Usually I approach doing a batch of radio adds with some trepidation — after all, I’m basically writing five (or, in this week’s case, six) short reviews — but after doing that Last Licks series last week, this honestly feels like a breeze. Perspective is everything, and to add to yours and mine, I’ve got 18 records joining The Obelisk Radio playlist this afternoon, and it’s a widely varied bunch, both in what’s written up here and the actual makeup of the stuff.
Full-lengths, EPs, splits, a live release, a single, some doom, some black metal, some heavy rock, sludge, psych, you name it. I had the radio going for a while yesterday and heard a few really satisfying changes in style. I like that and I hope you do too, because I don’t think it’s going to change anytime soon. Full list of adds is on the Updates and Playlist Page.
The Obelisk Radio adds for Jan. 9, 2015:
Formes, Dysphoria Part 1
For an album that starts “Through this Hole” and finishes in “Dead Ends,” Formes‘ Dypsphoria Part 1 is a resoundingly progressive and diverse outing that, at its core, works primarily in playing shoegaze psych and extreme metal off each other. Somewhere between Dead Meadow and Akercocke, a song like “Dead Ends” finds a way to mesh wub-chug riffing with the crooning vocals of guitarist/bassist Steve McNamara with the responding death growls of his brother, drummer/guitarist Jordan. The UK three-piece is rounded out by Rob “The Alchemist” Hemingway, whose synths feature heavily in songs like “I am Nothing” and “Tumult,” which atmospherically expand on the ideas the opener presents, thrusting these two sides into the same place and, in defiance of what are generally thought of as the physics of genre, making it work. Formes‘ most effective moments are when they ram one into the other, as on the acoustic-to-doom-pummeling “Smile Club,” which follows quietly seething brooder “I Will Make You Ill” and rounds out with an extended whistle of harsh feedback, but I won’t discount the value they clearly place on structural variety either. Together, they make Dysphoria Part 1 as satisfying as it is unpredictable, and while I don’t know when one might expect Part 2 or just how many installments of Dysphoria there might be, I look forward to when I can next encounter the fruits of Formes‘ stylistic restlessness. Formes on Thee Facebooks, on Bandcamp.
Romero, Gold for the Hunt
Madison, Wisconsin, sludge poppers Romero made a New Year’s present out of “Gold for the Hunt” by offering the song as a free download on Jan. 1, but it’s also the first new studio material to come from the four-piece since their early 2013 full-length, Take the Potion (review here). Like that album, the single revels in a Floor/Torche influence, but seems to delight even more in its fuzzy tone and burly edge in the vocals of guitarist Jeffrey Mundt and drummer Ben Brooks. With the foundation of Patrick Hotlen‘s bass rumbling beneath, the guitar and vocals push through a tension-release chorus and into a well-layered chugging bridge that further highlights Romero‘s penchant for melodic bellowing. Guitarist/percussionist/organist Tim Consequence seems all but absent initially, but in the final movement, a sustained current of organ winds up as one of “Gold for the Hunt”‘s most distinguishing factors. Well, that and the brutal growing, anyway. Glad to hear from Romero, even in so abbreviated a manner. If you’ve never encountered them before, “Gold for the Hunt” provides a quick, efficient summary of their approach, and if you heard Take the Potion, the new song will only make you further anticipate the follow-up. Romero on Thee Facebooks, on Bandcamp.
Bellringer, Bellringer EP
Based in the weirdo haven of Austin, Texas, newcomer trio Bellringer — for whom this untitled/self-titled, self-released EP is the first outing — boast a familiar face (or at least a familiar cowboy hat) in guitarist/vocalist Mark Deutrom (Clown Alley, peak-era Melvins), who’s joined by bassist Corey Cottrell (ex-Megazilla) and drummer Craig Nichols (Guided by Voices, The Breeders) on these four tracks. The sound, while adventurous stylistically and in terms of the construction of individual parts, is rooted in heavy rock, opener “Vapor Lock,” a catchy number like “Wait” and the instrumental chorus of “Von Fledermaus” reminding some that, yes, Deutrom was the bass player on Stoner Witch, but particularly in the latter an even more resonant impression comes across like Masters of Reality‘s blend of pop and heavy rock oddness. That vibe continues on the nine-minute psych-jam closer “The Burning Gift,” which brings Deutrom‘s vocals forward and works in keyboard arrangement flourish, bell sounds, string sounds and various melodic volume swells to underscore the point that, even on Bellringer‘s introduction, pretty much anything goes if it works. So be it. The world needs more experimental rock that doesn’t forget there are two sides to that equation, and Bellringer seem to come out of the gate ready to gleefully tip the scales one way or the other. Bellringer on Thee Facebooks, on Bandcamp.
Wizard Eye, Riff Occult Live
If, like me, you’ve been itching to get a handle on some new music from Philly’s theremin-laced, golly-these-guys-need-to-get-a-new-record-out stoner doom trio Wizard Eye, Riff Occult Live should do the trick. All but two of the tracks — “On the Banks of a River” and the meshed-together “Gravebreath/Say No More” — come from the riffy three-piece’s forthcoming sophomore outing, and while it’s definitely a live record, the dense fuzz and nod-ready roll that guitarist/thereminist/vocalist Erik Caplan, on-a-first-name-bassist Dave and drummer Mike Scarpone conjure wins out anyway on cuts like “Drowning Daydream” and “Flying/Falling,” Scarpone‘s kick drum a pop in the low end while Wizard Eye ooze their way through one Sabbathian jam into the next. Opener “Eye of the Deep” sets a tone for extended solos and thick groove, and Wizard Eye do not falter from that path as the set makes its way to the 11-minute final jam, each riff arriving, kicking ass, and moving on in well-purposed succession. Riff Occult Live doesn’t entirely sate the anticipation for a new album, but it certainly doesn’t hurt either. Wizard Eye on Thee Facebooks, on Bandcamp.
Lewd Flesh, Op I Røven, Dø I Smerte
Marked out immediately by the echoing, over-the-top bluesy vocals of Malene Pedersen, Copenhagen heavy rockers Lewd Flesh make their Spaghetti Casetti Records debut with the Op I Røven, Dø I Smerte 7″, bringing together the two songs “Acid Rider” and “Lewd Troves” to give a professional, crisp first impression across two sides and about 11 minutes. Guitarists Nanna Braunschweig Hansen and Casper Nilsson, bassist John Madsen and drummer Jakob provide the backdrop for Pedersen‘s rocked-out vocal thrust on “Acid Rider,” and more ’90s-style cues are taken on “Lewd Troves,” the wailing guitars offering a flourish of noise influence to coincide with the band’s straightforward production. It is their first outing, and two songs, and it’s a raucous start to make, but there’s room to grow as well in Lewd Flesh‘s hammering out their balance of grunge, noise and heavy rock impulses and figuring out where to place the vocals in the mix. To the credit of both the band and the release, Op I Røven, Dø I Smerte sounds both smoothly produced and on-stage energetic, and hopefully they can keep that spirit intact as they continue to grow. Lewd Flesh on Thee Facebooks, on Bandcamp.
Red Mess, Crimson EP
Familiar riffs abound on Red Mess‘ debut EP, Crimson, and the Brazilian trio give due reverence to the likes of Sabbath and Goatsnake, but it’s the rougher, semi-retro presentation that draws the listener into the atmosphere created by guitarist/vocalist Thiago Franzim, bassist Lucas Klepa and drummer Douglas Labigalini over the four tracks/22 minutes. There’s something theatrical in Franzim‘s vocals to opener “Trapped in My Mind” that also give a classic Alice Cooper Band feel to the proceedings as well, and that’s really just one element of heavy ’70s worship that continues on “Hole” and the subsequent, motor-ready “Stoneage Coopers,” but they save the best for last in 5:30 closer “Through the Trees,” which offsets Graveyard-style subdued blues noodling with heavy rock thrust, a highlight performance from Klepa alongside Labigalini‘s swinging cymbal and tom work, and an engaging build throughout. They’re feeling their way through developing their sound, and that’s exciting to hear since the three-piece already has some considerable chemistry between them. Hopefully they’re able to take lessons from Crimson — named, apparently, in homage to a classic prog influence — and move forward as they discover where they want to go and how they want their songs to take them there. Red Mess on YouTube, on Bandcamp.
Had to get that sixth one in there, and not just because it frees up another space on my desktop. The idea behind doing adds like this isn’t just to remind people there’s a radio component to this site. That’s part of it, sure, but the bigger agenda here is to hopefully give you another opportunity to check out music you might dig. That’s why the audio is right there under each review. I sincerely hope something above piques your interest and that you also share it with someone you think will enjoy.
Thanks as always for reading and listening.