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

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

the obelisk radio

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 Relapse Records debut, Scorn (review here), Primitive Man‘s reputation for brutality precedes them. The Denver trio’s new EP, 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 Primitive Man‘s 2013 P//M Noise Tape, which also explored droning forms between covers of PortisheadBlack Sabbath and Crowbar. Perhaps most foreboding of all is how smoothly 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, Sandrider and Kinski present their Sandrider + Kinski split on Good to Die Records with three new songs from the former, including a cover of 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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Primitive Man to Release Home is Where the Hatred Is 12″ EP on Feb. 17

Posted in Whathaveyou on January 22nd, 2015 by JJ Koczan

primitive man

Today the Bulletin of the Atomic Scientists moved the minute hand of the Doomsday Clock two minutes closer to midnight. Midnight means annihilation. It’s 11:57PM. They cited as their reasons the proliferation of nuclear weapons around the world and concerns about burning fossil fuels and resultant global warming. What they neglected to mention was the impact of Denver trio Primitive Man, whose destructive power has continued to resonate since the 2013 release of their debut LP, Scorn (streamed here), and who’ve shown no signs of lessening their devastation in 2015. A new 12″ EP, Home is where the Hatred Is, will be issued by Relapse Records on Feb. 17.

No word on how this will affect ecosystems or governmental agencies across the globe — let alone the military implications! — but in addition to the dates below, Primitive Man will appear at Roadburn 2015 in the Netherlands on Thursday, April 9.

The PR wire digs in its heels for the good of us all:

primitive man home is where the hatred is

PRIMITIVE MAN: Denver Blackened Doom Heathens To Release Limited 12″ EP Via Relapse; Live Actions Announced

Denver blackened doom heathens, PRIMITIVE MAN, will release a special 12″ EP next month via Relapse Recordings. Fittingly titled, Home Is Where The Hatred Is, the four track slab was tracked at Flatline Audio by Dave Otero (Cephalic Carnage, Catheter, Cobalt, etc.) and delivers thirty-one heinous minutes of nihilistic, feedback-doused audio atrocities brimming with gnarled riff torrents and enough fury to level a nation. Home Is Where The Hatred Is will be limited to 750 copies on black standard gram wax and 250 copies on silver standard gram wax.

In related news, PRIMITIVE MAN will wage war upon the US this Spring with a short run of live abrasions which will include an appearances at this year’s Maryland Death Fest. Slated to commence on May 16th in Omaha and accompanied by Canadian grindcore perpetrators, Wake, on select dates, the band will consume ten cities with their traumatic odes, with the run coming to a halt in Colorado Springs on May 29th. The trek follows the band’s UK takeover with Sea Bastard. See confirmed dates below.

Home Is Where The Hatred Is Track Listing:
1. Loathe
2. Downfall
3. Bag Man
4. A Marriage With Nothingness

PRIMITIVE MAN:
3/30/2015 Unicorn – London, UK w/ Sea Bastard
3/31/2015 TBA – Nottingham, UK w/ Sea Bastard
4/01/2015 Roadhouse – Manchester, UK w/ Sea Bastard
4/02/2015 South Sea Live – Sheffield, UK w/ Sea Bastard
4/03/2015 South Sea Live – Newcastle, UK w/ Sea Bastard
4/04/2015 Audio – Glasgow, UK w/ Sea Bastard
4/05/2015 Bannermans – Edinburgh, UK w/ Sea Bastard
5/16/2015 TBA – Omaha, NE w/ Wake
5/17/2015 The Black Hole – Cedar Falls, IA w/ Wake
5/18/2015 Skeletunes Lounge – Fortwayne, IN w/ Wake
5/19/2015 The Sanctuary – Detroit, MI w/ Wake
5/20/2015 Now That’s Class – Cleveland, OH w/ Wake
5/21 – 5/25/2015 Maryland Death Fest – Baltimore, MD
5/26/2015 Strange Matter – Richmond, VA
5/27/2015 TBA – Dayton, OH
5/28/2015 The Demo – St. Louis, MO
5/29/2015 Flux Capacitor – Colorado Springs, CO

PRIMITIVE MAN features within their fury-fueled ranks current and former members of Withered, Clinging To The Trees of A Forest Fire, Death Of Self, Vermin Womb and Reproacher. Home Is Where The Hatred Is serves as the follow-up to the band’s Scorn full-length. Crowned, “one of the most brutal, unsettling and uncompromising albums you will hear all year,” by About.com and, “terrifyingly addicting and unforgivingly heavy,” by MetalSucks, Scorn was initially unleashed in 2012 via a collaboration between Throatruiner and Mordgrimm Records before being reissued by Relapse the following year.

PRIMITIVE MAN’s Home Is Where The Hatred Is will be released via Relapse Records on February 17th, 2015. Preorder your copy at THIS LOCATION.

http://www.primitivemandoom.com
http://www.facebook.com/primitivemandoom
http://www.relapse.com

Primitive Man, “Loathe”

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