Once again it’s been a couple weeks since I was last able to do a round of radio adds. But I have a good excuse! I was… uh… reviewing stuff? Well, that’s what I was doing, anyway. Anyhow, I’m way backed up on stuff to join the server, so for at least the next couple weeks it seems reasonable to expect regular adds while I get caught up. By then I’m sure I’ll be behind again, because somehow that’s how it works. Anyway, point is that as usual, a lot more was added to the server this afternoon than appears here, so make sure you check the Playlist and Updates page for the full list. Most of it is pretty new as well, so you might stumble on something you didn’t know was out. Could happen. Alright, let’s do this.
The Obelisk Radio adds for March 20, 2015:
XII Boar, Pitworthy
Before “Sharpshooter,” the opening track of their debut full-length, Pitworthy, actually starts, Hampshire, UK, trio XII Boar are introduced by a ring announcer in full arena-echo style. Somebody is about to get their ass kicked. That mentality tells you a lot about where the three-piece of guitarist/vocalist Tommy Hardrocks, bassist/vocalist Adam “Baddog” Thomas and drummer David Wilbraham are coming from on the 10-track outing, rife with heavy, Southern-style boogie presented with weighted burl whether it’s a slower groove like “Crushing the P” or a thrasher like “Chicken Hawk.” Side A caps with the title-track, a seven-minute Southern metal highlight, but the real party is at the end of the record’s second half, when the 11-minute “Quint” takes hold in a raucous fury of rhythmic thrust, seafaring tales and off-the-wall soloing. It is a riotous debut after a few promising EPs, and if nothing else, XII Boar make it clear that if anyone’s going to get their ass kicked, it won’t be the band. Their dudely growls and whisky this-or-that might be too much for some, but there’s no denying these guys sound like they’re having a blast, and that energy proves infectious throughout their first album. XII Boar on Thee Facebooks, on Bandcamp.
Deadpeach, Old Fuzz Generation
Underrated Italian fuzz rockers Deadpeach initially released the debut EP, Old Fuzz Generation, in 2004 on what was apparently severely limited vinyl. Then a three-song 7″, Old Fuzz Generation now sees a digital reissue as a four-track release with the three-minute “Spain ’87” added on to the end. All told, it’s still under 10 minutes long with all four cuts taken together, but while brief, there’s enough fuzzy rush to hearken back to a time when European heavy rock was less concerned with either psychedelic freeform jamming or sounding like it’s 1972, and that the thickened-out, sped-up punk of “Americano” (1:50) needed no frills to get its point across, tapping influences from Nebula, Fu Manchu and Kyuss even while quoting Bob Marley in the lyrics and expressing what was a pervasive anti-American sentiment throughout Europe following the US invasion of Iraq. Good times. Not really, but good fuzz, and twice as interesting when one considers how European heavy was on the verge of a multi-faceted explosion 11 years ago and Deadpeach were tapping into a similar classic heavy ethic as the likes of Demon Cleaner, earlier Dozer and their countrymen in OJM. A quick but satisfying stoner burst. Deadpeach on Thee Facebooks, on Bandcamp.
Suzukiton, Suzukiton II
Making their home in the fertile heavy ground of Richmond, Virginia, the instrumental four-piece Suzukiton made their debut a decade ago on Crucial Blast with Service Repair Handbook, a collection of distinctly Southern but still varied rockers that found a cult following at the time. Kind of a surprise to find that 10 years later, the four-piece of guitarists Todd Naumann and David Boyd (Twisted Tower Dire), bassist William Rose and drummer Bryan Cox (ex-Axehandle and Alabama Thunderpussy) would return with the self-released Suzukiton II, but the intervening time has done little to dull their potency, shredding leads cutting through tight rhythms in tones bordering between heavy rock and metal, a chugger like “Death of a Mule” no more out of place than a prog-metal stomper like “Ronin.” Closer “Todd II” would seem a direct sequel to “Todd Song” from the first album, but its eight-minute course feels more than duly expanded from the prior release. Thoughtful in its progressions and well-plotted within its individual pieces, Suzukiton II is nothing if not a welcome return, and if it’s the band’s position to blindside new listeners, that suits the material well. Suzukiton on Thee Facebooks, on Bandcamp.
Torpor, From Nothing Comes Everything
Immediate points to UK atmospheric sludgers Torpor (also stylized in all-caps) for opening their Head of Crom and Black Bow Records debut LP, From Nothing Comes Everything, with “From this Time,” the longest song on the album. Follow-up points for the actual weight of the damn thing. Dense, post-metallic claustrophobia is undercut by trades between spoken or otherwise clearheaded shouts and vicious screams, the foursome of standalone vocalist Nats Spada, guitarist/vocalist Jon Taylor, bassist Lauren Mason and drummer Simon Mason successfully avoiding stylistic cliche throughout the six-track release while executing lethal builds and thunder-toned push. “Surrender to the Light” is as effective for its melody as its chug, the obscure interlude “The Wake” rumbles and growls ferociously, and “As Waves Crash” demonstrates a powerful blend of post-hardcore and doom, from which “Abandon” departs only momentarily, delving into a minimalist midsection before rounding out with a maddening payoff. Nine-minute closer “Everything We Left Behind” might as well be made of skull fragments and burst eardrums, its heft giving way gradually to deconstructed ambience and a finale of abrasive noise. Torpor‘s first is brutal, fierce and terrifying most of all for how solidified and assured the band sounds in their aesthetic — how at home they are in the churning chaos they’ve made. Torpor on Thee Facebooks, on Bandcamp, at Head of Crom, Black Bow Records.
If the art wasn’t clue enough, Monsternaut‘s Monsternaut EP is a stoner rock record. Its motor revs in opener “Dog Town” and doesn’t let up until it hits the slowdown in closer “Black Horizon,” which wraps the Kerava, Finland, trio’s 18-minute debut outing with a fitting show of swing, choice basslines and nod-worthy fuckall. There’s plenty about the five tracks that will prove familiar to listeners who may have seen a record with an El Camino (admittedly, a gorgeous one) on the cover before, but there’s a next-generation freshness in Monsternaut‘s barebones, unabashed heavy rock approach, and cuts like “Back for More” and “Mountain Doom” prove deceptively catchy while also tapping tonal satisfaction in the guitar, bass and drums — Jani Kuusela‘s snare and kick landing no less heavy than Tuomas Heiskanen‘s riffs or Perttu Härkönen‘s low end — and the thud of “Caravan” and the straightforward, unpretentious vibe of all the tracks suits a presentation of genre that offers an edge of individuality while immediately doing more than just aping the band’s stylistic forebear(d)s. In heft, mood and songwriting, it’s a more than solid showcase of a progression underway. Monsternaut on Thee Facebooks, on Bandcamp.
As previously noted, this is just a fraction of the stuff that joined the server today — one-third, if you want to be more specific about that fraction. To check out everything else or to see what’s been played today and for probably way further back than you’re interested in knowing, check out the Obelisk Radio Playlist and Updates page. Hope you find something good from it.
Thanks for reading and listening.