The Obelisk Presents: The Top 15 of 2015 So Far

Posted in Features on July 6th, 2015 by JJ Koczan

top 15 of 2015 so far the-rhinoceros-albrecht-durer

If 2015 ended tomorrow, I think you’d still have to say it was a pretty good year for heavy rock. Doom veered into a swath extremes — its own subgenres emerging almost one by one in a growing splinter that nonetheless continues to draw water from its roots — while the neo-stoner ignition of the West Coast continued its boom of new acts proffering classic groove. The East reveled in a progressive vision just waiting to be picked up by others, and in Europe, the ’70s traditionalist movement spread ever wider, essentially defining a modern sound in organic sounding, sometimes-vintage elements. Whether you’re going for crushing, oppressive barbarism or cosmos-bound blissouts, it is, in short, a good time to be alive.

Of course, 2015 doesn’t end tomorrow, and there’s still a whole lot of year to come. About half, as it happens. So, as has been the tradition around here for the last half-decade — and seems to be the tradition in a growing number of outlets; not taking credit or claiming to have invented anything, just noting a proliferation — it’s time to count down the best records of the year so far. There have been more than a handful of gems, and since in December I’m planning on doing a top 30, we’ll mark half the year with a top 15. Seems only fair.

Please note that this isn’t purely a critical evaluation, but a personal list, and that what I’ve put on most is as crucial a factor in my ranking as how important I think a given record is. You know the drill by now. Let’s go:

15. Stoned Jesus, The Harvest

stoned jesus the harvest

Self-released. Reviewed Feb. 20.

Kiev three-piece Looking for the best how to write discussion in dissertations provider for your essay, term paper, research paper or any academic document? Try our services today Stoned Jesus have a varied stylistic history, and their third outing, Buy Essay. Looking to buy Why choose Ultius when What Is The Best Custom Essay Service? Ultius deeply understands your frustration when it comes to buying essays for reference The Harvest was ultimately a success in large part because of its complete refusal to be defined. Atop a foundation of quality songcraft, the trio proffered a sound that was not necessarily experimental in terms of anti-structure noise or effects onslaughts, but bold in each of its forays outward from its heavy rock underpinnings.

 

14. Freedom Hawk, Into Your Mind

freedom hawk into your mind

Released by Did we spoil it? There are. We have brought dissertation writing http://www.guate-jug.net/danksagung-schreiben-dissertation/ service for the college and university students Small Stone. Reviewed June 26.

It has consistently taken me a while to get a hold on what Feeling trapped while writing an essay? MyAssignmenthelp.com is the one that not only promises but also provides top-quality online Dissertation Signature Page Ou Dissent History Freedom Hawk are up to. The steady elements in their sound are held to so firmly that on the first couple listens, it seems to just be more of the same. But the more one digs in, the more there is to be found, and with Write My Thesis. If you are asking ďWho can click here?Ē Ė the answer is right here! We can do it for you. You have found the right place Into Your Mind, the Virginia Beach trio overcome losing a member to create their most progressive outing to date, flourishes of psychedelia melding easily with their signature style of sunshiny riffing.

 

13. My Sleeping Karma, Moksha

my sleeping karma moksha

Released by Do you want to Resume Writing Services Denver from a reliable writing provider? Then you have come to the right place. We offer original academic works at reasonable Napalm Records. Reviewed May 12.

Five albums deep, Germany’s EssayCompaniesReviews.com is young and ambition team of students, who provide trustful reviews of and can surely give an advice for My Sleeping Karma are an act unto themselves. Their progress has been natural, fueled by a clear, varied sense of exploratory will, and the results on this year’s ďĒ works on strong principles of ensuring that each customer who places their trust in us goes back happy. We know how important Moksha were nothing short of stunning. Branching out their arrangements might not be new to them, but the inclusion of horns, drones, percussion, etc., amid the central guitar, bass, keys and drums lent an almost orchestral feel to the flow between the tracks, and one can only hope they continue on their current path, because it is unquestionably the right one.

 

12. Death Alley, Black Magick Boogieland

death alley black magick boogieland

Released by If youíre looking for a buying essays online safe, you will like the quality offered by PapersASAp.com. Check the 10 reasons to choose this Tee Pee Records. Reviewed June 8.

So much potential, so much vitality at the heart of this debut from Hire the Reasearch Paperers to complete any assignment for you at 20% OFF. Get assignment help in finance, chemistry, statistics, economics and Death Alley. The Amsterdam-based four-piece (interview here) stormed out of the gate with a ripper of a debut, and just when you seemed to have it all figured out, they hit the ignition on a 12-minute full-impulse space rock thrust, a guest vocal appearance from Franchise Restaurant Business Plan - confide your coursework to qualified writers employed in the service Perfectly written and custom academic essays. All sorts of Farida Lemouchi (a former bandmate of Our Dissertation Deckblatt Uni Wien will raise your chances to get a degree in a prestigious college. If you have any doubts, feel free to ask our MBA essay Death Alley guitarist http://hinzlab.com/?how-to-do-dissertation can be an excellent addition to a sales team that has been disappointed with their success in winning government contracts. Oeds Beydals in read here website that writes essays for you We render quality paper tutoring services online combined with various benefits!50% Prepay. Supreme Quality Service. Loyalty Discounts. Enjoy Much More with Us!Find out more about our professional essay writing service. Order stellar papers and put away your essay writing guide. The Devil’s Blood) adding both mystique and emotional resonance to what was already a stunning track. With all the riotousness preceding,¬† Dissertation Quality Service online at professional essay writing service. Order custom research academic papers from the best trusted company. Just find a great help for Black Magick Boogieland¬†readily¬†lived up to its righteous title.

 

11. Mondo Drag, Mondo Drag

mondo drag self titled

Released on RidingEasy Records and Kozmik Artifactz. Reviewed Jan. 8.

Midwestern-turned-West-Coast heavy psych rockers Mondo Drag may have taken their time in releasing their self-titled sophomore outing, which followed their 2010 debut, New Rituals (review here), and was recorded in 2012, but it’s easy to imagine that’s because they wanted the circumstances to be as special as the album itself, recorded with a fleeting five-piece lineup that included the one-time rhythm section of Radio Moscow who wound up leaving to further their then-nascent project, Blues Pills. Even without that lineup shift as a factor, the late ’60s vibe Mondo Drag brought out across the release proved eminently listenable and has held up on repeat visits.

 

10. Cigale, Cigale

cigale self-titled

Self-released. Reviewed May 4.

A gorgeous, shimmering and melodically resonant debut from the Dutch four-piece Cigale, their self-titled gracefully maintained tonal presence and warmth while also enacting a psychedelic sprawl and grooving serenity that acted like the landscape in which the songs took place. It was a rich, bright vibe, and an utter joy to behold, tracks like “Harvest Begun,” “Feel the Heat” and “Eyes Wide Shut” proving as memorable as they were inviting. Having two former members of the much-missed fuzz rock outfit¬†Sungrazer may have initially turned some heads in their direction, but¬†Cigale‘s first album proved they’re an outfit with their own personality, their own development to undertake, and already much to offer.

 

9. The Machine, Offblast!

the machine offblast

Released by Elektrohasch Schallplatten. Reviewed May 28.

The awaited return of The Machine brought the band’s fifth album and a further-refined sense of maturity in their processes, as well as intrigue as to where they might be headed, two dual modes of open-ended jamming and more structured songwriting playing off each other in the extended ‚ÄúChrysalis (J.A.M.)” and “Come to Light” and the more verse/chorus stylizations of “Dry End” and “Off Course.” To be perfectly honest, I doubt The Machine will ultimately pick one side over another, since if Offblast! proved anything it’s that they can easily handle either or both, but as they continue to grow, it’s encouraging to have their style establish itself as so multi-faceted.

 

8. The Atomic Bitchwax, Gravitron

the atomic bitchwax gravitron

Released by Tee Pee Records. Reviewed April 20.

First time I pressed play on Gravitron was a real “oh shit!” moment. The last release from NJ stalwarts The Atomic Bitchwax was 2011’s The Local Fuzz (review here), a single-song full-length instrumental riff onslaught that had its charm but was inherently divorced from the appeal of the band’s songwriting. Not only does Gravitron re-factor that in with songs like “Roseland,” “It’s Alright,” “Coming in Hot” and “Ice Age Hey Baby,” among others, but it hits with kick-in-the-ass production force and an all-out heaviness that 2008’s¬†TAB4¬†showed the three-piece steering directly away from. Just a killer record. Utterly void of pretense. No bullshit. No need to rely on anything more than chemistry, and with the¬†Bitchwax, that’s plenty.

 

7. Brothers of the Sonic Cloth, Brothers of the Sonic Cloth

brothers of the sonic cloth self titled

Released by Neurot Recordings. Reviewed March 3.

Right now, Brothers of the Sonic Cloth are my band to beat for Debut of the Year, and I’m quite frankly not sure how anyone is going to be able to do it, so if list time comes in Dec. and you see Tad Doyle‘s trio marked out as such, know that it’s been that way in my head for some time. The three-piece of Doyle, bassist Peggy “Pegadeth” Tully and drummer Dave French arrived with a roar, and even when their self-titled let up sonically, the atmosphere remained viscerally heavy. Six years having passed since the release of¬†their first demo (review here), I wasn’t sure there was ever going to be an album, but then to have¬†Brothers of the Sonic Cloth¬†show up and enact such thorough demolition only made it more impressive.

 

6. High on Fire, Luminiferous

high on fire luminiferous

Released by eOne Heavy. Reviewed June 15.

It can’t possibly be a surprise to have Luminiferous show up somewhere on this list. The seventh long-player by High on Fire had all the rage and bombast in “Slave the Hive” and “The Black Plot” that have become the band’s hallmarks over their 17 years together, but branched out progressively as well in songs like “The Cave” and “The Falconist,” the latter of which was brazenly catchy and about as emotionally direct as the band has ever gotten, their general modus being — and in that song too, just to a lesser extent — a metaphor-laced lyrical approach. That song was a triumph and so was the album as a whole; the second collaboration with producer Kurt Ballou building on the rampaging victories¬†of 2012’s¬†De Vermis Mysteriis (review here) while also showing growth on the part of one of modern metal’s most pivotal bands.

 

5. Kings Destroy, Kings Destroy

kings destroy self titled

Released by War Crime Recordings. Reviewed April 15.

Hitting¬†more or less concurrent with¬†a vinyl release of their prior album, 2013’s A Time of Hunting (review here), Kings Destroy‘s Kings Destroy is not at all coincidentally titled. Over the course of now three full-lengths, the New York five-piece — about whom I feign no impartiality, let it be noted — have distinguished themselves with a sound neither noise, nor doom, nor heavy rock, but drawing on elements of all three when it suits their purposes with chemistry built from years of being in bands together of various stripes and in various genres. What stands the self-titled out from their past work, in part, is that it is the closest they’ve yet come to capturing their live sound in the studio, and accordingly,¬†it’s a volatile kind of heavy that bends aesthetic to its will rather than capitulating to expectations of any sort. I don’t think they’re done growing by any stretch, but¬†Kings Destroy¬†feels like an arrival front-to-back.

 

4. Colour Haze, To the Highest Gods We Know

colour haze to the highest gods we know

Released by Elektrohasch Schallplatten. Reviewed Jan. 6.

This one was almost a sneak-attack. German heavy psych forerunners Colour Haze released To the Highest Gods We Know, their 11th full-length, in Dec. 2014 on CD (the vinyl was in 2015, which is what we’re counting in this instance), with very, very little fanfare of any sort. There was a track premiere here that came shortly after the album was announced, but I think it was officially out less than a month after its existence was made public, which for a band of Colour Haze‘s stature and influence was surprising. Less devoted to¬†grandeur than¬†2012’s 2CD She Said (review here), it nonetheless pushed the band’s sound forward and found them experimenting in their studio, particularly on the string-quartet-inclusive finale title-track, which offset jams like “√úberall” and the laid back highlight “Call” with a rhythmic oddness that was somehow still¬†Colour Haze‘s own. I couldn’t help but wonder where it was leading, but that doesn’t mean it wasn’t masterful in its own right.

 

3. Goatsnake, Black Age Blues

goatsnake black age blues

Released by Southern Lord Recordings. Reviewed May 19.

Goatsnake didn’t have it easy going into their third album. It had been 15 years since their sophomore outing, Flower of Disease, 11 since their last EP, and five since they first started playing shows again. Expectations? Through the roof. Among heavy rock heads, a new¬†Goatsnake¬†was like seeing the mountaintop. I mean, a big fucking deal and then some. Then the record hits, and there’s just about no way it can live up to the anticipation, but god damn if¬†Goatsnake¬†not only¬†finally¬†put out a third album, but one that was better than I think anyone could’ve hoped for. Hearing¬†Pete Stahl¬†with however many backup singers he had on “Another River to Cross” et. al. was like finding an animal in its native habitat, and between his soul,¬†Greg Anderson‘s riffs, bassist¬†Scott Renner‘s low end rumble and drummer¬†Greg Rogers‘ roll,¬†Black Age Blues¬†won almost immediately and then spent the rest of its 47 minutes throwing itself a victory party. “Elevated Man,” “House of the Moon,” “Jimi’s Gone,” “Grandpa Jones,” almost on a per-track basis,¬†Goatsnake¬†added to the reasons they’ve been so heralded despite a decade-plus’ absence from the studio.

 

2. Elder, Lore

elder lore

Released by Armageddon Shop and Stickman Records. Reviewed Feb. 19.

On the level of achievement alone, Elder‘s Lore will be the album of the year for many, and there are times (such as right now) when I listen to it and question whether or not it isn’t also my pick for that honor, but wherever it falls on whatever list, far more important is what the Massachusetts/Rhode Island/New York trio manage to accomplish across their third LP’s formidable five-track/59-minute span, songs like “Compendium” and “Deadweight” bridging a rarely approached gap between heavy and progressive rocks while maintaining a flow consistent with the psychedelic vibing of 2011’s Dead Roots Stirring (review here) but grown outward in another aesthetic direction and no sooner setting foot on the ground than seeming to master it in a flurry of blinding turns, sprawling soundscapes and clarity of mind that found perhaps its greatest expression in the centerpiece title-track, the 15-minute “Lore” itself, which I’ve no doubt will stand among if not atop the best songs of 2015 when the year is over and encapsulates the ambition and the corresponding breadth of¬†Elder‘s songwriting, the trio of guitarist/vocalist¬†Nick DiSalvo,¬†bassist¬†Jack Donovan, and drummer¬†Matt Couto rising as one of the East Coast’s most pivotal acts, with a sound completely their own.

 

1. Acid King, Middle of Nowhere, Center of Everywhere

acid king middle of nowhere center of everywhere

Released by Svart Records. Reviewed March 19.

I use the word “molten” pretty regularly to describe an album or song that seems to just ooze its way out of the speakers or shift seamlessly between its songs, but Acid King set an entirely new standard for the term with Middle of Nowhere, Center of Everywhere. Their first outing for Svart and their first release in a decade, its 55 minutes were a riff-rolling nirvana of lurching fuzz and tonal excellence, the guitar of¬†Lori S. at the fore accompanied by¬†Mark Lamb‘s bass and¬†Joey Osbourne‘s drums, the swing of which propelled a highlight track like “Coming down from Outer Space” right back into it, while elsewhere on the record, “Silent Pictures,” “Red River” and “Infinite Skies” torched stoner conventions into a new space-biker rock, culminating in the heavy psych of “Center of Everywhere,” which seemed to emanate from the place it was describing, at once empty and full. More than just a welcome return after a long dearth of releases,¬†Middle of Nowhere, Center of Everywhere¬†found¬†Acid King¬†progressed even beyond where they were with 2005’s¬†III, though more than anything else, what makes it my top pick for the year so far is the fact that I can’t seem to walk away from it for too long before going back, and ultimately, that’s what it all comes down to with his kind of thing. I’ve yet to find a standard to which these songs don’t live up.

Honorable Mention:

A few others worth noting. The¬†Sun Blood Stories¬†album (streamed here) continues to resonate. Also¬†Monolord,¬†Valkyrie, Lamp of the Universe,¬†Garden of Worm,¬†Wo Fat‘s live record, The Midnight Ghost Train‘s Cold was the Ground and¬†Ufomammut‘s¬†Ecate. The¬†Black Rainbows¬†was a joy, as was¬†Spidergawd‘s second LP, and while I still feel like I haven’t given it its due, the¬†Sumac¬†won many over and should get a mention.¬†Steve Von Till‘s solo outing and the latest from¬†Enslaved are worth seeking out as well for anyone who hasn’t heard them yet.

More to Come:

The year’s only half over, which is kind of a scary thought but true nonetheless. Watch out in the coming months for new stuff from¬†Bloodcow,¬†All Them Witches,¬†Clutch,¬†Graveyard,¬†Zun,¬†Sacri Monti (if that one’s not already out),¬†Snail,¬†Uncle Acid, and¬†Kind. The new¬†Kadavar¬†is a sure-fire top tenner, and between that, the potential for a new¬†Neurosis¬†album and stuff like¬†Magnetic Eye Records‘¬†Electric Ladyland [Redux], there’s no way the book is written on the best of 2015.

So stay tuned.

And if I’ve still got your attention, thanks for reading.
 

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Lamp of the Universe, The Inner Light of Revelation: Timeless through Ages

Posted in Reviews on April 27th, 2015 by JJ Koczan

lamp of the universe the inner light of revelation

For Hamilton, New Zealand’s¬†Lamp of the Universe, the line between self, spirit and cosmos seems to have dissipated. Now 14 years on from its debut release,¬†The Cosmic Union, the project has surged back to activity after a few years’ absence, resulting in 2013’s¬†Transcendence (review here), splits in 2014 with¬†Krautzone¬†(streamed here) and¬†Trip Hill, and now, the eighth full-length,¬†The Inner Light of Revelation, released by¬†Clostridium Records in conjunction with Astral Projection.¬†Multi-instrumentalist/vocalist/producer¬†Craig Williamson, as ever, is the auteur. A principle figure in establishing heavy rock and psychedelia in New Zealand during his days in¬†Datura, who started in 1993 and released their last album in 1999,¬†Williamson had shifted his focus from 2010 to 2012 onto¬†Arc of Ascent, a trio whose two albums, 2010’s¬†Circle of the Sun (review here) and 2012‚Äôs The Higher Key (review here), remain an engaging extension of¬†Williamson‘s songwriting into the more grounded grooves hinted at on¬†Lamp of the Universe‘s 2009 outing,¬†Acid Mantra¬†(review here). One thing leads to the next and to the next. Since¬†Arc of Ascent‘s apparent disbanding,¬†Williamson‘s work as¬†Lamp of the Universe has had a sort of homecoming feel, but both the material he’s contributed to the splits and the two long-players are expansive and progressive, and¬†The Inner Light of Revelation¬†is nothing if not forward-minded. Comprised of eight tracks totaling 51 minutes, it harnesses both the lushness of sound and intimacy of vibe that has made¬†Lamp of the Universe¬†a singularly entity for the last decade-plus, and finds¬†Williamson hinting toward a balance between the full-band and solo-project impulses. Less even than¬†Acid Mantra¬†or¬†Transcendence, both of which were plenty laid back,¬†The Inner Light of Revelation¬†feels unconcerned with direction, and that peacefulness radiates outward from the very beginnings of opener “Trance of the Pharaohs.”

Acoustic guitar and e-bow hum set the foundation for¬†Williamson‘s vocals, echoing a subtly memorable chorus, ritualized, very much in his own style — someone less familiar with his work and the fact that he was doing it first might hear shades of latter day¬†Al Cisneros — and later gong wash provides Eastern sensibility further explored via percussion roll and insistent strumming. Arrangement has always been a central feature of¬†Lamp of the Universe‘s work, but¬†Williamson‘s songwriting and the sense of mood he sets and develops over the course of an album remains the core of the outfit. As a multi-instrumentalist, he¬†builds a song like “God of One” with Mellotron, bass, guitar, sitar, percussion, drums, tambourine, multiple layers of vocals, resulting in a gorgeous psychedelic wash all the more hypnotic for the fact that it’s one person constructing it layer by layer. Of course, 14 years on, one would expect him to have a solid foundation from which to develop his ideas, but the loose swing he brings to “God of One” only underscores how special this project is. Tonal buzz, a quicker pace, sweet melody and one of¬†The Inner Light of Revelation‘s more infectious hooks make the track a standout — it’s also the longest on the record at 8:52, though closer “Celestial Forms” is a near second¬†— and it’s followed by “The Guiding Light,” a shorter movement centered around acoustic guitar, vocals and percussion. A folkier stretch, there’s still room for a dreamy acoustic solo in the second half, which sets the stage well for the Mellotron and sitar vibing of “Levitation,” the drums and percussion also returning as¬†Williamson makes solid use of a relatively straightforward rhythm to enact a steady nod through the verse and a winding chorus that answers the Mellotron line with a move into swirling fuzz guitar. Transitions are fluid, the feel equal parts beautiful and lysergic, and¬†Williamson‘s command over his sound manages only to enhance, not detract, from the psychedelic spiritual engagement of the material.

craig williamson

The two halves of the album break more or less evenly, no doubt with a¬†Clostridium¬†vinyl release in mind, and the acoustic/wah-electric finish of “Levitation” proves a resonant end to what would be side A. Side B, then, begins with the gradual ease of “Utopian Seed”‘s fade-in, harnessing some of the drone and backing swirl ideology of¬†Williamson‘s 2014 splits but setting it to more grounded, less extended purpose. A bassline and guitar figure emerges, but percussion-wise, “Utopian Seed” uses only quiet, far-back tom hits to keep its beat, and the difference between that and “Levitation” or “God of One” is palpable in the ultra-molten soundscape crafted. Even here, amid the experimentalist wash,¬†Williamson works in a chorus, though the intent is more mantra than hook, and that’s precisely the level on which it works. “Ancient Path” returns to a base of acoustic guitar and tambourine, sitar and percussion arriving soon after amid tanpura drone, expanding perhaps on what “The Guiding Light” suggested, with vocals compressed and otherworldly. The sitar and vocals lead the way out, bringing “Ancient Path” to a still-quiet apex, which gives way to the immediately rhythmic “Beyond the Horizon,” the shortest and most minimal of¬†The Inner Light of Revelation‘s tracks. Also the shortest at 3:07, it’s the easiest to imagine in a live setting, even as a Mellotron line and echoing vocals move beyond the foot-tap timekeeping and strummed central figure. As expansive as¬†Williamson¬†gets here, the penultimate cut is a reminder of how effective and intimate¬†Lamp of the Universe¬†can be, and helps strike that balance between band-sound and solo-sound. With “Celestial Forms,” the Mellotron once again takes a central presence, ambient tones circling above the acoustic guitar and sitar and percussion and vocals. The closer recalls some of “God of One” and “Levitation”‘s movements, but is far dreamier, less drummed, and as it moves through an electrified solo to the long-fading wash of an ending, even more cosmic.

Particularly after “Beyond the Horizon,” it ties¬†The Inner Light of Revelation¬†together smoothly, which I suppose remains one of the most pivotal aspects of¬†Williamson‘s work in¬†Lamp of the Universe¬†— that no matter how far out he goes sound-wise, there’s never any doubt of a plan at work, and even when he lets go and the song seems to carry him rather than the other way around, it’s abundantly clear he and the material are headed in the same direction. In psychedelia,¬†Lamp of the Universe¬†remains a blissful singular entity, and a project special for both how it has developed over time and the output that has resulted from that development. The quality of songwriting and balance of¬†The Inner Light of Revelation¬†should not be understated, and if there’s a singular truth being searched for here, then it seems to be found precisely in that place where self, spirit and cosmos unite.

Lamp of the Universe, The Inner Light of Revelation (2015)

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Lamp of the Universe on Bandcamp

Clostridium Records

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Lamp of the Universe to Release The Inner Light of Revelation March 24

Posted in Whathaveyou on February 17th, 2015 by JJ Koczan

lamp of the universe

For those familiar with the work of New Zealand’s Craig Williamson under the moniker of Lamp of the Universe, the arrival of a new album is unquestionably good news. Williamson — formerly of NZ heavy psych Datura and who in recent years released two albums with Arc of Ascent — has been exploring psychedelic meditations since the turn of the century, having made his debut in 2001 with¬†The Cosmic Union. His latest outings have come in the form of two 2014 split releases, one with¬†Trip Hill¬†and one with¬†Krautzone¬†(streamed here), and the new one,¬†The Inner Light of Revelation, will be released next month.

Particularly in light of¬†Lamp of the Universe‘s last full-length, 2013’s¬†Transcendence¬†(review here), one anticipates¬†hearing what¬†Williamson¬†has come up with this time around. That album followed the two¬†Arc of Ascent¬†albums and found¬†Williamson¬†working with a huge variety of instruments and layers to develop a sound somewhere between folk and heavy psychedelic rock, and other trance-inducing forms. His work on the¬†Krautzone¬†split (and from what I hear, the¬†Trip Hill¬†split was similar) delved further into a drone-laden style, soundscaping offset by acoustic-led verses as though, after journeying to a place within the song, one found a truth there waiting.

As somebody who’s long been a complete nerd for¬†Lamp of the Universe‘s peaceful vibes and sonic spirituality, I look forward to¬†The Inner Light of Revelation and whatever lysergic movements it might reveal.¬†Clostridium Records, which is putting out the CD¬†on March 24 and the vinyl after, posted the following release info:

lamp of the universe the inner light of revelation

CR 015 LAMP OF THE UNIVERSE “Inner Light of Revelation”

Release date March 24th 2015

limited to 500 handnumbered copies
*** pressed in Germany ***
Gatefoldcover ( Artwork by Greg Hodgson )
300 x black 180gr
200 x special-SPLIT as DIE HARD edition
+ one-sided 7 inch

All songs written, recorded, mixed and produced by Craig Williamson. Mastered by Kenny MacDonald. Artwork and Layout by Greg Hodgson.

Track list
1. Trance of the Pharaohs
2. God of One
3. The Guiding Light
4. Levitation
5. Utopian Seed
6. Ancient Path
7. Beyond the Horizon
8. Celestial Forms

https://www.facebook.com/lampoftheuniverse/
http://lampoftheuniverse.bandcamp.com/
https://www.facebook.com/clostridiumrecords
http://www.clostridiumrecords.com/

Lamp of the Universe, Transcendence (2013)

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