https://www.high-endrolex.com/18

Up in Smoke 2023 Makes First Lineup Announcement

Posted in Whathaveyou on March 31st, 2023 by JJ Koczan

Some pretty good inferences one might make looking at the first lineup announcement for Up in Smoke 2023, the annual Sound of Liberation festival held each year in Pratteln, Switzerland. It says The Obsessed will be on tour in Europe this Fall, which I’m pretty sure they’ve said anyway, but it might also be a clue as to the release of their next album. On the other hand, they might just be fucking touring because they’re The Obsessed and that’s what they do. Also it’s further expansion of Alabama Thunderpussy‘s reunion and since this festival is Sep. 29 to Oct. 1 and their prior confirmation was Keep it Low from Oct. 6 to 7, they’ll likely be on the road in Europe for the better part of at least two weeks. That’s not nothing.

Consider also Yawning Man heading abroad in Fall for their new album, announced yesterday. And did you hear that Dirty Sound Magnet record? I didn’t until now but it’s a ripper. New school oldschool blues heavy. Rad. And Eyehategod getting back at it too. It’s a cool bill, mix of newer acts and recognizable with Zeal & Ardor on top nothing to complain about.

Of course, there’s more to come here, but hell, I’d go to this. You? Festival in Switzerland in October? Why on earth would you say no to that?

Also note there’s a new Facebook page for the fest. From the PR wire:

Up in smoke 2023 first announcement second version

UP IN SMOKE 2023 – ZEAL & ARDOR, GRAVEYARD, THE OBSESSED & MANY MORE ANNOUNCED

Hey Smokers, the long awaited day has come. We’re stoked to finally reveal the first names for our 2023 edition. We hope you like it as much as we do!

Get ready for three days of finest heavy rock music… this is just the beginning.

Artwork: Brookesia Estudio

Festival info:
Up In Smoke Festival
29. Sep – 01. Oct 2023
@ Konzertfabrik Z7 // Pratteln (CH)

Tickets: www.sol-tickets.com

Facebook Event: https://www.facebook.com/events/1511229892691120/

https://www.facebook.com/upinsmokefestivalswitzerland
https://www.instagram.com/up_in_smoke_festival

https://www.facebook.com/Soundofliberation/
https://www.instagram.com/soundofliberation/
https://www.soundofliberation.com/

Dirty Sound Magnet, DSM-III (2022)

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E-L-R Touring with Sylvaine and Wolves in the Throne Room

Posted in Whathaveyou on March 9th, 2023 by JJ Koczan

Good band. E-L-R have two tours lined up for this Spring. The first is underway now and it’s alongside Sylvaine, and the second is next month with Wolves in the Throne Room. The Swiss trio aren’t exactly black metal, but listening to last year’s Vexier (review here), you can hear where they’d fit on a bill. But they could just as easily be out with doom bands, or post-metal, or (not heavy) post-rock, or whathaveyou, and their material would apply. That’s a strength resulting from the amorphous style in which they work, drawing seemingly divergent elements together and turning dug-in intensity into a soundscape of its own, let alone any of their actually-intended-to-be-atmospheric parts.

If that’s not enough to get you to listen to Vexier — which, let’s face it, is the point here; you’ll either go to a show or you won’t — it was released on Prophecy Productions. That’s an automatic call to hear it, as far as I’m concerned. Probably should’ve led with that, actually. If only to save some time.

E-L-R have fest dates after these tours, including Prophecy Fest in Germany this September, and hopefully they’ll be back out in the Fall as well. After Vexier and the prior 2019 debut, Mænad (review here), I’ve got high hopes for their third record, but I’m not about to tell them to rush it. This kind of thing, it’s almost better if they let it happen organically. If that means it’s 2025 or 2026, I’ll take it. It’s been about a full year since it came out and I still feel like I’m getting to know Vexier, though that may just be a perpetual thing. We’ll see I guess.

From the PR wire:

E-L-R

E-L-R on tour with Sylvaine and Wolves in the Throne Room

Doomgaze shooting stars E-L-R are about to embark on their first of two European tours. The Swiss trio will accompany Norwegian artist Kathrine Shepard a.k.a. Sylvaine in the south of Europe throughout March, and afterwards share stages with American black metal unit Wolves in the Throne Room in April. In addition to those tours, E-L-R have announced further shows and festival performances including Voidfest and Prophecy Fest in Germany for later this year.

Please find all currently confirmed dates below.

E-L-R comment: “We can hardly wait until the tour with our friends from Sylvaine will begin, although it will happen in only a few days now”, states bass player and vocalist I.R. on behalf of the trio. “There are more shows to come this year and we sincerely hope to meet you all on the road for at least one of them!”

E-L-R will be touring in support of their current album “Vexier”. Vexier buy link: http://lnk.spkr.media/elr-vexier

E-L-R Live
06 MAR 2023 Düdingen (CH) Bad Bonn +Sylvaine
07 MAR 2023 Marseille (FR) Le Molotov +Sylvaine
08 MAR 2023 Toulouse (FR) Connexion +Sylvaine
09 MAR 2023 Barcelona (ES) Bóveda +Sylvaine
10 MAR 2023 Madrid (ES) Wurlitzer Ballroom +Sylvaine
11 MAR 2023 Lisboa (PT) LAV Lisboa ao Vivo +Sylvaine
12 MAR 2023 Porto (PT) Hard Club +Sylvaine
31 MAR 2023 Salzburg (AT) Rockhouse Bar +Karg +Lûs + Ancst
08 APR 2023 Göteborg (SE) Brewhouse +Wolves in the Throne Room
09 APR 2023 Aarhus (DK) Voxhall +Wolves in the Throne Room
11 APR 2023 Stockholm (SE) Slaktkyrkan +Wolves in the Throne Room
12 APR 2023 Malmö (SE) KB +Wolves in the Throne Room
13 APR 2023 Berlin (DE) Lido +Wolves in the Throne Room
14 APR 2023 Dresden (DE) Chemiefabrik +Wolves in the Throne Room
15 APR 2023 Wiesbaden (DE) Kesselhaus +Wolves in the Throne Room
16 APR 2023 Münster (DE) Sputnikhalle +Wolves in the Throne Room
17 APR 2023 München (DE) Backstage +Wolves in the Throne Room
18 APR 2023 Winterthur (CH) Gaswerk +Wolves in the Throne Room
19 APR 2023 Karlsruhe (DE) Stadtmitte +Wolves in the Throne Room
17 Mai 2023 Aarau (CH) KIFF +Crowbar
11 AUG 2023 Regensburg (DE) Void Fest
7-9 SEP 2023 Balve (DE) Prophecy Fest

Line-up
S.M. – guitar, vocals
I.R. – bass, vocals
M.K. – drums

www.facebook.com/elrhaze
www.instagram.com/elr_band
www.e-l-r.band

https://www.facebook.com/prophecyproductions
https://www.instagram.com/prophecypro/
https://prophecy-de.bandcamp.com/

E-L-R, Vexier (2022)

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Heavy Psych Sounds Fest Switzerland Makes First Lineup Announcement

Posted in Whathaveyou on February 13th, 2023 by JJ Koczan

This is gonna sound like I’m kissing ass, but Heavy Psych Sounds is real-deal upping its festival game this year. From the stellar California lineup to Italy to this, it’s been fun to watch as the shows get bigger and more plentiful. El Perro and maybe Acid Mammoth/1782 (?) had this fest in their latest tour dates, so the existence of Heavy Psych Sounds Fest Switzerland isn’t exactly news — and they’re both booked by HPS, so if it was a leak, it wasn’t done without the label knowing it since the bookers and the label are the same people — but the lineup is right on with Truckfighters in the headline slot, the aforementioned El Perro, Acid Mammoth and 1782, Giöbia and Oreyeon ticking any boxes you have for weird, and Deadsmoke for a bit of something nastier. I’ll be interested to see who else gets added — certainly there are plenty of acts on tour in May and with so many festivals happening around then — but if this was it I’d still say it’s a good one. And the poster alone is giving the lineup alone a run for its money.

Shows are in Martigny and Winterthur, and if you need me to say any more about Heavy Psych Sounds, I’m done here, but I’m pretty sure there will be more news from them in about five minutes, so just sit tight.

From the PR wire:

Heavy Psych Sounds Fest Switzerland first poster

First names and tickets for HEAVY PSYCH SOUNDS FEST SWITZERLAND available; May 26-27th on Winterthur and Martigny!

Today, Heavy Psych Sounds Records unveil the first names for the 2023 edition of HEAVY PSYCH SOUNDS FEST SWITZERLAND, the stoner, doom and psych rock mini-festival taking place simultaneously on May 26-27th in Winterthur and Martigny. Two days, two cities, same lineup: all the fuzz!

Following on from the recent HPS Fest Italy and HPS Fest California announcements, it’s now time to get ready for the summer season with the yearly Swiss gathering of all things heavy and fuzzy-sounding! As always with Heavy Psych Sounds, some of the finest bands of their label roster will hit the festival’s stage, joined by one or two cornerstone acts of the international heavy rock scene: on this special occasion, Swedish stoner rock icons Truckfighters are confirmed as headliners for this 2023 edition!

All bands announced are set to play both in Winterthur and Martigny across the weekend of April 26-27h of April. Day splits and timetables to be unveiled soon!

Heavy Psych Sounds Fest Switzerland 2023
May 26-27th at Gaswerk (Winterthur) and Les Caves du Manoir (Martigny)
(#127903#) Winterthur tickets: https://www.petzi.ch/de/events/51711-gaswerk-heavy-psych-sounds-fest/tickets/
(#127903#) Martigny tickets: https://www.petzi.ch/fr/events/51669-caves-du-manoir-heavy-psych-sounds-fest-switzerland/

All bands play both cities!
Truckfighters
Acid Mammoth
El Perro
1782
Giöbia
Deadsmoke
Oreyeon
+ more bands TBA

heavypsychsoundsrecords.bandcamp.com
www.heavypsychsounds.com
https://www.facebook.com/HEAVYPSYCHSOUNDS/

Truckfighters, Live at Fuzz Festival #3, Stockholm, Sweden

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Quarterly Review: Hazemaze, Elephant Tree, Mirror Queen, Faetooth, Behold! The Monolith, The Swell Fellas, Stockhausen & the Amplified Riot, Nothing is Real, Red Lama, Echolot

Posted in Reviews on September 30th, 2022 by JJ Koczan

THE-OBELISK-FALL-2020-QUARTERLY-REVIEW

Guess this is it, huh? Always bittersweet, the end of a Quarterly Review. Bitter, because there’s still a ton of albums waiting on my desktop to be reviewed, and certainly more that have come along over the course of the last two weeks looking for coverage. Sweet because when I finish here I’ll have written about 100 albums, added a bunch of stuff to my year-end lists, and managed to keep the remaining vestiges of my sanity. If you’ve kept up, I hope you’ve enjoyed doing so. And if you haven’t, all 10 of the posts are here.

Thanks for reading.

Quarterly Review #91-100:

Hazemaze, Blinded by the Wicked

Hazemaze Blinded by the Wicked

This is one of 2022’s best records cast in dark-riffed, heavy garage-style doom rock. I admit I’m late to the party for Hazemaze‘s third album and Heavy Psych Sounds label debut, Blinded by the Wicked, but what a party it is. The Swedish three-piece of guitarist/vocalist Ludvig Andersson, bassist Estefan Carrillo and drummer Nils Eineus position themselves as a lumbering forerunner of modern cultist heavy, presenting the post-“In-a-Gadda-da-Vida” lumber of “In the Night of the Light, for the Dark” and “Ethereal Disillusion” (bassline in the latter) with a clarity of purpose and sureness that builds even on what the trio accomplished with 2019’s Hymns for the Damned (review here), opening with the longest track (immediate points) “Malevolent Inveigler” and setting up a devil-as-metaphor-for-now lyrical bent alongside the roll of “In the Night of the Light, for the Dark” and the chugging-through-mud “Devil’s Spawn.” Separated by the “Planet Caravan”-y instrumental “Sectatores et Principes,” the final three tracks are relatively shorter than the first four, but there’s still space for a bass-backed organ solo in “Ceremonial Aspersion,” and the particularly Electric Wizardian “Divine Harlotry” leads effectively into the closer “Lucifierian Rite,” which caps with surprising bounce in its apex and underscores the level of songwriting throughout. Just a band nailing their sound, that’s all. Seems like maybe the kind of party you’d want to be on time for.

Hazemaze on Facebook

Heavy Psych Sounds store

 

Elephant Tree, Track by Track

Elephant Tree Track by Track

Released as a name-your-price benefit EP in July to help raise funds for the Ukrainian war effort, Track by Track is two songs London’s Elephant Tree recorded at the Netherlands’ Sonic Whip Festival in May of this year, “Sails” and “The Fall Chorus” — here just “Fall Chorus” — from 2020’s Habits (review here), on which the four-piece is joined by cellist Joe Butler and violinst Charlie Davis, fleshing out especially the quieter “Fall Chorus,” but definitely making their presence felt on “Sails” as well in accompanying what was one of Habits‘ strongest hooks. And the strings are all well and good, but the live harmonies on “Sails” between guitarist Jack Townley, bassist Peter Holland and guitarist/keyboardist John Slattery — arriving atop the e’er-reliable fluidity of Sam Hart‘s drumming — are perhaps even more of a highlight. Was the whole set recorded? If so, where’s that? “Fall Chorus” is more subdued and atmospheric, but likewise gorgeous, the cello and violin lending an almost Americana feel to the now-lush second-half bridge of the acoustic track. Special band, moment worth capturing, cause worth supporting. The classic no-brainer purchase.

Elephant Tree on Facebook

Elephant Tree on Bandcamp

 

Mirror Queen, Inviolate

Mirror Queen Inviolate

Between Telekinetic Yeti, Mythic Sunship and Limousine Beach (not to mention Comet Control last year), Tee Pee Records has continued to offer distinct and righteous incarnations of heavy rock, and Mirror Queen‘s classic-prog-influenced strutter riffs on Inviolate fit right in. The long-running project led by guitarist/vocalist Kenny Kreisor (also the head of Tee Pee) and drummer Jeremy O’Brien is bolstered through the lead guitar work of Morgan McDaniel (ex-The Golden Grass) and the smooth low end of bassist James Corallo, and five years after 2017’s Verdigris (review here), their flowing heavy progressive rock nudges into the occult on “The Devil Seeks Control” while maintaining its ’70s-rock-meets-’80s-metal gallop, and hard-boogies in the duly shredded “A Rider on the Rain,” where experiments both in vocal effects and Mellotron sounds work well next to proto-thrash urgency. Proggers like “Inside an Icy Light,” “Sea of Tranquility” and the penultimate “Coming Round with Second Sight” show the band in top form, comfortable in tempo but still exploring, and they finish with the title-track’s highlight chorus and a well-layered, deceptively immersive wash of melody. Can’t and wouldn’t ask for more than they give here; Inviolate is a tour de force for Mirror Queen, demonstrating plainly what NYC club shows have known since the days when Aytobach Kreisor roamed the earth two decades ago.

Mirror Queen on Facebook

Tee Pee Records store

 

Faetooth, Remnants of the Vessel

Faetooth Remnants of the Vessel

Los Angeles-based four-piece Faetooth — guitarist/vocalist Ashla Chavez Razzano, bassist/vocalist Jenna Garcia, guitarist/vocalist Ari May, drummer Rah Kanan — make their full-length debut through Dune Altar with the atmospheric sludge doom of Remnants of the Vessel, meeting post-apocalyptic vibes as intro “(i) Naissance” leads into initial single “Echolalia,” the more spaced-out “La Sorcie|Cre” (or something like that; I think my filename got messed up) and the yet-harsher doom of “She Cast a Shadow” before the feedback-soaked interlude “(ii) Limbo” unfurls its tortured course. Blending clean croons and more biting screams assures a lack of predictability as they roll through “Remains,” the black metal-style cave echo there adding to the extremity in a way that the subsequent “Discarnate” pushes even further ahead of the nodding, you’re-still-doomed heavy-gaze of “Strange Ways.” They save the epic for last, however, with “(iii) Moribund” a minute-long organ piece leading directly into “Saturn Devouring His Son,” a nine-and-a-half-minute willful lurch toward an apex that has the majesty of death-doom and a crux of melody that doesn’t just shout out Faetooth‘s forward potential but also points to what they’ve already accomplished on Remnants of the Vessel. If this band tours, look out.

Faetooth on Facebook

Dune Altar on Bandcamp

 

Behold! The Monolith, From the Fathomless Deep

behold the monolith from the fathomless deep

Ferocious and weighted in kind, Behold! The Monolith‘s fourth full-length and first for Ripple Music, From the Fathomless Deep finds the Los Angeles trio taking cues from progressive death metal and riff-based sludge in with a modern severity of purpose that is unmistakably heavy. Bookended by opener “Crown/The Immeasurable Void” (9:31) and closer “Stormbreaker Suite” (11:35), the six-track/45-minute offering — the band’s first since 2015’s Architects of the Void (review here) — brims with extremity and is no less intense in the crawling “Psychlopean Dread” than on the subsequent ripper “Spirit Taker” or its deathsludge-rocking companion “This Wailing Blade,” calling to mind some of what Yatra have been pushing on the opposite coast until the solo hits. The trades between onslaughts and acoustic parts are there but neither overdone nor overly telegraphed, and “The Seams of Pangea” (8:56) pairs evocative ambience with crushing volume and comes out sounding neither hackneyed nor overly poised. Extreme times call for extreme riffs? Maybe, but the bludgeoning on offer in From the Fathomless Deep speaks to a push into darkness that’s been going on over a longer term. Consuming.

Behold! The Monolith on Facebook

Ripple Music website

 

The Swell Fellas, Novaturia

The Swell Fellas Novaturia

The second album from Nashville’s The Swell Fellas — who I’m sure are great guys — the five-song/32-minute Novaturia encapsulates an otherworldly atmosphere laced with patient effects soundscapes, echo and moody presence, but is undeniably heavy, the opener “Something’s There…” drawing the listener deeper into “High Lightsolate,” the eight-plus minutes of which roll out with technical intricacy bent toward an outward impression of depth, a solo in the midsection carrying enough scorch for the LP as a whole but still just part of the song’s greater procession, which ends with percussive nuance and vocal melody before giving way to the acoustic interlude “Caesura,” a direct lead-in for the noisy arrival of the okay-now-we-riff “Wet Cement.” The single-ready penultimate cut is a purposeful banger, going big at its finish only after topping its immediate rhythmic momentum with ethereal vocals for a progressive effect, and as elliptically-bookending finisher “…Another Realm” nears 11 minutes, its course is its own in manifesting prior shadows of progressive and atmospheric heavy rock into concrete, crafted realizations. There’s even some more shred for good measure, brought to bear with due spaciousness through Mikey Allred‘s production. It’s a quick offering, but offers substance and reach beyond its actual runtime. They’re onto something, and I think they know it, too.

The Swell Fellas on Facebook

The Swell Fellas on Bandcamp

 

Stockhausen & the Amplified Riot, Era of the Inauthentic

stockhausen and the amplified riot era of the inauthentic

For years, it has seemed Houston-based guitarist/songwriter Paul Chavez (Funeral Horse, Cactus Flowers, Baby Birds, Art Institute) has searched for a project able to contain his weirdo impulses. Stockhausen & the Amplified Riot — begun with Era of the Inauthentic as a solo-project plus — is the latest incarnation of this effort, and its krautrock-meets-hooky-proto-punk vibe indeed wants nothing for weird. “Adolescent Lightning” and “Hunky Punk” are a catchy opening salvo, and “What if it Never Ends” provokes a smile by garage-rock riffing over a ’90s dance beat to a howling finish, while the 11-minute “Tilde Mae” turns early-aughts indie jangle into a maddeningly repetitive mindfuck for its first nine minutes, mercifully shifting into a less stomach-clenching groove for the remainder before closer “Intubation Blues” melds more dance beats with harmonica and last sweep. Will the band, such as it is, at last be a home for Chavez over the longer term, or is it merely another stop on the way? I don’t know. But there’s no one else doing what he does here, and since the goal seems to be individualism and experimentalism, both those ideals are upheld to an oddly charming degree. Approach without expectations.

Artificial Head Records on Facebook

Artificial Head Records on Bandcamp

 

Nothing is Real, The End is Near

Nothing is Real The End is Near

Nothing is Real stand ready to turn mundane miseries into darkly ethereal noise, drawing from sludge and an indefinable litany of extreme metals. The End is Near is both the Los Angeles unit’s most cohesive work to-date and its most accomplished, building on the ambient mire of earlier offerings with a down-into-the-ground churn on lead single “THE (Pt. 2).” All of the songs, incidentally, comprise the title of the album, with four of “THE” followed by two “END” pieces, two “IS”es and three “NEAR”s to close. An maybe-unhealthy dose of sample-laced interlude-type works — each section has an intro, and so on — assure that Nothing is Real‘s penchant for atmospheric crush isn’t misplaced, and the band’s uptick in production value means that the vastness and blackened psychedelia of 10-minute centerpiece “END” shows the abyssal depths being plunged in their starkest light. Capping with “NEAR (Pt. 1),” jazzy metal into freneticism, back to jazzy metal, and “NEAR (Pt. 2),” epic shred emerging from hypnotic ambience, like Jeff Hanneman ripping open YOB, The End is Near resonates with a sickened intensity that, again, it shares in common with the band’s past work, but is operating at a new level of complexity across its intentionally unmanageable 63 minutes. Nothing is Real is on their own wavelength and it is a place of horror.

Nothing is Real on Facebook

Nothing is Real on Bandcamp

 

Red Lama, Memory Terrain

RED LAMA Memory Terrain Artwork LO Marius Havemann Kissov Linnet

Copenhagen heavy psych collective Red Lama — and I’m sorry, but if you’ve got more than five people in your band, you’re a collective — brim with pastoral escapism throughout Memory Terrain, their third album and the follow-up to 2018’s Motions (discussed here) and its companion EP, Dogma (review here). Progressive in texture but with an open sensibility at their core, pieces like the title-track unfold long-song breadth in accessible spans, the earlier “Airborne” moving from the jazzy beginning of “Gentleman” into a more tripped-out All Them Witches vein. Elsewhere, “Someone” explores krautrock intricacies before synthing toward its last lines, and “Paint a Picture” exudes pop urgency before washing it away on a repeating, sweeping tide. Range and dynamic aren’t new for Red Lama, but I’m hard-pressed to think of as dramatic a one-two turn as the psych-wash-into-electro-informed-dance-brood that takes place between “Shaking My Bones” and “Chaos is the Plan” — lest one neglect the urbane shuffle of “Justified” prior — though by that point Red Lama have made it apparent they’re ready to lead the listener wherever whims may dictate. That’s a significant amount of ground to cover, but they do it.

Red Lama on Facebook

Red Lama on Bandcamp

 

Echolot, Curatio

Echolot Curatio

Existing in multiple avenues of progressive heavy rock and extreme metal, Echolot‘s Curatio only has four tracks, but each of those tracks has more range than the career arcs of most bands. Beginning with two 10-minute tracks in “Burden of Sorrows” (video premiered here) and “Countess of Ice,” they set a pattern of moving between melancholic heavy prog and black metal, the latter piece clearer in telegraphing its intentions after the opener, and introducing its “heavy part” to come with clean vocals overtop in the middle of the song, dramatic and fiery as it is. “Resilience of Floating Forms” (a mere 8:55) begins quiet and works into a post-black metal wash of melody before the double-kick and screams take hold, announcing a coming attack that — wait for it — doesn’t actually come, the band instead moving into falsetto and a more weighted but still clean verse before peeling back the curtain on the death growls and throatrippers, cymbals threatening to engulf all but still letting everything else cut through. Also eight minutes, “Wildfire” closes by flipping the structure of the opening salvo, putting the nastiness at the fore while progging out later, in this case closing Curatio with a winding movement of keys and an overarching groove that is only punishing for the fact that it’s the end. If you ever read a Quarterly Review around here, you know I like to do myself favors on the last day in choosing what to cover. It is no coincidence that Curatio is included. Not every record could be #100 and still make you excited to hear it.

Echolot on Facebook

Sixteentimes Music store

 

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Up in Smoke 2022 Lineup Finalized; Fest Set for This Weekend

Posted in Whathaveyou on September 26th, 2022 by JJ Koczan

up in smoke 2022 final banner

A few different tours coming together here, right? Stoned JesusGreenleaf and Somali Yacht Club on the road together. ElderPallbearer and Irist. Hippie Death Cult out there on their own now that their would’ve-been-tourmates High Reeper dropped off. Naxatras making the rounds. Sasquatch doing like they do on a stretch with Orange Goblin before continuing a longer European run (you should always stretch first; ain’t nobody getting younger). Electric Citizen out with Fu Manchu. All of this is organized, mapped out ahead of time, and a lot of it is starting this weekend at Up in Smoke 2022 in Pratteln, Switzerland, as though to save you the time, money and effort necessary to hit up all these individual tours, which may or may not be routed everywhere to start with.

You can see the final lineup below with Fu ManchuOrange Goblin and Elder getting top billing, and as the first of Sound of Liberation‘s Fall festivals in Europe — Keep it Low in Munich and Desertfest Belgium will follow in the coming weeks, and there’s a bunch of others besides — Up in Smoke is distinguished by vibe even more than timing. I’ve always been curious what it would feel like to sleep in the venue after a show. Indoor camping. Are there showers? Could be a pretty smelly affair by the third day; Up in Stink Lines, if you will. But more about the mindset. Are you so locked into the experience at that point that you wake up, find breakfast and are ready to roll as a part of the thing? I’m not sure I’d ever actually be brave enough to do it — not exactly the camping type in any context — but it could be interesting. Sound of Liberation has also posted the time-table, if you’d like to know more about what time to wake up.

The lineup below is final final final, and the day splits make it look like one hell of a festival. If you’re going to be there, I hope it’s a blast. I’d love to hear about it:

up in smoke 2022 final poster

UP IN SMOKE 2022 – DAY SPLIT & DAY TICKETS – UP IN SMOKE FESTIVAL Z7 Pratteln 2022

Hey Friends,

we are getting closer and closer!

Check out the festival line up day split below!

Day Tickets are available from now on!

(#127915#)Day Tickets & 3 Day Passes:
www.sol-tickets.com

(#127915#)Day Tickets & 3 Day Passes with sleep over possibility in the venue:
www.z-7.ch

Friday, September 30th:

Fu Manchu
monkey3
Mother Engine
Temple Fang
Electric Citizen
ECHOLOT

Saturday, October 1st:

Orange Goblin
Elder
Sasquatch
Slomosa
Pallbearer
Irist
CARSON
Midnight Deadbeats

Sunday, October 2nd:

Stoned Jesus
Mars Red Sky
Greenleaf
Naxatras
Somali Yacht Club
HALF Gramme of SOMA
Hippie Death Cult

Cheers,
Your SOL-Crew

https://www.facebook.com/events/598002655273695/
https://www.facebook.com/Soundofliberation/
https://www.instagram.com/soundofliberation/
https://www.sol-tickets.com/
http://www.z-7.ch/
https://www.upinsmoke.de

Orange Goblin, Live at Hellfest 2022

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Quarterly Review: Yatra, Sula Bassana, Garden of Worm, Orthodox, Matus, Shrooms Circle, Goatriders, Arthur Brown, Green Sky Accident, Pure Land Stars

Posted in Reviews on September 19th, 2022 by JJ Koczan

THE-OBELISK-FALL-2020-QUARTERLY-REVIEW

Oh hello. I didn’t see you there. What, this? Oh, this is just me hanging out about to review 100 records in 10 days’ time. Yup, it’s another double-wide Quarterly Review, and I’m telling myself that no, this isn’t just how life is now, that two full weeks of 10 reviews per day isn’t business as usual, but there’s an exceptional amount of music out there right now, and no, this isn’t even close to all of it. But I’m doing my best to keep up and this is what that looks like.

The bottom line is the same as always and I’ll give it to you up front and waste no more time: I hope you enjoy the music here and find something to love.

So let’s go.

Quarterly Review #01-10:

Yatra, Born into Chaos

yatra born into chaos

The partnership between Chesapeake extremists Yatra and producer Noel Mueller continues to bear fruit on the band’s fourth album and first for Prosthetic Records. Their descent from thick, nasty sludge into death metal is complete, and songs like “Terminate by the Sword” and “Terrorizer” have enough force behind them to become signature pieces. The trio of Dana Helmuth (guitar/vocals), Maria Geisbert (bass) and Sean Lafferty (drums, also Grave Bathers) have yet to sound so utterly ferocious, and as each of their offerings has pushed further into the tearing-flesh-like-paper and rot-stenched realms of metal, Born into Chaos brings the maddening intensity of “Wrath of the Warmaster” and the Incantation-worthy chug of closer “Tormentation,” with massive chug, twisting angularity and brain-melting blasts amid the unipolar throatripper screams from Helmuth (reminds at times of Grutle Kjellson from Enslaved), by now a familiar rasp that underscores the various violences taking place within the eight included tracks. I bet they get even meaner next time,. That’s just how Yatra do. But it’ll be a challenge.

Yatra on Facebook

Prosthetic Records store

 

Sula Bassana, Nostalgia

Sula Bassana Nostalgia

Part of the fun of a new Sula Bassana release is not knowing what you’re going to get, and Nostalgia, which is built from material recorded between 2013-’18 and finished between 2019-’21, is full of surprises. The heavy space grunge of lead cut “Real Life,” which along with its side A companion “We Will Make It” actually features vocals from Dave “Sula Bassana” Schmidt himself (!), is the first here but not the last. That song beefs up early Radiohead drudgery, and “We Will Make It” is like what happens when space rock actually gets to space, dark in a way but expansive and gorgeous. Side B is instrumental, but the mellotron in “Nostalgia” — how could a track called “Nostalgia” not have mellotron? — goes a long way in terms of atmosphere, and the 10-minute “Wurmloch” puts its well-schooled krautrockism to use amid melodic drone before the one-man-jam turns into a freakout rager (again: !), and the outright beautiful finisher “Mellotraum” turns modern heavy post-rock on its head, stays cohesive despite all the noise and haze and underscores the mastery Schmidt has developed in his last two decades of aural exploration. One wonders to what this sonic turn might lead timed so close to his departure from Electric Moon and building a Sula live band, but either way, more of this, please. Please.

Sula Bassana on Facebook

Sulatron Records store

 

Garden of Worm, Endless Garden

Garden of Worm Endless Garden

Continuing a streak of working with highly-respected imprints, Finland’s Garden of Worm release their third album, the eight-song/43-minute Endless Garden, through Nasoni Records after two prior LPs through Shadow Kingdom and Svart, respectively. There have been lineup changes since 2015’s Idle Stones (review here), but the band’s classically progressive aspects have never shone through more. The patient unfolding of “White Ship” alone is evidence for this, never mind everything else that surrounds, and though the earlier “Name of Lost Love” and the closer “In the Absence of Memory” nod to vintage doom and the nine-minute penultimate “Sleepy Trees” basks in a raw, mellow Floydian melody, the core of the Tampere outfit remains their unpredictability and the fact that you never quite know where you’re going until you’re there. Looking at you, “Autumn Song,” with that extended flute-or-what-ever-it-is intro before the multi-layered folk-doom vocal kicks in. For over a decade now, Garden of Worm have been a well kept secret, and honestly, that kind of works for the vibe they cast here; like you were walking through the forest and stumbled into another world. Good luck getting back.

Garden of Worm on Facebook

Nasoni Records site

 

Orthodox, Proceed

orthodox proceed

Untethered by genre and as unorthodox as ever, Sevilla, Spain, weirdo doom heroes Orthodox return with Proceed after four years in the ether, and the output is duly dug into its own reality of ritualism born more of creation than horror-worship across the six included songs. “Arendrot” carries some shade from past dronings, and certainly the opener before it is oddball enough, with its angular riffing and later, Iberian-folk-derived solo, but there’s a straigter-forward aspect to Proceed as well, the vocals lending a character of noise rock and less outwardly experimentalist fare. “Rabid God” brings that forward with due intensity before the hi-hat-shimmy-meets-cave-lumber-doom “Starve” and the lurching/ambient doomjazz “The Son, the Sword, the Bread” set up the 10-minute closer “The Long Defeat,” which assures the discomforted that at least at some point when they were kids Orthodox listened to metal. Righteously individual, their work isn’t for everyone, and it’s by no means free of indulgence, but in 42 minutes, Orthodox once again stretch the limits of what doom means in a way that most bands wouldn’t dare even if they wanted to, and if you can’t respect that, then I’ve got nothing for you.

Orthodox on Facebook

Alone Records store

 

Matus, Espejismos II

Matus Espejismos II

Fifty years from now, some brave archivalist soul is going to reissue the entire catalog of Lima, Peru’s Matus and blow minds far and wide. A follow-up to 2013’s Espejismos (review here), Espejismos II brings theremin-laced vintage Sabbath rock vibes across its early movements, going so far as to present “Umbral / Niebla de Neón” in mono, while the minute-and-a-half-long “Los Ojos de Vermargar (Early Version)” is pure fuzz and the organ-laced “Hada Morgana (Early Instrumental Mix)” — that and “Umbra; / Niebla de Neón” appeared in ‘finished versions on 2015’s Claroscuro (review here); “Summerland” dates back to 2010’s M​á​s Allá Del Sol Poniente (review here), so yes, time has lost all meaning — moves into the handclap-and-maybe-farfisa-organ “Canción para Nuada,” one of several remixes with rerecorded drums. “Rocky Black” is an experiment in sound collage, and “Misquamacus” blends acoustic intricacy and distorted threat, while capper “Adiós Afallenau (Version)” returns the theremin for a two-minute walk before letting go to a long stretch of silence and some secret-track-style closing cymbals. The best thing you can do with Matus is just listen. It’s its own thing, it always has been, and the experimental edge brought to classic heavy rock is best taken on with as open a mind as possible. Let it go where it wants to go and the rewards will be plenty. And maybe in another five decades everyone will get it.

Matus on Facebook

Espíritus Inmundos on Facebook

 

Shrooms Circle, The Constant Descent

Shrooms Circle The Constant Descent

Offset by interludes like the classical-minded “Aversion” or the bass-led “Reprobation,” or even the build-up intro “S.Z.,” the ritual doom nod of Swiss five-piece Shrooms Circle‘s The Constant Descent is made all the more vital through the various keys at work across its span, whether it’s organ or mellotron amid the lumbering weight of the riffs. “Perpetual Decay” and its companion interlude “Amorphous” dare a bit of beauty, and that goes far in adding context and scope to the already massive sounding “The Unreachable Spiral” and the subtle vocal layering in “The Constant Descent.” Someone in this band likes early Type O Negative, and that’s just fine. Perhaps most of all, the 11-song/48-minute The Constant Descent is dynamic enough so that no matter where a given song starts, the listener doesn’t immediately know where it’s going to end up, and taking that in combination with the command shown throughout “Demotion,” “Perpetual Decay,” the eight-minute “Core Breakdown” and the another-step-huger finale “Stagnant Tide,” Shrooms Circle‘s second album offers atmosphere and craft not geared toward hooking the audience with catchy songwriting so much as immersing them in the mood and murk in which the band seem to reside. If Coven happened for the first time today, they might sound like this.

Shrooms Circle on Facebook

DHU Records store

 

Goatriders, Traveler

Goatriders Traveler

I’m gonna tell you straight out: Don’t write this shit off because Goatriders is a goofy band name or because the cover art for their second album, Traveler, is #vanlife carrot gnomes listening to a tape player on a hillside (which is awesome, by the way). There’s more going on with the Linköping four-piece than the superficialities make it seem. “Unscathed” imagines what might have happened if Stubb and Hexvssel crossed paths on that same hill, and the album careens back and forth smoothly between longer and shorter pieces across 50 engrossing minutes; nature-worshiping, low-key dooming and subtly genre-melding all the while. Then they go garage on “The Garden,” the album seeming to get rawer in tone as it proceeds toward “Witches Walk” and the a capella finish in “Coven,” which even that they can’t resist blowing out at the end. With the hypnotic tom work and repeat riffing of the instrumental “Elephant Bird” at its center and the shouted culminations of “Goat Head Nebula” and “Unscathed,” the urgent ritualizing of “Snakemother” and the deceptive poise at the outset with “Atomic Sunlight,” Traveler finds truth in its off-kilter presentation. You don’t get Ozium, Majestic Mountain and Evil Noise on board by accident. Familiar as it is and drawing from multiple sides, I’m hard-pressed to think of someone doing exactly what Goatriders do, and that should be taken as a compliment.

Goatriders on Facebook

Majestic Mountain Records store

Evil Noise Recordings store

Ozium Records store

 

Arthur Brown, Long Long Road

Arthur Brown Long Long Road

At the tender age of 80, bizarrist legend Arthur Brown — the god of hellfire, as the cover art immediately reminds — presents Long Long Road to a new generation of listeners. His first album under his own name in a decade — The Crazy World of Arthur Brown released Gypsy Voodoo (can you still say that?) in 2019 — and written and performed in collaboration with multi-instrumentalist Rik Patten, songs like “Going Down” revisit classic pageantry in organ and horns and the righteous lyrical proclamations of the man himself, while “I Like Games” toys with blues vibes in slide acoustic, kick drum thud and harmonica sleazenanigans, while the organ-and-electric “The Blues and Messing Round” studs with class and “Long Long Road” reminds that “The future’s open/The past is due/In this moment/Where everything that comes is new,” a hopeful message before “Once I Had Illusions (Part 2)” picks up where its earlier companion-piece left off in a manner that’s both lush and contemplative, more than a showpiece for Brown‘s storytelling and still somehow that. His legacy will forever be tied to The Crazy World of Arthur Brown‘s late-1960s freakery, but Long Long Road is the work of an undimmed creative spirit and still bolder than 90 percent of rock bands will ever dare to be.

Arthur Brown on Facebook

Magnetic Eye Records store

Prophecy Productions store

 

Green Sky Accident, Daytime TV

Green Sky Accident Daytime TV

Ultimately, whether one ends up calling Green Sky Accident‘s Daytime TV progressive psychedelia, heavier post-rock or some other carved-out microgenre, the reality of the 10-song/50-minute Apollon Records release is intricate enough to justify the designation. Richly melodic and unafraid to shimmer brightly, cuts like “Point of No Return” and the later dancer “Finding Failure” are sweet in mood and free largely of the pretense of indie rock, though “Insert Coin” and the penultimate piano interlude “Lid” are certainly well dug-in, but “Sensible Scenes,” opener “Faded Memories,” closer “While We Lasted” and the ending of “Screams at Night” aren’t lacking either for movement or tonal presence, and that results in an impression more about range underscored by songwriting and melody than any kind of tonal or stylistic showcase. The Bergen, Norway, four-piece are, in other words, on their own trip. And as much float as they bring forth, “In Vain” reimagines heavy metal as a brightly expressive terrestrial entity, a thing to be made and remade according to the band’s own purpose for it, and the title-track similarly balances intensity with a soothing affect. I guess this is what alt rock sounds like in 2022. Could be far worse, and indeed, it presents an ‘other’ vision from the bulk of what surrounds it even in an underground milieu. On a personal level, I can’t decide if I like it, and I kind of like that about it.

Green Sky Accident on Facebook

Apollon Records store

 

Pure Land Stars, Trembling Under the Spectral Bodies

Pure Land Stars Trembling Under the Spectral Bodies

With members of Cali psych-of-all explorers White Manna at their core, Pure Land Stars begin a series called ‘Altered States’ that’s a collaboration between Centripetal Force and Cardinal Fuzz Records, and if you’re thinking that that’s going to mean it’s way far out there, you’re probably not thinking far enough. Kosmiche drones and ambient foreboding in “Flotsam” and “3rd Grace” make the acoustic strum of “Mountains are Mountains” seem like a terrestrial touch-down, while “Chime the Kettle” portrays a semi-industrial nature-worship jazz, and “Jetsam” unfolds like a sunrise but if the sun suddenly came up one day and was blue. “Lavendar Crowd” (sic) turns the experimentalism percussive, but it’s that experimentalism at the project’s core, whether that’s manifest in the nigh-on-cinematic “Dr. Hillarious” (sic) or the engulf-you-now eight-minute closer “Eyes Like a Green Ceiling,” which is about as far from the keyboardy kratrock of “Flotsam” as the guitar effects and improvised sounding soloing of “Jetsam” a few tracks earlier. Cohesive? Sure. But in its own dimension. I don’t know if Pure Land Stars is a ‘band’ or a one-off, but they give ‘Altered States’ a rousing start that more than lives up to the name. Take a breath first. Maybe a drink of water. Then dive in.

Pure Land Stars on Bandcamp

Centripetal Force Records store

Cardinal Fuzz Records store

 

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Up in Smoke Festival Announces 2022 Lineup

Posted in Whathaveyou on August 11th, 2022 by JJ Koczan

UP IN SMOKE 2022 banner

True, most of the lineup for Up in Smoke 2022 — set for Sept. 30 through Oct. 2 in, as ever, Pratteln, Switzerland — was previously announced, and some of it goes back to what the fest would’ve been in 2020, but I’ve got two reasons for posting it now. First, it’s a new announcement and the festival’s social media has fallen into some kind of digital chasm I don’t and couldn’t hope to understand, and second, that lineup is perfect.

Seriously, they say there are more bands coming. Don’t on my account. This’ll be just fine. There was one band on this poster with whom I was not immediately familiar by name, and that was Midnight Deadbeats, who released their debut album, Moonshine Carnival, in late 2020 on Sixteentimes Music. You can stream it below. To me it sounds like earliest Dozer and if you think I’m about to complain about that you’re out of your mind. And everybody that surrounds on this bill is someone I’d like to see, whether I’ve seen them before or not. Fu Manchu and Slomosa. Irist and Orange Goblin. Naxatras and EcholotStoned Jesus and Sasquatch and Mars Red Sky and The Heavy EyesGreenleafSomali Yacht Club, High Reeper and Hippie Death Cult. Fucking a.

I won’t get there — these Fall fests are perennially out of my reach — but god damn what a show this weekend will be. Sound of Liberation is handling the promotion and that’s where to go for social media at this point. They just made the announcement that follows:

up in smoke 2022 poster

UP IN SMOKE FESTIVAL: LINE-UP ANNOUNCEMENT

Hey friends,

Today we’re absolutely stoked to present you the majority of bands for our beloved Up In Smoke Festival!

Get ready for three days of heavy psychedelic, stoner rock and doom at the Z7 Fabrik in Pratteln, Switzerland!

Already (re-)confirmed for 2022:

FU MANCHU – ORANGE GOBLIN – ELDER – STONED JESUS – PALLBEARER – GREENLEAF – SASQUATCH – NAXATRAS – MARS RED SKY – SOMALI YACHT CLUB – ELECTRIC CITIZEN – SLOMOSA – MOTHER ENGINE – IRIST – HIPPIE DEATH CULT – HIGH REEPER – THE HEAVY EYES – CARSON – ECHOLOT – MIDNIGHT DEADBEATS

More bands to be announced!

Tickets: https://www.sol-tickets.com

Tickets + 3 Day Sleepover Ticket: http://www.z-7.ch

FB & Insta: @soundofliberation

Cheers,

Your SOL-Crew

https://www.facebook.com/events/598002655273695/
https://www.facebook.com/Soundofliberation/
https://www.instagram.com/soundofliberation/
https://www.sol-tickets.com/
http://www.z-7.ch/
https://www.upinsmoke.de

Midnight Deadbeats, Moonshine Carnival (2020)

Fu Manchu, Live at Freak Valley Festival 2022

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Echolot Premiere “Burdens of Sorrows” Video

Posted in Bootleg Theater on August 3rd, 2022 by JJ Koczan

ECHOLOT

Basel, Switzerland’s Echolot are set to release their fourth long-player, Curatio, through Sixteentimes Music on Nov. 4. The trio were last heard from with 2020’s Destrudo (discussed here), and their new 10-minute single — who doesn’t love a 10-minute single? — is “Burdens of Sorrows,” which brings together contemplative post-rock à la Radiohead and the progressive metal of Tool with a post-metallic presentational linear flow and stretches of absolutely charred-black doom. If that sounds like a lot of ground to cover, yes, it is.

To Echolot‘s credit, the trio of guitarist Lukas Fürer, bassist Renato Mateucci and drummer Jonathan Schmidli are not simply smashing different ideas together and hoping something sticks. Their creative identity is rampant ECHOLOT BURDENS OF SORROWSthroughout the different stages of the song, from the quiet opening through the gnashing, rumbling conclusion, but true to type, it’s the fluidity of their delivery that makes it all work. The bassline runs under the early verses like a river current carrying the song forward, the melody is sweet and longing, and the crash of drums atmospheric but tense, telegraphing the build but holding back from letting the listener know right away where it’s all headed without making a show of teasing either. That is, if you’re new to Echolot, you’re in for a ride, both before and after the first screams show up around four minutes into the video.

Wait — a video? Premiering below? Yup. The moral of the story, visually, seems to be that sometimes you find the key that unlocks a gritty reboot of The Creature From the Black Lagoon — so, awesome — but the cinematic approach and the narrative both suit the song’s consuming journey and strikingly heavy arrival at its destination. The furies are many and the execution neither shies from nor is hindered by them, the band keeping a sense of poise even at their most tempestuous. I haven’t heard all of Curatio as yet, but “Burdens of Sorrows” is immersive and sweeping enough to stand on its own as it does.

I hope you enjoy:

Echolot, “Burdens of Sorrows” video premiere

Burdens of Sorrows by Echolot, taken from the upcoming album CURATIO

Burdens Of Sorrows written and performed by Echolot
Recorded by JEROEN VAN VULPEN
Performed by ECHOLOT

Director & Cinematography Manuel Guldimann
Editor Miro Widmer

Echolot was founded 2014 in Basel and has been swimming in an unchanged constellation. The three-master (bass, guitar and drums) uses the sounds of doom, psychedelic and progressive vibes.

Three islands of different types have already been created: „I“ (2016), „Volva“ (2017) and „Destrudo“ (2020). The rock for the next island is agglomerated.

This is how the new album „CURATIO“ (2022) springs from the depths of the seven seas. The well-known swell of sonar is carried on in it, and swells to the surface with the dark and uncharted depths of the sea. A glutton with the longing to be carried further and further down the endless veins of the world.

ECHOLOT:
Lukas Fürer – Guitar
Renato Mateucci – Bass
Jonathan Schmidli – Drums

Echolot on Facebook

Echolot on Instagram

Echolot on Bandcamp

Sixteentimes Music on Facebook

Sixteentimes Music on Bandcamp

Sixteentimes Music website

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