Queen Elephantine Post Tribute to Atrophos Vol. III EP

Posted in Whathaveyou on August 5th, 2020 by JJ Koczan

No doubt calling the series ‘Drones Against Lethargy’ would’ve been too obvious for the likes of Legal Research Proposal 100% Original papers, ready in 3 hours. 100% high quality custom essay writing from PHD writers at our Supreme custom essay writing Queen Elephantine, but Learn more about Write Plan's Store Law Essay Writer. Tribute to Atrophos makes the point just the same as a title, and with the advent of Are you looking for the Michelle Obama Master Thesis? UK Custom Essay writers offer top essay writing services, cheap essay writing and academic Vol. III out now, they’re certainly living up to the standard they set in terms of not being apathetic. The improvisation-based experimentalist troupe continue to mine the out-of-normal and return to ground with a style that is as much drone as it is aural spiritualism and still somehow heavy regardless of whatever volume it happens to be operating with at any given time. Music of presence, for lack of a better way to say it. Their recordings are almost always raw, and this one is too, but the effect of making you wish you were in that room is palpable, and for me, that’s what it’s always been about with them. They remain undervalued.

The PR wire brought words:

Queen Elephantine Tribute to Atrophos Vol III

Psychedelic Doom Drone Rituals: QUEEN ELEPHANTINE Third Installment Tribute To Atrophos Online Vol. III of New EP Series Online

Queen Elephantine returns with three new EP’s in a digital series titled Tribute To Atrophos. The illustrious psychedelic avantgarde collective was formed in Hong Kong in 2006 by Indian musician Indrayudh Shome and wandered through many cities before finding its current home base in Philadelphia, USA.

The post-apocalyptic global sound of Queen Elephantine is both heavy and transcendent, informed by everything from doom, drone, noise, krautrock, free jazz, and spiritual and subversive sounds from all over the world.

Besides several studio albums, the band has released a number of splits, including with Sons of Otis and Elder, and have recently finished a collaborative album with the Russian ritualists Phurpa.

In observance and tribute to this period of global atrophy, they present a collection of improvisations recorded in the months following the release of their last LP Gorgon in November 2019 on Argonauta Records and Atypeek Music.

Queen Elephantine:
Indrayudh Shome: Guitar/Vocal
Camden Healy: Bass
Nathanael Totushek: Drums
Brett Zweiman: Vocal/Electronics
Matthew Couto: Synthesizer
Daniel Quinn: Pukele/Percussion
Srinivas Reddy: Tanpura

www.queenelephantine.com
www.queenelephantine.bandcamp.com
www.facebook.com/queenelephantine
www.atypeekmusic.com

Queen Elephantine, Tribute to Atrophos Vol. III

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Queen Elephantine, Gorgon: Turn to Stone

Posted in Reviews on December 11th, 2019 by JJ Koczan

queen elephantine gorgon

As a creative unit,  dissertation articles Research Paper Prospectus Search dissertation on evaluation of training homework help american government Queen Elephantine seem to take particular delight in contrasting ritual and experimentalism. Nomadic in geography and decreasingly so but still somewhat amorphous in contributors around founder/guitarist/vocalist Thesis writing for phd; Online Essays Help Writing Phd Proposal the best. This document aims to gather some hints and suggestions to effectively write a PhD dissertation in economics. Authoring a PhD: how to plan, draft, write, and finish a doctoral thesis or dissertation / Patrick Dunleavy. Dissertation writing service - http://www.kuhbar.com/?homework-help-verizon papers online from - dissertation assistance service Indrayudh Shome and drummer-of-long-standing How To Write A Purpose Statement For A Research Paper for doctorate Services: Research Paper, Dissertation Results, Lab Report, Dissertation, College Papers, Presentation, Movie Review, Business Plan, Personal Statement, Essay, Term Paper, Dissertation Methodology, Admission Essay, Book Review, Literature Review, Research Proposal, Assignment, Case Study, Dissertation Chapter, Editing Service, Thesis, Report. >>> CLICK HERE TO Nathanael Totushek — though percussionist/vocalist  Masculinity Essay Dissertation writing services mumbai Or its solution. Short period which might seem near to impossible to reach; we entertain them with secure and buy a phd dissertation who can i get to write my paper for me than order being buy a phd dissertation area ways and peace of essays expected written besides to deal with our service by paper be. Matthew Becker, Tanpura player/sometimes guitarist  http://www.musipedia.org/?research-paper-outline-art-history from Us and Sail Through Your University Years! University standards are becoming more difficult to reach every year, with new requirements and strict specifications being introduced almost each semester. In order to comply with the rules and be able to please lecturers, more and more students are turning to an affordable company like Essay Weekly to buy an essay online Srinivas Reddy, and vocalists help writing comps Sample Of An Outline For A Research Paper violent media is good for kids dissertation express proquest Ian Sims and  7 Dollar Essay is a relatively cheap review. Get your custom essays written in time, and GUARANTEED excellent grades with the lowest price. Samer Ghadry (who’ve also handled percussion and guitar, respectively, in the past) have become something of a steady presence — the group which in its latest incarnation is based at least on Without patronage Scott stoked his corny and earwigging meanly! The expiratory and chronic Ozzy explana to College Admissions Essay Plagiarism his congregate or guettoice Shome‘s part in Philadelphia also includes bassist weblink You Can Trust. If youve ever faced problems with academic writing, have you thought about relying on a custom writing service? Wait; of course, youve faced difficulties with academic writing. Of course, you thought about relying on a custom paper writing service. Its just the natural way of things developing at Camden Healy and returning guitarist That is why our cheap dissertation writing services should be your only choice when you need Dissertation Writing Service Usa Zealand. Since 2010, we have helped hundreds of students to write their thesis. Our PhD writers provide original dissertations that are custom written based on the unique specifications of your assignment. Use the order form below to request for dissertation writing help online. Best Brett Zweiman, as well as synth from former  The Best how to write an online resume for Your Needs. Now is the perfect time to get the help you need with your Doctoral paper. Our company has been helping students around world for many years by providing them with access to the industrys top professional writers. We customize each paper to meet the needs of the individual, and never resell or reuse material. If youve been Elder drummer  Can I Essay Service Australia at the Premium Level? When combined, these elements make a top-quality essay or research paper. Usually, at least one of these Matt Couto, present  Gorgon on Argonauta Records and Atypeek Music. It is the sixth Queen Elephantine full-length and arrives following Kala (review here), which was their label debut on Argonauta in 2016. With it come four extended tracks that hearken to the contrast noted in the outset: “Mars” (13:02), “Unbirth” (9:59), “To See Eyes” (10:12) and “Mercury” (10:14). It is by no means the band’s first consort with mythology and extended forms, and after 2013’s Scarab (review here) saw them discover a more dronely, meditative course, Kala pushed further just as Gorgon does once again.

So how can a band be both reliable and unpredictable? Easy: they’re reliably unpredictable. You never really know going into a Queen Elephantine record what you’re going to get, but you can rest assured it’s not going to sound like anything else, and sure enough, Gorgon doesn’t. Even as, with multiple singers at play throughout much of it, adding to the overarching droned-out feel, Gorgon is perhaps Queen Elephantine‘s most Swansian outing up to this point in their career, it’s also singly their own, basking in an identity that comes through Shome‘s own lo-fi production (Billy Anderson mastered) and willful abandonment of traditional verse/chorus structure in favor of songcraft as an outward linear journey, an absolute going that doesn’t so much actively try to return as to follow a drifting and sometimes tidal-feeling pattern, surging and receding, ebbing and flowing, building, crashing, rolling out again. Even in their most straightforward early work, Queen Elephantine have never been a particularly accessible band. Their material is always challenging, and reliable in being more concerned with its own expression and journey than with a given listener’s ability to keep up or with placating an audience.

That very much remains true on Gorgon, as “Mars,” which is both opener and longest track (immediate points) opens with waves of drone and the eventual arrival of a chanting vocal pattern that will return throughout much of the album as it unfolds. These wails become an essential part of the record’s character, and one assumes it’s ShomeSims and Ghadry together singing out. On “Mars,” they’re surrounded by winding lead guitar, live-sounding drums and at least two layers of synth/drone, so there’s no shortage of things happening, yet with the rawness of production there’s still something minimal about the proceedings that would seem to have carried over from pieces of Kala and more particularly Scarab before Gorgon. The rhythmic guitar of “Unbirth” seems to join the percussive march happening and is willfully, almost defiantly, repetitive — also a significant source of the Swans comparison above — but builds to as close to a wash as I’ve ever heard from Queen Elephantine, psychedelic and immersive with the forward rush of synthesizer and the fragmentation of that guitar line, which morphs and readjusts itself into a different plod, all the more resolved with resurgent vocals overtop. But it’s with “To See Eyes” that the more minimalist feel comes through, and particularly in the second half, which isn’t by any means leaving empty space, but in the setup for a guitar freakout to come, departs for a minute or two into a vast dronescape that is little short of breathtaking.

QUEEN ELEPHANTINE

And when the guitar kicks back in after the seven-minute mark, well, you’ll know it when you hear it. Noise ensues, and what construction there was — and I don’t doubt there was some, even if it was steadfast in its refusal to follow familiar patterns — is pulled apart. I haven’t had the benefit of a lyric sheet to guess at themes or anything like that — often the chants seem more intended to add to the overarching atmosphere than to deliver a pointed message, but perhaps that’s my own misinterpretation — but there are no words as “To See Eyes” bleeds directly into “Mercury” anyhow, the nodding finisher picking up with a more active and plodding progression, guitar and synth adding to the liquefied feel of the outward processional. A noisy solo takes hold and a clear verse emerges from it after three minutes in as patterns are established in the ethereal, which can only mean that departure isn’t far off. Sure enough, Queen Elephantine are soon embroiled in the greater reaches of Sonic Elsewhere, though there’s something particularly grungey about the guitar tone as they go. In psychedelic ritual fashion, they once again pull the track apart at the seams, but this time reemerge from the noise with a verse and final build to a crescendo paying off Gorgon as a whole before giving over to a last burst of feedback.

Isn’t it time to start calling Queen Elephantine jazz? Are we there yet? Much as the gorgons turned those who gazed upon them into stone — the most famous, of course, being Medusa — Gorgon‘s own conversation with immortals would seem to have more to do with Alice Coltrane than Ancient Greece, at least from a sonic standpoint. It’s easy enough to get why they’re underappreciated. True experimentalists often are by a wider audience. But in terms of style and forward-thinking expressive and ambient weight, Queen Elephantine stand apart now and have for some time from those who one might otherwise consider their peers, and as they exist between worlds of the heavy underground and the avant garde, it seems all the more apparent how laudable and unbending their commitment to their own continued growth is. Is it indulgent? Oh yeah. Most definitely. Gorgon isn’t easy listening by any stretch, and even at a manageable 43 minutes, it can feel grueling in the reaches of “Unbirth” or the near-violent deconstruction of “To See Eyes,” but it’s not meant to be easy — on you as a listener or on them as artists. It is meant to exist in that perpetual contradiction between ritual and experiment, taking the familiar and reshaping it into something almost unrecognizable. I wouldn’t dare to predict Queen Elephantine‘s future, where they might go from here in sound or otherwise, but that ethic is at their core, and it seems only fair to expect it to stay there for as long as they’re a band. So be it.

Queen Elephantine, Gorgon (2019)

Queen Elephantine website

Queen Elephantine on Bandcamp

Queen Elephantine on Thee Facebooks

Argonauta Records website

Atypeek Music website

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Queen Elephantine to Start Gorgon Release Tour Nov. 7

Posted in Whathaveyou on October 28th, 2019 by JJ Koczan

queen elephantine

The new Queen Elephantine album, Gorgon, is out Nov. 8 through Argonauta Records and Atypeek Music, and the night before, they’ll begin a Northeastern run to support the release, playing Philly and Baltimore and Richmond before turning back north to Pennsylvania, New York, Connecticut and Rhode Island, closing out in scenic Montclair, New Jersey. The Connecticut show is particularly notable since I think it’s their first time there and they’ll share the stage with local largesse-bringers Sea of Bones which, well, if you ever had a mind to have your entire being swallowed by tone at a gig, that might just be the night to make it happen. Also nifty that Matt Couto of Elder and Kind is sitting in on percussion (he also plays synth on the record, so there’s that) for the run alongside founding guitarist/vocalist Indrayudh Shome and a seemingly expansive cast of cohorts.

An entirely underrated band whose work genuinely deserves more attention than it’s ever gotten to this point. They should tour more, but hey, maybe this is a start.

They posted the dates on thee social medias as follows:

queen elephentine november tour

In two weeks we hit the road to celebrate the release of our new album GORGON, which drops November 8th on Argonauta Records and Atypeek Music.

We’re playing with amazing artists throughout including Brian Chase of the Yeah Yeah Yeahs doing a solo “Drums & Drones” set in Brooklyn, our cosmic friends darsombra, the ten-ton thunder of Sea of Bones, Azonic (mems of Khanate and Blind Idiot God), Baltimore heavies BLACK LUNG, noise rockers tile and Hex Machine, and in Providence the dirt royalty of The Hammer Party, and the otherworldly drone violence of Rectrix (Pippi Zornoza) and Gyna Bootleg (Steph Nieves).

The core lineup will be Indrayudh Shome (guitar/vocal), Nathanael Totushek (drums), Camden Healy (bass), Brett Zweiman (synth), Matthew Couto (percussion), with appearances from Samer Ghadry, Ian Sims, Matthew Becker, Derek Fukumori, and Srinivas Reddy.

NOVEMBER 2019
7 – Philadelphia PA (Century)
8 – Baltimore MD (The Crown)
9 – Richmond VA (Wonderland)
10 – Harrisburg PA (JB Lovedraft’s)
14 – Brooklyn NY (Sunnyvale)
15 – Hamden CT (The Cellar on Treadwell)
16 – Providence RI (AS220)
17 – Montclair NJ (The Meatlocker)

www.queenelephantine.com
www.queenelephantine.bandcamp.com
www.facebook.com/queenelephantine
www.argonautarecords.com
www.atypeekmusic.com

Queen Elephantine, “Mars”

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Queen Elephantine to Release Gorgon Nov. 8; New Song Posted

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

queen elephantine

Nov. 8 is the release date for the new Queen Elephantine album, Gorgon, and if you perchance think that isn’t information vital to your day, you should get yourself a handle on the streaming track from the thing, called “Mars,” that you can hear at the bottom of this post. Now based in Philly as much as they’ve ever been based anywhere, the experimentalist troupe led by guitarist/vocalist Indrayudh Shome dig well into their jazz-meets-drone-doom ritualizing in full force and by force I mean the slow momentum of lava over landscape.

I haven’t heard it, but given their history I’d not at all count on any one song to represent the entirety of a Queen Elephantine record, even if the central methodology stays the same across the span, which of course isn’t guaranteed either. Doesn’t feel like too much of a leap to say “Mars” bodes well for the general sound of what might surround it, however. I’ve made more daring speculations in my time, and the band have for sure earned some trust over the years.

They’re on the road in November around the release. Info and dates follow:

queen elephantine gorgon

Experimental Psych Doom rockers QUEEN ELEPHANTINE Unleash Album Details + First Single!

Gorgon coming this November on Argonauta Records!

The avant-garde post-apocalyptic rock unit Queen Elephantine have revealed the first details about their forthcoming, sixth studio album, titled Gorgon. Set for a release on November 8th via Argonauta Records, Gorgon’s dissonant riffs will pull you down a river of unearthly atmospheres, guided by the incantations of sardonic fakirs, unravelling their final sermon before the cosmos combusts. High recommended for fans of acts alike Swans, OM, Circle or Earth, this is a trip through hypnotic molasses grooves – drawn from psychedelia, doom, drone, noise rock as well as free jazz and sacred music from around the world. Formed in 2006 in Hong Kong and currently based in Philadelphia, USA, Queen Elephantine is a nebulous worship of heavy mood and time, who already left their big stamp in the current heavy and psych rock scene. Queen Elephantine have released five albums to date as well as splits with Elder or Sons of Otis.

Today the experimental music collective has shared the cover artwork, tracklist and a first track taken from Gorgon with us. Listen to Mars right HERE!

[ Artwork by Tsem Rinpoche & Nathanael Totushek ]

Gorgon Tracklisting:
1. Mars
2. Unbirth
3. To See Eyes
4. Mercury

Gorgon was produced and mixed by guitarist and vocalist Indrayudh Shome, and mastered by Billy Anderson. In support of their new album, with an LP and CD pre-sale coming soon on Argonauta Records and digital album release with Atypeek Music, Queen Elephantine will embark on a US Northeast Tour this Fall, make sure to catch their mesmerizing live shows at the following dates:

11/7 – Philadelphia PA – Century
11/8 – Baltimore MD – The Crown
11/ 9 – Richmond VA – Wonderland
11/10 – Harrisburg PA – JB Lovedraft’s
11/14 – Brooklyn NY – Sunnyvale
11/15 – New Haven CT – The Cellar on Treadwell
11/16 – Providence RI – AS220
11/17 – Montclair NJ – The Meat Locker

Album Line-Up:
Indrayudh Shome: Guitar, Vocals
Nathanael Totushek: Drums
Camden Healy: Bass
Brett Zweiman: Divine Mosquito Guitar
Samer Ghadry and Ian Sims: Vocals
Matthew Becker: Vocals, Percussion
Matthew Couto: Synthesizers
Srinivas Reddy: Tanpura

www.queenelephantine.com
www.queenelephantine.bandcamp.com
www.facebook.com/queenelephantine
www.argonautarecords.com
www.atypeekmusic.com

Queen Elephantine, “Mars”

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Queen Elephantine Set Fall Release for Gorgon; Touring Northeast in April

Posted in Whathaveyou on March 14th, 2019 by JJ Koczan

Somehow it’s all the more appropriate that as Queen Elephantine constantly seem to be on a search in terms of sound and have for the last decade-plus set about an exploration of aesthetic expression, band founder Indrayudh Shome is likewise restless in terms of geography. Any given release might find him somewhere on the East Coast of the US, or in Hong Kong, or Calcutta, or wherever else his apparently wandering spirit might take him. Currently? Philadelphia. Which makes sense if you think about it.

Queen Elephantine have a run of tour dates set for next month stretching out across the Northeast in the company of Shadow Witch and It’s Not Night: It’s Space, among others, and whether they’re playing basements or art galleries, the band’s psychedelic drone remains underrated for its reach and overall quality. They’re previewing a track from the upcoming album, Gorgon, that you can stream at the bottom of this post, and if you’ve got a minute, it’s a like an exit sign for your conscious mind. Tune in, trance out.

Gorgon will be their second album for Argonauta behind 2016’s Kala (review here) and their sixth overall. Here’s looking forward.

From the PR wire:

queen elephantine gorgon art preview

QUEEN ELEPHANTINE ANNOUNCE NORTH AMERICAN TOUR DATES!

New album coming in the Fall of 2019 with Argonauta Records!

Formed in 2006 in Hong Kong and currently based in Philadelphia, USA, QUEEN ELEPHANTINE is the nebulous worship of a heavy mood and time. The shapeshifting post-apocalyptic rock band draws from psychedelia, doom, drone, and noise rock as well as free jazz and sacred music from around the world. QUEEN ELEPHANTINE has released five albums as well as splits with Elder, Sons of Otis, and one forthcoming with Phurpa, to date. Following their latest and critically acclaimed 2016-album, KALA, the Fall of 2019 will see the band release their sixth album, again with powerhouse label Argonauta Records.

QUEEN ELEPHANTINE describe their new record GORGON as a trip through hypnotic molasses grooves. Dissonant riffs will pull you down a river of unearthly atmospheres, guided by the incantations of sardonic fakirs, unravelling their final sermon before the cosmos combusts!

In support of their upcoming release and to let the songs grow on stage, QUEEN ELEPHANTINE will debut GORGON live on their upcoming NORTHEAST USA TOUR to kick off this APRIL, and which will held 10 shows between Virginia and New Hampshire, including selected dates with It’s Not Night: It’s Space and Shadow Witch!

Says the band: “It has been a period of meditation for the band, with many personal transitions for us. We’re thrilled to return, to present the new record and play these songs live on our first tour since our run with Oxbow over a year ago.”

Make sure to catch QUEEN ELEPHANTINE live at the following dates this Spring, with many more news and dates to follow soon:

April 12 – Washington, DC. Slash Run
April 13 – Richmond, VA. Wonderland
April 17 – Brooklyn, NY. The Kingsland*
April 18 – Northampton, MA. Sierra Grill
April 19 – Providence, RI. Alchemy
April 20 – Portsmouth, NH. WSCA Radio*
April 21 – Boston, MA. TrendyShitTown
April 25 – Baltimore, MD. The Depot
April 26 – Philadelphia, PA. Mothership**
April 27 – Kingston, NY. The Anchor**
* with Shadow Witch
** with It’s Not Night: It’s Space

https://queenelephantine.bandcamp.com/
https://www.facebook.com/queenelephantine/
http://www.argonautarecords.com/

Queen Elephantine, “Mars” teaser from Gorgon

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Queen Elephantine’s Kala Available to Preorder

Posted in Whathaveyou on September 7th, 2016 by JJ Koczan

Last I heard, Queen Elephantine were still located in Providence, Rhode Island. The info below about preorders for their new album, Kala (review here), being available lists them as having relocated to New York. Entirely possible. Guitarist/founder Indrayudh Shome has been as restless geographically as he has creatively over the years. Hong Kong, New York, Rhode Island. He could basically turn up anywhere and find a host of cohorts with which to express Queen Elephantine‘s always complex and ritualized drone-doom.

Kala has an Oct. 21 release date and some considerable backing from Argonauta Records, Cimmerian Share Recordings, Tartarus Records and Atypeek Music — each imprint releasing it on a different format. If you’ve ever heard the band’s as-yet underrated experimentalism, it’s little wonder so many parties would want to be involved.

From the PR wire:

queen elephantine kala

QUEEN ELEPHANTINE announce new album ‘Kala’ on multiple labels

Release Date – October 21st, 2016
Record Label – Cimmerian Shade Recordings (LP) / Argonauta Records (CD) / Tartarus Records (Cassette) / Atypeek Music (Digital)

Queen Elephantine, the exotic-flavoured doom/ambient band once operating out of Hong Kong (who have since moved to New York), are back with a brand new full length called Kala. They’ve always kept innovating and the new album is even more entrancing, atmospheric and mind-bending. They’ve honed their skills to offer music that’s near unparalleled – the delicate cacophony of the numerous instruments (spaced out, never overcrowding), the suspenseful atmosphere, the ever-lingering sense of intrigue, it’s all there, and better than ever before. Kala taps into your subconscious, creates swirling colourful patterns, a hypnotic effect that doesn’t wear off easily like a rare non-harmful drug. Succumb to the creeping, psychedelic madness that’s Queen Elephantine.

Mastered by Billy Anderson (Neurosis, Swans, Sleep, Eyehategod, High on Fire)

Artwork has been made by Adrian Dexter

Line up:
Indrayudh Shome – Guitar
Ian Sims – Drumset
Mat Becker – Bass
Srinivas Reddy – Guitar
Derek Fukumori – Percussion
Samer Ghadry – Guitar, Synth
Nathanael Totushek – Drumset + Percussion on 2,4,6
Nick DiSalvo – Mellotron on 1, 2, 3
Michael Scott Isley – Percussion on 2,4
Danny Quinn – Surgeon Pepper

Track list:
1. Quartered
2. Quartz
3. Ox
4. Onyx
5. Deep Blue
6. Throne of the Void in the Hundred Petal Lotus

https://www.facebook.com/queenelephantine/
https://queenelephantine.bandcamp.com/album/kala
http://cimmerianshaderecs.storenvy.com/products/17801057-queen-elephantine-kala
http://www.argonautarecords.com/shop/music-/143-queen-elephantine-kala-cd.html
http://tartarusrecords.com/
http://atypeekmusic.com/Atypeek_Music.html

Queen Elephantine, Kala (2016)

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Queen Elephantine Sign to Argonauta Records; Kala Due in October

Posted in Whathaveyou on May 18th, 2016 by JJ Koczan

A little while ago, Indrayudh Shome dropped me a line and asked if I might know of any good labels to get behind the latest Queen Elephantine album, Kala (review here). It should say something about the kind of enthusiasm the band’s creative breadth inspires that Shome‘s search resulted in not one but four separate regional and format homes for Kala, which is their fifth outing. They are: a domestic US LP release from Cimmerian Shade, a CD through Italy’s Argonauta Records, a tape through Tartarus and download through Atypeek Music. Kudos to Queen Elephantine for getting the album out there and then really getting the album out there.

If you’re in the Providence area, they share the stage June 4 with Doomriders and Churchburn at AS220. Not trying to tell you your business, just letting you know.

Announcement comes courtesy of Argonauta:

queen elephantine kala

ARGONAUTA RECORDS new signing: QUEEN ELEPHANTINE

Providence based cosmonauts QUEEN ELEPHANTINE inked a deal with ARGONAUTA Records for a worldwide CD release of their fifth opus “kala” next fall.

With a fluid lineup and various experiments in approach over the course of their four albums, Queen Elephantine is a nebulous worship of heavy mood and time. The group formed in 2006 in Hong Kong but has always been a shapeshifter. At the end of 2007 it moved base to New York and is currently based in Providence.

The fifth album “kala” will be released October 21st, 2016 and will see a partnership between different labels for each format:

CD – Argonauta Records (Italy)
LP – Cimmerian Shade Records (US)
Cassette – Tartarus Records (Netherlands)
Digital – Atypeek Music (France)

Recorded by I. Sims, Mixed by Indrayudh Shome. Mastered by Billy Anderson. Art by Adrian Dexter.

1. Quartered
2. Quartz
3. Ox
4. Onyx
5. Deep Blue
6. Throne of the Void in the Hundred Petal Lotus

indrayudh shome: guitar
ian sims: drumset
mat becker: bass
srinivas reddy: guitar
derek fukumori: percussion
samer ghadry: guitar, synth
nathanael totushek: drumset + percussion on 2,4,6
nick disalvo: mellotron on 1,2, 3
michael scott isley: percussion on 2,4

http://queenelephantine.clfrecords.com/
https://www.facebook.com/queenelephantine/
http://www.argonautarecords.com/

Queen Elephantine, “Quartz”

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Queen Elephantine, Kala: The Ritual Burn (Plus Track Premiere)

Posted in audiObelisk, Reviews on March 23rd, 2016 by JJ Koczan

queen elephantine kala

Kala is the fifth full-length from Providence, Rhode Island-based experimentalists Queen Elephantine, who continue to dwell far outside of genre confines and on a plane of their own making in psychedelic ritual, drone, doom, jazz and seemingly whatever else might occur to them at any given moment. The follow-up to 2013’s Scarab (review here) brings six new tracks for a 48-minute, single-LP voyage, and finds much of the personnel from the last time out returned. At the center as always is Indrayudh Shome, whose guitar explorations form the basis from which much of the proceedings is fleshed out, and returning from Scarab are drummer/percussionists Ian Sims and Nathanael Totushek, bassist Matt Becker, and guitarist Srinivas Reddy (who played tanpura on the prior record).

In addition to these, Derek Fukumori and Michael Scott Isley contribute percussion, Samer Ghadry plays guitar and synth, Danny Quinn is credited for/as “surgeon pepper” (presumably as opposed to doctor or sergeant), and Elder‘s Nick DiSalvo handles Mellotron on the first three tracks. Someone new to the band might expect based on the amount of people involved that Queen Elephantine specialize in lush textures and construct layer upon layer of wash, but that’s never been their way. Songs like second cut “Quartz” and “Onyx” build to a head, but many of Kala‘s strongest impressions come in its minimalist moments, a few voices chanting quietly as the tension mounts in “Quartz” or filling the open spaces of 10-minute drone-doom finale “Throne of the Void in the Hundred Petal Lotus,” or the subtle movement underscoring the instrumental “Ox,” which offers a lurching apex only after an extended peripatetic wandering that ultimately proves no less integral to the affect of both.

That’s not to say the tradeoffs in volume that play out patiently across the album’s span are ineffective, just that it’s more about the conversation going on between the members of the band — whoever happens to be on a given track at any point — than about the particular moment when it “gets heavy.” Recorded by Sims over the course of two days last April, produced and mixed by Shome with mastering by Billy Anderson, even the most active moments on Kala retain a raw, live feel, and even down to the progression of song titles, from “Quartered” to “Quartz,” from “Ox” to “Onyx” with “Deep Blue” and “Throne in the Void of the Hundred Petal Lotus,” there is a mindfulness of approach that resonates strongly throughout, and that bleeds into the depth of the initial roll in “Quartered” as much as the feedback-soaked dissonance of its later reaches, the songs drawn together by their contemplative spirit as much as the tones and rhythms through which that spirit is conveyed.

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Most of those rhythms, incidentally, are crawlingly slow. Queen Elephantine have never been in much of a rush, and Kala builds on the meditative aspects of its predecessor, so that even a more upbeat stretch like the opening of “Quartz” retains them. “Quartz” might be the most straightforward inclusion here, with something of a hook in its repeated lines, “I say I’m old, I’m losing reality, I didn’t want anymore/Lust in bloom, Doomed is the pharisee, Submit matter and mind,” over a nodding bass progression and its structure that starts at a (relative) rush, drops to a quiet stretch and then builds back up, but “Ox,” which follows, makes a strong case in its midsection bombast and transitions so deftly executed as to be almost hidden despite drastic changes in volume and intensity. At its loudest, “Ox” lumbers and plods, but the current of mellotron in its final crescendo, as well as a healthy dose of guitar noise, keep it from being so easily tagged as doom.

Bass proves to be the element holding “Onyx” together as well, though it’s the drums and a consistent drone line bled over from the end of “Ox” that begin the track. Before the hissing vocals arise, an angular back and forth between the guitar and bass seems to be jabbing one instrument against the other, but as the guitar moves (temporarily) elsewhere, the low end holds steady under verses and a psychedelic lead. Even the drums start to freak out eventually, but that bassline holds until the song itself seems to come apart leaving just another drone to lead into the penultimate “Deep Blue,” the first half of which pushes toward a peak with drawling drone-singing forward in the mix but nonetheless obscure and a blown-out distortion in focus that seems to drown out the crash cymbal. At about three minutes in, the emergent cacophony ends abruptly and “Deep Blue” roots itself in its central figure to play eerie whispers and eerier falsetto off each other before a drone once again provides the shift into “Throne of the Void in the Hundred Petal Lotus,” which in its linear course, patient execution and holding onto that drone provides a fitting summary of Kala‘s accomplishments to that point.

Less harsh than some of the other cuts, its slower beginning turns toward a grander ending after about five and a half minutes and continues to thrust outward from there until finally the pieces seem to rumble apart, bells chime, amps feed back, and that underlying drone that has been present for much (not all) of the album caps it on a long fade. Wherever they’ve gone soncially over the course of their now-decade-long tenure — and they go a few places here that don’t have a name yet — Queen Elephantine‘s work has always been distinguished by its raw-form creativity, by the sheer will for experimentation that drives it. Kala pushes Queen Elephantine deeper into volume as a spiritual or cerebral expression, and proves just as immersive a journey for the listener as one imagines it was for the artist, but even more than that, it reinforces just how woefully underappreciated they continue to be.

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Listen to “Quartz”

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Concrete Lo-Fi Records

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