The Obelisk Show on Gimme Radio Recap: Episode 12

Posted in Radio on March 18th, 2019 by JJ Koczan

gimme radio logo

A few episodes ago, I played Graven and floated the idea of doing a whole episode that was super-aggressive. At the same time, I thought a show that went totally the other way would be cool too; all acoustic or near-acoustic stuff and nothing really aggro about it. Well, then my silly brain got started wondering why not do both? So here we are. The first hour? Oh that’s mad. Lots of sludge, lots of screaming. When you start off with YOB’s “Nothing to Win,” you know you’re throwing down some anger. I probably won’t play Primitive Man that often. This time, it felt important to make the point. So it’s there next to Coltsblood. Point made.

Second hour? Well, it starts with Lamp of the Universe, so things get pretty trippy and pretty mellow and they basically stay that way with T.G. Olson, Conny Ochs, No Man’s Valley, The Book of Knots — because god damn, I love that song — and Scott Kelly and the Road Home — ditto — getting progressively moodier as they go. From there, it’s time to jam to the end of the episode with WEEED and Träden, who I recently saw have a show coming up at Rough Trade in New York. No way I’ll be cool enough to be there, but it’s an awesome idea anyhow.

All told, I’m happy with how this one came out, and for being kind of a hodgepodge conceptually, I think it’s worth exploring different kinds of heaviness and what makes a particular song or moment feel that way. If you listened last night or hear the replay, thanks.

Here’s the full playlist:

The Obelisk Show – 03.17.19

YOB Nothing to Win Clearing the Path to Ascend
Mastiff Vermin Plague*
Swarm of the Lotus From Embers When White Becomes Black
Sadhus, The Smoking Community Sobbing Children Big Fish*
BREAK
Horsehunter Bring out Yer Dead Horsehunter*
Primitive Man Sterility Caustic
Coltsblood Snows of the Winter Realm Split with Un*
Lamp of the Universe The Leaving Align in the Fourth Dimension*
T.G. Olson Backslider Riding Roughshod*
Conny Ochs Hammer to Fit Doom Folk*
No Man’s Valley Murder Ballad Outside the Dream*
The Book of Knots Traineater Traineater
Scott Kelly & the Road Home The Field that Surrounds Me The Forgiven Ghost in Me
BREAK
WEEED Carmelized You are the Sky*
Träden När lingonen mognar (Lingonberries Forever) Träden

The Obelisk Show on Gimme Radio airs every other Sunday night at 7PM Eastern, with replays the following Tuesday at 9AM. Next show is March 31. Thanks for listening if you do.

Gimme Radio website

The Obelisk on Thee Facebooks

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WEEED, You are the Sky: Opening Doors

Posted in Reviews on March 8th, 2019 by JJ Koczan

weeed you are the sky

There’s a kind of awakening sensation as the guitars hum and howl their way into the suitably titled leadoff track “Opening” on You are the Sky, setting an immediately patient and mild tone across a serene build for six and a half minutes. It’s the sort of move a band might make on a 70-minute album, but the fact that WEEED‘s sixth long-player (released through Halfshell Records) runs a manageable six tracks and 44 minutes and they dedicate six of those to the instrumental introduction demonstrates plainly how much of a priority they’re placing on mood and atmosphere. It is a careful, but natural sound they amass, and the songs that unfold are rich in their variety of arrangement and vibe. The Portland, Oregon-based four/five-piece of guitarist/vocalist Mitchell Fosnaugh, bassist/vocalist Gabriel Seaver and drummers/percussionists John Goodhue and Evan Franz (also synth and piano, respectively) employ Ian Hartley on hand percussion throughout, and along with other synth and vocoder from Fosnaugh and various effects from Seaver, there develops a fluidity between the songs that becomes essential to the overall affect of the record.

It is a deeply organic sound, with shimmering guitar and naturally flowing rhythms, and it’s lent all the more breadth through the percussion and the forward vocal melodies when they apply, almost Americana in style, but not in a way as to make it seem like a put-on, like all of a sudden Fosnaugh or Seaver get in front of a microphone and become cowboys. Far from it, but the vocals do a fair amount of work in complementing the naturalism of the instrumentation surrounding, and as “Opening” gives way to “I See You” and the cymbal washes and chasing, winding guitars of “Where Did You Go?,” leading to a welcome percussion jam at the end, there’s nothing done to pull the listener out of the space that the band has created. It’s immersive, but not through hypnotic repetition. Instead, WEEED simply — or, not simply — present their shifts and changes in a smooth, natural way, and they bring the audience with them wherever they want to go.

Until they don’t, and that’s a special moment too. You are the Sky doesn’t have a centerpiece as such — six tracks means no place for one — but “Open Door” is close enough, and after the rhythmic glee that tops “Where Did You Go?” finishes, it’s a stark turn to the electrified pulsations and vocoder speech repeating the title line that shows not only how far WEEED‘s experimental sensibility is willing to go on this outing, but how much they’re willing to make it a focal point. On a tape or LP, this would be the end of side A, but even listening in a linear format (CD, digital), the effect is striking. There are still guitar lines woven throughout, but they’re a part of a broader ambient moment, as is the hand percussion that emerges. It’s relatively quick at 4:19 — the shortest piece on You are the Sky and certainly less ranging than either “Caramelized” or the closing title-track that follow and both top 10 minutes long — but it’s a crucial moment nonetheless in what it brings to to the album as a whole.

weeed

WEEED have put out now-six albums since 2013, and this is hardly the first experimental tendency they’ve showcased, but true enough to its title, “Open Door” throws out any rulebook by which the band might otherwise have been playing and engages the listener on an entirely different level, so that it’s not just about laid back flow and languid jamming, but this darker take on American krautrock that leads the way into the “closing duo” that consumes nearly half the record’s runtime. It’s almost as if You are the Sky is two mini-albums put together and “Open Door” is a transitional moment between them, but the truth is it’s a standout from any other modus employed elsewhere in these tracks, and especially with where it’s placed among them, that’s very clearly intentional. If it was first or last, you’d almost be able to write it off and say, “Oh, that’s the intro,” etc., but as it is, WEEED put the emphasis on that expansion of palette, and it makes You are the Sky an even more encompassing listen.

Further, it’s worth noting that the shift back toward guitar-based fare is no less smoothly done than, say, the turn from “I See You” to “Where Did You Go?,” and as they unfold a progressive heavy psychedelic blues throughout, “Caramelized,” finding room for scale work on guitar and highlight basslines as well as harmonica in the second half, there’s an underlying urgency of rhythm that not only grounds the exploration, but makes it an exciting and enticing trip. The vocal melodies hold sway and provide a human presence early where “Caramelized” might otherwise lose its way into the jam, but they get there anyhow, and seem happy to go, guitar stepping back in favor of harmonica while the drums hold steady beneath. They build back up into a verse from there and noodle out rather than launch into a crescendo, but the journey is the thing, and it’s a pleasure. “You are the Sky” follows introducing its title line quickly ahead of an intricate bounce that opens to an effectively punctuated groove and a bit of space rock push that seems to grow more distant as the song moves toward its midpoint.

Soon enough, subdued guitar takes hold, the vocals step back into the space created, and everything — everything — calms way down. It’s temporary, but dynamic. A guitar solo spikes the energy, but dissipates and the sound of a wave brings in the next vocal line at the eight-minute mark that acts as the introduction for the final surge that will carry WEEED through the apex and out on a crashing finale. Well earned. You are the Sky feels very much based around the musical conversation happening between the players involved, but neither does it exclude the listener from that as so much material that might otherwise be tagged “progressive” can do. That’s a risk to take, but six albums later, WEEED either consciously know or have an innate sense of what they want to do in terms of songwriting, and that comes across in the realization and structure of the album. It’s a particular kind of gorgeous, not about a lush wash of effects so much as the mindset it inspires and the payoff of those risks taken. Be at peace, if not necessarily peaceful.

WEEED on Thee Facebooks

WEEED on Bandcamp

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Halfshell Records on Bandcamp

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Monolith on the Mesa Lineup Confirmed; Om, Dead Meadow, Wovenhand, The Obsessed, Cloud Catcher & More to Play

Posted in Whathaveyou on January 25th, 2019 by JJ Koczan

monolith on the mesa banner

So, uh, you wanna go get weird in the desert for a weekend? Sure, we all do. And if you’re up for making it the trip of a lifetime, Monolith on the Mesa has a bunch of decked-out vintage trailers available for you to hide from the New Mexico sun while you wait for the show to start. From the pre-party to The Obsessed headlining the second day, the inaugural edition of Monolith on the Mesa looks like the stuff of pilgrimage dreams. Om and Dead Meadow? Wovenhand? Tia Carrera jamming in a brewery? Duel? It’s an obviously curated lineup very purposefully put together with the setting in mind, and whether it’s the indoor or outdoor stage, it’s easy to see where it has the potential to be an incredible time. I’ve gone on at some length about the growth of US festival culture over the course of this decade. Look no further if you need an example of the fruit that would seem to be bearing.

If you make it down, congratulations on your life. You pretty much win.

Lineup and ticket links as per the social medias:

monolith on the mesa poster

Monolith on the Mesa: A High Desert Rock & Art Experience

Join Us On May 16th, 17th, & 18th In Taos New Mexico At Taos Mesa Brewing Mothership For Monolith on the Mesa A High Desert Rock Experience Like Non Other! A Music Festival with Art Visuals & Installations from Local NM Artists. And Of Course Some Of The Worlds Finest Dark, Psych, Stoner, Doom & Heavy Rock from All Over the Globe and SW Region! Browse Our Website monolithonthemesa.com For VIP And check out our Vintage Trailer Packages!!

http://www.monolithonthemesa.com/vintage-trailer-experience/

Hold My Ticket Link:
Pre party Show* https://holdmyticket.com/event/329481
2 Day Pass Ticket * https://holdmyticket.com/event/329524
Day 1 Pass Ticket * https://holdmyticket.com/event/329477
Day 2 Pass Ticket * https://holdmyticket.com/event/329482

MotherShip Outside Stage: Featuring Visuals By Mad Alchemist Liquid Light Show * Day 1: OM * Dead Meadow * Wovenhand * True Widow * EYE * Green Druid * Spirit Mother** Day 2: The Obsessed * Pinkish Black * Castle * The Well * Crypt Trip * WEEED * Cloud Catcher * The Munsens

Taos Mesa Worshipper Inside Stage: Day 1: * Tia Carrera * Wino (Acoustic) * Lord Buffalo * Pharlee * SuperGiant * YOU * Via Vengence * Deep Cross** Day 2 Duel * Stone Deaf * In The Company Of Serpents * Pale Horse\Pale Rider * Communion * Oryx * Sorex * Dysphotic * Devil’s Throne

https://www.facebook.com/events/260645364631316/
https://www.facebook.com/monolithonthemesa
https://www.instagram.com/monolithonthemesa/
http://www.monolithonthemesa.com/

Dead Meadow, “Good Moanin'” live at Endless Daze Fest 2018

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The Decemburger 2017 Lineup Announced; Promises “Medium-Rare Mayhem”

Posted in Whathaveyou on October 16th, 2017 by JJ Koczan

As someone who’s worked professionally to produce them, I know how difficult it can be to come up with a good tagline, headline, whatever you want to call it. As simple as it is to receive the directive, ‘Oh hey, just go ahead and give me something concise and maybe astoundingly witty that nonetheless sums up an entire idea/story/product/anything in three or four words,’ materializing that is much, much harder to do.

Accordingly, I tip my virtual hat to Dust Presents and The Decemburger 2017 for coming up with the tagline “Medium-Rare Mayhem,” which not only conveys the fact that, yes, the event will feature a hamburger-eating contest like it did last year, but captures as well the humor and good nature behind the festival as a whole. “Medium-Rare Mayhem?” Pink in the middle, maybe a little bloody? Fucking delicious? Probably. Sign up to eat a bunch of sliders and find out.

Show is at the Hi-Dive in Denver, Colorado, on Dec. 16 and will be headlined by Bongripper and also feature sets from Call of the Void, the Primitive Man-related projects Nightwraith and Vermin WombSerial Hawk and Weeed coming down from Washington, AbramsThe Munsens and Sceptres. Killer show. Once again, looks like it’s gonna be a great time. If you’re in Denver or you can get there, it’s a pre-holiday blowout that I only wish I was involved in presenting.

Info follows from the PR wire:

the decemburger 2017

DUST Presents: THE DECEMBURGER 2017

“Medium-Rare Mayhem”
Denver, CO

The second annual installment of DUST Presents’ The Decemburger returns to Denver, Colorado, Saturday, Dec. 16, 2017 at the Hi Dive, a staple for good times in Denver’s South Broadway neighborhood. The 2017 lineup leans more toward the metal spectrum of “heavy” in comparison with last year’s event (featuring The Shrine, The Well, Zig Zags, Malahierba, and more).

Chicago’s crushing doom-metal legends, Bongripper, will headline the sophomore iteration of The Decemburger, supported by a prime selection from Denver’s booming metal scene, including Call Of The Void, Vermin Womb (featuring Ethan McCarthy of Primitive Man), Abrams, the Munsens, Nightwraith (current and former members of Primitive Man, Vimana, Black Sleep of Kali, Rottenness, Collapse, and more), and Sceptres.

The 2017 bill also features a pair of standout acts from Washington. Serial Hawk, a hypnotically heavy three-piece metal group from Seattle, whose 2015 full-length out on Bleeding Light Records achieved global recognition, will join Weeed from Bainbridge Island, WA and their energetic brand of heavy, psychedelic rock in rounding out the bill.

Not to be overshadowed by the sonic mania, the burger-eating contest for which the event is named will also return, with heightened competition (following 2016 champion Andrew Renfrow’s crushing victory) and a larger purse – cash, trophy, merch, framed prints and more. Contest entry can be purchased as a separate ticket that includes festival entry. (Burger-eating contest limited to 10 contestants!)

Tickets: www.thedecemburger2017.eventbrite.com
Doors 3pm, Show 4:30pm, 18+

Flier by Sam Pierson

https://www.facebook.com/events/297498814060287/
https://www.facebook.com/dustpresents/
https://www.instagram.com/dustpresents/
https://www.eventbrite.com/e/the-decemburger-2017-tickets-38128648815

Bongripper, Miserable (2014)

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Quarterly Review: Holy Sons, WEEED, Mala Suerte, Eternal Black, Were-Jaguars, Vinnum Sabbathi & Bar de Monjas, Black Tremor, Aave, Derelics, Sisters of Your Sunshine Vapor

Posted in Reviews on September 29th, 2015 by JJ Koczan

the-obelisk-quarterly-review-fall-2015

Day one down, four more days to go. I forget each time how different it is writing shorter reviews as opposed to the usual longer ones, but kind of refreshing to bust through something, force myself to say what needs to be said as efficiently as possible and move on. Reminds me of working in print, with word counts and such. Only so much room on the page. Not something that usually comes up around these parts, but I guess it’s good to keep that muscle from complete atrophy. Though taking that line of thought to its natural conclusion, I have no idea why. Anyway, feeling good, ready to take on another 10 records, so let’s roll.

Fall 2015 Quarterly Review #11-20:

Holy Sons, Fall of Man

holy sons fall of man

It would be hard to overstate the smoothness with which Emil Amos, who serves integral creative and percussive roles in both Grails and Om, brings different styles together on Fall of Man, his second album for Thrill Jockey under the Holy Sons solo moniker and upwards of his 11th overall. An overriding melancholy vibe suits dark, progressive pop elements on the opener “Mercenary World,” Amos at the fore playing all instruments and still vocalizing like a singer-songwriter, while the later wash of “Being Possessed is Easy” takes on ‘90s indie fragility and turns what was purposeful minimalism into an expanse of melody and “Discipline” creeps out lyrically while forming experimentalist soundscapes around a steady line of acoustic guitar. Joined by bassist Brian Markham and drummer Adam Bulgasem on “Aged Wine” – the only other players to appear anywhere on Fall of ManAmos leads the trio through soaring leads and heavier crashing to give the album a crescendo worthy of its scope, which while astounding on deeper inspection presents itself with simple, classic humility.

Holy Sons on Thee Facebooks

Holy Sons at Thrill Jockey

WEEED, Our Guru Leads us to the Black Master Sabbath

WEEED-Our-Guru-Brings-us-to-the-Black-Master-Sabbath

From the opening drone-groan throat-singing of the 14-minute “Dogma Dissolver,” it seems like not-quite-Seattle trio Weeed are making a run for the title “Most Stoned of the Stoner” with their second full-length, Our Guru Leads us to the Black Master Sabbath. They earn that extra ‘e.’ A double-LP on Illuminasty Records, the album is a 54-minute trip into low tone and deep-running vibe, spaced way out, and well at home whether jamming heavy and hypnotized on “Rainbow Amplifier Worship” – a highlight bassline – or nestling into an ambient stretch like “Bullfrog” preceding. Mostly instrumental, Weeed hit their most active in “Enuma Elish” and then chill and strip back to acoustics and sax (yup) for the Eastern-flavored “Caravan Spliff,” bringing back the throat-singing in the process. How else to finish such a work than with the 15-minute “Nature’s Green Magic,” a 15-minute push along a single build that goes from minimal, pastoral acoustics to nod-on-this megastoner riffing? Weeed might be going for the gold, but they end up in the green, and somehow one imagines they’ll be alright with that. They get super-ultra-bonus points for sounding like Kyuss not even a little.

WEEED on Thee Facebooks

WEEED on Bandcamp

Mala Suerte, Rituals of Self Destruction

mala suerte rituals of self destruction

Formed in 1999 and having made their full-length debut a decade later with The Shadow Tradition (review here), last heard from in a 2012 split with Boise’s Uzala (review here), Austin, Texas, doomly five-piece Mala Suerte return with the 10-track Rituals of Self Destruction, which moves past its four-minute intro into chugging The Obsessed-style trad doom with a touch of Southern heavy à la Crowbar and a generally metallic spirit in cuts like “Utopic Delusions” that gets expanded on later cuts like the swirling, crawling almost Cathedral-ish “Labyrinth of Solitude.” Comprised of forward-mixed vocalist Gary Rosas, guitarists David Guerrero and Vincent Pina, bassist Mike Reed and drummer Chris Chapa (now John Petri), Mala Suerte sound as rueful as ever across the album’s span, rounding out with the hardcore sludge of “Successful Failure” and “The Recluse,” which builds from slow, brooding chug to a more riotous finish. It’s been a while, but it’s good to have them back.

Mala Suerte on Thee Facebooks

Mala Suerte on Bandcamp

Eternal Black, Eternal Black

eternal black eternal black

Guitarist/vocalist Ken Wohlrob leads Brooklyn’s Eternal Black through the riffy doom of their debut self-titled three-track EP. Unpretentious in the style’s tradition, the trio is anchored by Hal Miller’s bass and pushed forward by the drums of Joe “The Prince of Long Island” Wood (also of Borgo Pass), the rolling groove of Sabbathian opener “Obsidian Sky” setting the tone for straightforward, few-frills darkness, and Eternal Black follow it up with the workingman’s doom of “The Dead Die Hard” and “Armageddon’s Embrace,” the former started out with an extra lead layer before it unfurls the EP/demo’s most satisfying crawl, and the latter a little more swinging, but still Iommic metal at its core, Wohlrob’s gruff vocal and Wino-style riff backed by Miller’s deep-mixed rumble as Wood goes to the cowbell/woodblock (it’s one or the other) during the guitar solo. Even if Joe Wood wasn’t one of the best human beings I’d ever met, it would still be pretty easy to dig what these cats are doing, and it’ll be worth keeping an eye for how they follow this first installment.

Eternal Black on Thee Facebooks

Eternal Black on Bandcamp

Were-Jaguars, II

were-jaguars ii

Austin, Texas-based trio Were-Jaguars have already issued a follow-up EP to their earlier-2015 second album, II, but from its opening and longest track “Between the Armies” (immediate points), the three-piece dig into weirdo psych vibes and dense tones across their latest full-length, released through respected Russian purveyor R.A.I.G. Not at all a minor undertaking at 13 tracks, 68 minutes, it gets into garage ritualism in “Let My Breath be the Air” and unfolds immediate doomadelia on “Bishop Kills Enchanter,” but if you need confirmation that Were-Jaguars – the three-piece of Chad Rauschenberg, James Adkisson and Rick McConnell – aren’t just screwing around in these songs and lucking into a righteous result, let it come on the later “Lost Soul,” which melds a flowing instrumental roll to a host of spiritual and pseudo-spiritual samples, loses itself completely, and then returns at the end to finish cohesive, engagingly complex and sure in the knowledge that all has gone to plan. Figuring out what that plan is can be a challenge at times, but it’s there.

Were-Jaguars on Thee Facebooks

R.A.I.G.

Vinnum Sabbathi & Bar de Monjas, Fuzzonaut Split

vinnum-sabbathi-and-bar-de-monjas-fuzzonaut

The Fuzzonaut split between Mexico’s Vinnum Sabbathi and Bar de Monjas takes its name from the closing track, provided by the latter act, but it serves as a fitting title for the work as a whole as well. Vinnum Sabbathi launch the six-track offering with “HEX I: The Mastery of Space,” a slow-rolling instrumental topped by samples pulled from rocket launches, and after the 1:45 droning interlude “Intermission (Fluctuations),” they melt their way into the companion “HEX II: Foundation Pioneers,” doomier in its chug, but similarly-minded overall in intent, with the warm bass, copious samples, and planet-sized riffing. Though their portion is shorter overall, Bar de Monjas answer back with relatively upbeat push in “Hot Rail,” winding up in stoner rock janga-janga before stomping their way into “The Ripper,” cowbelling there as part of an impressively percussed spin and capping with “Fuzzonaut” itself, a shroomy 7:45 creeper with big-riff bursts that rises and recedes effectively, ending with a long residual hum.

Vinnum Sabbathi on Thee Facebooks

Bar de Monjas on Thee Facebooks

Fuzzonaut on Bandcamp

Black Tremor, Impending

black tremor impending

An immediate touchstone for the droning pastoral drear that Saskatoon three-piece Black Tremor elicit on their four-song debut EP, Impending, is Earth’s HEX: Or Printing in the Infernal Method, but the newcomer trio distinguish themselves immediately with an approach that replaces guitar with violin, so that not only can Black Tremor tie into these atmospheres, they can do so in a way that speak to country roots in a way their forebears didn’t at the time date. Bassist Alex Deighton, violinist Amanda Bestvater and drummer Brennan Rutherford have only just begun the work of developing their sound, but already nine-minute opener “The Church” and its buzzing follow-up “Rise” prove evocative and come across as more than exercises in ambience. “Markhor” hits with an even heavier roll and an almost Melvinsy undertone, while the title-track makes its way through horse-trod mud to emerge at the end not only clean but positively bouncing. It’s still pretty dark, but they’ve given themselves a vast Canadian Midwestern expanse to explore.

Black Tremor on Thee Facebooks

Black Tremor on Bandcamp

Aave, There’s Nothing

aave there's nothing

A bright tonal bliss pervades There’s Nothing, the Rock Ridge Music debut long-player from Nashville all-lowercase psychedelic post-rockers aave. The band court indie progressivism across the album’s eight component tracks, but with just one song over four minutes long – closer “Turn Me Off” (4:30) – there’s little about it that feels overly indulgent or beyond the pale stylistically. That is to say that while aave set a sonic course for great distances, they get to where they’re going efficiently and don’t hang around too long in one place. That has its ups and downs in terms of vibe, but the resonant vocal melodies of “Nothing Here” – hard not to be reminded of Mars Red Sky’s sweet emotionality, but there are other comparisons one might make – the focus remains grounded in an accessibility that goes beyond getting lost in dreamy guitars. Aesthetically satisfying, they find an intense moment in the later thrust of “Blender,” but even that retains the overarching wistful sensibility of what’s come before and that unites the material throughout.

aave on Thee Facebooks

Rock Ridge Music

Derelics, Introducing

derelics introducing

Spacious, melodic and entrancingly heavy, Derelics’ debut EP, Introducing, indeed makes a formidable opening statement, and in a crowded London scene of post-Orange Goblin burl and Downy sludge, the trio set more progressive ambitions across “To Brunehilde,” “California” and “Ride the Fuckin’ Snake to Valhalla,” psych-funking up the centerpiece after the grooving largesse of the opener en route to the wider-spreading tones of the closer, guitarist/vocalist Reno cutting through his and bassist Nacim’s tones easily with higher-register vocals that push the limits of his range as he encourages one to “ride that fuckin’ snake,” before cutting out to let drummer Rich lead the charge with toms through a build-up bridge that returns to the echoing fullness conjured earlier, ending on a long-fading organ note. An encouraging first offering from the three-piece, and hopefully they continue develop along an original-sounding path as they move ahead. Already they seem to show a knack for melding atmospherics and songwriting toward the same ends.

Derelics on Thee Facebooks

Derelics on Bandcamp

Sisters of Your Sunshine Vapor, Desert Brain

sisters of your sunshine vapor desert brain

True to its krautrock-style cover art, Desert Brain, the third outing from Detroit’s Sisters of Your Sunshine Vapor, has an element of prog at work within its psychedelic unfolding. But that’s reasonable. With four years since their second release, Spectra Spirit (review here), and the inclusion of bassist/keyboardist Eric Oppitz and drummer Rick Sawoscinski with guitarist/vocalist Sean Morrow, the dynamic in the band has legitimately shifted, even though Oppitz (who also did the aforementioned cover art) has recorded all three of their records. Still, they keep the proceedings fluid across the two vinyl sides, finding their inner garage on “Major Medicine” and tripping out easy on “What’s Your Cloud Nine, 37?” on side A before digging in with fuzz and push on side B’s “The Prettiest Sounds of Purgatory” and stretching into ritual stomp on the title cut. All the while, they’re drenched in vibe and a flow that’s languid even as it’s running you over, and while some songs barely have a chorus, they implant themselves in the mind anyway, almost subliminally.

Sisters of Your Sunshine Vapor on Thee Facebooks

Sisters of Your Sunshine Vapor on Bandcamp

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audiObelisk Transmission 050

Posted in Podcasts on August 3rd, 2015 by JJ Koczan

Click Here to Download

 

Here is the Music Player. You need to installl flash player to show this cool thing!

We’re a little bit overdue for a new podcast and I know it. A hectic couple weeks, I suppose. But it’s here now and there’s plenty to dig into, so hopefully it’ll make up for some of the lost time. Not like the site’s lacking for audio — you might say there’s a 24-hour live-streaming radio station with a permanent home over there in the sidebar — but it’s still nice to feature some new tracks from what’s come across for review and other consideration.

A few marquee names this time around: Monster Magnet, Pentagram, Kadavar. And on the other end of the spectrum, a band like Seagrave, whose inclusion here is taken from their demo. In between those extremes, an outfit like Borracho continue to refine their heavy rock bona fides, Thera Roya delve deep into post-metallic abrasion, Black Tremor capture a dark Americana, and Weeed earn their third ‘e’ with massive stoner sprawl. And speaking of sprawl, you might notice the first hour ends at 52 minutes. Well, things get long early. Thera Roya, Iguana, Matuska and We Lost the Sea all top 10 minutes — the latter 20 — and that pushes the total runtime over two hours. I figured it’s the 50th one, so fair enough to stretch a bit. Hope you enjoy:

First Hour:
0:00:00 Kadavar, “Last Living Dinosaur” from Berlin
0:04:02 Pentagram, “Walk Alone” from Curious Volume
0:07:18 Monster Magnet, “Mastermind ‘69” from Cobras and Fire: The Mastermind Redux
0:13:34 Weeed, “Rainbow Amplifier Worship” from Our Guru Brings us to the Black Master Sabbath
0:22:08 Tuna de Tierra, “Ash” from EPisode 1 – Pilot
0:29:29 Seagrave, “Through the Lion’s Eye” from Dead Demo
0:32:45 Vinnum Sabbathi, “Hex I – The Mastery of Space” from Split with Fuzzonaut
0:39:52 Borracho, “Superego” from The Second Coming of Heavy Split with Geezer
0:47:27 Black Tremor, “Rise” from Impending
0:52:36 Thera Roya, “Unraveling” from Unraveling

Second Hour:
1:05:37 Iguana, “Cult of Helios” from Cult of Helios
1:21:09 Matushka, “Drezina” from II
1:40:55 We Lost the Sea, “Challenger Pt. I: Flight” from Departure Songs

Total running time: 2:04:22

 

Thank you for listening.

Download audiObelisk Transmission 050

 

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Weeed to Release Our Guru Brings us to the Black Master Sabbath on July 7

Posted in Whathaveyou on June 23rd, 2015 by JJ Koczan

weeed (Photo by Fitz Ross Productions)

Vowel-happy psych rockers WEEED will make their debut on Illuminasty Records next month with the dogwhistle-titled Our Guru Brings us to the Black Master Sabbath. Or maybe that’s not even a dogwhistle. Might just be a regular whistle, since it seems to blare so loud and clear that they might as well have called it “Get Ready for Some Heavy Shit.” Theirs is at least a more creative title than that, and the album’s molten jams, if the newly-unveiled “Bullfrog” is any indicator, drive hard to live up to it, with a sense of exploratory psych earthier than one thinks of as space rock but still well into levitation and other expanded-consciousness trickery.

WEEED are set to tour beginning the day after Our Guru Brings us to the Black Master Sabbath comes out, crossing the country and making their way back to their Bainbridge Island, Washington, home in support of the new record. Info, quotes for emphasis, tour dates and audio follow, snagged off the PR wire:

weeed our guru brings us to the black master sabbath

Weeed: Our Guru Brings Us to the Black Master Sabbath

Releasing 7/7/15 on Illuminasty Records

We are thrilled to e-troduce the 2xLP from WEEED, their first with Illuminasty, Our Guru Brings Us to the Black Master Sabbath, a dynamically heavy record—but one with plenty of head-space. Embraced and at times, frustratingly defined by fans of so-called ‘Psychedelic’ rock, and tie-dyed bucket hats—WEEED’s work stands out as defiantly benevolent, with their compelling blend of the avant-garde and hallucinogenic finesse.

Although originally raised in the damp backwoods of Bainbridge Island, Washington, WEEED has wasted no time in touring the last few years in their local region and along the west coast. The resulting embrace from fans has led the band to expand their itinerary with Our Guru…, this time around all of the U.S. (See full dates below). “The album is a climax in the synchronicity that brought each of our lives to this moment, together,” says drummer John Goodhue. “We see it as a logical progression and zenith of our communal and individual growth, as well as the convergence of our aged and recent musical influences.”

To define these songs’ wide sonic boundaries through ubiquitous touchstones such as Sleep , Weedeater, Boris or Electric Wizard would deny the band of its own sonic milieu. Our Guru…, exemplifies a band charting the human experience through various traditional Chinese compositions, Tuvan and Mongolian throat ensembles, krautrock, and desert blues. Try out their first single, “Bullfrog” and you’ll fly in at first lick.

2015 Guru Tour:
7/8 – Seattle,WA @ The Sunset w/Ancient River
7/9 – Tacoma, WA @ 733 w/Clocks and TBA
7/10 – Olympia, WA @ Guest House w/Heavy Petting, Sawtooth
7/11 – Portland, OR @ TBA w/TBA
7/12 – Arcata/Eureka, CA @ TBA w/TBA
7/13 – San Francisco, CA @ TBA w/TBA
7/14 – Oakland, CA @TBA w/TBA
7/15 – Santa Cruz, CA @TBA w/TBA
7/16 – Los Angeles, CA @Programme Skate/Sound w/TBA
7/17 – Los Angeles, CA @ Rockwood House w/Melanie Odelle and TBA
7/18 – San Diego, CA @ Ken Club w/Deep Sea Thunderbeast, Barrows
7/19 – Phoenix, AZ @ Yucca Tap Room w/TBA
7/20 – Albuquerque, NM @ TBA w/TBA
7/21 – Austin, TX @ Beerland w/TBA
7/22 – Lafayette, LA @ Artmosphere w/Melanie Odelle
7/23 – New Orleans, LA @ Gasa Gasa w/TBA
7/25 – Nashville, TN @ Queens Ave w/TBA
7/26 – Atlanta, GA @ TBA w/TBA
7/27 – Athens, GA @ TBA w/TBA
7/28 – Asheville, NC @ Tiger Mountain w/TBA
7/29 – Winston/Salem, NC @ The Garage w/Daddy Issues, Blizzard Babies
7/30 – Philadelphia, PA @ TBA w/TBA
7/31 – Kempton, PA @ House w/TBA
8/1 – Boston, MA @ Spare Room Sessions and The Banana Hammock
8/2 – NYC, NY @ Shea Stadium w/ TBA
8/3 – Kingston, NY @ The Anchor w/INNIS and Shana Falana
8/4 – Cleveland, OH @ TBA w/TBA
8/5 – Cincinnati, OH @ TBA w/TBA
8/6 – St Louis @ Foam Coffee & Beer w/Rip Rap and Sole Loan
8/7 – Chicago, IL @The Cobra Lounge w/ Killer Moon
8/8 – Chicago, IL @ Wally’s World w/TBA
8/9 – Milwaukee, WI @ TBA w/TBA
8/10 – Minneapolis, MN @ House w/TBA
8/11 – Columbia, MO @ Cafe Berlin w/TBA
8/12 – Kansas City, MO @ TBA w/TBA
8/13 – Denver, CO @ Lions Lair w/TBA
8/14 – Boulder, CO @ TBA w/TBA
8/15 – SLC, UT @ Diabolical Records w/TBA
8/16 – Boise, ID @ House w/Sloths
8/17 – Missoula, MT @ The VFW w/TBA
8/18 – Spokane, WA @ TBA w/TBA
8/19 – Bellingham, WA @ The Shakedown w/ dræmhouse
8/20 – Seattle,WA @ Blue Moon w/ dræmhouse
8/21 – Bainbridge Island,WA @ Mushroomson Airplane w/TBA

https://www.facebook.com/WEEEDBAND
https://www.facebook.com/events/703828376407229/
http://weeed.bandcamp.com/
https://www.facebook.com/illuminastyrecords
https://instagram.com/illuminastywax/
http://www.illuminastyrecords.com/shop/

Weeed, “Bullfrog”

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