The Obelisk Show on Gimme Radio Recap: Episode 13

Posted in Radio on April 1st, 2019 by JJ Koczan

gimme radio logo

This was a good one. After last episode, which was kind of working on a theme of balancing different kinds of heavy against each other, it felt rewarding to just get down to business and play some tunes without worrying really about some grander statement. Plus, during the voice breaks I got to bitch about having a cold, and you know I loves me some complaining. What other recourse is there for such a condition? DayQuil? Well, okay, yes, but also complaining.

Anyway, it starts with new Valley of the Sun because golly goodness golly golly is that record good, and then there’s some High Reeper, and then Saint Vitus because I’m still so gosh darn proud of having premiered that track that I included it basically as a gloat to myself. It’s mostly new music this time, which is how I like it, but I’ll say that in doing my typical classic-track thing, the intro to Electric Wizard‘s “Funeralopolis” is the best one I’ve ever done. Look out for the Centrum and Sigils tracks — both are marvelous — and though I was basically late to the party on Mammoth Grove‘s Slow Burn, which came out last year, “Gloria” makes an excellent closer to the set, which doesn’t really have a miss in the bunch. Again, it was a good one.

Note the second airing has moved from Tuesday morning to Thursday morning. It’ll be this Thursday at 6AM Eastern, which I’m calling the “Euro airing,” which means it comes with universal healthcare and old buildings, I guess. That’ll be fun, and hopefully the cold will be gone by then, because it certainly isn’t yet.

Here’s the full playlist:

The Obelisk Show – 03.31.19

Valley of the Sun Means the Same Old Gods*
High Reeper Eternal Leviathan Higher Reeper*
Saint Vitus Bloodshed Saint Vitus*
BREAK
La Grande Armée Normandía La Grande Armée*
Sigils Faceless You Built the Altar, You Lit the Leaves*
Pyramidal Digital Madness Pyramidal*
Spaceslug Ahtmosphere Split with Major Kong, Dopelord & Weedpecker*
BREAK
Electric Wizard Funeralopolis Dopethrone
Abrahma Lost Forever In Time for the Last Rays of Light*
Centrum Stjärnor För Meditation*
The Devil and the Almighty Blues Salt the Earth Tre*
BREAK
Monocluster Leviathan Ocean*
Mammoth Grove Gloria Slow Burn

The Obelisk Show on Gimme Radio airs every other Sunday night at 7PM Eastern, with replays the following Thursday at 6AM. Next show is April 14. Thanks for listening if you do.

Gimme Radio website

The Obelisk on Thee Facebooks

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Review & Track Premiere: Pyramidal, Pyramidal

Posted in audiObelisk, Reviews on March 25th, 2019 by JJ Koczan

Pyramidal Pyramidal

[Click play above to stream ‘Digital Madness’ from Pyramidal’s self-titled LP. It’s out April 15 on Lay Bare Recordings and Surnia Records.]

There are a few seconds of silence before the opening track of Pyramidal‘s self-titled third album, “Visions of an Astral Journey,” begins and the choice to leave them there tells you much of what you need to know about the level of detail and meticulousness the Alicante, Spain, progressive heavy psychedelic rockers have put into the record as a whole. Pyramidal‘s Pyramidal, released by Lay Bare Recordings and Surnia Records as the follow-up to 2013’s Frozen Galaxies and their 2011 debut, Dawn in Space (review here), would seem to have been a while in the making were it not for the steady stream of short releases between. Still, as they arrive at the decade-mark since they first got together, the five songs/46 minutes they present with Pyramidal feels all the more like an event for the fact that it’s been six years since the last LP.

They do not fail to live up to the occasion, and 10 years on finds Pyramidal utterly in command of their sound and the listener’s experience, able to carry their audience through the sax-infused King Crimson-style chase and angular nuance of the aforementioned opener and into the mellower climes of “Creatures of the Ancient World,” which starts out likewise dramatic, but after about a minute, drops to a soothing and vaguely Eastern-inflected atmosphere, still intricate, that smooths the way forward into the next build, allowing for the proggy-but-heavy riff that takes hold at 4:45 to immediately mark the change to something else (actually, there’s a bass note before the guitar starts, but still). What follows is an active payoff to the first half of the song and a fluid but no less considered run than that which appeared in “Visions of an Astral Journey.” They resolve in a heavy space-rocking jam that also doesn’t last before dropping to a bass and drum-led section of psychedelic dance, which becomes consumed by guitar noise as it makes its way back to the central progression of the just-departed push.

It is a head-spinner, to be sure. Vocals are relatively spare but not entirely absent, and even the three-minute “Unconscious Oscillations,” which sounds like a sliver of a jam that could’ve been recorded when either of the first two tracks was being put to tape, has some whispers throughout its shorter than everything else run. “Unconscious Oscillations,” with the return of the sax, a ready push of drums and a still-directed drift in the guitar, feels almost like the closing credits for side A of Pyramidal, and serves as a quick summary of the rather considerable depth the band has thus far employed. Not necessarily depth in terms of the actual mix, though it wants nothing for spaciousness throughout “Visions of an Astral Journey,” “Creatures of the Ancient World” and “Unconscious Oscillations,” but in terms of the positioning within the mix of the elements being put to use and the care with which the material is executed. While still sounding natural in the end, Pyramidal‘s work is exacting and full of purpose.

pyramidal (Photo by Sergio Albert)

Though they’ve obviously allowed room for “happy accidents” in the studio, this is not a band who went into making their third record without an idea of what they wanted. Their style, while indebted to classic prog and space rock, has its eyes forward and never loses track of where it wants to go. This remains true as the quiet ambience of “Digital Madness” mirrors the quiet at the start of “Visions of an Astral Journey,” keyboard setting a foundation for airy guitar to come to the fore and build in tension until after a minute in the full brunt of the song is unveiled. Again, it’s a showing of the patience and intent that Pyramidal signaled at the outset. A verse sees vocals matching rhythmic pattern to the guitar with a tinge of Spanish folk offset by the outward-push of the bridge sets up the next verse, the tonal thickness there a standout soon offset by a sprawling solo. They are not yet four minutes into the total 9:42. That’s the kind of record this is.

They continue to build the solo before cutting back to the acoustic/electric blend and a wash of crash cymbal at the midpoint before the lead guitar steps up with a winding run to introduce the next movement. Toms sound like footsteps trying to keep up. A harmony line kicks in, and then they’re riffing again like nothing happened. Did I mention “head-spinner?” A quick few lines of spoken word precede the next solo, then interrupt it, and Pyramidal are at full force with a vision of progressive heavy that would make peak-era Steven Wilson blush. The last build begins with dreamy guitar and a turn to creeping notes, the entry of drums and a surge of volume, and they mute chords before a last measure brings “Digital Madness” to a close to the madness of closer “Alussa Infinity” can arrive, which it does with scale-work to match that of the opener that unfurls into a fuzzier stretch of psych-jazz that in turn gives way to malevolent spoken word and a darker overall vibe.

Pyramidal are not out of surprises yet, and as they toy with tropes from heavy metal, they are no less in control of the proceedings than they’ve been all along. “Alussa Infinity” continues to grow aggressive through a shouty midsection before changing after seven minutes into its total 14:21 to a stretch of ethereal guitar spaciousness that moves into a grander, string-infused progression that’s every bit the grand finale Pyramidal deserves. Then they do it again, and afterward cap the album with a soothing last few minutes of astro-rock and leave it there, having quietly matched side A’s structure in the two tracks on side B but still gone further in the overarching aesthetic mission. That mission may be ongoing, but Pyramidal‘s declaration of who they are in this self-titled collection is not to be overlooked. Their material is expansive and handled with a graceful collective hand, such that they’re neither out of control nor overly in it. That balance is part of what makes these tracks flow so well, and what makes each change presented herein a pleasure to follow.

Pyramidal on Thee Facebooks

Pyramidal on Instagram

Pyramidal on Bandcamp

Pyramidal website

Surnia Records website

Lay Bare Recordings website

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Pyramidal Set April 15 Release for Self-Titled LP

Posted in Whathaveyou on March 12th, 2019 by JJ Koczan

pyramidal (Photo by Sergio Albert)

Don’t tell anybody — or better yet, tell everybody! — but on March 25 I’ll be hosting a track premiere from Pyramidal‘s upcoming self-titled long-player. The album is set to release April 15 through Lay Bare Recordings and Surnia Records and will be their third album and first since 2013’s Frozen Galaxies, though they’ve certainly kept themselves busy in the years between with EPs and splits and playing live shows. And before you ask, yes, a pyramid is included. I’m not sure what it’s for, but it’s there, so be aware of it. Preorders start April 1.

And — shh! — check back in about a week and a half for that audio and more on the record.

From the PR wire:

pyramidal cover

PYRAMIDAL – PYRAMIDAL – LAY BARE RECORDINGS

Release date : April 15th , pre-order opens April 1st, 2019

In 2011, Pyramidal burst on the scene with Dawn in Space. The logo attached to this record was “Space is deep & music is Endless”. These words were a prediction that the band fulfilled in the years after this initial release. It earned them a place among the greats of the contemporary Space Rock La Liga. It landed them also invitations for shows on Europe’s biggest festivals like Roadburn, Yellowstock, Freak Valley & Psychedelic Network festival, whereas their latest release was recorded “Live from the 7th Psychedelic Network Festival 2014”.

Fast forward to 2019, we are set to release their third proper full length self-titled record, carrying number LBR22 in our discography. It is the first Lay Bare release for 2019 and this year shaping up our busiest year in existence.

The collaboration with Lay Bare Recordings started in 2014 with Live from Freak Valley 2013, followed by a split 12” with Domo in 2015 called James from the Sun. The new records contain five new songs filled with their blend of Hawkwindish Sabbath Floydian ancestral Space Rock. Release date is set for the 15th of April, with pre-order opening the 1st of April. And no this is not a bad joke: April 1st is the day you can acquire this must have Space Rock album.

The first vinyl press counts 250 pieces on 180grams vinyl, pressed on milky clear with swamp green, sea blue & bone colored vinyl. The cd edition is done by our partner Surnia records from Spain. As a special treat, a magic Pyramid is printed on the insert, one that can be cut out, pasted into a pyramid and used while playing the record.

https://www.facebook.com/pyramidalband/
https://www.instagram.com/pyramidalmusic/
https://pyramidalmusic.bandcamp.com/
http://pyramidalmusic.com/
http://surniarecords.com/
https://laybarerecordings.com/releases

Pyramidal, From Other Spheres (2016)

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The Obelisk Presents: The Top 20 Singles, EPs, Splits and Demos of 2015

Posted in Features on December 29th, 2015 by JJ Koczan

top 20 short releases of 2015

Please note: This list is not culled in any way from the Readers Poll, which is ongoing. If you haven’t yet contributed your favorites of 2015 to that, please do.

What’s a short release? Anything that’s not a full-length. I’ve done this list in the past and given a small list — The Top 20 EPs, Splits, Demos and Singles, or whatever — but “Short Releases” seemed more concise, and believe it or not, that’s something I shoot for.

Essentially, what we’re taking a look at here is everything else a band might put out in a given year. No question that albums are where the greatest impact is made over the longer term, but from landmark 7″s to EPs that provide crucial experiments or serve notice of bands solidifying their sound or marking pivotal first impressions, the shorter offerings have tremendous value, and it’s worth considering them on their own merit, rather than in comparison to LPs directly.

I know for a fact that there are releases I’ve missed here. Particularly among the Bandcamp-only demos, there’s just so much out there that for any one person to keep up with all of it is even more impossible than it’s ever been before. Before you berate me immediately with, “Hey you forgot X Band!” and start throwing tomatoes at your computer or mobile device screen, please keep in mind The Obelisk is run by a single individual and there are only so many hours in the day. As always, I do the best I can.

Here we go:

foehammer foehammer

The Obelisk Presents: The Top 20 Short Releases of 2015

1. Foehammer, Foehammer EP
2. Mos Generator & Stubb, The Theory of Light and Matter Split
3. Sun Voyager, Lazy Daze EP
4. All Them Witches, A Sweet Release
5. Geezer & Borracho, The Second Coming of Heavy: Chapter 1 Split
6. Fatso Jetson & Farflung, Split
7. Eggnogg & Borracho, Sludgy Erna Bastard Split 7″
8. Shroud Eater, Face the Master EP
9. Bedroom Rehab Corporation, Fortunate Some EP
10. Stars that Move, Demo Songs
11. Wight, Helicopter Mama 7″
12. Thera Roya, Unraveling EP
13. Shatner, EP
14. Cities of Mars, Cyclopean Ritual EP
15. Pyramidal & Domo, Jams from the Sun Split
16. Sandrider & Kinski, Split
17. Mount Hush, Low and Behold! EP
18. Godhunter & Amigo the Devil, The Outer Dark Split
19. Groan, Highrospliffics EP
20. Rozamov & Deathkings, Split

Honorable Mention

The Sunburst EP by Valley continues to resonate, as do splits from Goya & Wounded Giant and King Buffalo & Lé Betre. plus Derelics‘ IntroducingTime Rift‘s demo, the Carpet 7″, Watchtower‘s EP, Eternal Black‘s debut demo, Dorre‘s half-hour single One Collapsed at the Altar, and Mount Desert‘s two-songer all deserve serious consideration, as well I’m sure as many others.

Notes

It’s something of a break in routine for me to put any kind of debut in a top spot (other, of course, than on the list of debuts), but Foehammer simply would not be denied. The Virginia trio’s three-song EP release on Grimoire Records (LP on Australopithecus Records), it was a self-titled that seemed to be telling you the name of the band twice as if in a warning against forgetting it. And that warning was one to heed. Foehammer‘s first outing brought the Doom Capitol region to new heights of extremity, and while at over half-an-hour long it could’ve just as easily have been called a full-length, part of the overarching threat is what the band will bring to bear when they actually get around to their first LP.

A good number of splits included here, with Mos Generator and Stubb‘s The Theory of Light and Matter (HeviSike Records), Geezer and Borracho‘s The Second Coming of Heavy: Chapter 1 (launching a series for Ripple Music), Fatso Jetson and Farflung‘s joint release (on Heavy Psych Sounds) and Eggnogg and Borracho‘s Sludgy Erna Bastard (on Palaver Records) all cracking the top 10. No coincidence that Washington D.C. heavy riffers Borracho show up twice in that mix. As Pyramidal and Domo‘s blissful Jams from the Sun, Sandrider and Kinski‘s one-two, Godhunter and Amigo the Devil‘s Battleground Records collaboration and Rozamov and Deathkings‘ joint single feature between #11-20, a total of eight out of the full included 20 releases here are splits. Last year it was only five.

Whether that means the form is growing in an attempt to capture fickle social-media-age attention spans while cutting individual vinyl pressing costs, I couldn’t say — likely a combination of the two and more besides — but it’s noteworthy that a split is more than just a toss-off, between-albums castaway at this point, something for songs to later be included on rare-tracks comps. One could easily say the same of EPs as a whole. To that end, Sun Voyager‘s Lazy Daze was a brutal tease for the NY psychgaze outfit’s first album, hopefully out in 2016. And while All Them WitchesA Sweet Release was over 50 minutes long — longer, actually, than their Dying Surfer Meets His Maker LP, which was also issued this year — they considered it an EP/live collection, and that indeed proved how it worked best, immersive though its stretch remained.

Shroud Eater and Bedroom Rehab Corporation both turned in impressive outings that showed marked progression from their last time out, while Shatner‘s first batch of tracks tipped off a songwriting process well-honed and Stars that Move, Cities of Mars, Thera Roya and Mount Hush — I’d put Mount Desert in this category as well — had compelling outings that, like Foehammer at the top, showed much potential at work in formative sounds. Not to be forgotten, Wight‘s Helicopter Mama 7″ gave listeners a heads up on the funkified stylistic turn their upcoming full-length, Love is Not Only What You Know, will take even further, and UK stoner miscreants Groan proved once and for all that, along with logic and reason, a constantly changing lineup can’t hold back their good times.

Like I said — like I always say — if I left something out, let me know about it in the comments. Really let me have it. Call me a jerk. It’s cool. I can take it.

Please note: I can, in no way, take it.

Still, if I left something/someone out, I hope you’ll let me know. And please don’t forget that if you haven’t yet, you can still contribute your list of 2015 favorites to the year-end poll until Dec. 31. EPs, LPs, whatever, however many, it doesn’t matter. All entries are welcome there.

Thanks for reading.

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Quarterly Review: My Dying Bride, Glowsun, Caustic Casanova, Dead Sea Apes, Bantoriak, Ahab, Zark, Pyramidal & Domo, Mammoth Salmon, Molior Superum

Posted in Reviews on October 2nd, 2015 by JJ Koczan

the-obelisk-quarterly-review-fall-2015

One thing I’ve noticed over the now-several times I’ve done this is that people have a tendency to apply some value to the ordering. It’s true that I try to lead off with a bigger release sometimes (as with today), but beyond that, there’s really no statement being made in how the albums appear. It usually has way more to do with time, when something came in and when it was added to the list, than with the quality or profile of a given outing. Just that final note that probably should’ve been said on Monday. Whoops.

Before we wrap up, I just wanted to say thank you again for checking any of it out if you did this week. It’s not a minor undertaking to do these, but it’s been completely worth it and I very much appreciate your being a part of it. Thank you. As always.

Fall 2015 Quarterly Review #41-50:

My Dying Bride, Feel the Misery

my dying bride feel the misery

Led by founding guitarist Andrew Craighan and vocalist Aaron Stainthorpe, UK doom magnates My Dying Bride mark their 25th year with Feel the Misery, their 13th full-length and one that finds them right in their element practicing the melancholic death-doom style they helped forge on pivotal early works like As the Flower Withers (1992) and Turn Loose the Swans (1993). “And My Father Left Forever” starts Feel the Misery on a particularly deathly note, but it’s not too long before the 10-minute “To Shiver in Empty Halls” and the subsequent “A Cold New Curse” are mired in the grueling, poetic, beauty-in-darkness emotionality that is My Dying Bride’s hallmark. The album’s title-track is a chugging bit of extremity, but the record’s strongest impact winds up being made by the penultimate “I Almost Loved You,” a piano, string and e-bow (sounding) ballad that pushes further than “A Thorn of Wisdom” by daring not to get heavy and rests well between the lumbering “I Celebrate Your Skin” and the 11-minute closer, “Within a Sleeping Forest,” which fits well, but more reinforces the point than offers something new on its own. A quarter-century later, they remain an institution. One wonders how they’ve managed to stay so depressed for so long.

My Dying Bride’s website

Peaceville Records store

Glowsun, Beyond the Wall of Time

glowsun-beyond-the-wall-of-time

If French mostly-instrumentalists Glowsun are feeling pressed for time these days – and with the theme of Beyond the Wall of Time (out via Napalm Records) that shows itself in the ticking clocks that launch opener “Arrow of Time” and the like-minded titles “Last Watchmaker’s Grave,” “Against the Clock” and “Endless Caravan” – the material itself doesn’t show it. Opening with two nine-minute cuts, Glowsun’s third outing and the follow-up to 2012’s Eternal Season (discussed here) unrolls itself patiently across its seven-track span, leading one to wonder if maybe Beyond the Wall of Time isn’t intended as another means of expressing something outside of it, the expanse of tones and grooves created by guitarist/vocalist Johan Jaccob (also graphic art), bassist Ronan Chiron and drummer Fabrice Cornille on “Shadow of Dreams” and the centerpiece “Flower of Mist” intended to last after some eternal now has passed. I wouldn’t want to guess, but it’s noteworthy that the trio’s output is evocative enough to lead toward such speculations.

Glowsun on Thee Facebooks

Napalm Records store

Caustic Casanova, Breaks

caustic casanova breaks

As with their 2012 debut, Someday You Will be Proven Correct, Washington D.C.-based trio Caustic Casanova recorded their sophomore long-player, Breaks, with J. Robbins at The Magpie Cage in Baltimore. They’re also releasing the album through Kylesa’s Retro Futurist Records imprint, so they come nothing if not well-endorsed. With bassist Francis Beringer and drummer Stefanie Zaenker sharing vocal duties throughout – the trio is completed by Andrew Yonki on guitar – they run and bounce through a gamut of upbeat post-hardcore noise rock, thick in tone but not so much as to get up and move around, tempo-wise. Yonki brings some post-rock airiness to the early going of the nine-minute “Elect My Best Friend for a Better World,” but the album on the whole feels more about impact than atmosphere, and Caustic Casanova work up considerable momentum by the time they get around to paying off the 12-minute finale, “The Painted Desert.” Its melodies open up more on repeat listens, but not at the expense of the push so well enacted throughout.

Caustic Casanova on Thee Facebooks

Retro Futurist Records

Dead Sea Apes, Spectral Domain

dead sea apes spectral domain

An outwardly familiar conceptual framework – instrumental space/psychedelic rock – does little to convey how much of themselves Manchester, UK, trio Dead Sea Apes put into their new full-length, Spectral Domain. Released by Cardinal Fuzz in conjunction with Sunrise Ocean Bender, it’s the band’s sixth or seventh LP, depending on what counts as such, and bookends two north-of-10-minute explorations around three shorter pieces (though not much shorter in the case of the 9:50 “True Believers”) varied in color but uniformly galaxial in intent. “Brought to Light” rings out with a wash of drumless echo and swirl, seemingly in response to the tension of centerpiece “The Unclosing Eye,” and the whole album seems to take a theme from things seen and unseen, between “Universal Interrogator” and closer “Sixth Side of the Pentagon,” a vibe persisting in some conspiracy theory exposed as blissful and immersive truth with something darker lurking just underneath. Thick but not pretentious, Spectral Domain seems to run as deep as the listener wants to go.

Dead Sea Apes on Thee Facebooks

Sunrise Ocean Bender

Cardinal Fuzz Records

Bantoriak, Weedooism

bantoriak weedooism

A ritualistic spirit arrives early on Italian heavy psych rockers Bantoriak’s debut LP, Weedooism, and does not depart for the duration of the Argonauta Records release’s six tracks, which prove spacious, psychedelic and heavy in kind, playing out with alternating flourishes of melody and noise. “Try to Sleep” seems to be talking more about the band than the act, but from “Entering the Temple” through the rumbling closer “Chant of the Stone,” Bantoriak leave an individualized stamp on their heavy vibes, and that song is no exception. If Weedooism is the dogma they’re championing on the smooth-rolling “Smoke the Magma,” they’re doing so convincingly and immersively, and while they seem to have undergone a lineup shift (?) at some point since the record was done, hopefully that means Weedooism will have a follow-up to its liquefied grooves and weedian heft before too long. In an increasingly crowded Italian heavy psych/stoner scene, Bantoriak stand out already with their first album.

Bantoriak on Bandcamp

Bantoriak at Argonauta Records

Ahab, The Boats of the Glen Carrig

ahab-the-boats-of-the-glen-carrig

Though somewhat counterintuitive for a band playing their style of doom to start with, Ahab have only been met with a rising profile over their decade-plus together, and their fourth album for Napalm Records, The Boats of the Glen Carrig, answers three years of anticipation with an expanded sonic palette over its five tracks that is afraid neither of melodic sweetness nor the seafaring tonal heft and creature-from-the-deep growling that has become their hallmark. Their extremity is intact, in other words, but they’re also clearly growing as a band. I don’t know if The Boats of the Glen Carrig is quite as colorful musically as its Sebastian Jerke cover art – inevitably one of the best covers I’ve seen this year – but whether it’s the 15-minute sprawl of “The Weedmen,” which at its crescendo sounds like peak-era Mastodon at quarter-speed or the (relatively) speedy centerpiece “Red Foam (The Great Storm),” Ahab are as expansive in atmosphere as they are relentlessly heavy, and they’re certainly plenty of that.

Ahab on Thee Facebooks

Napalm Records

Zark, Tales of the Expected

zark tales of the unexpected

One would hardly know it from the discouraging title, but all-caps UK progressive metallers ZARK do manage to catch one off-guard on their debut full-length, Tales of the Expected. Duly melodic and duly complex, the eight tracks rely on straightforward components to set deceptively lush vibes, the guitar work of Sean “Bindy” Phillips and Josh Tedd leading the way through tight rhythmic turns alongside bassist Andy “Bready” Kelley and drummer Simon Spiers’ crisp grooves. Vocalist Stuart Lister carries across the aggression of “LV-426” and hopefulness of “The Robber” with equal class, and while ZARK’s first outing carries a pretty ambitious spirit, the Evesham five-piece reach the high marks they set for themselves, and in so doing set new goals for their next outing, reportedly already in progress. A strong debut from a band who sound like they’re only going to get more assured as they move forward. More “pleasant surprise” than “expected.”

Zark on Thee Facebooks

Zark on Bandcamp

Pyramidal & Domo, Jams from the Sun Split

pyramidal and domo jams from the sun

Paired up by style almost as much as by geography, Alicante, Spain, acts Pyramidal and Domo picked the right title for their Jams from the Sun split – a bright, go-ahead-and-get-hypnotized psychedelic space vibe taking hold early on the Lay Bare Recordings release and not letting go as one side gives way to the other or as the noisy post-Hawkwindery of “Uróboros” closes out. Pyramidal, who made their debut in 2012 (review here), offer “Motormind” and “Hypnotic Psychotic,” two 10-minute mostly-instrumental jams that progress with liquid flow toward and through apexes in constant search for the farther-out that presumably they find at the end and that’s why they bother stopping at all, and Domo, who made their debut in 2011 (review here), counter with three cuts of their own, “Viajero del Cosmos,” “Mantra Astral” and the aforementioned “Uróboros,” switching up the mood a little between them but not so much as to interrupt the trance overarching the release as whole. I remain a sucker for a quality space jam, and Jams from the Sun has 45 minutes’ worth.

Pyramidal on Thee Facebooks

Domo on Thee Facebooks

Lay Bare Recordings

Mammoth Salmon, Last Vestige of Humanity

mammoth salmon last vestige of humanity

After releasing a couple internet EPs (review here) and 2013’s Call of the Mammoth EP as the duo of guitarist/vocalist/bassist Paul Dudziak and drummer Mitch Meidinger, Portland, Oregon’s Mammoth Salmon enlist bassist Alex Bateman and drummer Steve Lyons for their first full-length, the Adam Pike-produced Last Vestige of Humanity, which rolls out plus-sized Melvinsery across six amp-blowing tracks of sludgy riffing and nodding, lumbering weight. The title-track, which ends what would and probably will at some point be side A of the vinyl version, picks up the tempo in its second half, and “Memoriam” teases the same in Lyons’ drums at the start, but of course goes on to unfold the slowest progression here ahead of “Shattered Existence”’s toying with playing barely-there minimalism off full-on crush and the 10-minute “Believe Nothing” rounding out with appropriately elephantine march. Sustainable in their approach and viciously heavy, Mammoth Salmon seem to have hit reset and given themselves a new start with this lineup, and it works to their advantage on this promising debut.

Mammoth Salmon on Thee Facebooks

Mammoth Salmon on Bandcamp

Molior Superum, Electric Escapism

molior superum electric escapism

“Karma is a bitch that will definitely hunt you down for what you have done,” would seem to be the standout message of “The Dream of the Fisherman’s Wife,” the third and longest (at 6:34) of the four inclusions on Molior Superum’s new EP, Electric Escapism. The non-retro Swedish heavy rockers fire up righteous heft to put them in league with countrymen Skånska Mord, but ultimately have more in common with Stubb out of the UK in the loose-sounding swing of “Försummad,” despite the different language. I had the same opinion about their full-length debut, Into the Sun (review here), and last year’s The Inconclusive Portrait 7” (review here) as well. Can’t seem to shake it, but Molior Superum’s ability to switch it up linguistics – they open and close in Swedish, with the two middle cuts in English – is an immediately distinguishing factor, and whichever they choose for a given song, they kill it here.

Molior Superum on Thee Facebooks

Molior Superum on Bandcamp

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audiObelisk Transmission 051

Posted in Podcasts on August 25th, 2015 by JJ Koczan

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Here is the Music Player. You need to installl flash player to show this cool thing!

The last one was so late, it seemed only fair to get back on track and do this one early. Not that you’re sitting and waiting with baited breath for the next podcast, I know — not deluding myself to think otherwise — but it keeps me sane to stick to some imaginary/arbitrary feeling of timeliness that changes more often than not, so I’ll just say up front that I appreciate your indulgence. Wow. Sometimes these imaginary conversations get pretty heavy.

Speaking of heavy — and speaking of masterful segues! — the new podcast has plenty of it. The second hour actually gets pretty pummeling, what with the Ahab track and all, so I made sure a little extra psychedelic stuff got in at the front. Dig that Red Mountains track. Their album’s coming out on Nasoni, which should be all the endorsement you need. I’m also very much into the Pyramidal space jam, and if you get to hear it, that Brian Ellis & Brian Grainger record (El Paraiso is putting it out) is a gem. Think a more psychedelic Six Organs of Admittance, all instrumental.

Some killer samplings to be had here, so I won’t delay further. Hope you enjoy:

First Hour:
0:00:00 Tony Reed, “Still Born Beauty (Necromandus ’73)” from The Lost Chronicles of Heavy Rock Vol. 1
0:04:02 All Them Witches, “Dirt Preachers” from Dying Surfer Meets His Maker
0:07:43 Uncle Acid and the Deadbeats, “Waiting for Blood” from The Night Creeper
0:12:33 Red Mountains, “Sleepy Desert Blues” from Down with the Sun
0:19:58 T.G. Olson, “Heavy on Your Head” from The Boom and Bust
0:23:18 Pyramidal, “Motormind” from Jams from the Sun Split with Domo
0:33:30 Brian Ellis & Brian Grainger, “Treesmoke” from At Dusk
0:37:53 Vinnum Sabbathi, “Hex II: Foundation Pioneers” from Fuzzonaut Split with Bar de Monjas
0:45:18 Spelljammer, “The Pathfinder” from Ancient of Days
0:53:41 Derelics, “Ride the Fuckin’ Snake to Valhalla” from Introducing

Second Hour:
1:02:03 Ahab, “The Weedmen” from The Boats of the Glen Carrig
1:16:56 Lost Orb, “Low Ebb’s Lament” from Low Ebb’s Lament
1:34:10 Hotel Wrecking City Traders, “Droned and Disowned” from Split with Hey Colossus

Total running time: 2:00:41

 

Thank you for listening.

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Roadburn 2015: Mugstar, Coma Wall, Undersmile, Pyramidal and Domo Added to Lineup

Posted in Whathaveyou on September 11th, 2014 by JJ Koczan

The only thing I find debatable about Arik Roper‘s poster art for Roadburn 2015 is whether or not it was ethical of him to use so much awesome in one sitting. It is a gluttony of awesome. We’re getting into the high season of lineup additions, which means over the next couple months, the festival will really start to take shape around the previously announced headliners, other headliners still to come, new acts, curated picks, and so on. So far it’s looking once again like the theme is diversity. Even between the groups most recently added — MugstarPyramidalDomoUndersmile and Coma Wall — there’s a huge stylistic variation. Hell, Undersmile and Coma Wall are on opposite ends of the spectrum alone, and they’re made up of the same people.

Here’s Roper‘s poster as big as I can make it on the page (click to make it bigger), and details on the newest bunch to join the Roadburn 2015 lineup, courtesy of the fest’s website:

Mugstar To Put Glistening And Outerworldly Sonic Glory On Display At Roadburn 2015

Heavily influenced by psychedelia, Krautrock and even Post Rock, Liverpool UK’s beloved Mugstar are in the vanguard of modern psych rock, just in case you were unfamiliar with them.

Infusing their brooding moodiness, minimal psych rock mesmerism and propulsive, hypnokraut grooves with seriously psychedelic ferocity has propelled Mugstar to stand alongside such well-regarded contemporaries as Circle, Bardo Pond and Oneida.

The band distil the wordless core of Hawkwind, Neu! and Sonic Youth and their highly recommended albums Sun Broken, Lime and Axis put transcendent, glistening and outerworldly sonic glory on display.

So, for Roadburn 2015, Mugstar will explode into an interstellar, total drugpsych tripout on Thursday, April 9 at the 013 venue, and we’re equally excited to announce that the band will also play the soundtrack to Ad Marginem on Saturday, April 11 at Het Patronaat in Tilburg, The Netherlands.

Pyramidal and Domo To Represent Spanish Heavy Psych at Roadburn Festival 2015

Spanish heavy psych has long been overdue at Roadburn, so we’re thrilled to announce that Pyramidal and Domo, both hailing from Alicante, will bring their stoner inspired heavy Space Rock with progressive and Krautrock leanings to the 20th edition of Roadburn Festival, set for April 9 -12 at the 013 venue in Tilburg, The Netherlands.

Channeling the undiluted spirit of King Crimson, Hawkwind and Neu! on debut album Dawn In Space, and critically acclaimed follow-up Frozen Galaxies, Pyramidal will take you to the farthest reaches of outer space, propelled by otherworldly sounds, obscure psychedelia and hypnotic grooves.

Domo harkens back to the heyday of the gonzoid power trio’s of the hazy late 60s and early 70s, anchored to heavy clouds of screaming, wah wah driven psychedelia. If you love (early) Gary Moore, or you’re a fan of Tony McPhee (like most of us at Roadburn), and massively worship The Groundhogs‘ Split, then Domo will be surely a must for you.

Word on the street is that Domo‘ S/T debut album will be finally released on vinyl soon.

Sirens Of Sludge Undersmile To Bring Doom And Despair To Roadburn 2015

Undersmile will bring their hypnotic, soul crushing blend of doom and despair to the 20th edition of Roadburn Festival on Saturday, April 11, 2015 at the 013 venue in Tilburg, The Netherlands.

Featuring the unique dual vocal interplay of singer-guitarists Hel Sterne and Taz Corona-Brown, Undersmile combine tortuously slow tempos, discord and stomach-churning melody to create an intense listening experience, both live and on record.

Having released an EP, three splits (with Caretaker, Bismuth and their own alter-egos, Coma Wall) and 2012’s epic debut album Narwhal, the band will be supporting their as-yet untitled second album which they will be previewing at the festival.

Prepare For Despair As Coma Wall Bring Acoustic Death Folk To Roadburn Festival 2015

Coma Wall, the acoustic alter-ego of Undersmile, will bring rustic downbeat blues and folk to the 20th edition of Roadburn Festival on Saturday, April 11, 2015 at the 013 venue in Tilburg, The Netherlands.

The very notion of unplugging a band as monstrously heavy and doomladen as Undersmile seemed almost ludicrous before we actually heard what it entailed, as the band replaced sludgy distortion with banjos and acoustic guitars in their alter ego Coma Wall guise.

Taz Corona-Brown and Hel Sterne’s haunting close harmony singing still brought a tingle to the spine as the band dredged southern gothic creeping dread and spectacularly outdid their electric selves on their split Wood & Wire EP (released by Shaman Recordings), bringing a bit of black sun gloom to sunny spring days and making for one of the most uncompromisingly powerful records to come out of Oxford (UK) in years.

Taking influence from artists such as Nick Cave, 16 Horsepower, Neutral Milk Hotel, Bob Dylan, Low, Mark Lanegan, Nirvana and Alice in Chains, Coma Wall will play songs from an upcoming EP, as well as tracks from Wood & Wire.

Roadburn Festival 2015 will run for four days from Thursday, April 9 to Sunday, April 12 at the 013 venue in Tilburg, The Netherlands.

http://www.arikroper.com/
http://www.roadburn.com/
https://www.facebook.com/roadburnfestival
https://twitter.com/roadburnfest

Mugstar, Ad Marginem (2012)

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Pyramidal, Dawn in Space: The Big Bang

Posted in Reviews on April 30th, 2012 by JJ Koczan

Dawn in Space is the debut release from Spanish double-guitar heavy jam foursome Pyramidal. Issued on CD by Radix Records and limited gatefold 2LP with bonus tracks through Krauted Mind, the full-length mostly follows the guitars of Miguel Angel Sanz and Óscar Soler (the former also contributes synth and the latter the album’s sparse vocals) and like the architecture of the band’s native Alicante, there’s a vague Middle Eastern influence in the psychedelic ranging that works coincidingly with the modern heavy jam mindset. Tonally, even a minor-key cut like “Kosmik Blizzard” isn’t so viscous that it can’t move, and Pyramidal do well throughout to vary the pace and level of activity so as to hold attention for Dawn in Space’s 62-minute duration, or at very least not lull to sleep when it doesn’t mean to be hypnotic. The “chill” effect that a lot of European heavy psych has had to offer over the last year or two – thinking of bands like Samsara Blues Experiment, Electric Moon and their ilk of post-Colour Haze improvisers – comes across quite clearly through some of this material, and at over an hour long, it’s hard to believe that’s not on purpose, but there’s a space rocking musical influence as well to go along with the titles and artwork that comes through Lluís Mas’ drumming and Miguel Rodes’ bass; a sense of forward and outward push. For that, Pyramidal earn their requisite-for-space-rock Hawkwind comparison, but again, Dawn in Space has more going on stylistically than just following Dave Brocke’s chemtrails. To put a point on it, the hidden track that comes on about a minute after closer “Mars Lagoon” ends has more in common in terms of its ethic and execution with Yawning Man.

And though that’s true – maybe it seems like a finer line than some, but it’s also more breadth than one finds in many acts – what’s really going to make any release like Dawn in Space is going to be the chemistry between the players involved. Sanz, Soler, Rodes and Mas give an ample showing in this regard, the patience of the build in the 10-minute “Pastikleuten (Part I & II)” being a prime instance, but it’s pretty clear from the whole of the album that it’s a case of development getting under way and what’s playing out across these seven-plus songs is the beginning stages of what will undoubtedly be a more protracted arc. Still, wah-drenched solos and transitional injections of synth from Sanz have their own appeal, and Pyramidal’s dedication to and strong sense of aesthetic carry them through much of this material, and whether it’s the verses that suddenly appear on the later “Tempel Iaru” or “Black Land,” which follows the brief and swirling opener “Intronauts,” or the longer instrumentals that make up the crux of Dawn in Space, one could hardly listen to the record and not come out of it thinking the band has no idea what they’re doing. Like doom for doomers, it’s heavy psych for heavy psychers, mixed so that Rodes’ bass stands out punctuating “Kosmik Blizzard” as much as the riff it’s feeding into, and so that Mas’ drums never quite leave the ground but never sound like they’re purposefully staying attached to it either, far-miked cymbals coming across naturally. Perhaps predictably, Pyramidal recorded the entirety of Dawn in Space live, and that warmth and vibrancy is there both in tone and performance. The guitars never quite shred, but the leads suit the mood well, and though the midsection of the title-track feels a bit like it’s lost its footing, there’s something about that sensibility that works well with Pyramidal’s overall approach.

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