Les Lekin Set Dec. 1 Release for Died with Fear; New Track Streaming

Posted in Whathaveyou on October 13th, 2017 by JJ Koczan

les lekin

Trippy trio Les Lekin are set to release their second long-player, the ominously titled Died with Fear, on Dec. 1 through Tonzonen Records, and to go with the announcement of the blue-marble gatefoldness to come, they’ve newly unveiled the immersive and instrumental thrush of a track called “Morph.” It’s 13 minutes long, which when you’re listening to it as I am now sounds about right, and has a super-easy flow in following up on what the Austrian three-piece brought to their 2014 debut, All Black Rainbow Moon (review here), as regards tonal richness, listener encapsulation via groove, heavy psychedelic reach and so on. I’m digging it, in short. Look forward to hearing the rest of the record.

Info, background and audio came down the PR wire. Track is at the bottom of the post. Suggest you hit it up:

les lekin died with fear

LES LEKIN Announce New Album “Died With Fear”, First Track Revealed

Heavy psychedelic rock Trio Les Lekin announce new album Died With Fear for a December 1, 2017 release on Tonzonen Records!

A room in an industrial area in Salzburg, Austria. Tuesday evening, 8 pm. After the neon suns have gone out, only candles light the place. You hear the high-pitched whine of the fully opened Marshall, the Ampeg fan going at full blast, and the rattle of a snare drum. The whine builds up more and more into a room- filling feedback noise. A fist hitting the body of the bass fills the space between with deep frequencies.

The cymbals’ attack becomes louder and louder. Then… silence… a stroke at the snare- drum. Three people throw out all they have, all they are, and all of what they have in them. Inspired by the desert and the moon, sand and space. Welcome to the heavy-psych-three-piece-noise-machine that is Les Lekin.

Died With Fear new album from Les Lekin will be available from Tonzonen Records on limited edition blue marbled gatefold vinyl of 500 copies with download code as well as on CD and digital.

https://www.facebook.com/leslekin
https://twitter.com/LesLekin
http://www.leslekin.com/
https://leslekin.bandcamp.com/
http://www.tonzonen.de
https://www.facebook.com/Tonzonen/

Les Lekin, “Morph”

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Quarterly Review: Minsk, King Bison, Les Lekin, The Vintage Caravan, Jim Healey, Anu, Iron & Stone, Gorgantherron, Elephant Riders, Lend Me Your Underbelly

Posted in Reviews on July 1st, 2015 by JJ Koczan

the obelisk summer quarterly review

And so we cruise into day three. Not sure how you’re holding up, but I feel like I’m hanging in pretty well. We pass the halfway point today, which is significant, but of course there are still plenty of records to come. I’m not sure I have a favorite day — I tried to spread stuff around as best I could when I was planning the whole thing — but there are definitely a couple highlights today as well. No doubt the standouts will stand out as we make our way through.

Quarterly Review #21-30:

Minsk, The Crash and the Draw

minsk the crash and the draw

Six years after the release of their third album, With Echoes in the Movement of Stone (review here), the 75-minute breadth of The Crash and the Draw (on Relapse) marks a welcome resurgence for Illinois post-metallers Minsk. Only keyboardist/vocalist Timothy Mead and guitarist/vocalist Christopher Bennett (also of Lark’s Tongue) remain from what was a four-piece and is now five with Aaron Austin on guitar/vocals, Zachary Livingston on bass/vocals and Kevin Rendleman on drums, but Minsk’s cascading heft is well intact as they show immediately on 12-minute opener and longest cut (immediate points) “To the Initiate.” True enough one is bound to be initiated after it, but it hardly scratches the surface of the atmospheric sludge Minsk continue to develop over the course of the four-parter “Onward Procession,” the glorious later melodies of “The Way is Through,” or the tribal tension in the percussion-led “To You there is No End.” They cap with the 10-minute “When the Walls Fell” and find themselves standing after all else has crashed down. A sprawling and triumphant return.

Minsk on Thee Facebooks

Minsk at Relapse Records

King Bison, King Bison

king bison king bison

Not to be confused with New York’s King Buffalo, Michigan’s Bison Machine or any number of other large mammals in the well-populated fur-covered contingent of American heavy rockers, King Bison make their self-titled debut via Snake Charmer Coalition, comprising seven riffy bruisers owing a deep debt to Clutch and, in that, reminding a bit of their Pennsylvanian countrymen in Kingsnake. Songs like “One for the Money” and “March of the Sasquatch” signal a watch for stoner-roller grooves to come in “Queen of the South” and “Pariah,” the dudeliness of the proceedings practically oozing from the speakers in the gruff vocals of guitarist/vocalist Chris Wojcik, who’s joined in the trio by bassist Dean Herber and drummer Scott Carey. The penchant for booze and blues, ladies and US auto manufacturing holds firm in “Night Ride” and the slower “I’m Gone,” and while one might expect a closer called “Space Boogie” to flesh out a bit, King Bison instead reinforce the foundation they’ve laid all along of Southern-style heft, remaining light on pretense and heavy on riffs.

King Bison on Thee Facebooks

Snake Charmer Coalition

Les Lekin, All Black Rainbow Moon

les lekin all black rainbow moon

Originally issued digitally late last year, Salzburg, Austria, instrumental trio Les Lekin are set to give their debut long-player, All Black Rainbow Moon, a second look with a 180g vinyl pressing in Fall 2015. Comprised of six tracks, the record is a spacious 49 minutes, and the three-piece of guitarist Peter G., bassist Stefan W. and drummer Kerstin W. enact a fluid heavy psych groove, somewhat less dense in its fuzz than the post-Colour Haze sphere and following plotted courses throughout, whether it’s in the Arenna-esque “Solum,” which unfolds after the album’s wash of an intro, the efficient exploration of “Useless,” which seems to pack a 12-minute jam into a six-minute song, or the still-open-sounding bluesy stretchout of “Loom,” the longest inclusion here at 13:16. Familiar in aesthetic perhaps, the songs are nonetheless complex enough to represent the band’s beginnings well, the closer “Release” coming to a heavier apex that could perhaps foreshadow future expansions of the chiaroscuro elements at which the title of this debut is hinting.

Les Lekin on Thee Facebooks

Les Lekin on Bandcamp

The Vintage Caravan, Arrival

the-vintage-caravan-arrival

After releasing their 2012 debut, Voyage, on Nuclear Blast last year, young Icelandic trio The Vintage Caravan return in 2015 with their sophomore full-length, Arrival – the second record seeming by title to be an answer to the first. Maybe that’s the intention musically, but the 10 tracks/55 minutes comprising Arrival do well to stand on their own, with the impressive lead work of guitarist/vocalist Óskar Logi never too far from the fore on songs like the standout “Babylon” or “Sandwalker,” though backed capably by the rhythm section of bassist Alexander Örn (also backup vocals) and drummer Stefán Ari Stefánsson. While unquestionably a more mature outing than their debut and more accomplished in its chemistry and songwriting, Arrival still gives a sense of the progression to come, and it’s easy to worry that by the time the listener gets to the powerful closing trio of “Innerverse,” “Carousel” and “Winter Queen,” the dizzying play throughout will have dulled the senses past the point of full appreciation. Room to tighten? Perhaps, but still a strong second outing for a band loaded with potential.

The Vintage Caravan on Thee Facebooks

The Vintage Caravan at Nuclear Blast

Jim Healey, This is What the End Looked Like

jim healey this is what the end looked like

Guitarist/vocalist Jim Healey is known more for the aggressive edge he’s brought over the years to bands like We’re all Gonna Die, Black Thai and most recently Shatner, but his solo material brings a different look. Joined in this “solo” endeavor by guitarist/vocalist/organist Joe McMahon, cellist/backing vocalist Dana Fisher, drummer Kyle Rasmussen and accordionist/backing vocalist Bridget Nault, Healey’s songwriting is nonetheless front and center across the nine tracks of This is What the End Looked Like, memorable cuts like “A Whole Lot of Nothing,” the more subdued “Radio” (written by Eddy Llerena) and closer “World War Eight” fleshing out arrangements that could work and/or have worked just as well on solo acoustic guitar for Healey in live performances. Worth noting that for all the vocal and instrumental embellishments on the studio incarnations, the songs lose none of the heartfelt feel at their core, Healey’s voice remaining a lonely presence despite obviously keeping good company.

Jim Healey on Thee Facebooks

Jim Healey on Bandcamp

Anu, Nighthymns

ANU Nighthymns

Nighthymns marks a return for ANU and the band’s sole inhabitant Chad “Drathrul” Davis (Hour of 13/Night Magic, Tasha-Yar, The Sabbathian, and so many others) after a four-year absence following the release of 2011’s III EP. Offsetting blasting, ripping black metal on cuts like “Enter the Chasm” and “The Eternal Frost” with the ambient drones of “Risen within the Mist of Obscurity,” the longer “Winterfall” and the title-track, Nighthymns nonetheless gnashes its teeth in a dense blackened murk, screams far back in “Enter the Chasm” beneath programmed-sounding thud and full-on guitar squibblies. A project Davis has had going in one form or another since releasing a first demo in 1999, and likely before that, ANU’s slicing extremity and atmospherics rest well alongside each other, but neither is accessibility a remote concern. If you get it, you get it, and if you don’t, you don’t. Nighthymns is way more concerned with separating wheat from chaff than it is with making friends, and that plays much to its ultimate success.

Anu on Thee Facebooks

Wohrt Records

Iron and Stone, Old Man’s Doom

iron and stone old man's doom

Comprised of gruff-shouting vocalist Henning L., guitarists Christopher P. and Stephan M., bassist Matthias B. and drummer Torsten H., German riff idolizers Iron and Stone debuted in 2013 with an EP titled Maelstrom and Old Man’s Doom is a follow-up short release. Pressed to DIY cassettes, the three-tracker preaches loud and clear to the nod-ready converted in “Place in Hell” and “Into the Unknown,” big riffs lumbering out stone vibes, intertwining rhythms and leads in the latter as Henning works his shouting into a corresponding notation. “Into the Unknown” ends large and Sabbathy, but speedier closer “Bliss of Diversion” is a high point unto itself for the consistency of the tonal morass that the uptick in pace brings out of the guitar and bass, resulting in a kind of noisy, dense-in-the-low-end punk that suits Iron and Stone well despite operating in defiance of the EP’s title. New material reportedly in the works as well.

Iron and Stone on Thee Facebooks

Iron and Stone on Bandcamp

Gorgantherron, Second Sun

gorgantherron second sun

Their first album, Second Sun follows a 2012 self-titled EP from Indiana trio Gorgantherron, but is in a different league entirely. A well-set mix balance establishes itself on the opening title-track and develops throughout “Superliminial” and “Bookbinder” as they get rolling, and Gorgantherron – guitarist/vocalist Clint Logan, bassist/vocalist Toby Richardson and drummer Chris Flint – continue to foster grooving largesse over the nine tracks/47 minutes, veering skillfully between boogie and doom on “Pre-Warp Civilization” before airing out an atmospheric take on “Seventh Planet,” the rough-edged vocals prevalent in quieter surroundings. Richardson’s fuzz on “The Stone” ensures the song lives up to its name, and the soft guitar noodling that opens “Paranoia” brings a surprising touch of Colour Haze influence out of the blue before a count-in from Flint puts the band’s roll back on its appointed track. Closing duo “Entropy” and “Defy” offer some shuffle and chug, respectively, but by then the trio have already made the album’s primary impression in their heavy riffs, burl and more than capable execution.

Gorgantherron on Thee Facebooks

Gorgantherron on Bandcamp

Elephant Riders, Challenger

elephant riders challenger

The two cuts of Spanish trio Elephant RidersChallenger EP take Kyuss-style desert riffing and reset the context to something altogether less jammy. Tight and presented with a near-metallic crispness in their production, both “Challenger” – rerecorded from an earlier EP – and its more rolling B-side “Lone Wolf” push the line between heavy and hard rock, but riffs remain central to their purposes. Having released their debut full-length, Supernova, in 2014, they’re still getting settled into their sound, but a blend of heavy rock, grunge and metal impulses pervades these two songs, and when “Lone Wolf” shifts into a couple measures of start-stop fuzz riffing in its second half, they show off just a reminder nod for where they got their name. Two catchy tracks that maybe aren’t reinventing the stoner rock game, they nonetheless provide a quick sample of Elephant Rider’s songwriting development in progress and plant the seeds of future hooks to come.

Elephant Riders on Thee Facebooks

Elephant Riders on Bandcamp

Lend Me Your Underbelly, Hover

lend me your underbelly hover

When placed next to each other, the five one-word titles on Lend Me Your Underbelly’s Hover – either the project’s third or fourth full-length, depending on what you count – result in the phrase “Everything” “Was” “Deep” “Dark” “Green.” Whether or not that is of special significance to Netherlands-based multi-instrumentalist/sampler Christian Berends, I don’t know. The whole idea across these tracks seems to be experimentation and improvisation, so if the titles were grabbed from somewhere at random or carrying a rich emotional connection, either is just as likely. Not knowing turns out to be half the fun of Hover itself – not knowing that, not knowing what Berends is going to do around the next turn as each track builds, not knowing where all this noise is leading as the swirls and riffs of “Green” close out. Layers careen, appear and disappear throughout, but the wide open structures and creative sensibility remain consistent and tie Hover together as an intricate work of exploratory psychedelia.

Lend Me Your Underbelly on Thee Facebooks

Lend Me Your Underbelly on Bandcamp

 

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Been Obscene, Unplugged: Saying Goodbye

Posted in Reviews on August 1st, 2014 by JJ Koczan

Recorded audio and video late in December 2013 in their native Salzburg, Austria, Been Obscene‘s Unplugged only tells half the story with its title. Yes, it was an acoustic show that the band decided to document in its entirety — a full 90-minute set — but Unplugged also serves as the four-piece heavy psych rockers’ swansong. Their first acoustic show was also their last show altogether, and so after making their debut on Elektrohasch in 2010 with The Magic Table Dance (review here) and following up strong in 2011 with Night o’ Mine (review here), they return three years later with a live record to take the place of what would’ve been their third full-length, their set taking material from all three albums — the two released, the one unmade — and call it a day. Fair enough. I was sorry to hear Been Obscene were breaking up, having been fortunate enough to catch them live on their only US tour, and while Unplugged seems an odd way to do their run justice — ending with something they’d never done before isn’t exactly a summary of their accomplishments — maybe getting to that point is as good a finish line as any a band could ask. Guitarists Thomas Nachtigal (also vocals) and Stefan Wagner, bassist/vocalist Philipp Zezula and drummer Robert Schoosleitner give a rich performance, emphasizing the class that’s always been at the heart of their approach and the songwriting that’s underscored the jammy feel of their albums, and as Unplugged winds its way through the second LP/CD, Been Obscene prove one last time to be masters of their sonic domain. They were a good band and they’ll be missed.

Their approach was different, but as progenitors of next-gen heavy psych delivered via Elektrohasch, it’s hard not to compare Been Obscene‘s departure to that of Sungrazer. Both bands showcased massive potential across two records, hinted at a third to come with new material, and then stopped before they got to that point. On UnpluggedBeen Obscene offer some hint of what might’ve been had that full-length come to fruition, though of course it’s a best guess how cuts like “Hey You,” “Take it Slow” and “Sound of Time” could have sounded in a full-thrust studio incarnation. The latter is a highlight of Unplugged‘s first disc, but really just one of several strong showings they made at that show at the Danspaleis circus tent at Winterfest in Salzburg on Dec. 30 of yet-unreleased songs. While not as established as cuts like “The Run” from Night o’ Mine or “Uniform,” the second cut from The Magic Table Dance which closes here, the aforementioned tracks and “Pilot the Pirates,” “You Wanna Know” and “Hail to Belief” — which backs up “Impressions” from the first album right at the start of the set — reinforce the quality of songwriting that was coming to fruition in Been Obscene‘s sound. Taken in context of what they did in their time and what they may have been about to do, Unplugged is a wistful release, something the wistfulness of the instrumental “Memories in Salvation” and the melancholy “How it Feels” only underscore as their time on stage begins to wind down. They may have been happy to end it, it may have been sad — I don’t know what the circumstances were — but it’s easy to imagine a heartfelt sentimentality coming forward there as Nachtigal croons the repeated lines, “I woke up and I realized that I/Don’t know how it feels,” hypnotic in the studio version but here brimming with emotional resonance.

It feels somewhat crass to pick out highlights from an act’s final show, and Unplugged is best taken as a whole, but I’d be remiss if I didn’t point out the 14-minute stretch of “Demons,” presented here as one of their finest moments as a band. The breadth they capture with the natural instrumentation is remarkable, and finds echo soon enough in “Snake Charmer” and “Endless Scheme” on the second disc, but “Demons” is a singular melody and feel within Been Obscene‘s abbreviated catalog, and they more than do justice to its sprawl. “Uniform” caps with an insistent bounce, a long instrumental opening leading to some last words from Nachtigal, and the show ends with a big rock finish and much applause. On the video version, to see Wagner put his head down and tear into the leads, or to see the concentration in Nachtigal and Zezula‘s faces, Schoosleitner‘s smile as they round out the set before taking a final bow and leaving the stage, it’s all the more powerful considering it’s the last time they’ll do so. One never knows in rock and roll, and bands who for years discount the possibility of a reunion suddenly flip a switch and come back stronger than ever. Whether that’s the fate of Been Obscene, I’ve no clue and wouldn’t want to predict. As it stands now, they were a band who cut short the realization of their full potential, and both in playing their latest and last round of new material and ending their career by doing something they’d never done before, they make that all the more apparent. If their future holds that at some point they get back together and make that third LP a reality or if they don’t, they said goodbye with an adventurous spirit, a vibrant performance and a fitting document of their personality as a band. That’s more than a lot of groups manage, and it’s a result worth appreciating.

Been Obscene, “Impressions” live at Danspaleis, Dec. 30, 2013

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Been Obscene on Bandcamp

Elektrohasch Schallplatten

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Been Obscene to Release Unplugged 2LP in April

Posted in Whathaveyou on January 30th, 2014 by JJ Koczan

It was a genuine bummer late last year when Austrian heavy psych four-piece Been Obscene announced that the acoustic show they were playing Dec. 30 in their native Salzburg would also be their last as a band. I don’t know what happened to bring their dissolution, but it happened even as word was coming out of their recording a third album and follow-up to 2011’s Night o’ Mine (review here), which was released on Elektrohasch. I guess sometimes that’s just how it goes.

The good news is that the Dec. 30 show was apparently recorded, audio and video, and as a result, Been Obscene will release Unplugged by the end of April. The double-LP is set to contain songs from what would’ve been that third full-length, so I suppose it’s as close as we’ll get to hearing where they might’ve gone sonically had their next outing come to fruition.

Bittersweet news off the PR wire:

Made out of 180g finest colored vinyl, limited to 300 pieces and shipped in a gatefold cover, this double LP was recorded live at the Danspaleis circus tent in Salzburg, December 30th, 2013.

It contains old, recent and unreleased songs, representing Been Obscene’s journey in the last couple of years, arranged and played live and unplugged only for this special occasion.

As a bonus every LP contains a download code of about 40 minutes full hd video of the night’s performance as well as a code for digital download.

To make it even more special you are also able to get your LP signed personally and/or add a surprise shirt with the size of your choice.

Check out the first video of this special show HERE

The album is planned to be out by the end of April 2014 but you can pre-order it already! Quantity is limited so make sure you order right now…

DLP, 180g, VIDEO, MP3 | € 35.-
DLP, 180g, VIDEO, MP3, PERSONALLY SIGNED | € 40.-
DLP, 180g, VIDEO, MP3, SURPRISE SHIRT | € 45.-
DLP, 180g, VIDEO, MP3, PERSONALLY SIGNED, SURPRISE SHIRT | € 50.-

All prices plus shipping, tax included, only available through the official Been Obscene store.

PRE-ORDER NOW

https://www.facebook.com/beenobscene
http://www.beenobscene.com/

Been Obscene, “Impressions” Live in Salzburg, Dec. 30, 2013

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Been Obscene Give New Album Teaser with Live Clip for “Pilot the Pirates”

Posted in Bootleg Theater on July 1st, 2013 by JJ Koczan

I was fortunate enough to catch Been Obscene — guitarist/vocalist Thomas Nachtigal, guitarist Peter Kreyci, bassist Philipp Zezula and drummer Robert Schoosleitner — performing “Pilot the Pirates” earlier this year in Philly (though I had the title wrong in that review). What I had to say about it then was, “‘Pilot the Pirates’ was less outwardly jammy, featuring some solid backing arrangements from Zezula on vocals, but still had room for a bit of meandering amid a straightforward Queens of the Stone Age start-stop given vitality and fitting attitude from Kreyci rocking out with Schoosleitner.”

Watching the professionally-shot live video for the song, a studio version of which is set to appear on Been Obscene‘s next studio album — due out early 2014 — my impression is much the same, but on repeat viewings, it’s pretty clear what I missed appreciating was where the song really takes off after its halfway point. In the clip below, it’s signaled by a change in the lighting and quicker camera changes, so maybe that makes it more obvious, but either way, the track is a winner and the video makes me look forward even more to hearing the studio version when the time comes. So I guess it’s a winner twice.

As previously reported, Been Obscene are part of the ultra-righteous lineup playing this year’s Stoned from the Underground fest in Germany (info here). That and other live dates follow below:

Been Obscene, “Pilot the Pirates” official live video

Jul 13 Erfurt [DE] Stoned From The Underground
Jul 19 Golling [AT] On The Rocks
Jul 26 Feldkirch [AT] Poolbar
Aug 10 Waldhausen [AT] Lake On Fire
Aug 17 Plaidt [DE] Pellenzer

Keep up with updates from Been Obscene at their Thee Facebooks.

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Been Obscene Post Tour Trailer for US Dates

Posted in Bootleg Theater on March 11th, 2013 by JJ Koczan

Seems like rock and roll’s gone a little trailer-crazy of late — everything that’s happening in two weeks has to have a trailer — but I’m happy to post the trailer for Been Obscene‘s dates in Texas and the East and West Coasts for two reasons. First, it’s their first time through the States, I dig the band, and I’m psyched to get to see them without having to show my passport and be questioned by airport security. Second, it gives me an excuse to include the poster above for the four-show East Coast run, on which they’ll be joined by Borracho and Supervoid, which, as you can see, is frickin’ awesome.

By way of a plug, Clamfight are also playing that Kung Fu Necktie show, so debauchery shall ensue. Complete dates for the tour follow below. Hopefully you’ll be able to catch one of the shows too. Here’s the trailer:

Been Obscene, US Tour March 2013 Trailer

Been Obscene US Tour March 2013
Mar 16 Fort Worth, TX The Grotto
Mar 17 El Paso, TX Black Market
Mar 18 Tucson, AZ Tucson Live Music Space
Mar 19 Oceanside, CA Royal Dive
Mar 20 Fresno, CA Fulton 55
Mar 21 Chico, CA Cafe Coda
Mar 22 Eugene, OR Sam Bonds
Mar 23 Seattle, WA El Corazon
Mar 28 Washington, D.C. Velvet Lounge
Mar 29 Pittsburgh, PA Howlers Coyote Cafe
Mar 30 Philadelphia, PA Kung Fu Necktie

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You Stay Classy, BeenObscene

Posted in Reviews on October 18th, 2010 by JJ Koczan

Double-guitar Austrian four-piece BeenObscene make their Elektrohasch debut with The Magic Table Dance, an album that finds the band unpretentiously duna-jamming their way through eight organic tracks of Euro-fuzz reminiscent at times of earliest Natas and keeping a spontaneous feel despite being mostly led by the riffs. The album starts instrumentally, and listening to it, it wouldn’t have surprised me had all of The Magic Table Dance been entirely sans vocals, as the flow of the five-minute opening title cut is so easy that, on the first time through, you might just assume the tracks that follow are as well. It’s most of the way through the second song, “Uniform,” before guitarist Thomas Nachtigal sings at all, and though he’s joined on the record by a number of guest performers, BeenObscene’s first offering feels more focused on the music. Given some of the grooves they elicit, that’s not a complaint.

“Come Over,” which follows the start-stop riffing of “Uniform,” is the first of several tracks on which drummer Robert Schoosleitner really makes his presence known, keeping the presentation classy under the guitar grooves of Nachtigal and fellow guitarist Peter Kreyci with popping snare hits that add a jazz feel to what many other percussionists would probably straight-ahead on the hi-hat. He and bassist Philipp Zezula show off some angularity on the shorter, instrumental “Freakin’ Rabbit,” lending the track a feel similar to what Swedish fuzz-mongers Asteroid did on their second album. The Magic Table Dance feels like a quick mover by the time you get to “Impressions,” where Orange-hued riffage meets more traditional stoner structures offset by snare ghost-notes from Schootleitner, but the 14-minute “Demons” changes the feel of the album entirely, showing BeenObscene, in addition to being able to jam harmless and charming tunes out with the best of them, can also affect some serious epic songwriting.

Read more »

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