Granted, we’re still running on the backup server, but it’s been a couple weeks at this point anyway, so it’s time for a new round of adds to The Obelisk Radio. Some of this stuff is brand new, some isn’t out yet, and some is older, so it’s a pretty decent mix on that front, and between REZN, The Fërtility Cült and Cosmic Fall, I certainly think we’ve got heavy psychedelia covered. Fortunately there’s the longform doom extremity of Oceanwake and the kraut-worship electronics of Jenzeits (also longform, as it happens) to offer some balance, lest we go drifting off into the universe never to be heard from again. Can’t have that happening.
Before we dig in, thanks to Slevin as ever for his diligent work in keeping the Radio afloat. He’s got a drive recovery running now that will hopefully bring back everything that was there before. It’s been a whole thing, but progress is being made and I appreciate him tossing this stuff in with the backup material in the interim. Thanks to you as well for reading and listening.
The Obelisk Radio Adds for March 14, 2017:
REZN, Let it Burn
All-caps Chicago-based newcomers REZN make their deceptively ambitious debut with Let it Burn, a self-released 10-songer checking in at a willfully sprawling 59 minutes that blends psychedelic drift, grunge fuckall and neo-stoner fuzz consumption to welcome effect. One gets shades of Mars Red Sky from opener “Relax,” but later doomer cuts like the blown-out cosmic smash of “Harvest the Void” or the rolling “Fall into the Sky” ensures the three-piece of bassist/vocalist Phil Cangelosi, drummer Patrick Dunn and guitarist/vocalist Rob McWilliams are working on their own wavelength, and flourish of sitar from McWilliams and Dunn on the dynamic raga-infused “Rezurrection,” as well as Dunn‘s percussion and Spencer Ouellette‘s modular synth in the two-minute interlude “Pipe Dream” that leads into the initial spoken sample of the Dead Meadow-style fuzzer “The Creature” only add further checked-out-of-life charm to the offering as a whole. “Relax” and “Wake” at the outset speak to some impulse on the part of the band to tie their material together, but that comes through even more as “The Creature” transitions into “Fall into the Sky” and the suitably-spacewalking “Orbit” leads to the noisy start of rumble-laden closer “Astral Sage” later on. REZN leave themselves room to grow into their approach in moments like these, and pieces like “Harvest the Void,” “The Creature” and “Wake” certainly speak to a memorable songwriting process in development, but Let it Burn already shows them a potent brew of weighted lysergics.
The Fërtility Cült, A Forest of Kings
Nestled into the heavy hotbed of Tampere, Finland, The Fërtility Cült continue their progressive push into reverb-laden heft with late-2016’s A Forest of Kings, their third long-player behind 2013’s Heavenly Bodies and their 2011 debut, Eschatology (review here). In an admirably crowded scene, the five-piece are distinguished for their tonal breadth, use-not-overuse of echo-laden saxophone and organ and general willingness to meander without giving up an underlying principal of craft or direction. All of this is on display in the A Forest of Kings opener “Blood of Kings,” but the highlight of the album has to be the centerpiece “The City on the Edge of Forever” (taking its name from the highlight episode of the original Star Trek, written by Harlan Ellison), which successfully fuses jazzy rhythm with a patient, psychedelic execution to the sacrifice of neither. Also the longest inclusion at 10:58, it’s the umlaut-happy troupe’s most resonant melody and most singularly progressive stretch, but neither will I take away from the nod of “God of Rain,” which follows, or the manner in which the apex shuffle of closer “Cycles of Time” unfurls itself from the song’s initial subdued verses. Heady vibe throughout the total 46 minutes, as one might expect, but The Fërtility Cült‘s third is less self-indulgent than it might superficially seem, and their varied arrangements never fail to service what really matters to them, which of course is the material itself rather than the exercise of playing it. Rich and graceful when it wants to be, A Forest of Kings hones an endearing landscape without getting lost in it.
Cosmic Fall, Kick out the Jams
Mostly-instrumentalist trio Cosmic Fall — based in Berlin and comprised of guitarist/vocalist Mathias, bassist Klaus and drummer Daniel — formed in 2016 and worked quickly to turn around First Fall (discussed here), their first full-length of improv-based works. Kick out the Jams arrives with a fittingly quick turnaround and brings forth seven new pieces in its digital form, topping 93 minutes in its total space-bound push. More impressive than the quantity of the work — though I won’t take away from the sprawling appeal (or the delightful, influence-on-our-sleeve pun in the title) of the 21-minute “Earthfull” or 19-minute opener “Saturn Highway” — is the chemistry that seems to have immediately found root in Cosmic Fall‘s sound. They take a forward step in these tracks, to be sure, and there are more steps to be taken — a band like this, in the best case scenario, does not stop progressing, their material only comes to unfold more as a musical conversation between old friends; see Electric Moon — but as Kick out the Jams plays through its extended, immersive runtime, cuts like “Interstellar Junction” and “Stairway Jam” feel especially bold in how open they are in allowing the listener to hear that process happening. Songs are varyingly active — only “White Stone” (4:42) is under 11 minutes long — and allow for Mathias to lead the way into the spaciousness of “Purple Weed” while Daniel‘s toms propel “Cosmic Conclusion” at the album’s finish, but the core message behind Cosmic Fall less than a year into their tenure is one of ambition and the band’s deep motivation to develop the already palpable dynamic they have going. One can only look forward to hearing where their adventures take them and, indeed, where they take their audience.
With Earthen on ViciSolum Records, Finnish progressive death-doomers Oceanwake complete a trilogy that began on their 2013 debut Kingdom and had its second installment with 2015’s Sunless (review here). I’m not entirely sure what the overarching theme tying the releases together is — perhaps hearing the debut would help, but it’s not easily tracked down — but Earthen expounds on the blend of extremity, poise and emotional resonance the Luvia five-piece proffered their last time out, arriving as two massive tracks, opener “A Storm Sermon” (21:09) and closer “In Amidst the Silent Thrones” (24:04), both of which work in movements that shift between crushing, grueling doom and gorgeous, airy melodies. A depth of emotionalism isn’t necessarily anything new in the style — countrymen from Skepticism to Swallow the Sun have been morose for a long time — but what Oceanwake bring is a fluidity in their transitions and a sense of purpose to their songwriting beyond the usual miseries. Thus, like Sunless before it, Earthen emerges to bring significant character to familiar elements, drifting at times and explosive at others, but always under complete control, never wandering without a reason, and basking in low end that has to be heard to be believed. Earthen might fly under a lot of radars, but it shouldn’t be missed by those with an affinity for the extreme ends of doom. One hopes the now-completed trilogy project won’t be the sum total Oceanwake‘s output together.
Jenzeits, Jenzeits Cosmic Universe
Jenzeits may be a new incarnation, but the project stems from a familiar source. Relocated from North Carolina to San Francisco — also, apparently, to the cosmos itself — multi-instrumentalist Chad Davis (Hour of 13, Set, Anu, The Sabbathian, etc.) offers up two massive synthesized soundscapes on Jenzeits Cosmic Universe, as both “Alpha” (25:00) and “Omega” (21:53) channel krautrock exploration and progressive indulgence. A due amount of the release is given to hypnotics, as one might expect — that is, it’s an easy one to put on and zone out — but Davis isn’t without some sense of motion either as he makes his way through “Alpha” and the rightfully more foreboding “Omega,” the latter delving into a movement of key runs backed by wind swirl calling to mind any number of horror and/or retro-horror soundtracks, and even minor shifts in the elements at work at any given moment become more pronounced in the grand context of the whole work. Davis usually has his hands in a number of outfits (and a number of genres) at any given time — an Hour of 13 resurgence is pending, for example — but Jenzeits‘ debut is engaging in its textures and feels like a journey just beginning.
More to come as we get The Obelisk Radio back up and running at full capacity. I’ve purchased a new hard drive toward that end, so we’ll have even more room to work with as well. Will update when there’s an update.
Till then, thanks again for reading and listening.