Premiere: Chron Goblin & Isaak Stream Split Tape in Full

Posted in audiObelisk on September 6th, 2019 by JJ Koczan

chron goblin

isaak

Today, Sept. 6, marks the arrival of the new split tape from Canadian and Italian outfits Chron Goblin and Isaak. Issued name-your-price through Spikerot Records in a soon-to-be-gone limited edition of only 100 tapes, the offering features one track from each band, each representing something different from them. To wit, Chron Goblin are about to put out their fourth album, Here Before (track premiere here), on Sept. 27 through Grand Hand Records. Isaak, meanwhile, were last heard from with 2015’s Sermonize (review here) on Heavy Psych Sounds. The Chron Goblin track, “Signs,” however, was recorded in 2015 at the same session as their third album, Backwater (review here). The Isaak song, “Taste,” was tracked at the end of last year. So the split arises from some pretty complex circumstances. For one band, it represents a chance to showcase something older as they move onto something newer, and for the other, it marks a return after a few years’ absence from the studio, a kind of refresher for their audience and a reminder of what they do as a group. It’s a fair amount of context to pack into an eight-minute release.

Fortunately, in listening to “Signs” and “Taste,” there’s plenty to dig into for those who’d otherwise, you know, just want to listen to some previously unheard material. Chron Goblin begin with a bit of amp noise and are all-go, soon enough launching into a Roadsaw-style verse that careens through a gang-shout hook en route to a winding slowdown and bluesy solo in thechron goblin isaak split second half. The key moment is when everything but the bass drops out and the nod takes full shape before dropping out to complete the efficient 4:25. Done. Flip tape. Chron Goblin are in and out of “Signs” with an assurance of songwriting that leaves little to wonder why they’d dig up the track four years after the fact and still find it relevant enough to release: because quality songcraft is always relevant.

Isaak‘s answer back in “Taste” by building up over the first minute-plus to finally unleashing a forceful pummel of a riff met with likewise burly vocals. They’ve never wanted for brashness, and “Taste” is no exception to this as the low-end takes central position tonally and they cycle through the verse again as though coming back out of the corner for round two. The tension they manifest turns in the third minute to a more straightforward pop of snare and seems to run a little more forward rather than circular, but the let’s-kick-ass-and-worry-about-the-rest-later vibe remains consistent. They too finish clean. Surprisingly so for having seemed to throw so much sonic mud around, but maybe after a few years it’s just a sense of relief to be back with new material at all. I won’t speculate as to what their plans are without knowing, but Isaak certainly sound like they still have plenty more to say, as they did on their last record too.

And for Chron Goblin, there’s already the advantage of knowing the direction they’d take after recording “Signs,” so yeah, it’s a bit of a different situation from one band to the other, but the bottom line is it’s two tracks of hard-edged heavy rock and roll marked out by zero pretense and an efficient delivery, pressed up to a limited tape that will likely sell out before it even lands on the merch table, so yeah, there’s really no way to lose here. Bonus to anyone who listens to the stream on a Walkman.

Credits follow. Enjoy the tracks:

Link to the store here:
http://bit.ly/ChronGoblin_Isaak

Chron Goblin – Signs
Recorded and mixed by Adam Pike at Toadhouse Studios in Portland, OR in February, 2015
Mastered by Stephan Hawkes at Interlace Audio

Chron Goblin are:
Josh Sandulak
Devin Purdy
Richard Hepp
Brett Whittingham

Isaak – Taste
Recorded and Mixed by Mattia Cominotto at Greenfog Studio in Genoa in December 2018
Mastered by Andrea De Bernardi at Eleven Mastering

Isaak are:
Giacomo Boeddu
Francesco Raimondi
Davide Foccis
Gabriele Carta

Chron Goblin on Thee Facebooks

Chron Goblin on Instagram

Chron Goblin on Bandcamp

Isaak on Thee Facebooks

Isaak on Instagram

Isaak on Bandcamp

Spikerot Records on Thee Facebooks

Spikerot Records on Instagram

Spikerot Records website

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Chron Goblin & Isaak to Release Split Tape this Week

Posted in Whathaveyou on September 2nd, 2019 by JJ Koczan

So Isaak haven’t released anything since 2015’s Sermonize (review here) and Chron Goblin are putting out their new record, Here Before (discussed here) at the end of September. Isaak are in Italy. Chron Goblin in Canada. These seem like two bands in very different situations, and yet this week they’ll team up for a cassette split that’s also the first tape ever to come out through Spikerot Records. You know what? I’d check that out. I like a tape, I like a split, and I’d like to know how these two bands got hooked up in the first place, so yeah, I’ll give this one a listen when the time comes. Why the hell not? Do the circumstances even matter? Of course not. The riffs matter.

Release is coming up quick, so keep an eye out for it. I’ll also be interested to see if it leads to more from Isaak anytime soon, as their last outing was a banger.

Here’s Spikerot‘s post about the tape:

chron goblin isaak

Chron Goblin Vs Isaak. Split Tape through Spikerot Records

Spikerot has been all about Vinyls and CDs so far, but cassettes have dignity too, so why not?

We’re proud to be releasing our first tape ever under the banner of international Stoner Rock with two previously unreleased tracks from Canadian boogie facepunchers Chron Goblin and Italian riffalicious gang Isaak. Those who know each band’s signature sound will not be disappointed, both tracks are sheer energy, pairing melody with groove and distortion for a fresh interpretation of heavy music.

RELEASE DATE: September 6th

TRACKLIST
SIDE A: Chron Goblin – Signs
SIDE B: Isaak – Taste

Artwork by SoloMacello

Chron Goblin are:
Vocals: Josh Sandulak
Guitar: Devin ‘Darty’ Purdy
Bass: Richard Hepp
Drums: Brett Whittingham

Isaak are:
Vocals – Giacomo H Boeddu
Bass – Gabriele Carta
Drums/Vocals – Davide Fox Foccis
Guitars – Francesco Raimondi

https://www.facebook.com/ChronGoblin/
https://www.instagram.com/chrongoblin/
https://chrongoblin.bandcamp.com/

https://www.facebook.com/isaakband
https://www.instagram.com/isaakmusic/
https://isaakmusic.bandcamp.com/

https://www.facebook.com/spikerotrecords/
https://www.instagram.com/spikerotrecords/
www.spikerot.com

Chron Goblin, Here Before (2019)

Isaak, Sermonize (2015)

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NAGA Announce New Album Void Cult Rising on Spikerot Records

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

Void Cult Rising is the third full-length from Italy’s screamy post-metal lurchers NAGA and it’ll be released in November through Spikerot Records following three years behind Inanimate, which came out on Lay Bare Recordings. I didn’t get to write about that album, because I suck at this, but it’s available as a name-your-price download now, so that’s convenient, and if you happen to be unfamiliar with the band — possible — makes a likewise rousing and grim introduction, what with the plod and the atmosphere and whatnot. I’m gonna be telling you how to live your life all day today — it’s just that kind of day, sorry — but if you’ve got headphones handy and don’t care about blowing out your ears, do it up right.

The announcement came down the PR wire, like announcements do:

naga spikerot

Blackened Doom Metal trio NAGA sign with Spikerot Records!

New album to be unleashed in November 2019

Spikerot Records is thrilled to announce the signing of the Italian Blackened Doom monster NAGA. The Naples-based three-piece is deeply grounded in the sulphurean atmosphere of their land and known to deliver a great amount of distortion, heaviness and nihilism. The band’s new album will be the third full-length after the fortunate ‘Hen’ and ‘Inanimate’ and it’s due to be unleashed in November 2019 under the name of ‘Void Cult Rising’.

“It is surely our most elaborate album to date” says NAGA’s frontman Lorenzo De Stefano. “Its development took longer than usual due to personal issues that have been affecting us in the last three years. Despite all this we find the final output fully satisfying, it’s the album where we dared the most and tried to find diverse solutions compared to our previous works, both on a musical and songwriting level, things that are leading us towards new territories”.

From a lyrical point of view “Void Cult Rising is a meditation on death from a personal perspective, like for example losing someone dear, but also a global one like the end of all things”.

About joining the Spikerot roster, De Stefano adds “We are so happy to start working with Spikerot Records, hence with our lifelong friend Davide. They’re an ambitious label and it’s been our first and last choice since the end of the recording sessions”.

NAGA pick up where they left off. Expect a masterpiece of grief and nihilism, a true bliss for fans of Tryptikon, Unearthly Trance, Craft and Amenra.

Watch out for many more news, details and album tunes to follow in the days ahead!

NAGA is:
Lorenzo – (Vocals and guitar)
Emanuele – (Bass)
Dario – (Drums)

www.facebook.com/nagadoom
www.nagadoom.bandcamp.com
www.instagram.com/nagadoom666
www.spikerot.com

NAGA, Inanimate (2016)

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Review & Full Album Stream: Zippo, Ode to Maximum Reissue

Posted in audiObelisk, Reviews on October 15th, 2018 by JJ Koczan

zippo ode to maximum

[Click play above to listen to Zippo’s Ode to Maximum in its entirety. The full remaster with bonus tracks is out Nov. 2 on Spikerot Records.]

We live in an age where albums come out twice all the time. A band records on their own and does a self-release, digital or sometimes physical, and then later on at some point that record is picked up by a label for wider distribution and/or a physical pressing. The difference with Zippo‘s Ode to Maximum is that it’s happening 12 years later. Probably fair, then to call the Spikerot Records vinyl version of the then-five-piece Italian outfit’s debut full-length a reissue, what with the Tony Reed remaster, new cover art, bonus tracks and all, but its core desert rocking approach and forays into psychedelia on “Night Jam” and “Crazy Forest” lend a sonic reach to the grounded material surrounding.

The band is currently a four-piece with Alessandro Sergente on guitar, but in 2006, Sergente was joined by fellow guitarist Silvio Spina and bassist Tonino Bosco (Paolo Garofalo handles bass now), as well as vocalist Davide Straccione and drummer Federico Sergente, both of whom remain with Zippo now. Based in Pescara on the Adriatic Coast, they’ve done three albums since Ode to Maximum in the form of 2009’s The Road to Knowledge (discussed here), 2011’s Maktub and 2016’s After Us (discussed here), and each time branched out someplace new from where they started with the original 10 tracks of Ode to Maximum, which from the Lowrider-style wah of “Forgotten Season” to the suitably named thick-toned stomper “The Elephant March” and the careening “Tukay’s Fury” that precedes, basks in the glory days of the heavy rock movement that started a decade before it was made.

It was the MySpace era, but Zippo concerned themselves more with the doings of Kyuss and certainly offshoot project Slo Burn, whose “July” is covered as one of the bonus tracks here, recorded in 2014, in the early and mid ’90s. With a raw-ish production and a mix that puts the bass as the foundation of songs like “Kid in the Desert,” however otherwise led by the riffs they may be, Zippo tapped early into what have since become some of the most enduring aspects of the original Californian desert rock movement — and we’ll throw some Sweden in there for Lowrider, too — while putting their own inevitable stamp on the approach with a sense of rhythmic quirk, gutted-out vocals and diverse songwriting.

Beginning with the intro “Alpha” and ending with the complementary “Omega,” Ode to Maximum unfurls a self-aware sonic blend of chunky-style riffing on “Tsunami Dust” with the fervent rumble establishing itself beneath the two guitars and Straccione‘s vocals. A departure into a playfully-malevolent break brings some element of Faith No More to the proceedings, but as “Tsunami Dust” moves into highlight cut “S.N.A.P.R.S.T.,” the jazzy interlude and aggro finish in the latter already has some context hinting toward its arrival. Clearly Zippo were never just about mimicry of the Californian scene, and the rest of Ode to Maximum bears that out.

zippo (Photo by Marco Rocconi)

Originally a 45-minute outing — the bonus tracks push that to 55 on the remaster — Ode to Maximum has a linear fluidity that speaks to the time of its release, when CD was still the dominant physical media, if in decline with the increasing reach of the digital sphere. The handclaps in “Forgotten Season,” either natural or keyboard — something about them is awfully consistent sounding — vocal layering and manic lead guitar are nonetheless standout factors emblematic of the manner in which songs are distinguished throughout. In addition to the new CD release, though, Spikerot has a 2LP version of the album, and one imagines the same distinguishing factors help establish a breadth as Zippo move from one song and one side to the next.

I won’t claim to know where the sides split, but “Night Jam” is a serene departure from “Forgotten Season,” and “Kid in the Desert” renews the quirked-up post-Kyuss thrust ahead of “Crazy Forest,” which is the longest cut on the album at eight minutes, and if that’s side B, then it’s a solid one. “Crazy Forest” taps into progressive nuance to go along with its standout nodder fuzz riff — something of a foreshadow for the seven-minute “The Elephant March” still to come — and ends with an almost hypnotic rhythm before a last-second shove leads the way into “Tukay’s Fury.”

As it’s sandwiched between the two longest tracks, it would make sense that it’s the shortest (non-intro/outro) piece at 3:22, with starts and stops in the verses shifting into a high-gear hook with a high-energy delivery the whole way through until finally the thing seems to crash to its finish and directly into the start of “The Elephant March,” which is obviously intended as the apex of the record. And so it is. Big riffs get bigger as it courses through its second half, finishing at about six minutes in so the last minute can be consumed by a swell of insect noise, either flies or bees. Kind of a curious choice with “Omega” still to follow and lead the way out of the album as a whole, but it was 2006. Times were crazy. “Omega” fluidly answers “Alpha” with a minute or so of riffing and some sustained ringout that fades to a finish, leaving just “Night Jam #2” — heavier, proggier, more plotted — and the aforementioned Slo Burn redux to cap.

Though recorded later, “July” is a pretty fitting conclusion for Ode to Maximum, and the treatment they give it — again, the bass — does right by the original while allowing Zippo to make their mark on it as well. The album preceding functions in much the same way, portraying a band working their way toward an understanding of who they are as a group and what they want to bring to the tenets of their chosen genre. They’ve gone on to answer that question with subsequent albums, so in a way it’s like cheating to listen to Ode to Maximum and know the future, but a debut release is a special moment for a band that doesn’t come again, and this look back gives Zippo a chance to emphasize how far they’ve come since as well as the clarity of mission with which they started out.

Zippo, “Tsunami Dust” official video

Zippo on Thee Facebooks

Zippo on Instagram

Zippo on YouTube

Spikerot Records on Thee Facebooks

Spikerot Records on Instagram

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Zippo to Reissue Ode to Maximum Nov. 2 with Bonus Tracks

Posted in Whathaveyou on September 28th, 2018 by JJ Koczan

zippo (Photo by Marco Rocconi)

Zippo‘s debut album, Ode to Maximum, originally came out 12 years ago as a self-release. Time for a reissue? Yeah, definitely. The Italian heavy rockers will put Ode to Maximum back out on Nov. 2 via Spikerot Records as their first release through the imprint as their 2016 long-player, After Us (discussed here), was on Apocalyptic Witchcraft. The first record has been given new art — see it below, also in your most colorful nightmares — and a remaster by none other than Tony Reed of Mos Generator. It will also feature two bonus cuts, one of which is a cover of Slo Burn‘s “July,” which, if it’s not already stuck in your head just by reading the title, I humbly submit you’ve probably never heard the song. I’m gonna be walking around the rest of the day going “Joo-li-hi.” There are worse fates.

The PR wire brings details and a link for preorders. Have at it:

zippo ode to maximum

ZIPPO – Ode to Maximum / Reissue 2018

Since 2004 Zippo have led the pack of the Italian Stoner Rock and Heavy Psych movement. Zippo have always been about the music, which is actually very hard to define as they include elements of Prog Rock, Psych, Stoner, Sludge, Doom, Noise and even Post-Metal.

Zippo thrive on creating different sounds and challenging people to use their very heart and soul to fully experience the band’s musical vision. A winning philosophy has seen Zippo release four critically acclaimed albums: Ode To Maximum (Self-released, 2006), The Road To Knowledge (Subsound Records, 2009), Maktub (Subsound Records, 2011) and After Us (Apocalyptic Witchcraft, 2016). Spikerot Records will take care of the re-issue of the band’s classic Ode To Maximum both on CD and Vinyl, giving it a new life after many years gone sold-out, with a completely new artwork by Davide Mancini (Dartworks.com) and tracks remastered by Tony Dallas Reed (Mos Generator, Stone Axe), including two bonus tracks.

There is one thing you can say about Zippo’s albums – They all sound different to each other. Zippo always push the boundaries of what is musically possible, which has seen them classed as one of Italy’s finest Heavy Rock bands currently out there. Zippo have played Live all over Europe to rapturous applause from fans and critics alike, being described as one of the coolest, loudest and dangerous bands you are ever likely to witness live.

release date: 02/11/2018
label: SPIKEROT RECORDS
catalog number: SPK004
FORMAT: CD DIGIPAK / 2xLP / DIGITAL

Preorders: https://www.spikerot.com/ricerca?controller=search&order=product.position.desc&s=maximum

TRACKLIST
1. Alpha
2. Tsunami Dust
3. S.N.A.P.R.S.T.
4. Forgotten Season
5. Night Jam
6. Kid In The Desert
7. Crazy Forest
8. Tukay’s Fury
9. The Elephant March
10. Omega
BONUS TRACKS:
11. Night Jam #2
12. July (Slo Burn Cover)

CURRENT LINE UP
Davide Straccione – Vocals
Alessandro Sergente – Guitars
Paolo Garofalo – Bass
Federico Sergente – Drums

ODE TO MAXIMUM LINEUP
Davide Straccione – Vocals
Alessandro Sergente – Guitars
Silvio Spina – Guitars
Tonino Bosco – Bass
Federico Sergente – Drums

http://www.facebook.com/zippomusic
https://www.instagram.com/zippomusicofficial
https://www.youtube.com/user/ZippoMusicOfficial
https://www.facebook.com/spikerotrecords/
https://www.instagram.com/spikerotrecords/

Zippo, Ode to Maximum (2006)

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