Posted in Questionnaire on March 21st, 2023 by JJ Koczan
The Obelisk Questionnaire is a series of open questions intended to give the answerer an opportunity to explore these ideas and stories from their life as deeply as they choose. Answers can be short or long, and that reveals something in itself, but the most important factor is honesty.
Based on the Proust Questionnaire, the goal over time is to show a diverse range of perspectives as those who take part bring their own points of view to answering the same questions. To see all The Obelisk Questionnaire posts, click here.
Thank you for reading and thanks to all who participate.
The Obelisk Questionnaire: Henry Bennett of ZONG
—
How do you define what you do and how did you come to do it?
As a band, I guess we jam and write as a way to express ourselves and have fun. We often jam in a fairly open, improvised fashion, no expectations or judgements.
Our music has no vocals so it’s a real sonic “experiencial” type journey. I think it’s a way for us to tune out of everyday life. Similar in a lot of ways to trippin’ balls!
The three of us connect on a pretty unique musical level so I think it’s very satisfying for us to create & express “in the moment”. It can be meditative.
It’s also enjoyable to then be able to share that with others who also connect on the same level.
Describe your first musical memory.
Listening to Led Zeppelin in the car with mum!
Describe your best musical memory to date.
First thing to come to mind… Tripping to Ash Ra Tempel with my brother many years ago was pretty wild!
Seeing Black Sabbath live for their final tour here in Aus was very cool too. :)
When was a time when a firmly held belief was tested?
Can’t think of any but probably too often.
Where do you feel artistic progression leads?
As a whole, hopefully to some sort of social, political, cultural & ultimately evolutionary progress.
How do you define success?
Subjective to the individual and comes in many forms. The important one must be happiness for humans as a whole?
What is something you have seen that you wish you hadn’t?
My parents having sex comes to mind… but to be honest I’m not too bothered.
Describe something you haven’t created yet that you’d like to create.
In musical terms we have always wanted to create an animated film/ album combo. Like Pink Floyd The Wall. Or at least an animated film clip would be dope!
What do you believe is the most essential function of art?
Hmmmm … to conjure thought? to express? … to just be?
I think anything more than that is probably getting too specific.
Something non-musical that you’re looking forward to?
Spending time with my partner and my dog this holidays. :)
Posted in Reviews on January 12th, 2018 by JJ Koczan
Today is the last day of The Obelisk’s Quarterly Review, and it’s kind of hard to believe it’s gone so fast. Before I put the Big Boot to the proceedings like Hulk Hogan getting ready to call it a day with an elbow drop at Wrestlemania — yup, just like that — I have to take a special moment to thank The Patient Mrs. for allowing me the time this week to bang out all of these reviews and get everything sorted on the back end, etc., for these posts. She, of course, as always, perpetually, has been unbelievable, and especially with The Pecan to manage, she’s earned her title more than ever. It is thoroughly, deeply, appreciated. Much love, baby. Thank you.
Okay, Big Boot time. Let’s do this thing.
Quarterly Review #41-50:
Godflesh, Post Self
Guitarist/vocalist/programmer Justin K. Broadrick and bassist BC Green return with Post Self, their second post-reunion full-length behind 2014’s A World Lit Only by Fire (review here) and a collection of churning electro-noise hymnals that work in a sphere that should by now be well familiar to their multi-generational fanbase. The groundbreaking industrial pioneers sound decidedly led by the guitar on the chugging “Parasite” and the airy, almost Jesu-style wash of “The Cyclic End,” but the intensity of the beat behind “No Body,” bass and noise onslaught of “Be God” and synth-driven soundscaping of “Mortality Sorrow” recall the sonic diversity that’s always been as much a part of Godflesh’s approach as their signature cyclical rhythmic style. More perhaps than ever, Broadrick and Green seem to be aware of what defines Godflesh as a band in terms of sound, and as they make the crucial move from a “reunion” band to a working one, they seem as glad as ever to push those boundaries once more.
This two-song single may end up bring the only offering Serpents of Secrecy ever make public, and it was years in coming together. In December, the Chesapeake region group with members of Foghound, Borracho and King Giant suffered the loss of bassist Jim Forrester, who was murdered in Baltimore, and while a debut long-player was in discussion, to-date the five-piece have only issued “Warbird’s Song” and “The Cheat” as Uncoiled – The Singles, and obviously now any kind of follow-up is in question. Whether it’s the raucous burl of “Warbird’s Song” or the bluesy, organ-topped fluidity of “The Cheat,” the J. Robbins-produced tracks demonstrate the potential at heart from the lineup of vocalist Mark Lorenzo – who wound up in the role after members of Alabama Thunderpussy and Mister Bones vacated – guitarists Steve Fisher and Todd Ingram, Forrester and his former Sixty Watt Shaman bandmate Chuck Dukehart III. The only question at this point is whether that potential will ever see further realization. Right on as these songs are, I’m torn on the idea, to be honest.
Multinational space rockers Vymaanika debut with the 20-minute two-songer Spectroscope EP, comprised of its 10-minute opening title-track and the subsequent “Golden Void,” which may or may not be named in honor of the side-project of Earthless guitarist Isaiah Mitchell. I’d believe it either way. The band comprises members from Catalan – guitarist/vocalist/synthesis Carles Esteban and bassist Andrés Paniagua, Chile in drummer/synthesist Jose Jünemann, and the US in guitarist/vocalist/synthesis Benjamin Mahoney, but they all seem to have come together to record in Barcelona, and the breadth of “Spectroscope” and serene psychedelic mantra-making of “Golden Void” benefit from that band-in-the-room vibe. Especially so the latter, which touches early on vocal harmonies over drifting guitar strum, steady synth drone and percussive pulsations before building to a more active apex in its second half. After the cacophony taking hold in the back end of “Spectroscope,” it’s a clear demarcation of a varied sonic persona, and while I don’t know how often Vymaanika will be able to get everyone together with the geographic spread, it’s easy to be glad they did it for this first EP.
Flowing arrangements abound on Zong’s self-titled four-track debut full-length. The Brisbane, Australia-based heavy psych three-piece are well within their genre sphere, but from opener and longest track (immediate points) “Cosmic Embryo” (13:00) through “Arcane Sand” (8:10), the perhaps-Zardoz-referential “Giant Floating Head” (11:48) and closer “Return of the Alien King” (10:32), they demonstrate a natural chemistry, patience and warmth of tone that is no less comfortable in the march and lurch of its penultimate cut than in dug-in repetition-born hypnosis of the leadoff. Deceptively weighted from almost its beginning point with the low end of Michael Grinstead’s bass and the rolling drums of Henry Bennett, there’s also a balance of airiness from guitarist Adam Anderson that adds nuance when called upon to do so, though there are plenty of moments where Zong’s Zong seems perfectly content to cave-jam its far-out atmospheric fluidity. Not an ethic and not a result you’re going to hear me complain about.
Brutal tech-death pervades Vitriol’s first EP, Pain Will Define Their Death – a three-song onslaught the violence of which is writ large over every minute of its total 12. Sharing a penchant for opening to bigger-sounding choruses like that of its opening title-cut with peak-era Hate Eternal, the pummel factor, ultra-tense push and unmitigated viciousness eschews some of the more machine-like aspects of such technically-minded fare, and while Vitriol’s overarching groove, gutturalist execution and hammer-swing breakdowns are casting out their own assault on the aforementioned opener as well as the subsequent blast-laden “Victim” and “Violence, a Worthy Truth,” they’re working in service to songcraft much more than to an indulgent showcase of prowess, and that makes all the difference in terms of the material’s ultimate impact. That impact? When was the last time you were actually kicked in the face? Nothing if not aptly named, Vitriol’s death metal seethes and rages in kind and bodes remarkably well for future manifest devastation.
Hailing classic doom and darker atmospheres, French four-piece Pillars debut on Seeing Red Records via the Pyres and Gallows EP. Its four songs run a gamut of traditional grooves, but lumber with a balance between their rawness and a spirit of underlying riffy nuance that adds texture beneath the gruff, dudely vocals of frontman Klem, the tones of guitarist Djé and bassist Disaster well suited to the plodding companionship of drummer JJ on a song like the problematically-titled second cut “Dirty Whoreshippers” or the 10-minute title-track that rounds out. At 33 minutes, I’m not sure what’s stopping Pyres and Gallows from being a full-length, but if that’s a hint that Pillars have more to say going forward, then fair enough. They may be preaching to the converted in these tracks, but they’re doing so in righteous fashion and with a sense of their own identity under development. Doom on? Yeah, totally doom on. By all means. Please do.
Among the fascinating factors at work on this cross-continental Clostridium Records split release between long-running New Zealand acid folk outfit Lamp of the Universe and Austrian psychedelic fuzz purveyor Kanoi is the fact that both parties involved are solo-projects. For Lamp of the Universe’s Craig Williamson (also Arc of Ascent), he brings three tracks of his signature drenched-wet lysergism in “In the Beginning,” “The Cosmic Body Track,” “Father” and “Space Chant,” while Kanoi’s Benjamin Kantschieder revisits two cuts from 2016’s Mountains of the Sun full-length in the extended “I’m Gone (I’m Gone)” and “Mountains of the Sun” itself. The novelty of having two single parties match wits on such fluid arrangements – my head always begs for collaboration in these instances – is offset by the quality of their work itself. Neither is new to their sphere, but both seem keen to continue to experiment and explore, and it’s from that commonality that the split most benefits.
The first Azonic offering since the mid-‘90s finds Brooklyn-based experimentalist Andy Hawkins reviving the project alongside his Blind Idiot God bandmate Tim Wyskida as a melding of drone/noise and percussive ideas. Released through Hawkins’ own Indivisible Music, Prospect of the Deep Volume One – pretty ambitious to put a “volume one” in the title of your first record in 20-plus years – presents two expansive works in “Oblivion of the Deep” (18:53) and “The Argonauts Reckoning” (18:42) as well as the CD bonus track “Voices of the Drowned” (10:12) that brim with atmospheric intent and have an underlying sense of control on the part of Hawkins that speaks to some measure of steering what might in other hands simply feel like sonic chaos. You can hear it early into “The Argonauts Reckoning,” as the layered wash seems to want to fly off the rails and swell and Hawkins’ guitar simply doesn’t let it go, but it’s true elsewhere on Prospect of the Deep Volume One as well, and in listening, it’s the difference between the album being a joy in the immersion, which it is, and a self-indulgent misfire, which it very much is not.
Thousand Vision Mist, Journey to Ascension and the Loss of Tomorrow
Named for the lone 2002 full-length from Maryland doomers Life Beyond, in which guitarist/vocalist Danny Kenyon also featured, newcomer trio Thousand Vision Mist debut with the progressive-leaning edge of Journey to Ascension and the Loss of Tomorrow, a 52-minute 10-tracker. Yes, Rush are a factor in terms of influence. However, propelled by the drumming of Chris Sebastian, whose frenetic snare adds a Mastodonic feel to “Headstones Throw,” the otherwise classic-vibing “Final Flight of Fall” and the later “Darklight,” among others, the cumbersomely-titled offering sets its balance between modern prog metal, doom and classic heavy rock, with bassist Tony Comulada adding vocal harmonies alongside Kenyon and providing a needed anchor to keep songs like the penultimate “Skybound and Beyond” from actually taking off and leaving their audience behind. Reportedly long in the works, Journey to Ascension and the Loss of Tomorrow isn’t a minor digestion process at its busy and extended runtime, but while the recording is raw, there’s no shortage of fodder for engagement throughout its swath of choruses and head-spinning turns.
Though not at all without its more driving aspects, some of the most satisfying moments on Arcadian Child’s debut album, Afterglow, come from a soothing hook like that of “Rabbit Hole,” which finds the Cypriot four-piece more fully embodying a laid back desert rock atmosphere that underpins the Fatso Jetson-esque opener “She’s on My Mind” and subsequent “Little Late for Love.” As the feels-short-at-29-minutes record unfolds, “Electric Red” blends fuzz and Mediterranean rhythmic push, “Irresistible” toys with layered swirl beneath a solidly-weighted verse and chorus, “Run” makes itself a highlight around a post-Lullabies to Paralyze atmospheric lead and start-stop riff, and the title-track casts momentum in melody and groove into closer “Used,” which pays one more welcome visit to the more serene side of their personality before they’re done. It might be a sleeper, but I’d be surprised if someone didn’t pick Afterglow up for a vinyl release sooner or later; the songwriting, performance, presentation and potential for future growth are all there waiting to be found by the right ears.
I don’t do podcasts that often at this point. I figure between the radio stream — which runs 24/7 — and the sundry track streams and other media, video premieres, and so on, there’s not much need. But every now and then I feel completely overwhelmed by the onslaught of music and the chance to put together a compilation of tracks is just too good to pass up. Most of the time, nobody complains. It being the internet, I generally take that as a good sign. If it sucked or was a crappy idea, for sure someone would be telling me to screw off.
So is there a running theme for this latest podcast transmission? Nope, not really. If you’re looking for something to tie it all together, it’s just stuff that I’ve been listening to lately. Some of it has already been covered — Low Orbit, T.G. Olson, 3rd Ear Experience — and some of it has coverage pending — Bong Wish, The Discussion, Arcadian Child, Zong, etc. — but basically this is all what that might be coming out of my speakers over the last however long. Couldn’t be any simpler than that, but for what it’s worth, I think it came together really well, whether it’s Telescope moving into Bong Wish or the transition into the second hour, which is ultra-tripped out, as usual.
As always, I hope you enjoy.
Track details follow:
First Hour:
0:00:00 Son of the Morning, “Left Hand Path” from Son of the Morning EP
0:05:08 All Souls, “Silence” from All Souls
0:09:15 Telescope, “With Your Truth” from Telescope EP
0:13:06 Bong Wish, “My Luv” from Bong Wish EP
0:15:29 Torso, “Mirror of My Mind” from Limbs
0:20:17 The Discussion, “Surf Jesus” from European Tour EP 2017
0:24:14 Arcadian Child, “Electric Red” from Afterglow
0:27:01 Comacozer, “Nystagmus” from Kalos Eidos Scopio
0:39:23 Deadly Vipers, “Dead Summer” from Fueltronaut
0:45:20 Low Orbit, “Dead Moon” from Spacecake
0:51:31 T.G. Olson, “On a High Like a Mountain” from Searching for the Ur-Plant
0:55:28 Jesus the Snake, “Karma” from Jesus the Snake
Second Hour:
1:03:31 Zong, “Cosmic Embryo” from Zong
1:16:18 Les Lekin, “Morph” from Died with Fear
1:29:50 3rd Ear Experience, “Infinite Unmanifest (Warm-up Jam Day One)” from Stoned Gold
1:46:34 Sleeping Pandora, “Sunrizer” from Quiet Pass
Posted in Whathaveyou on November 14th, 2017 by JJ Koczan
Oh yes. This will do nicely. Four extended cuts of warm-hued instrumental heavy psych — there are few things that I find as welcome in the morning. Or in the afternoon. Also good at dinnertime. Or late at night. Okay, so maybe records like Zong‘s Zong are less of a time-dependent thing for me than they are just something I dig regardless of when I might run into them, but that doesn’t make the digging any less vigorous, and the Brisbane trio bring a classic psychedelic character to their material — as one can hear on the winding eight-minute course of “Arcane Sand” as part of the full album streaming at the bottom of this post — that serves well to distinguish them along with the cover art by drummer Henry Bennett for their self-titled debut, which I’ve already slated to be part of the Quarterly Review next month. It’s out Nov. 20 through Praying Mantis and the ultra-respected purveyors of Cardinal Fuzz.
The latter sent the following down the PR wire and just about made my whole damn day:
ZONG – ZONG
VINYL Release Date: 20TH NOVEMBER 2017
Cardinal Fuzz and Praying Mantis Records are proud to present ZONG.
Hailing from Brisbane Australia, Zong are a three-piece instrumental group focused on improvised cosmic jams with emphasised themes of psychedelic states, tribal rituals, gothic horror, alien encounters and medieval fantasy. Tying this all together is the groups explosive, intense and emotional delivery sounding out in the rich, golden, down-tuned and cranked amplifier glory akin to Black Sabbath and the Jimi Hendrix Experience, and the more modern groups Sleep and Earthless. Their true uniqueness, however, lies in their ability to blend genres and sonically improvise together making them a most satisfying heavy tripped-out listen, and a spectacle to behold as a live performance.
Since the live recording of their first ever show one year ago Zong have honed their craft playing with a myriad of bands, recently with Kadavar, Monolord, Ufomammut, Elder and Pallbearer, and now bring you their explosive debut Self-Titled LP, complete with the mind-bending album artwork by their very own drummer, Henry Bennett.
“Zong” by Zong is a monstrous swirling tidal wave of heavy riffs, pounding drums, weaving bass and guitar duels, intricate inter-dimensional psychedelia and dark mysticism which propels the listener deep into the chasms of their own imagination while also satisfying the cravings of Black Sabbath and Jimi Hendrix fans.
From the “space-giant wreaking havoc in the cosmos” sounds of the opening track ‘Cosmic Embryo’, to the eerie desert dancing mysticism of ‘Arcane Sand’, through to the pulverising and stark gothic doom of ‘Giant Floating Head’, and into the final majestic ‘Return of the Alien King’ fuelled with fuzzed out riffs and other-worldly mandalas of delayed guitar and blazing Aztec jungle beats, the album is a journey into the cosmos, through history and your own imagination. A well-curated and interesting blend of old and modern genres and visualised themes.
Vinyl & CD available here from ZONG directly. Additionally available from Cardinal Fuzz records in the UK/ EU and Praying Mantis records in Australia.
500 Pressing (300 For Europe via Cardinal Fuzz and 200 For Australia via Praying Mantis)
ZONG: Zac Anderson – Guitar Michael Grinstead – Bass Henry Bennett – Drums
