Quarterly Review: JOY Feat. Dr. Space, Rosetta, Pendejo, Lightsabres, Witch Hazel, CBBJ, Seedium, Vorrh, Lost Relics, Deadly Sin (Sloth)

Posted in Reviews on March 22nd, 2019 by JJ Koczan

quarterly-review-spring-2019

Day Five. What would traditionally be the end of the Quarterly Review if going to six wasn’t the new going to 11. Whatever, I can hack it. The amount of good stuff included in these batches really helps. I’m not saying there are days that are a flat-out bummer, but I feel like the proportion of times in this Quarterly Review I’ve gone, “Wow, this is pretty awesome,” has seen a definite spike this time around. I won’t complain about that. Makes the whole thing fun.

Today will be no exception, and then we finish up on Monday with the last 10. Thanks for reading if you do.

Quarterly Review #41-50:

JOY Feat. Dr. Space, Live at Roadburn 2018

joy feat dr space live at roadburn 2018

Brought together as part of the ‘San Diego Takeover’ at Roadburn 2018 that featured a host of that city’s acts performing in an even broader host of contexts, JOY and Scott “Dr. Space” Heller of Øresund Space Collective took the stage at the tiny Cul de Sac near the very end of the festival. It was how I closed out my Roadburn (review here). Dr. Space did a short spoken introduction and then they were off and they didn’t look back. The centerpiece of the limited LP is an extended jam simply titled “Jam.” It’s edited on the platter, but the digital version has the full 54 minutes, and the more the merrier. They round out with takes on Road‘s “Spaceship Earth” and JOY‘s “Miles Away,” and those are cool too, but the real highlight is about halfway through the longer “Jam” when the drums kick into the next gear and you suddenly snap out of your trance to realize how far you’ve already come. And you’re still only at the midpoint. I don’t know. Maybe you had to be there. So be there.

Øresund Space Collective on Thee Facebooks

JOY on Thee Facebooks

JOY Feat. Dr. Space at Øresund Space Collective Bandcamp

 

Rosetta, Sower of Wind

rosetta sower of wind

Philadelphia-based post-whatever-you-got outfit Rosetta continue to set their own terms with Sower of Wind, a self-recorded four-track/half-hour offering that’s something of an outgrowth of their most recent album, Utopioid. Broken into four tracks each assembled from ideas and layers churning throughout the four sections of that record, it brings out the ambient side of the band as guitarist/keyboardist/bassist Matt Weed serves as engineer for “East,” “South,” “West” and “North” as he, guitarist/keyboardist Eric Jernigan and vocalist Mike Armine — who here just adds samples and noise — construct fluid soundscapes that can either build to a head, as on “East” or offer a sense of foreboding like “West” and “North,” depending solely on the band’s will. It’s intended as an exploration, and it sounds like one, but if that wasn’t the point, Sower of Wind probably wouldn’t have been released in the first place. It’s not at all their first ambient release, but this modus continues to be viable for them creatively.

Rosetta on Thee Facebooks

Pelagic Records webstore

 

¡Pendejo!, Sin Vergüenza

pendejo sin verguenza

Whatever your current working definition might be for “over the top,” chances are Pendejo — also stylized as the exclamatory ¡Pendejo! — will make short work of it. Sin Vergüenza, their third long-player, sees release through their own Chancho Records imprint, and it’s not through opener “Don Gernàn” before the Amsterdam-based outfit break out the horns. Fronted by El Pastuso, who supplies the trumpet, the band roll through dense toned heavy rock in a crisply-executed, high-energy 10 tracks and 40 minutes that, even when you think they’re letting up, on the later “El Espejo,” they still manage to burst out a massive riff and groove in the second half. It’s the kind of record that’s breathtaking in the sense of you’re trying to run to keep up with its energy. That, however, should not be seen as undercutting the value of the band’s songwriting, which comes through regardless of language, and whether it’s the start-stops of “La Mala de la Tele” or the gleeful weirdo push of “Bulla,” Pendejo have their sonic terrain well staked out and know how to own it. They sound like a band who destroy live.

Pendejo on Thee Facebooks

Pendejo webstore

 

Lightsabres, A Shortcut to Insanity

LIGHTSABRES A SHORTCUT TO INSANITY

It’s rare for an artist to grow less predictable over time, but Lightsabres mastermind and multi-instrumentalist John Strömshed hits that standard with his former one-man outfit. Joined by session drummer Anton Nyström, Strömshed brings forth 11 tracks of genre-bending songcraft, melding fuzz and progressive folk, downer rock and thoughtful psych, garage push with punker edge, and seemingly whatever else seems to serve the best interests of the song at hand. On “Born Screaming,” that’s a turn to classical guitar plucking sandwiched on either side by massive riffs and vocals, like that of “Tangled in Barbed Wire,” remind of a fuzz-accompanied take on Life of Agony. At just 36 minutes, A Shortcut to Insanity isn’t long by any means, but it’s not an easy album to keep up with either, as Strömshed seems to dare his listenership to hold pace with his shifts through “Cave In,” rolling opener and longest track (immediate points) “From the Demon’s Mouth” and the sweetly melodic finale “Dying on the Couch,” which is perhaps cruelest of all for leaving the listener waiting for the other shoe to drop and letting that tension hang when it’s done.

Lightsabres on Thee Facebooks

DHU Records webstore

 

Witch Hazel, Otherworldly

Witch Hazel Otherworldly

Classic-style doom rockers Witch Hazel shift back and forth between early metal and heavy rock on their second full-length, Otherworldly, and the York, Pennsylvania, four-piece of vocalist Nate Tyson, guitarist Andy Craven, bassist Seibert Lowe and drummer Nicholas Zinn keep plenty of company in so doing, enlisting guest performances of organ and other keys throughout opener “Ghost & the Fly” and “Midnight Mist” and finding room for an entire horn section as they round out 11-minute closer “Devastator.” Elsewhere, “Meat for the Beast” and “Drinking for a Living” marry original-era heavy prog with more weighted impact, and “Zombie Flower Bloom” plays out like what might’ve happened if mid-’80s Ozzy had somehow invented stoner rock. So, you know, pretty awesome. The strut and shuffle of “Bled Dry” adds a bit of attitude late, but it’s really in cuts like the title-track and the aforementioned “Midnight Mist” earlier on that Witch Hazel showcase their formidable persona as a group.

Witch Hazel on Thee Facebooks

Witch Hazel on Bandcamp

 

CBBJ, 2018 Demo

CBBJ 2018 Demo

To a certain extent, what you see is what you get with CBBJ‘s 2018 Demo, right down to the wood paneling on the cover art. The band’s name — also written as CB/BJ — would seem to be taken from its members, Cox (that being Bryan Cox, founding drummer of Alabama Thunderpussy), Ball, Bone, and Jarvis, and as they look toward a Southern Thin Lizzy on demo finale “The Point of it All,” there’s something of a realization in what they’re putting together. It’s four tracks total, and finds some thrust in “Wreck You,” but keeps it wits there as well as in the sleazier nod of “The Climb” that precedes it as the opener and even in the penultimate “Can’t Go Home,” which gives booziest, earliest AC/DC a treatment of righteous bass. They’re apparently in the studio again now, or they just were, or will, or won’t, or up, or down, but whatever. Point is it’ll be worth keeping an ear out for when whatever comes next lands.

CBBJ on Thee Facebooks

CBBJ on Bandcamp

 

Seedium, Awake

seedium awake

Go on and get lost in the depths of Seedium‘s debut three-songer, Awake. The Polish outfit might be taking some cues as regards thickness from their countrymen in Dopelord or Spaceslug, but their instrumental tack on “Mist Haulers,” “Brain Eclipse” and “Ruina Cordis” oozes out of the speakers with right-on viscosity and comes across as infinitely stoned. The centerpiece tops 11 minutes and seems to indicate very little reason they couldn’t have pushed it another 10 had they so desired, and through “Ruina Cordis” is shorter at a paltry 7:08, its blasted sensibility and ending blend of spaciousness and swirl portends good things to come. With the murky first impression of “Mist Haulers” calling like a prayer bell to the riff-worshiping converted, Seedium very clearly know what they’re going for, and what remains to be seen is how their character and individual spin on that develops going forward. Still, for its tones alone, this first offering is a stunner.

Seedium on Thee Facebooks

Seedium on Bandcamp

 

Vorrh, Nomads of the Infinite Wild

vorrh nomads of the infinite wild

Programmed drumming gives Nomads of the Infinite Wild, the debut release from the Baltimore duo of Zinoosh Farbod and John Glennon an edge of dub, but the guitar work of songs like “Mercurial,” looped back on itself with leads layered overtop and Farbod‘s echoing vocals, remains broad, and the expansive of atmosphere puts them in a kind of meditative post-doom feel. Opener “Myths” strikes as a statement of purpose, and as “Morning Star” shows some Earth influence in the spaces left by Glennon‘s guitar, the band immediately uses that nuance to craft an individual identity. “Flood Plane” saunters through its instrumental trance before getting noisy briefly at the finish, only to let “These Eyes” work more effectively through a similar structure with Farbod on keys, seeming to set up the piano-foundation of “Ancient Divide,” which closes. This is a band who will benefit greatly from the fact that they record themselves, because they’ll have every opportunity to continue to experiment in the studio, which is exactly what they should be doing. In the meantime, Nomads of the Infinite Wild effectively heralds their potential for aesthetic innovation.

Vorrh on Thee Facebooks

Vorrh on Bandcamp

 

Lost Relics, 1st

lost relics 1st

Well, they didn’t call it 1st because it’s their eighth album. Denver noise rock trio Lost Relics debut with the aptly-titled 18-minute four-songer, bringing Neurosis-style vocal gutturalism to riffy crunch more reminiscent at times of Helmet‘s discordant heyday. Dense tonality and aggression pervade “Dead Men Don’t Need Silver,” “Scars,” the gets-raucous-later “Whip Rag” and closer “Face Grass,” which somehow brings a Clutch influence into this mix, and even more somehow makes it work, and then even more somehow indulges a bit of punk rock. The vocals and sense of tonal lumber tie it all together, but Lost Relics set a pretty wide base for themselves in these tracks, leaving one to wonder how the various elements at work might play out over the course of a longer release. As far as a debut EP goes, then, that’s the whole point of the thing, but something seems to be saying Lost Relics have more tricks up their sleeve than they’re showing here. One looks forward to finding out if that’s the case.

Lost Relics on Thee Facebooks

Lost Relics on Bandcamp

 

Deadly Sin (Sloth), VII: Sin Seven

deadly sin sloth vii sin seven

Deadly Sin (Sloth) play the kind of sludge that knows how well and truly fucked we are. The kind of sludge that doesn’t care who’s president because either way the chicken dinner you’re cooking is packed full of hormones. The kind of sludge that well earns its Scott Stearns tape artwork. VII: Sin Seven is not at all void of melody or purpose, as “Ripping Your Flesh” and the Danziggy “Glory Bound Grave” grimly demonstrate, but even in those moments, its intent is abrasion, and even the slower march of “Icarus” seems to scathe as much as the raw gutterpunk in “F One” and opener “Exit Ramp”‘s harshest screams. Not easy listening. Not for everybody. Not really for people. It’s a malevolent bludgeoning that even in the revivalism of “Blood Bought Church” seems only to be biding its time until the next strike. It does not wait all that long.

Deadly Sin (Sloth) on Thee Facebooks

Deadly Sin (Sloth) on Bandcamp

 

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The Obelisk Presents: Electric Dragon Festival, July 28 in York, PA

Posted in The Obelisk Presents on May 4th, 2018 by JJ Koczan

Three bucks! Three American dollars! I’ve had the pleasure of presenting a good number of shows at this point with The Obelisk, and it’s something I’m almost always happy to do and promote people doing good work, but five bands for three bucks on a night that offers heavy psych, classic boogie, doom and synth-prog weirdness — I’d be lying if I said I wasn’t especially honored to see this site’s logo on this poster.

The first-ever Electric Dragon Festival is set for July 28 at The Depot in York, PA, and the lineup reads like a tour of Mid-Atlantic heavy. There’s St. James & the Apostles, from Philly, as well as Brooklyn’s Rattlesnake, Baltimore’s Alms and Witch Hazel and What’s Her Face, both from PA. Did I mention it was three bucks to get in?

That’s a pretty special kind of night, which of course is the whole idea. There’s some more info about the bands below, courtesy of the fest itself, for which, once again, I’m thrilled to have The Obelisk stand among the presenters.

Dig this:

Electric Dragon Festival poster

The Electric Dragon Festival is a one-day, five-band celebration of Hard and Heavy Rock ‘N’ Roll featuring some killer groups from the Northeast/Mid-Atlantic US underground!
The event will take place on Saturday July 28 at The Depot in York, PA. Doors are at 7pm and entrance is only $3!

www.theyorkdepot.com

A little about the bands:

St. James & The Apostles: A Heavy Psychedelic Soul Family Trio based out of Philadelphia, PA, (and yeah, they’re actually all cousins!), and they’ve been on the scene performing and releasing albums for over eight years now! They are the esteemed headliners of the festival!

https://stjamestheapostles.bandcamp.com
https://www.facebook.com/stjamesandtheapostles

Witch Hazel: York, PA’s own Doom/Occult Rock ‘N’ Roll hometown heroes! For this special festival occasion, they’ll be performing their brand new album “Otherworldly” in its entirety with special guest Mike Kiker from St. James & The Apostles on keys!

http://witchhazeldoom.bandcamp.com
https://www.facebook.com/witchhazelyork

Rattlesnake: Hard Southern Rock Boogie coming out of Brooklyn, NY, yeah, you read that correct! Having just released their debut 7” on In For The Kill Records/H42 Records, this up and coming trio, featuring Adam Kriney of The Golden Grass, will make their York debut at the festival!

http://rattlesnakeboogie69.bandcamp.com
https://www.facebook.com/RattlesnakeBoogie69

Alms: Traditional Doom-Rock/Heavy Metal group out of Baltimore, MD! They’re just about to release their highly anticipated debut LP on Shadow Kingdom Records!

https://almsbaltimore.bandcamp.com/releases
https://www.facebook.com/almsbaltimore/

What’s Her Face: A synthesizer driven outer-space rock ‘n’ roll band from Lancaster, PA! Word on the street is that they’ve upped the ante and now have two synth players, they’ll be kicking off the festivities and taking it to the cosmos!

https://whatsherface1.bandcamp.com/

Electric Dragon Festival event page

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