The Obelisk Radio Adds: Sumac, Garden of Worm, Carpet, Sporecaster, The Devil and the Almighty Blues

The Obelisk Radio server, which I’ve taken to calling the “main computer core,” was down most of last week after some kind of unknown surge in the EPS conduits, so with the data stream running on auxiliary power (yes, I’m using Star Trek science lingo; I’ll stop) it didn’t make much sense to do a round of adds. No one would hear the stuff anyway amid all the http://www.gemeindebund.steiermark.at/?business-plan-help-edmonton - Professionally crafted and HQ academic essays. No more Fs with our reliable essay services. Use from our cheap custom essay Sabbath, ĎAre You Able to Write My Essay Paper Well?í Ė Sure We Are! We frequently see the Ďhttp://www.dobra-vila-bovec.si/?no-hwí or Ďwrite my essay onlineí searches Kyuss, essays in english Writing Research Paper Topics History pay to get math homework done literature review writers uk Goatsnake, Learn all about our Free Download Business Plan Template provided on our paper editing website. Professional editors, affordable pricing and high-quality service. Electric Wizard, etc. Sometimes I really like that backup server, but after a few days of listening, a change is welcome. I was pretty happy when we got the primary box back online.

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The Obelisk Radio adds for Jan. 30, 2015:

Sumac, The Deal

sumac-the-deal

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Garden of Worm, Idle Stones

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Tampere, Finland, trio¬†Garden of Worm¬†make their debut on¬†Svart Records¬†via¬†Idle Stones, their second album following 2010’s¬†Garden of Worm¬†(review here) on¬†Shadow Kingdom. Comprised of four songs alternating between shorter and longer before arriving at 19:49 closer “The Sleeper Including Being is More than Life,” the sophomore outing is a richer, more progressive affair, with bassist¬†SJ Harju¬†and guitarist¬†EJ Taipale¬†combining their vocals effectively at the fore of the mix on “Summer’s Isle” (10:13), which follows the rolling opener “Fleeting are the Days of Man” (5:35). With a style that ultimately owes more to¬†Witchcraft‘s tonal understatement than¬†Reverend Bizarre‘s genre-defining traditionalism, they nonetheless shirk the trap of retroism and make an individual showing with a feel both loose and purposeful throughout. The brighter guitar work of “Desertshore” (7:01) makes it a highlight, along with the persistent crash of drummer¬†JM Suvanto, and the freakout that emerges in “The Sleeper Including Being is More than Life” gracefully and boldly¬†flows across¬†the rarely-bridged gap between doom and heavy psychedelia with a naturalness that very much makes me hope it’s not another half-decade before we hear from¬†Garden of Worm¬†again.¬†Garden of Worm on Thee Facebooks, at Svart Records.

Carpet, Riot Kiss 7″

carpet riot kiss

Story goes that German progressive heavy rockers¬†Carpet¬†started writing for their third album, to follow-up on 2013’s¬†Elysian Pleasures¬†(review here), which was released by¬†Elektrohasch, and wound up with some material that didn’t quite fit the concept they were going for. Since they dug it and didn’t want to just toss it, the¬†Riot Kiss b/w Song of Heartship¬†7″ was born. Two songs, both a little over four minutes long, reaffirm the Augsburg four-piece’s commitment to forward-thinking textures, with “Riot Kiss” as the space-prog A-side and the quieter, atmospheric-but-still-clearheaded “Song of Heartship” emphasizing¬†Carpet‘s range on side B, the cuts having more dynamic between them than many bands show in their career. I don’t know what¬†Carpet¬†— the lineup of Sigmund Perner, Jakob Mader, Hubert Steiner and Maximilian Stephan — are shooting for with their third record that these songs didn’t jibe with, and I guess we won’t know until that album arrives, but¬†Riot Kiss is a stopgap of considerable substance that showcases¬†Carpet‘s ability to present¬†progressive ideas in ways not only palatable but deeply engaging.¬†Carpet on Thee Facebooks, Elektrohasch Schallplatten.

Sporecaster, See Through Machine

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An experimental drone/psych duo comprised in half by¬†Ron Rochondo¬†of Boston’s¬†Ice Dragon,¬†Sporecaster‘s debut release,¬†See Through Machine, is four tracks/26 minutes of exploratory drone given natural breadth through use of didgeridoo and percussion. The outing was tracked at¬†Ron’s Wrecker Service¬†and has a lo-fi feel despite its spaciousness, and chants out its hypnotism early, opener “Invocation or Incantation” (4:20, by astounding coincidence) wrapping itself around consciousness like some kind of psychedelic serpent, only to have the whistle-blowing “Things are Not What they See” (3:21) and tribal-ish drummed “The False Light” (5:46) push deeper into the moody ambience laid out at the beginning. Closer “You are Transparent” (12:45) makes me wonder what¬†Sporecaster¬†might do working in even longer forms, its drone-out having room for both a jammy drum progression and a continuation of the earlier experimental and improvisational feel. As an early showing of their intent, though,¬†See Through Machine¬†makes it clear that¬†Sporecaster‘s creative process is wide open.¬†Sporecaster on Thee Facebooks, Ron’s Wrecker Service.

The Devil and the Almighty Blues, The Devil and the Almighty Blues

the devil and the almighty blues the devil and the almighty blues

The slow-rolling “The Ghosts of Charlie Barracuda” (7:46) begins the self-titled debut from Oslo-based five-piece¬†The Devil and the Almighty Blues, released on the upstart¬†Blues for the Red Sun Records. That song picks up gradually in the first of several of the six-song full-length’s satisfying builds, but atmospherically sets a laid back tone that tracks like the subsequent “Distance” (4:11) and more active “Storm Coming Down” (10:17) play off of, the band proving equally comfortable in long- or short-form material, nestling into a neo-heavy semi-retro blues rock more in line with¬†Graveyard‘s overarching moodiness than¬†Witchcraft‘s early-days dooming. Well-balanced lead guitars and crooning vocals serve as a uniting theme, but in a classic dynamic, it’s the rhythm section that makes the swing of side B’s¬†particularly thick “Root to Root” (9:48) and “Never Darken My Door” — the singing especially blown-out on the latter — so irresistibly grooved. Wrapping with the classy fuzz of “Tired Old Dog” (6:28),¬†The Devil and the Almighty Blues¬†will come from a familiar place sonically, but as their debut,¬†The Devil and the Almighty Blues¬†boasts a cohesion worthy of its weighty title.¬†The Devil and the Almighty Blues on Thee Facebooks, Blues for the Red Sun Records.

Some of this stuff — Sumac, The Devil and the Almighty Blues, Carpet — was also included in the podcast that went up yesterday, so if you’d like another avenue for getting a sample, that might not be a bad way to go. However you choose to dig in, I hope that you will and hope that you find something that you feel is worth the time and effort.

As always, thanks for reading and listening.

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