Quarterly Review: Enslaved, Hour of 13, Operators, MaidaVale, Audion, Bone Man, Riff Fist, Helén, Savanah, Puta Volcano

Posted in Reviews on July 12th, 2017 by JJ Koczan

quarterly-review-summer-2017

I don’t know about you, but I could do this all day. Listening to records, writing reviews, getting things done that I’ve been trying to get done in some cases for actual months of my life — suffice it to say I’m way into this process. Wednesday is always a special day for the Quarterly Review because we pass the halfway point, and as much as I wish this edition went to 60 or even 70 releases, because rest assured even with 50 total there’s way more I could be covering if I had space/time, the good news is there’s still much more awesomeness to come. Today gets into some different vibes once again, so let’s get started.

Quarterly Review #21-30:

Enslaved, Roadburn Live

enslaved-roadburn-live

In their storied and groundbreaking career, Norwegian progressive black metallers Enslaved have never put out a live record, and it kind of makes sense as to why. The nuance of what they’ve come to do in their studio material doesn’t really lend itself to the rawness of a live album. Accordingly, Roadburn Live (on ByNorse and Burning World Records) feels almost as much of an homage to the event itself as to the performance. Captured in 2015 as Enslaved guitarist Ivar Bjørnson co-curated and the band headlined playing a special set of their more prog-focused songs – here more recent material like “In Times,” “Building with Fire,” “Daylight” from 2015’s In Times (review here) and “Death in the Eyes of Dawn” from 2012’s RIITIIR (review here) shines along with “Convoys to Nothingness” from 2001’s Monumension, “As Fire Swept Clean the Earth” from 2003’s Below the Lights and the requisite “Isa” from the 2004 landmark of the same name, and a special highlight comes at the finale when they cover Led Zeppelin’s “Immigrant Song” and bring guitarist Menno Gootjes of Dutch proggers Focus out for a guest spot. Roadburn Live might be a step away from the band’s usual modus, but Enslaved have made their career on pushing themselves beyond their comfort zone, so why stop now?

Enslaved on Thee Facebooks

Burning World Records website

ByNorse Music website

 

Hour of 13, Salt the Dead: The Rare and Unreleased

hour of 13 salt the dead

An overdue compilation from a band making an overdue return, Hour of 13’s Salt the Earth: The Rare and Unreleased reunites the doomers led by multi-instrumentalist Chad Davis with Shadow Kingdom Records and brings together early demos from 2007 – on which the collaboration between Davis and vocalist Phil Swanson was arguably at its most vibrant as they headed into their self-titled debut full-length later that year – with other previously unissued cuts like three songs with Davis on vocals including the Jason McCash tribute piece “Upon Black Wings We Die” (premiered here) and the original rehearsal demos that introduced Beaten Back to Pure singer Ben Hogg as Swanson’s replacement in the band in 2011 (premiered here). If you want a direct feel for the breadth of the band, look no further than the three versions of “Call to Satan” that appear on Salt the Earth. Widely varied between them in sound and overall feel, they underscore the tumult that has existed since the outset at the core of Hour of 13 even as they provide hope that the band previously laid to rest can revitalize enough to put out a fourth studio offering.

Hour of 13 on Thee Facebooks

Shadow Kingdom Records website

 

Operators, Revelers

operators revelers

Nearly four years in the making, Revelers is the third full-length from Berlin’s Operators behind 2013’s Contact High (review here) and 2012’s Operators (review here), and it starts off by smashing Uncle Acid and the Deadbeats swing headfirst into Goatsnake riffing on “Leveled Reveler,” the first of its six component tracks. Their arrangements, as ever, are marked by the featured position of organ along with guitar, bass and drums, and whether it’s a more extended jam like that opener, “Messina” or the closing “Rolling Hitch” – which boasts a guest vocal/guitar spot from Wight’s René Hofmann, who also recorded and mixed (Tony Reed of Mos Generator mastered) – or the shorter momentum-building winding course through “Pusher,” “Walkin’ on Air” (I’m not sure what’s happening at the end there, but I’m not about to spoil it) and the winning-at-song-titles “Fuzz Muncher,” Operators function with a maturity of approach that seems to have been earned during the longer stretch between releases. To wit, all the turns and pivots even out in the last movement of “Rolling Hitch” and Revelers caps with a classic heavy rock groove that’s neither in a hurry nor staid – Operators finding crucial balance amidst all their revelry, and much to their credit.

Operators on Thee Facebooks

Fuzzmatazz Records on Bandcamp

 

MaidaVale, Tales of the Wicked West

maidavale tales of the wicked west

Blues Pills. There. I said it. Now that the blues-rocking elephant in the room has been acknowledged, perhaps we can get on with Swedish four-piece MaidaVale’s debut full-length, Tales of the Wicked West (on The Sign Records). Yes, the Fårösund-based band owe a bit of their soulfulness to the aforementioned, but the nine-track/44-minute long-player thrives most of all as Linn Johannesson, Sofia Ström, Matilda Roth and Johanna Hansson purposefully meander into psychedelic flashes, as in opener “(If You Want the Smoke) Be the Fire,” the midsection of “The Greatest Story Ever Told,” the penultimate Zep-vibing/Bukowski-referencing “Find What You Love and Let it Kill You” and the 11-minute post-“Maggot Brain” closer “Heaven and Earth.” It’s in these moments and the manner in which they blend with the driving rock of “Dirty War,” the bluesy swagger of “Restless Wanderer” and the deft turns of “Colour Blind” early on that MaidaVale’s individualism is beginning to take shape, and if that’s the story that Tales of the Wicked West is telling, then it’s one well worth following through subsequent chapters.

MaidaVale on Thee Facebooks

The Sign Records on Thee Facebooks

 

Audion, La Historia de Abraham

audion-la-histora-de-abraham

Audion’s debut, La Historia de Abraham, is immediately noteworthy in no small part because it brings the rhythm section of Los Natas back together for the first time since that band’s breakup following 2009’s excellent Nuevo Orden de la Libertad (review here). Drummer Walter Broide and bassist Gonzalo Villagra join forces in the new outfit with guitarist Dizzy Espeche, and all three contribute vocals throughout at least in backup capacity, adding variety to go with the instrumental breadth that runs from the serene end of “Llegaron Sordos” right into the rush of “La Maquina del Tiempo” and well beyond later as the interlude “Para Rosita” introduces an earthy acoustidelic feel and “El Carancho” explores ‘70s anthemic rock before the fuzz- and horn-laden finisher “Queruzalem” closes out with a surprising progressive wash. Cuts like opener “Clarence,” the title-track and “Colmillo Blanco” can call to mind Villagra and Broide’s previous work, but Audion make a fresh impression on La Historia de Abraham in the variety throughout, and as they make their way through “Lesbotrans” and “Diablo vs. Dios” and into the second half of the album, it becomes increasingly clear how distinct this first offering actually is.

Audion on Thee Facebooks

Audion on Bandcamp

 

Bone Man, III

bone man iii

To go along with the propulsive rhythm of “False Ambition” and the wash in the payoff of the earlier “These Days are Gone,” there’s a sense of gothic drama to vocalist Marian’s delivery that adds further atmosphere to Bone Man’s III (on Pink Tank Records), and in kind with the cohesive foundation of Arne’s bass, Ötzi’s drumming and his own scorch-prone guitar, that gives cuts like “Cold Echo” and the alternately brooding and explosive centerpiece – layered acoustic and electric guitar filling out the sound further – even more stylistic depth. That moodiness comes perhaps most into focus on the more subdued “Incognito,” but it’s there from the boogie-laced opener “Pollyanna” onward, and in the jagged push of “Years of Sorrow” and the more spacious finale “Amnesia” (still a tightly structured four minutes in length), it lends III a persona stretching beyond what one might think of as the standard genre fare and gives the Kiel, Germany, outfit a presence decidedly their own. It’s their third record, so maybe that’s not a surprise for a band who made their first offering eight years ago, but it serves as a major source of resonance in the material nonetheless.

Bone Man on Thee Facebooks

Pink Tank Records website

 

Riff Fist, King Tide

riff fist king iii

Going back to 2013, Melbourne, Australia, trio Riff Fist have basically summed up their approach in the eight letters of their name: a tight-knit approach to guitar-led heavy rock, as straightforward as a fist in your face. King Tide is their debut album after three EPs named for the Clint Eastwood Dollars trilogy of westerns – 2015’s The Good, the Loud and the Riff, 2014’s For a Few Riffs More and 2013’s Fistful of Riffs (review here) – and it significantly expands their breadth. Opening with its longest track (immediate points) in the 11-minute title cut (video premiered here), King Tide covers new, more patient and encompassing ground from bassist/vocalist Cozza, guitarist Casey and drummer Joel than anything they’ve touched on before, and while the subsequent “D.T.U.B.,” fuzz-laden “Fist Bier (Noch Eins)” and even the first half of eight-minute centerpiece “Chugg” bring that all-ahead sensibility back into focus, King Tide remains effectively and engagingly informed by its leadoff impression through its total 33-minute run, which is rounded out as “Beer and a Cigarette” melds the more spacious and atmospheric take with a still-swinging post-Clutch groove. There’s more work to do in tying the various sides together, but King Tide is a rousing introduction to the process through which the band can make that happen.

Riff Fist on Thee Facebooks

Riff Fist on Bandcamp

 

Helén, Helén

helen helen

Hexvessel multi-instrumentalist and vocalist Kimmo Helén makes a willfully peculiar and experimentalist self-titled debut with the solo-project Helén via Svart Records, setting a course through melodic indie wash in “Uusi Olento” even as “Jumalan Hullu” threatens in its bounce and the later “Lystia” moves into yet-darker expanses. Keys, electric and acoustic guitar, sax, and of course Helén’s own Finnish-language vocals, there’s very little that feels like it might be outside his comfort zone in terms of craft, and Helén, the album, is just as effective in the plus-cello-acoustic-minimalism of the penultimate “Lopussa” as in the earlier atmospheric breadth of “Puolen Metrin Syvyydessä.” Closing out with the alternately melancholy and dreamy “Kaikki Isä,” the record brings out a full-band feel despite Helén having handled the vast majority of the instrumentation on his own and impresses in that as well as in its range of moods and overarching sense of purpose. May it be a first exploration in a series of many.

Helén on Thee Facebooks

Helén at Svart Records webstore

 

Savanah, The Healer

savanah the healer

I won’t take away from a wah-drenched rocker like “The Healer,” which still jams out plenty before digging into doomier lumbering, but where Austrian trio Savanah’s Stone Free Records debut album, The Healer, really gets its point across is in the fluidity of its longer-form material, whether that’s post-“Intro” opener “Mind,” the ebbing and flowing heavy psych instrumental “Pillars of Creation” or the over-10-minutes-apiece closing pair of the doom rocking “Black Widow” and “Panoramic View of Stormy Weather,” which effectively draws together the multiple aesthetic faces the three-piece demonstrate throughout the record preceding, culling rock, psych and doom into a single riff-driven entity and, most importantly, making it theirs. Guitar leads the way with big, natural fuzz, but the rhythm section is crucial here, and as Benny, Felix and Jakob follow-up their 2015 EP, Deep Shades, they seem to establish a path along which they can flourish and hopefully continue to capture the listener’s attention as they do here.

Savanah on Thee Facebooks

StoneFree Records website

 

Puta Volcano, Harmony of Spheres

puta volcano harmony of spheres

The kind of release where by the end of the first song you want to own everything the band has ever put out. Don’t let Athens’ Puta Volcano get lost in the wash of bands coming out of Greece these days, because there are many, but if you miss out on the blend of desert-style tones and graceful melodies of “Bird,” it’s to your general detriment. I’m serious. In craft and performance, Puta Volcano’s third album, Harmony of Spheres, takes on unpretentious progressivism in songwriting and blends it with a post-Slo Burn/Hermano sense of freedom from genre. Witness the funky “Zeroth Law” or the later, more subtle post-grunge linearity of “Moebius,” the odd chanting repetitions in closer “Infinity” or the nigh-on-maddening hook of “Jovian Winds.” Really, do it. With the lineup of vocalist Luna Stoner, guitarist Alex Pi, bassist Bookies and drummer Steven Stefanidis, Puta Volcano are onto something special in aesthetic and delivery, and if Harmony of Spheres might be your first experience with the band as it’s mine, it’s one that will no doubt warrant multiple revisits. Consider it sleeper fodder for your year-end list – I know I will.

Puta Volcano on Thee Facebooks

Puta Volcano on Bandcamp

 

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audiObelisk Transmission 061

Posted in Podcasts on May 15th, 2017 by JJ Koczan

the obelisk podcast 61

Click Here to Download

 

Yes! A new podcast! Are you stoked? I’m stoked. If you’re not, you will be when you look at the list of bands included. In any case, let’s be stoked together, because rock and roll, and heavy psych and good music and, well, yeah. That’s pretty much stuff to be stoked about. It’s been absurdly long since the last time we did one of these. Too long. I don’t really have an excuse other than… gainful employment? Don’t worry, though. That’ll be over soon enough. Then it’ll be podcasts out the ass.

There’s some killer goods here though. Yeah, I decided to do a “Yeti” double-shot with Green Yeti into Telekinetic Yeti. That’s my version of me being clever. But both bands are righteous, and if you haven’t heard the Savanah record, or that new Tia Carrera jam, or the Cachemira or Big Kizz or Yagow or Vokonis or the Elder — oh hell, frickin’ all of it — it’s worth your time. That Emil Amos track just premiered the other day and I think will surprise a lot of people, and I liked the way it paired with the dark neofolk of Hermitess. And of course we get trippy in the second hour, as is the custom around here. But first a moment of prog clarity from the aforementioned Elder. That’s a good time as well.

As always, I hope you enjoy.

Track details follow:

First Hour:

0:00:00 Vokonis, “The Sunken Djinn” from The Sunken Djinn
0:06:47 Tia Carrera, “Laid Back (Frontside Rock ‘n’ Roll)” from Laid Back (Frontside Rock ‘n’ Roll)
0:16:33 Supersonic Blues, “Supersonic Blues Theme” from Supersonic Blues Theme / Curses on My Soul
0:19:28 Emil Amos, “Elements Cycling” from Filmmusik
0:22:28 Hermitess, “Blood Moon” from Hermitess
0:26:24 Savanah, “Mind” from The Healer
0:34:22 Yagow, “Non-Contractual” from Yagow
0:42:35 Big Kizz, “Eye on You” from Eye on You
0:45:53 Cachemira, “Jungla” from Jungla
0:52:05 Green Yeti, “Black Planets (Part 2)” from Desert Show
0:58:02 Telekinetic Yeti, “Stoned and Feathered” from Abominable

Second Hour:

1:02:10 Elder, “The Falling Veil” from Reflections of a Floating World
1:13:20 Riff Fist, “King Tide” from King Tide
1:24:15 Cavra, “Montaña” from Cavra
1:39:18 Causa Sui, “A Love Supreme” from Live in Copenhagen

Total running time: 1:55:53

 

Thank you for listening.

Download audiObelisk Transmission 061

 

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Riff Fist Premiere “King Tide” Video; European Tour Starts April 21

Posted in Bootleg Theater on April 17th, 2017 by JJ Koczan

riff fist

The official issue date for Riff Fist‘s new album, King Tide, is listed as April 21, but you might look at the entirety of their upcoming European tour as a release party. The shows will happen in and on multiple stages throughout Poland, Germany and the Netherlands, as the Melbourne, Australia, three-piece make their return trip to the continent to play Desertfest Berlin 2017 after featuring two years ago at the same festival. Nothing like a command return, and all the better as they team up for gigs with Major Kong in their native Poland and fellow Aussie troublemakers Mammoth Mammoth for other gigs post-Desertfest, all en route to a headlining show in Berlin on May 12 that closes out the run.

It’s a busy time for the band, to be sure, but you’d never know it listening to “King Tide” itself. The title-track of Riff Fist‘s latest unfolds patiently over the course of 11 minutes as bassist/vocalist Cozza, riff fist king tideguitarist Casey and drummer Joel dig into a languid psychedelic flow distinct from the prior work of the band’s own Dollars-trilogy-themed short releases, 2015’s The Good, the Loud and the Riff, 2014’s For a Few Riffs More and 2013’s Fistful of Riffs (review here), which tapped into some similar elements but only hinted at such range of approach. Rest assured, there’s still plenty of post-Orange Goblin burl to bask in during songs like “Chugg” and “Fist Bier (Noch Eins)” as the 33-minute King Tide plays out, and some of that in the title-cut as well, but Riff Fist offer a markedly expanded scope with “King Tide,” and in bringing it along with them as they hit Europe once again, it’s easy to imagine they’ll turn heads all the more in their direction as a result.

Below, the band premieres the track “King Tide” in a new video featuring the album artwork by Berlin-based artist BoozyBags. Spoiler alert: there’s a fist involved. Underneath the player itself, you’ll find some exposition from Riff Fist and the upcoming tour dates.

The highlight, however, is “King Tide” itself, and I hope you enjoy:

Riff Fist, “King Tide” official video

Riff Fist on “King Tide”:

‘King Tide’ is the epic track that we have long considered as our opus work and we finally look forward to presenting it to our fans. The track now recorded beautifully at the Black Lodge in Melbourne is shown in music video with a slow reveal first look of the new album artwork by Berlin artist BoozyBags. We look forward to fans experiencing its raw power presented with live Riff Fist energy on stages in Europe over the next 4 weeks.

From the upcoming release ‘King Tide’ available April 2017.

Hands up who wants to RIFF?

The knuckle sandwich to the eardrums that is Riff Fist are excited to announce their latest release ‘King Tide’. Recorded at The Black Lodge Studios in Melbourne, Australia by drummer and audio engineer Joel Taylor, the release features a true stoner rock epic title track that demonstrates the power trio’s dynamic range and solid groove. The rest of the album features the fuzzed out stoner riffage and fat low end the band are known for combining influences from the golden era of stoner rock as well as a solid dose of ?O’s heavy classics.

Celebrating the release the band are embarking on a European tour through Poland, Germany and The Netherlands including their second performance at Desertfest Berlin. After a fantastic reception to their previous European shows, the boys can’t wait to unleash the ‘King Tide’ at the following dates:

RIFF FIST EURO TOUR 2017:
w/Major Kong and Red Scalp
21/4 – Poznan (POL)
22/4 – Wroclaw (POL)
23/4 – Krakow (POL)
Desertfest
28/4 – Desertfest Berlin (GER)
w/Mammoth Mammoth
2/5 – Dresden (GER)
3/5 – Osnabrueck (GER)
4/5 – Cologne (GER)
5/5 – Duesseldorf (GER)
7/5 – Utrecht (NL)
8/5 – Frankfurt (GER)
9/5 – Hamburg (GER)
w/Urza and Kkröte
12/5 – Berlin

Riff Fist website

Riff Fist on Thee Facebooks

Riff Fist on Bandcamp

Riff Fist on Twitter

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Desertfest Berlin 2017: John Garcia to Headline; 1000mods, Suma, Pontiak and Riff Fist Added

Posted in Whathaveyou on December 22nd, 2016 by JJ Koczan

desertfest berlin 2017 john garcia

Once the reunited Slo Burn had been announced for London, I had been wondering how Desertfest Berlin 2017 might manage to work them into the lineup despite what had been revealed previously as a German-exclusive show at Freak Valley 2017 just weeks later. We have our answer in the latest update that frontman John Garcia and his solo band will do a set spanning material from the Kyuss and Slo Burn catalogs for the Berlin-based festival, thereby avoiding conflict with the Freak Valley slot and giving Desertfesters something special in their own right. I recall seeing Garcia Plays Kyuss at Roadburn in 2010 and they did Slo Burn‘s “Pilot the Dune.” Sat pretty well next to the Kyuss material if I do say so myself.

As Garcia will be performing with Slo Burn the same weekend in London, I’d be very interested to know the lineup for this incarnation of his solo band, whether it’s the same players working under a different name or if anyone is swapping out from one show to the next. Everything’s politics, folks. Make no mistake.

In addition to this bit of intrigue, 1000mods, Suma, Pontiak and Riff Fist have been added to Desertfest Berlin 2017, who sent over this pre-holiday update:

desertfest-berlin-2017-first-poster

JOHN GARCIA & BAND (playing from SLO BURN to KYUSS) to HEADLINE Desertfest Berlin 2017

DESERTFEST BERLIN 2017 – APRIL 28-29-30

Christmas is approaching, and before you all go away for the Holidays, we wanted to give you 5 more names confirmed for Desertfest Berlin 2017, including our second headliner. So we are proud to have for this sixth edition of the festival:

JOHN GARCIA (USA)
The original and legendary voice of the desert pays us a visit with a suitcase packed with everything from Kyuss to Slo Burn.

SUMA (SWE)
Doomy, sludgy and so heavy that the Berlin buildings will tremble for weeks after Malmös finest has destroyed all Desertfesters ears.

1000mods (GR)
The Greek tornado will hit us with their energetic and fuzz loaded rock, it’s gonna be a show that will be remembered.

PONTIAK (USA)
We’ve been able to lure them away from Virginia to perform their trippy and psychedelic tunes, then they’ll take us on a trip for a lifetime.

RIFF FIST (AUS)
It’s always a pleasure to welcome back who defends the riff and Riff Fist are the true defenders.

Also confirmed for our 2017 edition of DESERTFEST BERLIN: SLEEP, SAMSARA BLUES EXPERIMENT, MARS RED SKY, LOWRIDER, TOUNDRA, ECSTATIC VISION, THE COSMIC DEAD, TUBER, SATAN’S SATYRS, WUCAN, VENOMOUS MAXIMUS, THE WELL, GOLD, TSCHAIKA 21/16.

There are still many more acts to be unveiled, including our last headliner, so stay tuned! And do not miss your chance to be part of the amazing DESERTFEST BERLIN experience… Check out our Website to get your tickets, or the links below in this release! We were sold out last year in February, so better be quick! Let’s turn all together the DESERTFEST BERLIN 2017 into another milestone when it comes to Berlin and festivals!

http://www.desertfest.de/tickets
https://www.facebook.com/DesertfestBerlin
http://woolheads.com/shop-2/festivalmerchandise/desertfest-berlin-2016-early-bird-ticket-action-1/
https://shop3.ticketscript.com/channel/html/get-products/rid/4MGC3S6H/eid/327518/validity/any_day/language/en

John Garcia, “Pilot the Dune” live in 2014

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The Obelisk Radio Add of the Week: Riff Fist, Fistful of Riffs

Posted in Radio on July 31st, 2013 by JJ Koczan

From where I sit, stoner rock charm is a very peculiar and particular kind of charm, and Riff Fist have all the earmarks. A trio of lugs from Down Under, they’re armed with inside jokes, guitar-bass-drums and steady Fu ManchuClutch and Kyuss influences, a cartoon Clint Eastwood on their cover (by Brian Koshak) and a four-track debut EP of riff-led shenanigans that they’ve decided to call — just in case you didn’t get the point from the fact that they’re called Riff FistFistful of Riffs. Ambitious it is not.

But really, if have any experience listening to stoner rock whatsoever and you go into listening to a band called Riff Fist who have a release called Fistful of Riffs thinking you’re going to wind up with innovation, it’s your own fault. That’s not what Riff Fist are about. They’re about riffs, booze, and — again, the way I see it — charm. I don’t listen to “Spud King” with any kind of expectation for something landmark that will change my life forever. I listen hoping I’m going to hear a dude singing about being king of the potatoes, and thankfully, that’s just what I get from Riff Fist, and if that’s not enough to let you know how seriously Cozza, Grondo and Casey don’t take themselves, between calling out Fu Manchu in third track “Riff Stew” and the picture of one of the band members on a riding a pony under the CD tray in the digipak with the caption “It’s a Satanic Pony Thing… You Wouldn’t Understand” should fill in any blanks that might be left. Accordingly, they close out the EP with the eight-minute jam “Ride the Pony.”

Given all that and the fact that though it’s pretty raw vocally, the Melbourne three-piece’s first outing nonetheless comes with clean tones and some decent-sounding low end punch, I’m more than happy to get down with the silliness on offer. “Spud King” has some blues in its leads and “Fingerless Ben” is memorable for its strangeness as much as its chorus, but at least if Riff Fist are having a good time, they’re inviting you to have one too. I don’t know if the formative methods they’re showing here would pay off for them over the course of a full-length without something to sonically change it up — “Ride the Pony” branches out instrumentally some as it plays out, but is still very stoner rock and righteously, unashamedly so in this context — but as it is, what seems like the cream of their initial batch of songs since forming in 2011 appeals to the goofball in me. Wherever they go from here, it’s still fun.

And figuring it might be good times every now and again to have “Spud King” or “Ride the Pony” pop up in the playlist, I added Riff Fist‘s Fistful of Riffs to The Obelisk Radio. As standard practice seems to go for self-releasing bands, they’ve got the EP available on their Bandcamp too for CD and/or digital purchase, so here’s the stream of that as well if you’d like an immediate sampling:

Riff Fist, Fistful of Riffs (2013)

Riff Fist on Thee Facebooks

Riff Fist on Bandcamp

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