The Obelisk Show on Gimme Radio Playlist: Episode 23

Posted in Radio on September 13th, 2019 by JJ Koczan

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Got into some longer tracks this time around on The Obelisk Show, and that was very much on purpose. Last episode was the Kyuss special, and that was a lot of fun, but when I started this show I guess over a year ago now, I was thinking of it specifically as something a little bit against the grain of what Gimme Radio usually does, so yeah, I definitely consider playing like 15-minute tracks and in this case, a 23-minute track, as counter to the general consideration of where “radio” — even in its interwebular iteration — generally goes. At least I like to imagine it being that way.

So yes. A lot of new music around here, and some longer tracks from the likes of Taras BulbaJesus the Snake (get jazzy, y’all), Ireland’s Coroza and Swedes V and Goatess. Also the new single from Blackwater Holylight because it’s so good that I had to play it, new stuff from Here Lies ManYear of the CobraOgreLamassu and the Alunah track that was premiered here this week, basically just as a brag on my part. And for the classic track? Oh, it’s only “Catharsis” by YOB. If you can think of a better way to spend the aforementioned 23 minutes of your life than listening to that, I’d love to hear it.

I haven’t cut the voice tracks yet as I write this (I’ll do them this afternoon), so I don’t know how much of a dork I sound like, but I’m sure I’ll sound like plenty of a dork when I get there. But thanks for listening if you do in just a couple hours, and thanks for your ongoing support generally, because it’s what lets me do crazy stuff like a radio show on the station that has Dave Mustaine and the dude from Amon Amarth as DJs. These are wacky times.

Listen at: http://www.gimmeradio.com

Here’s the full playlist:

The Obelisk Show – 09.13.19

 

Year of the Cobra Into the Fray Ash & Dust*
Jesus the Snake Karma Black Acid, Pink Rain*
BREAK
Here Lies Man Iron Rattles No Ground to Walk Upon*
Taras Bulba The Yo-Yo Man One*
Blackwater Holylight Death Realms Veils of Winter*
V Led into Exile Led into Exile*
Goatess What Lies Beneath Blood and Wine*
Lamassu I Die Into the Empty*
BREAK
YOB Catharsis Catharsis
Alunah Hunt Violet Hour*
Ogre The Future Thrice as Strong*
BREAK
Coroza The Plutonian Drug Chaliceburner*

The Obelisk Show on Gimme Radio airs every other Friday at 1PM Eastern, with replays every Sunday at 7PM Eastern. Next show is Sept. 27. Thanks for listening if you do.

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Review & Full Album Stream: V, Led into Exile

Posted in audiObelisk, Reviews on September 10th, 2019 by JJ Koczan

v led into exile

[Click play above to stream V’s Led into Exile in full. Album is out Sept. 13 on Suicide Records and the band will have shows in Sweden on Sept. 29 with Horndal and Jorm and Nov. 7 with Dopelord and Zaum. Info here.]

Based in the Swedish county of Dalarna, which includes towns like Borlänge, Na?s and Falun and borders against Norway in the west, four-piece outfit V offer a fair bit of stylistic nuance amid outwardly crushing sonics. The band began presumably in much different form some 25 years ago, but Led into Exile is their second full-length for Suicide Records behind 2017’s Pathogenesis (discussed here) and a 2016 EP, VI — I’d assume that’s ‘V-1’ rather than just ‘six’ in Roman numerals — that was recorded in 2006 and released in late 2016. With guitarist/vocalist/synthesist/recording engineer Andreas Baier having been involved in a number of projects over the years, from Afgrund to the currently-running Besvärjelsen, one assumes V‘s longer tenure includes a fair amount of time not really active, but with guitarist Jonas Gryth, bassist/vibraphonist Marcus Lindqvist and drummer Daniel Liljekvist alongside Baier, V tap into a post-heavy amalgam of atmospheres on the six tracks of the Led into Exile LP, dividing into two sides and playing toward European-style post-metal — Amenra more than Cult of Luna, to be sure — with shades of hardcore and yet more extreme doomed fare laced throughout.

With fervent crash and lumber, V‘s songs work in linear fashion to squeeze the air from your lungs as only their kind of rhythmic churn can, crafting a tension that’s affecting in mood and ambience. Beginning with “Broadcast from the Shadows,” each side of Led into Exile works in a pattern of running a longer song into a shorter one, then putting an even longer one after that — three tracks on each side. This underlying structure speaks to a sense of purpose in what V are doing, and indeed there’s a kind of aesthetic poise to the material, whether it’s the chugging pummel of “Illviljan” — ‘ill will,’ in Swedish — or the acoustic guitar, vibraphone and vocal-based “None Shall Rise Again,” which might owe an even heavier sonic debt to Scott Kelly than the nod-inducing opener.

There’s a not insignificant shift between sides A and B, but the YOB-esque intro to side A capper “Hostage of Souls” has a definite sense of reach on its own, and the same is true of “Broadcast from the Shadows” and “Illviljan” preceding, as intense as they are. The leadoff cut is clearly intended to hook the listener not with an ultra-catchy chorus, but with a standout riff met with massive rhythmic plod, as well as a bit of floating guitar along with Baier‘s throaty, echoing-in-a-chasm or screaming-into-the-void shouts, and it works. At 5:57, 3:58 and 8:02, respectively, “Broadcast from the Shadows,” “Illviljan” and “Hostage of Souls” set the pattern that “Phantasmagoria,” “None Shall Rise Again” and the closing title-track will mirror, but the differences in approach aren’t to be understated. What V seem to excel at is conveying intensity of purpose. As the quick drumming behind the angular riff of “Illviljan” takes hold, punctuated with a popping snare before a stop brings it to the next stage of its evolution as it makes its way back eventually to where it came from, the depth of Led into Exile is writ large in the raw tones and harsh edge V communicate.

v

It’s a modernist brutality, with sharp corners and little interest in quaint notions like mercy. The longer “Hostage of Souls” offers turns from hypnotic and quiet stretches to explosive lurch, breaking around its midpoint to a near-silent ambience of minimalist guitar and (after a minute or so) vibraphone that carries through to its finish in creepy and echoing fashion. Of course, on LP, there’s a side flip between them, but I wouldn’t be surprised if “Hostage of Souls” and “Phantasmagoria” (7:50) were positioned as well with the lead-in from one to the other in mind as well as the overarching mirrored structure of the album, such is the flow from that quieter second half of the one into the outright onslaught of the other. And “Phantasmagoria” continues to build on that, demonstrating plainly the side B method of pushing further into the elements and roots that side A has established.

And while the individual tracks that comprise it are longer, that’s just as true in terms of breadth as it is in runtime. The departure from lurching onslaught into the acoustic “None Shall Rise Again” is a drastic-feeling turn that, while still fair game in terms of the sphere in which are working on Led into Exile, shouldn’t be overlooked. And the fact that it stays acoustic for its 5:31 duration says something in itself. It sets up the nine-minute punch of the closing title-track with an opportunity to both make an impact with a turn back toward more tonally weighted riffing, and that’s not one V let pass them by. Angular churn and biting, echoing vocals are met with an undercurrent of synth after the first minute, a chug and march with an outward feel cutting after about 3:30 into the total 9:09 in order to give headphone-worthy ambient guitar its space to set up the final push.

That last march will take hold at 6:40 and explodes into heavy post-rock tones and clean vocals for a surprising and melodic crescendo that carries Led into Exile to its finish. Even after the shift in the second half of “Hostage of Souls” and the cleaner-if-still-guttural vocal turn in “None Shall Rise Again,” that concluding section is a final expansion of the context for the album as a whole, once more speaking to the conceptual structure on which the two sides are working even as it adds more to the raw palette from which they’re drawing. And it’s worth noting that, for a style not exactly known for its brevity in songwriting, they get there in relatively efficient fashion, thereby rounding out a record that is both clear and varied in its purpose and unflinching in its sonic resolve. I don’t know what V might’ve been doing during those long stints on the backburner, but clearly activity suits them in terms of establishing a forward progression, which is exactly what they do in these songs.

V on Thee Facebooks

V on Instagram

V on Bandcamp

Suicide Records website

Suicide Records on Thee Facebooks

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The Obelisk Show on Gimme Radio Playlist: Episode 21

Posted in Radio on August 16th, 2019 by JJ Koczan

the obelisk show banner

Last time around, I actually managed to post the playlist for The Obelisk Show before Gimme Radio aired it, and I thought that worked pretty well, letting people know what was going to be on and all that. As it stands, I haven’t even had the chance to record the voice breaks yet for this one, but it’ll get done before airtime. Again, lots of new stuff this episode and a lot of it drawn from recent coverage around here, as well as some stuff that will be upcoming, whether it’s V‘s new single or the 20-minute Comacozer track that ends out.

That song and the We Lost the Sea track before it make up the final 35 minutes of the show. I wanted a couple longer tracks this time out, so between those, VMonolordOblivion Reptilian and Hound the Wolves, I feel like we got there. There’s a couple rockers up front with Bison MachineBlackwater Holylight and Lightning Born, but from then on pretty much all bets are off. I never know how that kind of thing will be received by the Gimme listenership, but screw it, I haven’t been fired yet, so I’ll take that for what it tells me. Not much, I suppose.

Dug these songs though. The Lightning BornSleeping Giant and The Black Wizards cuts were standouts from their respective albums, and the new Goatess single was just premiered elsewhere, but I’ll be covering the album too, so wanted to give that a chance to shine here. And a little bit of Crowbar seemed appropriate as I’ve already seen them once this month and plan to do so again before the month is out. Some bands you just can’t get enough.

Thanks for checking it out if you get the chance.

Here’s the full playlist:

The Obelisk Show – 08.16.19

Bison Machine The Tower Seas of Titan*
Blackwater Holylight Motorcycle Veils of Winter*
Lightning Born Salvation Lightning Born*
BREAK
The Black Wizards Kaleidoscope Eyes Reflections*
Sleeping Giant Serpent Sleeping Giant*
Oblivion Reptilian Alien Shit Fried on Rock*
Hound the Wolves Godhead Split with Glasghote*
BREAK
Crowbar All I Had I Gave Crowbar (1993)
Monolord The Bastard Son No Comfort*
V Phantasmagoria Led into Exile*
Goatess Dunerider Blood and Wine*
BREAK
We Lost the Sea Towers Triumph & Disaster*
Comacozer Kykeneon Journey Mydriasis*

The Obelisk Show on Gimme Radio airs every other Friday at 1PM Eastern, with replays every Sunday at 7PM Eastern. Next show is Aug. 30. Thanks for listening if you do.

Gimme Radio website

The Obelisk on Thee Facebooks

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Review & Track Premiere: Spidergawd, V

Posted in audiObelisk, Reviews on January 4th, 2019 by JJ Koczan

spidergawd v

[Click play above to stream the premiere of Spidergawd’s ‘Knights of CGR.’ Their new album, Spidergawd V, is out Jan. 11 on Crispin Glover Records.]

Consistency of the kind Spidergawd have honed across their now-five albums never just happens. The Trondheim, Norway, outfit may have missed putting out a full-length in 2018, but mostly because they were busy touring, and otherwise, their discography has been built on a per-year basis, with Spidergawd IV (review here) in 2017, Spidergawd III (review here) in 2016, Spidergawd II (review here) in 2015 and Spidergawd (review here) in 2014. Released as ever through Crispin Glover RecordsSpidergawd V is the band’s second outing with Hallvard Gaardløs on bass alongside the remaining founding trio of guitarist/vocalist Per Borten, baritone saxophonist Rolf Martin Snustad and drummer Kenneth Kapstad, and from its blindingly colorful cover art — also a regular feature of their work, as provided by Emile Morel — to its driven classic heavy rock feel, it is immediately recognizable as Spidergawd songcraft.

Comprised of eight tracks for a crisply-produced 38-minute long-player, Spidergawd V is absolutely air tight. No fluff. No filler. No time for messing around. Every minute of every song has its purpose, whether it’s the wah in “Green Eyes” or the sax-led intro to album opener and longest track (immediate points) “All and Everything,” or the sax and guitar seeming to lockstep later in the penultimate “Whirlwind Rodeo” to touch on “Hole in the Sky”-style riffing en route to some of the NWOBHM-isms that showed up on the last record, and as a unit, they are given to the kind of road-born sharpness that only touring and experience can provide. And for all their consistency, for all their recognizable aspects, and for the sheer fact that they’ve put out five albums essentially with the same title and the same style of art based around similar elements with straightforward structures, Spidergawd never seem to be repeating themselves. Their songs vary in mission and vibe, and the spirit of Spidergawd V underscores the fact that while there’s definitely some carryover from one offering to the next, the band have never actually failed to grow between their releases.

And they’ve done it quickly. Granted, they very clearly knew the band they wanted to be when they made the 2014 self-titled. The years since have only made that more apparent, but as “All and Everything” careens through its propulsive hook on its way to the first of any number of classy-as-hell, festival-ready guitar solos to be found throughout the album, the sheer ease with which they deliver their material is staggering, and it only becomes more so as “Ritual Supernatural” touches on Thin Lizzy troublemaking and “Twentyfourseven” reimagines chugging KISS strut-and-chorus vibes with an edge of the ’80s metal that followed in its wake. With Borten‘s voice and the structure of the verses and choruses he’s singing as a grounding factor, Spidergawd are free to follow whatever whims they might want and still find themselves on solid footing. And over their amassed discography, they’ve done that, with flourishes of psychedelia and metal playing out alongside their core of heavy rock.

spidergawd

Following “Twentyfourseven,” “Green Eyes” fills out more of the metal side of their approach, with layers of acoustic and electric guitar working together in an arrangement that only makes one wonder how the hell the song isn’t about “the night,” though one way or the other it kind of is anyway. With Snustad‘s sax wailing away as Kapstad pushes “Green Eyes” to its apex, side A wraps with an adrenaline surge that resolves itself in half-shouted lyrics and a controlled-as-ever crashout. Even in their most unhinged moments, Spidergawd hold tight on the reins of their sound. That’s not to say there’s no danger in what they’re doing, just that the way through that terrain is no less efficient and no less guided by a sure hand. Same is true as “Knights of CGR” — note the name of the label if you’re wondering what the acronym might stand for — takes hold at the outset of side B and works its way more patiently into its first verse. There’s a subtle shift in vibe, a pullback from some of the all-go-go-go of the first half of the album, but Spidergawd are hardly taking it easy with the Dio Sabbath riff — or is it “Stand up and Shout?” — that carries them to the song’s conclusion.

But even that shift has its purpose in the scope of Spidergawd V, which started out side A with a figurative-deep-inhale intro before “All and Everything” kicked in. “Avatar,” which follows “Knights of CGR” is a straightforward classic swinger, a subtle highlight for its melody and the interplay between Borten‘s guitar and Gaardløs‘ bass, the pace somewhat drawn down, but still moving through smoothly on its well-charted path, with Snustad‘s sax topping a later crashing finish that prefaces the aforementioned “Hole in the Sky”-ness of “Whirlwind Rodeo” to come. There is more Thin Lizzy in there with the steady bassline beneath the winding lead lines in the guitar and the sax blowing steady overarching notes in the verse, but the break in the second half of the song is a departure and might account for some of the time difference between “Whirlwind Rodeo” at 5:10 and everything else, which is between four and five minutes long, the opener notwithstanding. Still, they make their way back to the verse and the chorus to finish and start the closer “Do I Need a Doctor” at an ultra-rush that turns to punctuating jabs of guitar and sax in the verse before finding its melodic and memorable personality in the hook an reviving the push.

Here too, Spidergawd have it all under control, and even though they hit the brakes for a dream-toned bridge in the back end, they pick the tempo up again to round out and once more reinforce the notion that’s been the case with the band all along: that it’s the songwriting. Of all the pieces of their approach that have crossed the line from one LP to the next, when it comes to Spidergawd, by far the most crucial has been their songwriting. And five records deep, the challenge isn’t so much whether Spidergawd are going to put out a killer collection of songs, but whether their audience is going to be caught up to the last one by the time they do. That may be less of a challenge with Spidergawd V having the extra year out from its predecessor, but frankly, it may not. Looking back over what they’ve done in the last half-decade, it may well be a much longer time before their work is giving its full level of appreciation. But as of now, they are relentless on all fronts, and if we’re lucky, they’ll continue to outpace the rest of the planet for a long time to come.

Spidergawd website

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Stickman Records

Crispin Glover Records

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Spidergawd Set Jan. 11 Release for V & Post New Single; Tour Dates Announced

Posted in Whathaveyou on November 20th, 2018 by JJ Koczan

spidergawd

By the time it’s done, 2018 will be the first year since 2014 without a new Spidergawd LP. True, the Trondheim, Norway, heavy rock specialists — and as per 2017’s Spidergawd IV (review here), NWOBHM-dabblers — have a new single out called All and Everything and in the spirit of its title that’s not at all nothing, but they had a pretty unbelievable pace going and one can only wonder what the extra time taken to put together Spidergawd V will bring upon the album’s release in January 2019 through Crispin Glover Records. I’m not saying I’ve heard it or anything, but yeah, I have and it smokes.

As they’ll do, they have a sizable tour booked to coincide with the release, and you’ll find those dates below courtesy of social media along with some tantalizing “Lucy in the Hole in the Sky”-style info about the album from the PR wire.

Dig:

spidergawd v

Spidergawd – V

In 2018, Spidergawd vanished from the surface, but not to rest. Rather the opposite. On the 11th January they are back with their fifth studio album, not surprisingly titled ‘ Spidergawd V’.

Once again the band mates Rolf Martin Snustad (Barytonsax) Hallvard Gaardløs (Bass) Kenneth Kapstad (Trommer) and Per Borten (Gitar/Vokal) have managed to make an impressive album in their own unique sound.

Whereas Spidergawd I and II were documentations on an adult musical playground, Spidergawd III and IV headed the band towards a more serious and defined identity. With the NWOBHM- references from IV and the heavy weight from III, Spidergawd V is very much recognizable and keeping up with style. Imagine yourself in a boat on a river with spidergawd trees and black sabbath skies and you’ll be close enough to visualize what to expect in the beginning of 2019.

Spidergawd, with its fifth album under its arm, can be seen on tour in Norway and throughout Europe from January to the end of March 2019.

First single from Spidergawd V, ‘All And Everything’, and B-side ‘My Occupation’ is out on all streaming platforms!

Spidergawd live:
18/01 STORSTUGGU / RØROS / NO
19/01 GREGERS / HAMAR / NO
24/01 VERA / GRONINGEN / NL
25/01 JC DE KLINKER / AARSCHOT / BE
26/01 TBA / NL
27/01 AMSTERDAM / MELKWEG SUGAR FACTORY / NL
07/02 FLYTTEN / HAUGESUND / NO
08/02 FOLKEN / STAVANGER /NO
09/02 TEATERET / KRISTIANSAND / NO
15/02 TERMINALEN / ÅLESUND / NO
16/02 BYSCENEN / TRONDHEIM / NO
21/02 ÆLVESPEILET / PORSGRUNN / NO
22/02 ENERGIMØLLA / KONGSBERG / NO
23/02 ROCKEFELLER / OSLO / NO
27/02 TBA / MO I RANA / NO
28/02 SINUS / BODØ / NO
01/03 DRIV / TROMSØ / NO
02/03 TBA / BERGEN / NO
06/03 POSTEN / ODeNSE / DK
07/03 1000 FRYD / AALBORG / DK
08/03 BETA / COPENHAGEN / DK
09/03 FZW / DORTMUND / DE
10/03 TOWER / BREMEN / DE
12/03 TBA
13/03 LUX / HANNOVER / DE
14/03 NATCHLEBEN / FRANKFURT / DE
15/03 FORUM / BIELEFELD / DE
16/03 LUXOR / COLOGNE / DE
17/03 STADTMITTE / KARLSRUHE / DE
19/03 TBA
20/03 GASWERK / WINTERTHÜR / CH
21/03 ROCKHAOUSE / SALZBURG / AT
22/03 ARENA / WIEN / AT
23/03 STROM / MÜNCHEN / DE
24/03 TBA
26/03 HIRSCH / NÜRNBERG / DE
27/03 UT CONNEWITZ / LEIPZIG / DE
28/03 KNUST / HAMBURG / DE
29/03 BEATPOL / DRESDEN / DE
30/03 MUSIK & FRIEDEN / BERLIN / DE

https://www.facebook.com/spidergawd/
https://www.instagram.com/spidergawdofficial/
http://www.spidergawd.no/
https://www.stickman-records.com/
http://www.crispingloverrecords.com/

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Wooden Shjips Announce Tour Supporting New Album V.

Posted in Whathaveyou on March 16th, 2018 by JJ Koczan

Do I wish Wooden Shjips‘ newly-announced tour was bringing them somewhere near me? Yeah, I do. But I also kind of wish I lived or at least had a rental property in any number of the cities listed that they are hitting, so, you know, take it with a grain of whatever kinds of grains you take. The psychedeliciosos are set to issue their new album, the apparently punctuated V., on May 25 via Thrill Jockey, and by then they’ll already be well into the process of heralding its arrival, which they’ll continue to do into June as they play Huichica Music Festival and more.

Album preorder link and tour dates are below courtesy of the PR write along with the stream of the single “Staring at the Sun,” so really I’m not sure what you’re still doing up here. Go on. Go dig in.

Go on:

wooden shjips

Wooden Shjips Announce North American Tour Dates

V., First New Album In Five Years, Out May 25th on Thrill Jockey

West Coast psychedelic pillars Wooden Shjips recently announced V., their first album since 2013, which shows the band acting in opposition to the dark vibes of contemporary American life in favor of an optimistic, bright mood. The band has now announced an extensive string of North American dates, bringing their peaceful resistance to cities around the continent early this summer. Legendarily powerful in the live arena, Wooden Shjips perfect their hypnotic grooves on stage.

Wooden Shjips previously shared “Staring At The Sun,” a nearly 8-minute track that was written while singer and guitarist Ripley Johnson watched a wildfire threaten his home outside of Portland, OR.

Wooden Shjips Tour Dates:
April 13 – Portland, OR – Bunk Bar
April 14 – Bellingham, WA – Shakedown
April 20 – Half Moon Bay, CA – Old Princeton Landing
April 21 – Santa Cruz – Michael’s On Main
April 29 – Austin, TX – Levitation Festival
May 25 – Portland, OR – Mississippi Studios
May 26 – Seattle, WA – Crocodile
June 1 – Nelsonville, OH – Nelsonville Music Festival
June 2 – Chicago, IL – Empty Bottle
June 4 – Detroit, MI – Marble Bar
June 5 – Toronto, ON – Horseshoe Tavern
June 7 – Los Angeles, CA – The Lodge
June 9 – Sonoma, CA – Huichica Music Festival

Pre-order V. from Thrill Jockey: thrilljockey.com/products/v-wooden-shjips

Wooden Shjips, “Staring at the Sun”

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Wooden Shjips to Release V May 25; New Single Streaming

Posted in Whathaveyou on January 26th, 2018 by JJ Koczan

WOODEN SHJIPS

This is one of those releases where I could say absolutely anything and it wouldn’t matter. Seriously, how high do you think the stakes are for my opinion about the next Wooden Shjips record? Pretty god damn low. As in, nil. This band gets covered by major corporate print outlets — the paper of record, and so on — and hey, I know my place. I might get a promo download, or worse, a stream, and I have no doubt that V, which is out May 25 via Thrill Jockey will be good enough to make me want to buy it, like everything else the San Francisco band has ever done, and I won’t have the money to do so and it will just be a bummer so I’ll either not actually listen or put it in the Quarterly Review so I can link back to something later when I drool about how good the band is when they announce tour dates or put up a new video or whatever it might be. It’s like my version of the “album cycle.”

But yeah, I could pretty much say anything about this record and no one will give a shit. Best of the year. Worst of the year. Doesn’t matter. The stakes couldn’t be lower if this was an episode of Voyager and Harry Kim was getting kidnapped on the holideck.

With that happy thought, here’s the PR wire:

WOODEN SHJIPS v

Wooden Shjips Announce New Album V.

Hear Expansive Lead Single “Staring At The Sun”

Album Out May 25th

West Coast psychedelic quartet Wooden Shjips will release V., their fifth album, May 25th on Thrill Jockey. Inspired by the tumult of the modern world, and the desire to offer a contrasting vision of peace, the band has created a record that filters their trademark hypnotic grooves through an optimistic lens, resulting in music that is bright and vital.

The band has shared the album’s first single “Staring At The Sun,” a track that clocks in at almost 8 minutes and was written by guitarist and singer Ripley Johnson as he watched wildfires ravage the Pacific Northwest during the summer of 2017. V. follows their acclaimed 2013 album Back To Land.

Pre-order V. from Thrill Jockey: thrilljockey.com/products/v-wooden-shjips

Wooden Shjips – V.
(May 25th, Thrill Jockey)
1. Eclipse
2. In The Fall
3. Red Line
4. Already Gone
5. Staring At The Sun
6. Golden Flower
7. Ride On

Wooden Shjips, long-time leaders of the contemporary psychedelic movement, expand their sound with V. The quartet of Omar Ahsanuddin, Dusty Jermier, Nash Whalen and Ripley Johnson augment their already rich sound with laid back, classic summer songs. The songs were written during the summer of 2017 by singer and guitarist Ripley Johnson as an antidote to the pervasive anxiety both political and natural. As Ripley tells it, “We had huge forest fires just outside of Portland and there was intense haze and layers of ash in the city. I was sitting on my porch every evening, watching ash fall down like snow, the sky looking like it was on fire. It was an apocalyptic feeling. Summer in Portland is usually really chill and beautiful, and we were working on a ‘summer record,’ but the outside world kept intruding on my headspace.” V., a graphic representation of the Peace sign, seemed apt to an album focused on the power of peace, beauty and resistance. The music is a balm against the noise and negativity.

The first single “Staring At The Sun” is a nearly 8 minute laid back, slowly building narrative, whose lyrics tell of a gentle push and pull between the desire for sun and escape and the tug of anxiety, with peaceful resistance winning the day and guiding the tone. The restless traveler Johnson gives us a few of his signature traveling songs such as “Eclipse,” and “Red Line,” both showcases for the stellar rhythm section of Omar Ahsanuddin and Dusty Jermier. Their unparalleled sense of groove and restraint leaves ample room for Nash Whalen’s keyboard flourishes. There is movement and urgency in these tracks without aggression, a rolling foundation of rhythm over which Johnson’s voice floats and elongated melodic guitar lines soar.

Each song shimmers with a distinctly Wooden Shjips sound, a relaxed summer vibe. This was a conscious choice, an atmospheric goal that influenced nearly every detail: the tones, the delay types and reverbs used, as well as the synthesizer elements that color the songs. The basics were recorded by Jason Powers at Types Foundry Studio in Portland. The guitars and vocals were largely recorded in Ripley Johnson’s comfortable home studio. The album was mixed by Cooper Crain (Cave, Circuit Des Yeux) who the band has formed close bonds with on tour. The instructions were simple “We told Cooper to keep it really fat but to feel free to play around with the other elements, make a nice headphone mix with a lot of movement,” said Ripley, “I wanted it to be floaty because that’s kind of where my headspace was at the time.”

The band’s members collectively share a love of classic rock from the Velvet Underground to Neil Young, as well as more overt love of the San Francisco scene of the 60’s. This commonality in their formative musical years binds them even as they live in different cities. V. finds Wooden Shjips embracing the emotions behind those sounds; peaceful defiance and opposition, while creating a sound and counter narrative to today’s hostilities that is wholly their own. Wooden Shjips has with V. created the most concise, laid back songs of their career. Their music is a balm of sorts, a respite from the insanity that, through its regenerative abilities, empowers continued, calm resistance. A reminder of the simple power of peace and beauty. Wooden Shjips, through V., have demonstrated the power of beauty and the power in creating it even while experiencing overwhelming dread. It is the perfect summer album, brimming with optimism and a peaceful energy, aptly timed for release at the height of spring.

https://www.facebook.com/woodenshjips/
https://twitter.com/woodenshjips
http://www.woodenshjips.com/
http://www.thrilljockey.com/artists/wooden-shjips

Wooden Shjips, “Staring at the Sun”

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V to Release Debut Album Pathogenisis Nov. 8; New Video Posted

Posted in Whathaveyou on October 19th, 2017 by JJ Koczan

v

I’m not entirely sure what’s happening in the new video from minimally-monikered Swedish post-sludgers V, but I do know it’s spectacularly creepy in that special way that only stop-motion animation can truly be. Wallace and Gromit? That shit is terrifying to me. I mean it. Haunts my dreams.

V come into “Souls of the Nearly Departed” and their debut album, Pathogenisis, with no small measure of pedigree between guitarist/vocalist/synthesist Andreas Baier‘s history in Afgrund, Besvärjelsen and Oak, bassist Jonas Kindlund‘s tenure in Besvärjelsen and Daniel Liljekvist‘s former membership in Katatonia — the lineup is rounded out by Jonas Gryth on guitar — but if the opener is anything to go by, their sound is already pretty thoroughly their own. It unfurls viciously across the eight minutes of the clip, which you can see at the bottom of this post, and portends further scathing to come in its atmosphere and shouts, following up on the ambient vibe of V‘s VI EP, which was recorded in 2006 and unreleased until late last year.

Would be interested to know what happened there and why that was sat on for a decade, but either way, the full-length will be out next month on Suicide Records, as the PR wire duly confirms:

v pathogenisis

V – Swedish Sludgy Doom Quartet Announce New Album “Pathogenisis”

Premiere Video For “Souls of the Nearly Departed”

Swedish sludgy doom metal quartet V, featuring current and former members of Katatonia, In Mourning, Oak and Afgrund, return with their first full-length “Pathogenisis” nearly a decade following the release of their three-track EP “VI”.

Recorded at Midlake studios in Dalarna – Sweden, mixed by A. Baier at Midlake 2 studios, and mastered by Panu Posti at Mean Seed Lab in Helsinki, the new album is 6 songs and 42 minutes of bleak, dark and sludgy doom metal and is set for release on November 8th via Suicide Records.

“Pathogenisis” track-listing:

1. Souls Of The Nearly Departed
2. At The End Of Your Time
3. Pathogenisis
4. Perfect Predator Pattern
5. Suspended Animation
6. The Order

https://www.facebook.com/vpathogen/
https://www.instagram.com/Vpathogen/
https://vipathogen.bandcamp.com/
http://www.suiciderecords.se
https://www.facebook.com/suiciderds/

V, “Souls of the Nearly Departed” official video

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