The Obelisk Radio Adds: High Brian, Arduini/Balich, Audion, Grey Gallows, Smoke Mountain

Posted in Radio on June 13th, 2017 by JJ Koczan

the obelisk radio cavum

If you’re a regular denizen of The Obelisk Radio, you’ve probably already guessed by the massively expanded playlist that we’re back on the main server at this point. It’s been months on the backup, and while anyone is still reading, let me just say out loud how much I owe to the hard work Slevin has put into the back end of making this thing happen. From a huge file-recovery operation to yesterday turning the thing back on after I moved a bunch of files and screwed it up yet again, the dude is just unbelievable. Seriously. This site is coming up on nine years old, and Slevin has made it happen every step of the way from a technical standpoint. I am in awe of his prowess and generosity of spirit.

So now that we’re back up and running at full capacity, the only thing to do is to keep building it going forward. And here we are.

The Obelisk Radio adds for June 13, 2017:

High Brian, Hi Brain

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Though they start out with the post-Queens of the Stone Age shuffle of “Liquid Sweet,” the crux of Austrian rockers High Brian‘s playfully titled debut long-player, Hi Brain, lies in classic psychedelia, unafraid to directly make a Beatles reference or two in “Aquanautic Smoke” or name a track after Jefferson Airplane‘s Surrealistic Pillow. That song, “Surrealistic Pillow,” turns out to be one of Hi Brain‘s catchiest, but hooks about throughout the nodding “All but Certainty” and the later, Stubb-style raucousness of the pair “The Conversion” and “Blood Money” as well, while centerpiece “All the Other Faces” and the aforementioned “Aquanautic Smoke” engage effects-laden drift and poised fluidity, resulting in an overarching sense of within-genre aesthetic variety that moves easily throughout the vinyl-ready 44-minute offering. They close with the molten roll of “Time,” their longest cut at 5:52 and a bolder melodic take, as if to signal a potential direction of their growth on their way out. There are plenty of encouraging signs before they get there, certainly, but hey, one more never hurt. An impressive introduction to a project that one hopes continues to develop and expand its approach.

High Brian website

Stone Free Records website

Mountain Range Creative Factory

 

Arduini/Balich, Dawn of Ages

ARDUINI BALICH DAWN OF AGES

Words like “powerhouse” are invented for releases like Arduini/Balich‘s Dawn of Ages. The Cruz del Sur release brings together Fates Warning guitarist Victor Arduini (who also produced) and Argus vocalist Brian “Butch” Balich, and while I’ll confess that on first listen I went right to their cover of Sabbath‘s “After All (The Dead)” — fucking righteous; and there aren’t a lot of people I’d trust to take on that song or anything from the Dio era — extended pieces like “Beyond the Barricade” (17:27) and “The Wraith” (13:44) offer listeners a deep push into a heavy metal that’s progressive, powerful and doomed all at the same time, executed with a clarity and a purpose that shimmers with class and just the right balance of patience and aggression. Rest easy, traveler, for you are in the hands of masters. Rounded out by drummer Chris Judge, Arduini/Balich is what happens when heavy metal goes right, and from the doomly unfolding of opener “The Fallen” through the 2LP’s three concluding covers of Beau Brummels‘ “Wolf of Velvet Fortune,” Uriah Heep‘s “Sunrise” and the already noted Dehumanizer highlight, there isn’t one moment where they relinquish their hold on either their craft or their audience’s attention. It’s the kind of outing that might cause a last-minute revision to best-of-the-year-so-far list, to say the least of it. Not to be greedy, but I’ll take a follow-up as soon as possible. Thanks.

Arduini/Balich on Thee Facebooks

Cruz del Sur Music website

 

Audión, La Historia de Abraham

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If the driving Motörhead-onic thrust of the title-track to Audión‘s La Historia de Abraham rings familiar, it might be because the rhythm section of the Buenos Aires trio consists of bassist Gonzalo Villagra (also vocals) and drummer Walter Broide (also backing vocals), both formerly of Los Natas. Honestly, that pedigree would probably be enough for me to get on board with the 10-track/49-minute self-released full-length, but then you get into the roll and drift of the subsequent “Llegaron Sordos” and the fluid cascade of “Colmillo Blanco,” and guitarist Dizzy Espeche makes his presence felt tonally and vocally throughout to add a new personality to whatever familiar aspects might persist. “Lesbotrans” dives into a ’70s-style swing and the blown-out “Diablo vs. Dios” follows it with the age-old question of what might happen if The Who went garage punk, but there’s flourish of psychedelia on the interlude “Para Rosita” before “El Carancho” and “Queruzalem” round out with some of La Historia de Abraham‘s weightiest impacts. I think it’s fair to say Audión have some tinge of Los Natas‘ style to them, but their first outing shows them working toward building something new from that as well, and that makes their arrival all the more welcome.

Audion on Thee Facebooks

Audion on Bandcamp

 

Grey Gallows, Underlord

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Not that it isn’t plenty malevolent on its surface, but there’s an even more extreme threat lurking beneath “Underlord,” the nine-minute opener, titular and longest track (immediate points) on the debut full-length from Phoenix, Arizona’s Grey Gallows. It doesn’t take long for that sense of extremity to manifest in a blackened sensibility that pervades both in the riffs of a song like “Belladonna” — the middle cut of the five included — or the overarching spaciousness that finds its way into the grime-coated “West of Hell,” which follows. With a depth of guitar worthy of filling one’s lungs, “West of Hell” churns in a manner faster and somewhat sludgier than the alternately nodding and atmospheric “Priestess” showed the Opoponax Records outing to be earlier, six-stringers Joe Distic and Cat weaving noted lines and crunch riffs around each other for seven densely grooved minutes amid low-end push from bassist Lee, adaptable and creative drumming from Shane and Zue Byrd‘s vocals, which hit in form no less distorted in the back half of “Priestess” than they are punker drawled in closer “Buzzard Dust.” Nasty. Nasty, nasty, nasty. That’s basically what the math works out to on the 35-minute outing, but it’s worth noting that even on their first album, Grey Gallows demonstrate a ready willingness to balance various stylistic impulses off each other in such a way that’s only going to make their sound richer as they proceed. Richer, and even nastier. So be it.

Grey Gallows on Thee Facebooks

Opoponax Records webstore

 

Smoke Mountain, Smoke Mountain

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The first EP from this Floridian three-piece does precisely what it’s supposed to do: introduces a newcomer band with three unpretentious tracks of dirt-fuzz riffing. The immediate vibe of opener “Demon” is early Acid King as the vocals follow the riff in classic stonery fashion, but the three songs get longer as they go and “Violent Night” proves immediately more spacious en route to the eponymous march of “Smoke Mountain.” What would probably be called a demo in a prior age, Smoke Mountain‘s Smoke Mountain makes its primary impression tonally but shows potential in its songwriting as well, and as a quick sampling of what the band are getting up to in their first stages, there’s little more one could reasonably ask of it, particularly as “Smoke Mountain” hammers home its chorus in a balance of clean vocal melody and absolutely filthy guitar, bass and drum crash. That duality, should they maintain it as they move forward into whatever might come next, can only serve them well. One to keep an eye on.

Smoke Mountain on Thee Facebooks

Smoke Mountain on Bandcamp

 

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Grey Gallows Post “Underlord” Video; LP Due Early 2017 on Opoponax Records

Posted in Bootleg Theater on October 11th, 2016 by JJ Koczan

grey-gallows

Hope your neck is ready for some nod. Phoenix five-piece Grey Gallows are gearing up for a slot this month at Southwest Terror Fest in Tucson, where they’ll play alongside CHRCHSaint VitusThe SkullWitch Mountain and Khemmis, opening the Main Show stage of the venerable gathering’s final day. Not a bad gig to get, but I think if you dig into the band’s video below for “Underlord” from their forthcoming LP of the same name to be released either late this year or early next on Opoponax Records — the label helmed by dudes from Goya — you’ll have to agree their psycho-sludge more than earns that spot.

In the texture and atmosphere of “Underlord,” Grey Gallows convey an ambient dirge that reminds a bit of the spaces that Atala were so able to conjure on their Billy Anderson-produced Shaman’s Path of the Serpent full-length — or, for that matter, what Goya get down with when they’re not off reinterpreting Nirvana tunes — and similar to their stage compatriots at Southwest Terror Fest, by no means is that bad company to keep stylistically. Seems there’s strange things brewing in the desert these days as people begin to ask themselves what’s next after all this riff rock and druggery. It’s a dark swirl that Grey Gallows ignite, but I think you’ll still get a depiction of wide-open spaces through that, and of course the video mirrors that idea.

More background follows the clip below.

Please enjoy:

Grey Gallows, “Underlord” official video

GREY GALLOWS / UNDERLORD

Here it is! Our first video for our title track from our upcoming release “Underlord” on Opoponax Records coming out late 2016- early 2017. Huge thanks to Matt Gibson for making this video for us, Simon Lee for starring in it and Andy for letting us film at Krusty Palmz. Enjoy!

From the album “Underlord” available on Opoponax Records late 2016-early 2017. Video by Matt Gibson.

Formed in early 2015, Grey Gallows set out to create heavy and aggressive tunes. Here is the proof of all the riffing and beer drinking.

Joe Distic-Guitar
Cat-Guitar
Lee-Bass
Shane-Drums
Zue Byrd-Vocals

Grey Gallows on Thee Facebooks

Grey Gallows on Bandcamp

Southwest Terror Fest event page

Opoponax Records BigCartel store

Opoponax Records on Thee Facebooks

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