Quarterly Review: Earth, Heilung, Thronehammer, Smear, Deadbird, Grass, Prana Crafter, Vago Sagrado, Gin Lady, Oven

Posted in Reviews on July 1st, 2019 by JJ Koczan

quarterly-review

Deep breath. And… here we go.

Welcome to The Obelisk’s Summer 2019 Quarterly Review. You probably know the drill by now, but just in case, here’s what’s up: starting today and through next Monday, I’ll be reviewing 10 records per day for a total of 60. I’ve done this every three months (or so) for the better part of the last five years, each one with at least 50 releases included. Some are big bands, some are new bands, some are releases are new, some older. It’s a mix of styles and notoriety, and that’s exactly the intent. It’s a ton of stuff, but that’s also the intent, and the corresponding hope is that somewhere in all of it there’s something for everyone.

I’ll check in each day at the top with what usually turns out to be a “hot damn I’m exhausted, but this is worth it”-kind of update, but otherwise, if we’re all on board, let’s just get to it. First batch below, more to come.

Quarterly Review #1-10:

Earth, Full Upon Her Burning Lips

earth

Finding post-Southern Lord refuge with Sargent House in similar fashion to Boris, Earth seem to act in direct response to 2014’s Primitive and Deadly (review here) with the 10-track/62-minute Full Upon Her Burning Lips, stripping their approach down to its two essential components: Dylan Carlson‘s guitar and Adrienne Davies‘ drums. The former adds bass as well, and the latter some off-kit percussion, but that’s about as far as they go in the extended meditation on their core modus — even the straightforward photo on the cover tells the story — psychedelic and brooding and still-spacious as the music is. Gone are folk strings or vocals, and so on, and instead, they foster immersion through not-quite minimalist nod and roll, Carlson‘s guitar soundscaping atop Davies‘ slow, steady pulse. It’s not nearly so novel as the last time out, but timed to the 30th anniversary of the band, it’s a reminder that if you like Earth, this dynamic is ultimately why.

Earth on Thee Facebooks

Sargent House website

 

Heilung, Futha

heilung futha

It might seem like an incongruity that something so based in traditionalism conceptually would also turn into experimentalist Viking jazz, but I defy you to hear “Galgadr,” the 10-minute opener of Heilung‘s third full-length, Futha (on Season of Mist), and call it something else. Cuts like the memorable and melodic “Norupo” and the would-be-techno-but-I-think-they’re-actually-just-beating-on-wood “Svanrand,” which, like “Vapnatak” before it, is rife with the sounds of battle, but it’s in the longer pieces, “Othan,” 14-minute closer “Hamrer Hippyer,” and even the eight-plus-minute “Elivgar” and “Elddansurin” that precede it, that Heilung‘s dramas really unfold. Led by the essential presence of vocalist Maria Franz — who could hardly be more suited to the stated theme of calling to feminine power — Heilung careen through folk and narrative and full cultural immersion across 73 minutes, and craft something willfully forward thinking from the history it embellishes.

Heilung on Thee Facebooks

Season of Mist website

 

Thronehammer, Usurper of the Oaken Throne

thronehammer usurper of the oaken throne

The reliable taste of Church Within Records strikes again in picking up Thronehammer‘s first full-length, Usurper of the Oaken Throne. The project is a dark and warmaking epic mega-doom working mostly in longform material — it’s six tracks/78 minutes, so yeah — conjured in collaboration by the trio of vocalist Kat Shevil Gillham (Lucifer’s Chalice, etc.), guitarist/keyboardist Stuart Bootsy West (ex-Obelyskkh, ex-The Walruz) and drummer/bassist Tim Schmidt (Seamount), that hits with a massive impact from 17-minute opener “Behind the Wall of Frost” into “Conquered and Erased” (11:24) and “Warhorn” (19:12), making for an opening salvo that’s a full-length unto itself and a beast of doomed grandeur that balances extremity with clearheaded presentation. They simplify the proceedings a bit for “Svarte Skyer” and the eponymous “Thronehammmer,” but are clearly in their element for the 15-minute closing title-track, which rounds out one of the best doom debuts I’ve heard so far this year with due heft and ceremony.

Thronehammer on Thee Facebooks

Church Within Records on Bandcamp

 

Smear, A Band Called Shmear

Smear A Band Called Shmear

Smear‘s live-recorded A Band Called Shmear EP is basically the equivalent of that dude getting dragged out of the outdoor concert for being at the bottom of the puffing clouds of smoke going, “Come on man, I’m not hurting anybody!” And by that I mean it’s awesome. The Eugene, Oregon, four-piece get down on some psychedelic reefer madness tapped into weirdo anti-genre tendencies that come to fruition in the verses of “Guns of Brixton” after the drifting freaker “Old Town.” The whole thing runs an extra-manageable 21 minutes, and six of that are dedicated to the fuzzed jam “Zombie” — tinged in its early going with a reggae groove — so Smear make it easy to follow their outward path, whether it’s the surf-with-no-water “Weigh” at the outset or “Quicksand,” which hints at more complex melodic tendencies almost in spite of itself. You like vibe, right? These cats have plenty to go around, and they deliver it with an absolute lack of pretense. Whatever they do next, I hope they also record it live, because it clearly works.

Smear on Thee Facebooks

Smear on Bandcamp

 

Deadbird, III: The Forest Within the Tree

deadbird iii the forest within the tree

One hesitates to speculate on the future of a band who’ve just taken 10 years to put out an album, but Deadbird sound vital on their awaited third full-length: III: The Forest Within the Tree (arrived late 2018 through 20 Buck Spin), and with a revamped lineup that includes Rwake vocalist Chris Terry and Rwake/The Obsessed bassist Reid Raley as well as bassist Jeff Morgan, guitarist Jay Minish and founders Phillip (drums) and Chuck (guitar) Schaaf and Alan Short — all of whom contribute vocals — Deadbird emerge from the ether with a stunningly cohesive and varied outing of post-sludge, tinged Southern in its humid tonality but still very much geared toward heft and, certainly more than I recall of their past work, melody. In just 38 minutes they push the listener into this dank world of their creation, and seem to find just as much release in experiments “11:34” and “Ending” as in the crashes of “Brought Low” or “Heyday.” Are they really back? Hell if I know, but these songs are enough to make me hope so.

Deadbird on Thee Facebooks

20 Buck Spin on Bandcamp

 

Grass, Fresh Grass

grass fresh grass

Brooklyn four-piece Grass released a live recording in 2017, but the late-2018 EP Fresh Grass marks their studio debut, and it comprises five tracks digging into the traditions of heavy rock with edges derived from the likes of Clutch, Orange Goblin, maybe a bit of Kyuss and modern bluesier practitioners as well in cuts like “Black Clouds” — the lone holdover from one release to the next — and the swaggering “Runaway,” which veers into vocal layering in its second half in a way that seems to portend things to come, while the centerpiece “Fire” and closer “Easy Rider” roll out in post=’70s fashion a kind of rawer modern take. Their sound is nascent, but there’s potential in their swing and the hook of opener “My Wall.” Fresh Grass is the band searching for their place within a heavy rock style. I hear nothing on it to make me think they won’t find it, and if they were opening the show, you’d probably want to show up early.

Grass on Thee Facebooks

Grass on Bandcamp

 

Prana Crafter, MindStreamBlessing

Prana Crafter MindStreamBlessing

Reissued on vinyl through Cardinal Fuzz with two bonus tracks, Prana Crafter‘s 2017 offering, MindStreamBlessing, originally saw release through Eidolon Records and finds the Washington-based solo artist Will Sol oozing through acid folk and psychedelic traditions, instrumentally constructing a shimmer that seems ready for the platter edition it’s been granted. Songs like “As the Weather Commands” and “Bardo Nectar” are experiments in their waves of meandering guitar, effects and keys, while “Mycellial Morphohum” adapts cosmic ecology to minimal spaciousness and vague spoken word. Some part of me misses vocals in the earthy “FingersFlowThroughOldSkolRiver,” but that might just also be the part of me that’s hearing Lamp of the Universe or Six Organs of Admittance influences. The interwoven layers of “Prajna Pines,” on the other hand, seem fine without; bluesy as the lead guitar line is, there’s no doubting the song’s expressive delivery, though one could easily say the same of the krautrock loops and keys and reverb-drenched solo of “Luminous Clouds.”

Prana Crafter on Thee Facebooks

Cardinal Fuzz webstore

 

Vago Sagrado, Vol. III

vago sagrado vol iii

Heavy post-rockers Vago Sagrado set a peaceful atmosphere with “K is Kool,” the opening track of their third album, Vol. III, that is hard to resist. They’ll soon enough pump in contrast via the foreboding low end of “La Pieza Oscura,” but the feeling of purposeful drift in the guitar remains resonant, even as the drums and vocals take on a kind of punkish feel. The mix is one that the Chilean three-piece seem to delight in, reveling in tonal adventurousness in the quiet/loud tradeoff of “Fire (In Your Head)” and the New Wave shuffle of “Sundown” before “Centinela” kicks off side B with the kind of groove that Queens of the Stone Age fans have been missing for the last 15 years. Things get far out in “Listen & Obey,” but Vago Sagrado never completely lose their sense of direction, and that only makes the proceedings more engaging as the hypnotic “One More Time with Feeling” leads into the nine-minute closer “Mekong,” wherein the wash teased all along comes to fruition.

Vago Sagrado on Thee Facebooks

Vago Sagrado on Bandcamp

 

Gin Lady, Tall Sun Crooked Moon

gin lady tall sun crooked moon

I’m more than happy to credit Sweden’s Gin Lady for the gorgeous ’70s country rock harmonies that emanate from their fourth album, Tall Sun Crooked Moon (on Kozmik Artifactz), from the mission-statement opener “Everyone is Love” onward, but I think it’s also worth highlighting that the 10-track outing also features the warmest snare drum sound I’ve heard maybe since the self-titled Kadavar LP. The Swedish four-piece have nailed their sound down to that level of detail, and as they touch on twang boogie in “Always Gold” or find bluesy Abbey Roadian deliverance in the more riff-led chorus of “Gentle Bird,” their aesthetic is palpable but does not trump the straight-ahead appeal of their songwriting. The closing duo of “The Rock We All Push” and the piano-soother “Tell it Like it Is” are the only two tracks to push past five minutes long, but by then the mood is well set and if they wanted to keep going, I have a hard time imagining they’d meet with complaints. Serenity abounds.

Gin Lady on Thee Facebooks

Kozmik Artifactz website

 

Oven, Couch Lock

oven couch lock

For an EP called Couch Lock — i.e., when you’re too stoned to even stand up — there’s an awful lot of movement on Oven‘s debut release, from the punk thrust of “Get It” to the arrogant sleaze of “Go James” and even the drums in “This Time.” And the nine-minute “Dark Matter” is basically space rock, so yeah, hardly locked to the couch there, but okay. The five-tracker is raw in its production as would seem to suit the Pennsylvania trio, but they still get their point across in terms of attitude, and a closing cover of Nebula‘s “To the Center” seems only to reinforce the notion. One imagines that any basement where they unleash that and the nod that culminates “Dark Matter” just before it would have to be professionally dehumidified afterward to get the dankness out, and an overarching sense of stoner shenanigans only adds to the good times that so much of East Coast-ish psych misses the point on. They’re having fun. You should too.

Oven on Bandcamp

Oven on Thee Facebooks

 

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The Obelisk Show on Gimme Radio Recap: Episode 16

Posted in Radio on May 27th, 2019 by JJ Koczan

gimme radio logo

This was the first episode of The Obelisk Show on Gimme Radio to air in the new timeslot of Friday at 1PM Eastern, and I’ll just be honest, I think it was the best one I’ve done yet. The music was right on, the rhythm of one song into the next. There’s a way to make a thing like this that carries a flow — remember mixtapes? Same deal. This one had that. It tripped out when it needed to with Kandodo3 and instead of going psych-blast at the end, it went heavy with Nomadic Rituals and Thronehammer. I loved opening with 16 Horsepower as something unexpected and apart from both the riffy and the Gimme norm, and from pairing Lord Vicar and Destroyer of Light — someone book that tour! — to Sacri Monti and Wild Rocket, everything just came together right.

Tapping Monster Magnet for a classic track (classic track! yay!) didn’t hurt either, but even aside from that, it was a cool show. I’m not sure of the timing on re-airings — they’re every Sunday now at 7PM Eastern; the old timeslot for new episodes — but Gimme also has that Brigade thing you can join and listen to their full archive of everything. I’m not trying to spend your money; just want to give you options and not be like, “Hey this awesome thing happened and you missed it!” On that thought, maybe I should start posting these playlists before the show airs. Hmm… Things to consider.

Here’s the full playlist:

The Obelisk Show – 05.24.19

16 Horsepower Hutterite Mile Folklore (2002)
Abrahma Last Epistle In Time for the Last Rays of Light*
Giant Dwarf Repeat After Defeat Giant Dwarf*
BREAK
Monster Magnet Ozium Spine of God (1992)
Vorrh Myths Nomads of the Infinite Wild (2018)
Kandodo3 Everything – Green’s – Gone K3*
Lord Vicar The Temple in the Bedrock The Black Powder*
Destroyer of Light Eternal Death Mors Aeterna*
Faerie Ring Lost Wind The Clearing*
Ruff Majik Speed Hippie Tarn*
BREAK
Sacri Monti Waiting Room for the Magic Hour Waiting Room for the Magic Hour*
Wild Rocket Caught in Triangle Again Disassociation Mechanics (2017)
Slomatics Mind Fortresses on Theia Canyons*
BREAK
Nomadic Rituals Face Down in the Sea of Oblivion Marking the Day (2017)
Thronehammer Behind the Wall of Frost Usurper of the Oaken Throne*

The Obelisk Show on Gimme Radio airs every other Friday at 1PM Eastern, with replays every Sunday at 7PM Eastern. Next show is June 7. Thanks for listening if you do.

Gimme Radio website

The Obelisk on Thee Facebooks

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Thronehammer Post Teaser for Upcoming Split with Lord of Solitude

Posted in Bootleg Theater on June 7th, 2018 by JJ Koczan

thronehammer

Good news for the doomed. No, you’re still doomed — as we all are — but guitarist Stuart “Bootsy” West, formerly of the woefully-under-reviewed-by-me-but-nonetheless-righteous Obelyskkh, has unveiled the first snippet of audio from his new project, Thronehammer. The song is called “Hammer, Stake and Cross,” and it comes from a split 10″ with New Zealand’s Lord of Solitude soon to be released by the ultra-trustworthy The Church Within Records.

Naturally, they don’t give a ton to go on — it’s a teaser! — but in the sampling of “Hammer, Stake and Cross,” the swaying riffs and massive tones West and bassist Tim Schmidt emit over top of a nodding groove. There’s a fist-raising sense of classic doom to the proceedings, to be sure, but something in “Hammer, Stake and Cross” seems to have a wider berth as well. Its echo gives a sense of something broader and almost psychedelic beneath. And since it was put to tape, West and Schmidt have filled out the complete lineup for the band, with vocalist Kat “Shevil” Gillham and drummer Olli “The Sludgist, so it seems like whatever they do next will invariably be a step forward from here.

Even so, how this recording of their basic formative moments will manifest in, you know, the whole song, I’ve no idea, let alone how it might factor into anything Thronehammer might have in store following their split with Lord of Solitude. Still, the release of their first public audio is an occasion worth marking, and as I hear more about what seems to be called Vampire Bites Vol. 1 in perhaps an ongoing series from The Church Within, I’ll surely keep you posted.

In the meantime, dig it:

Teaser for our first musical output. “Hammer, Stake and Cross” will appear on a 10″ split EP (w Lord of Solitude) via Church Within Records. take a bite. . .have a listen. . .taste the blood!!!

Caveman Ultradoom Feat. Members of Ex-Obelyskkh, Seamount, Naked Star, Blessed Realm (UK), Uncoffined (UK), Winds Of Genocide (UK), Grimwolv, Scythian Fall

Thronehammer is:
Kat Shevil Gillham – Vokills
Stuart Bootsy West – Guitars | Synth | Fx
Tim Schmidt – Bass
O))i “the Sludgist” – Drums

Thronehammer on Thee Facebooks

The Church Within Records website

The Church Within Records on Thee Facebooks

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