in the sheer fact that they can execute material so chaotic without having it fall apart under their stamping feet.
From its biker chug to its unabashed confrontationalism and attitude-laced approach to songs like “Who Crowned You King” and “Axe to Grind,” The F.T.W.’s Vendetta Kind of Mood just screams oldschool New York. Not the New York that’s the family-friendly (as long as you’re rich) center of the fashion world, but the New York that was really eager to tell you about how it was going to kick your ass, if not actually do so. The 10-track vinyl self-release is clean in its production and straightforward structurally, but has a gritty undercurrent anyway, showing some thrash (or is that NYHC? So hard to tell sometimes) influence in “Bleed Out” and a bit of rawer punk in “Billy Bats,” though they wait till the closer to actually extract a “Pound of Flesh,” which they slice with a choice solo and some Judas Priest riffing from guitarist TheMajor Nelson, joined in the trio by bassist/vocalist Michael Dolan and drummer Jason Meraz. Something tells me they’re not abbreviating “for the win.”
Kristalliarkki is the third offering from Finland’s Seremonia on Svart Records, and while all of their albums have thrilled in that quiet, warm-toned, psych-proto-ritual kind of way, the crystal ark is where it’s at. The record lands big with penultimate 14-minute sprawler jam “Kristalliarkki I,” open enough to set down a blanket and have a picnic next to the tree line, but before they get there, the five-piece of vocalist Noora Federley, guitarists Teemu Markkula and Ville Pirinen drummer/flautist Erno Taipale and bassist Ilkka Vekka vibe out fuzzy hypnosis on eight shorter native-language tracks, otherworldly from the word “go” and held together with a glue of ‘70s-style shufflebuzz on “Lusiferin Lapset” and the quick bouncer “Kuolema Voittaa” that beg to be dug on repeat visits. At just 1:14, “Kristalliarkki II” taps punker soul to close out with a sudden finish that leaves one wondering what the hell just happened, and no doubt that’s exactly what Seremonia had in mind.
JPT Scare Band, Acid Acetate Excursion & Rape of the Titan’s Sirens
A twofer! Kansas City acid rockers JPT Scare Band – Jeff Littrell (“J”), Paul Grigsby (“P”) and Terry Swope (“T”) – dig into their archival material to couple their first two records, Acid Acetate Excursion and Rape of the Titan’s Sirens, for Ripple Music. Both were recorded in the ‘70s but not released until 1994 and 1998, respectively, and the trio’s blown-out heavy continues to wear its years well, the bluesy fire in Swope’s guitar work leading the way through 81 minutes of long-range jams and classic vibes, still underrated after all these years. The second record has more bite tonally than the first, the recording is rougher, but I won’t take anything away from the force behind the 13-minute “King Rat” from the debut either. Think of it as an archival release more than a reissue, and if you haven’t yet been introduced to JPT Scare Band, think of the vinyl as an educational expense.
Bordeaux trio Libido Fuzz trip out pretty hard on heavy ‘70s influences, but I feel like their Kaleido Lumo Age debut LP (on Pink Tank Records) is all the more praiseworthy for the simple fact that it doesn’t sound like Graveyard. Casting off much of the blues that seems to have afflicted so many the world over, Thibault Guezennec, Pierre-Alexis Mengual and Rory O’Callaghan dip back maybe a couple years before ’71, let’s call it ’68, but filter the Hendrix and The Who influences through modern tonality, which means that a boogier like “Raw Animal” and the proto-stoner shuffle of “Enter the Occult” satisfy in concept and execution. Each of the evident two sides caps with a cut past the eight-minute mark, and both “Redemption of the Bison” and album closer “Haight Ashbury” offer significant heavy psych immersion, though it’s the side B finale that ultimately wins out thanks to its second half journey into noise wash, lysergic swirl, last-minute nod and epilogue of birdsong-esque feedback.
Filth-caked Montreal trio Dopethrone eat crust and shit riffs on their Totem Cat-released fourth record, Hochelaga, coating themselves in backpatch-worthy tone and throat-searing screams that would do Bongzilla proud. Weedian scummery through and through. Save for “Dry Hitter,” each of Hochelaga’s seven tracks starts with a sample, as if to emphasize the utter stoner fuckall with which Dopethrone – guitarist/vocalist Vincent, bassist Vyk and drummer Borman – execute their rolling grooves and lumbering viciousness once it kicks in. “Sludgekicker,” “Vagabong” and “Riff Dealer” tell the tale, and the record’s 40 minutes play out in largely unipolar but universally righteous fashion, “Scum Fuck Blues” summing up the ethic nicely with the line, “Smoke, drink, die.” Dopethrone make a show of their rawness, but Hochelaga’s fullness of tone and clarity of aesthetic speak to an underlying sense of knowing what they’re doing, and a record this cohesive doesn’t happen by accident, much as it might be telling you otherwise. That doesn’t mean they’re not also high as hell, just that they can keep it together.
A presumed sequel to their 2013 debut, They Fall, Hamburg trio The Moth‘s sophomore full-length, And Then Rise, pulls off heavy rock ethics with a heavy metal sense of purpose and basks in an overarching tension throughout its nine tracks. Fast or slow, doomed or thrashing, cuts like “Battle is Over” and “Travel Light” carry a progressive feel to match their hooks, later doomers like “Slowly to Die” and closer “Fire” – which hides a bonus track in its span – holding onto the tightness even as the relinquish in terms of pacing. Dark atmospherically but brazenly intricate, the three-piece of guitarist/vocalist Freden, bassist/vocalist Cécile and drummer Tiffy are never showy or putting on a technical clinic, but everything seems to be geared toward the purpose of enhancing the songs, which of course is the ideal. Because the sound is so condensed, it might take a couple listens for And Then Rise to sink in – not saying the chug of “Last Times” doesn’t also have immediate appeal – but The Moth’s genre-bending compositions prove worth the active engagement.
I’m pretty sure War Iron could play fast and it would still sound slow. They don’t really try it. Deep, deep low end is cut through by indecipherable-but-get-their-point-across-anyway screams on the Northern Irish four-piece’s third album, Precession of the Equinoxes, which plods out a grueling extremity of doom across its four included tracks, the shortest of which is the 7:37 “Summon Demon Scream the Abyss,” a harsh ritual of sonic heft and disaffection well met by its compatriots, from the churning opener “Bludgeon Lord,” to the title-track – which actually does up the pace somewhat, relatively speaking (and yes, it still sounds slow), and only temporarily – which crushes hopes and eardrums alike leading into the closer “From Napalm Altar,” a final affirmation of the deathly miseries at heart in War Iron’s approach, vocalist Baggy going high-low with screams and growls over the Ross’ guitar, Dave’s bass and Marty’s drums. It is a fearsome and challenging listen.
Guitarist/vocalist Owen Carty, formerly of underappreciated, coulda-been-contender sludge rockers Dopefight, lends his riffy services to the cumbersomely-named trio Chubby Thunderous Bad Kush Masters (also stylized all-lowercase), who make their debut with the self-released five-song Earth Hog EP. Bassist Will Hart and drummer Mark Buckwell swing heavy and land hard on the opening title-track, and there’s not much letup from there, wah bass and cowbell leading to some fervent stomp in the second half of “Chopsticks and Bad Meatballs,” which starts out as a punk song, and “Devil’s Buttermilk” brazenly tackling Southern riffing without the chestbeating that way, way too often accompanies. More cowbell there too, because if you’re going to do something, overdo it. “Mother Chub” and “Riff Richard” close out, the latter with a slowdown that emphasizes the point: the kush may be bad, but the riffs are primo. Silly name or not, I’ll take this shit any day of the week, and considering Earth Hog was recorded in a living room, I have the feeling it’s only going to get louder from here. Right on.
With a sense that they’re continuing to feel out where they want to be sonically, Brazilian three-piece Red Mess follow-up last year’s Crimson EP (review here) with the newly-issued two-tracker Drowning in Red – apparently working on a theme chromatically – the cuts “Daybreak’s Dope” and “Ready to Go” impressive in performance and tone as guitarist/vocalist Thiago Franzim shreds out on the latter atop Lucas Klepa’s bass and Douglas Villa’s speaker-popping kick. Each song has a markedly different approach, with “Daybreak’s Dope” topping seven minutes via a Sleep-style rollout while, true to its title, “Ready to Go” seems to have no interest in holding its shuffle still. Pairing them shows sonic breadth, and in the case of the second, a bit of ‘70s influence to coincide with what they showed on Crimson, though the results will still ultimately be familiar. They’re making progress, though, and their cohesiveness and catchiness through stylistic shifts is encouraging.