Posted in Whathaveyou on February 25th, 2021 by JJ Koczan
Dopelord‘s new EP, Reality Dagger, has a sound that makes me, as Marvin, want to call up my cousin Chuck and tell him that that sound he’s looking for, well listen to this. Maybe Back to the Future is all the wrong kind of cinema — certainly if the Suspiria-style cover is anything to go by it is — but I think you get my point. Not at all far removed from 2020’s Sign of the Devil (review here), the band continue a hot-streak in the new three-tracker and they’ve announced a pair of rescheduled tours for Western and Eastern Europe, respectively, in 2021 and 2022.
As with any tour announcement made after March of last year, these of course come with a big ol’ CONDITIONS PERMITTING caveat, but here’s hoping they come together and the greater European sphere is ready to rejoice in heavy worship and nod the fuck out to primo groove, because that’s precisely the fare in which Dopelord traffic.
Dates follow courtesy of Doomstar Bookings. Make travel plans accordingly:
The polish stoner doom legends, Dopelord are now revealing the rescheduled dates for both European tours! Check the confirmed dates below!
Posted in Features on February 25th, 2021 by JJ Koczan
Dozer‘s fifth and final (to-date) long-player, 2008’s Beyond Colossal (discussed here), has been reissued on Heavy Psych Sounds along with its predecessor, 2005’s Through the Eyes of Heathens (discussed here; also discussed here) and the collection of demos for that album, Vultures (review here; discussed here), first released in 2013 by the band itself. With Beyond Colossal — originally on Small Stone — out again, Heavy Psych Sounds has completed the Dozer catalog, having also overseen new editions of 2002’s Call it Conspiracy (discussed here; also discussed here), 2001’s Madre de Dios (discussed here) and their debut LP, 2000’s In the Tail of a Comet (discussed here).
One does not in the least envy the task that was before the four-piece of guitarist/vocalist Fredrik Nordin, guitarist Tommi Holappa, bassist Johan Rockner and then-new-recruit drummer Olle Mårthans. They were coming off their most realized vision yet in Through the Eyes of Heathens and had a desire to push it further, yet the songs still had to feel right to them as players. They still had to be Dozer, and headed toward album five, you can bet there were feelings about what that meant.
As a swansong, Beyond Colossal is almost tragically good. It is nothing less than exactly the album Dozer should’ve made and needed to make, building on the more aggressive stance of its predecessor, holding strong to the basic underlying craft that results in hooks like charging opener “The Flood,” “Exoskeleton (Part II),” as well as “Empire’s End” and “Two Coins for Eyes,” both of which feature Clutch‘s Neil Fallon sitting in on vocals, but also the subdued finish “Bound for Greatness” and the rush between “Message Through the Horses” and the cascading “The Throne,” so much of the record flowing in a way suited to the vinyl treatment it’s been given, but carrying a seemingly unstoppable momentum from front-to-back.
Don’t go calling Beyond Colossal the last Dozer album just yet, apparently. The band posted studio pictures on social media last month and who knows what that might mean. Rockner, in wrapping up this interview series, gives hints of more to come as well. Here’s hoping.
Enjoy, and thanks for reading:
Beyond Colossal Q&A with Johan Rockner
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On some levels, Beyond Colossal is the most aggressive album Dozer wrote. What was driving the band at this time?
I think we just wanted to move forward. But at the same time, I don’t recall us saying “let’s make a different album”, it just happened.
For me, when you listen to those two last albums, you can hear the development, those two albums kind of work well together. They are not far away from each other, like Madre de Dios and Call it Conspiracy.
I know we really liked the sound of “Big Sky Theory” and “Until Man Exists No More” from THEOH, those songs are dropped in tune. I guess we liked the idea of taking that to the next level.
Tell me about following up Through the Eyes of Heathens. You had Troy Sanders from Mastodon on that record and Neil Fallon from Clutch on this one. How important were their voices to those songs?
Their vocals work really good on those songs, the extra boost, like the perfect spice. The songs are great, but they needed some more beard. :)
The album is a real journey from “The Flood” to “Bound for Greatness,” but “Message Through the Horses” still stands out for its intensity. What do you remember about what you were feeling as these songs came together?
I guess I’d liked the anger, aggressiveness, the intensity and the power of the songs on the album. That we didn’t set a limit or what we could or not. Just put together riffs of darkness and anger into really good, mean songs that are Beyond Colossal.
How do you feel about this being the last Dozer album, your final statement as a band?
Who said that?! But if it is, it’s a hell of a statement.
Anything in particular you’d like to add about Beyond Colossal? Any other standout memories to share about this time in the band?
Posted in Questionnaire on February 24th, 2021 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: Travis X. Abbott of Ealdor Bealu, Sawtooth Monk, The Western Mystics & Obscured by the Sun
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How do you define what you do and how did you come to do it?
I am an artist, through and through. Ever since I was a child, I’ve just had this drive to create things. Originally, I think people thought I was going to grow up to be an illustrator or graphic designer because I was constantly drawing things. But by the time I was a teenager, I found that music was more of my thing and have pursued it ever since. Even now, I still feel similarities between the two, even though I haven’t really drawn anything since childhood. They’re both just avenues of creation. Basically, they both involve playing pretend with an idea, having some fun with it, and working at it until it becomes something that you’re happy you’ve spent some time on.
Describe your first musical memory.
My first musical memory was probably listening to Queen’s A Night at the Opera. At the time, I didn’t know exactly what it was, or how I even came to listen to it in the first place. I was probably six or seven years old… I’m not sure. But I remembered the band’s name and that sound. It was only years later that I figured out exactly what album it was, because when I heard the first few notes of “Death on Two Legs,” I immediately knew how the rest of the album going to go. And then it all clicked.
Describe your best musical memory to date.
If I had to choose just one, I think my favorite musical memory was playing with The Western Mystics at Treefort Music Fest (Boise, ID) in 2016. It was a total risk on everyone’s part. The band itself was more “free,” meaning that we had a few themes we would play, but would improvise most of the set, and all transitions were based off of certain cues that any particular band member would signal. We had two baritone guitars, keys, drums, some ambient vocals, and had only been a full band for just a few months. Nevertheless, Treefort had us slotted for one of the prime spots on opening night of the 2016 festival (which was right after the set of other band I am in, Ealdor Bealu, on the same stage).
The house was packed and the crowd was electric, and we somehow nailed all of the transitions. Not many bands take such risks, it seems, and I don’t blame them. It had the potential to be a trainwreck, but we trusted each other musically and let the music itself lead us. Every member of that band was musically gifted, so ultimately, I wasn’t too concerned, but was still blown away by our performance, the energy of the room, and the warm reception we received. It was kind of a spiritual experience, and it set the standard for what I want music to mean to me.
In a way, I knew that the music we were making together in that group wasn’t going to last long, as the band itself formed out of the desire to play music for music’s sake – nothing more or less. In a world where you’re often told that you have to keep figuring out ways to impress audiences, it was pure freedom to just go out and play our hearts out for no other reason than to enjoy the process. I often look back to that exact performance when I need to remind myself that music is supposed to be, at its core, a cathartic and joyful experience.
When was a time when a firmly held belief was tested?
In reality, just about every time I read a well-written book this happens – which is often. Although I am an individual who has my own firm convictions, I am also a person who believes that adaptation is the key to survival, and I try to keep an open-mind to new experiences that shed light on things that I would not have previously considered. Sometimes this can be agonizing, which is why many people avoid such circumstances. In this sense, the last time that a truly firm belief of mine was challenged was just a few years ago when I had to go through the work to untie many of the self-destructive knots of my own mind – which is something I believe more people should be doing. My mind was running many self-destructive “programs” or “software,” so to speak, but of course, I didn’t realize it until I was tested. It took a lot of dismantling of my own self-perception in order to heal.
Where do you feel artistic progression leads?
I’m not sure how to answer this question, as I feel that there’s not really a destination. Sure, I’d like to have more people listen to my music, to regularly release albums that people enjoy, to play shows in other countries, and even to make a living doing it all. But even then, it’s as simple as working to get better at my craft merely for the sake of getting better at my craft. If I can keep doing this, then I feel the music should speak for itself, and by doing so, I hope it inspires others to pursue what they have a drive to do as well.
How do you define success?
Success is just creating a life in which you can be at peace with yourself – to be able to find your center anywhere you go – even during times of great turmoil. At the end of the day, I just want to know that I made the best of the opportunities I was presented, and did the best that I could with what I had to work with. To me, adding anything more to this definition makes it much more unrealistic.
What is something you have seen that you wish you hadn’t?
There are a few things… that I won’t elaborate on. But I do think that anytime someone you once looked up to is revealed to be a questionable person (to say the least), you wish that you hadn’t placed them on such a high pedestal to begin with. When you finally see such people for who they truly are, you definitely spend a great amount of time wishing you hadn’t seen what you did. You often wish that you could just ignore some of the things you’ve seen because life we be so much simpler if you could. But you can’t un-see things. Growing up can fuck you up. And don’t worship other human beings.
Describe something you haven’t created yet that you’d like to create.
I want to create an actual story – like a comic book, novel or film. To me, that’s the ultimately piecing together of a puzzle. You can emulate this process with music at times, but it’s much more abstract. I’d love to just create an entire world of characters and settings and pour all of my thoughts and understanding into it.
What do you believe is the most essential function of art?
I believe the most essential function of art is to hold a mirror up to society and challenge its perceptions. Art helps us understand others and makes conversations possible. It is a form of communication that provides perspective and allows us to look at the past, present and future simultaneously. In our society, we tend to be encouraged to view art as only being “entertainment,” which completely misses the mark in my mind. Art is much more than that. It allows us to actively shape our world without trying to force people to see things our way against their will. You can’t directly change someone’s perception by actively trying to change them, but you can plant seeds of change – which can be done most effectively through art. If you truly want to make the world a better place, then turn to art to discover the answers you seek. Each observer must find the answers for themselves in order for the message to be fully received. And through art, this is possible.
Something non-musical that you’re looking forward to?
I’m looking forward to doing more hiking during the summer and hopefully playing more basketball at some point (although both activities seem to be destroying my knees). Other than that, I’m really looking forward to the new DUNE movie. I really love Frank Herbert’s original six books, but can’t stand David Lynch’s 1984 film (to the fans of this film, I am sorry), and am not that interested in any of the newer books that weren’t written by Frank.
Posted in Reviews on February 24th, 2021 by JJ Koczan
Delighted to report that Crowbar are much as you left them: kicking ass. The long-running New Orleans sludge metal progenitors may yet outlast us all, and if they do, they will have earned it. Appearing live for the third time at OCD Recording and Production in Metarie, Louisiana, the band dutifully played a gig they could in another time have been playing in any number of cities in any number of countries the world over to any amount of people. That is to say, Crowbar are playing Crowbar‘s show, no matter what. I’ve seen them in recent years play to thousands, to hundreds and to tens of people, and have never once left feeling like the band could or should have given more of themselves on stage.
I mean that.
Last time I saw Crowbar was in August 2019 (review here) as they were wrapping a month-plus on the road with Corrosion of Conformity and Lo-Pan. Comprised of founding guitarist/vocalist Kirk Windstein alongside Tommy Buckley on drums, Matt Brunson on guitar and Shane Wesley on bass, they were unshakable then, and seeing them on my television on a Saturday afternoon livestream hardly felt different from their point of view. I’m sure it was, but they played their set like it was a source of pride, and one imagines it is. When it was done, as ever, I felt ready to buy a shirt.
They played the songs they would have to play — “Self-Inflicted,” “Planets Collide,” “All I Had (I Gave)” — with the latter two closing out, as well as some more recent highlights like “Walk With Knowledge Wisely” and “Cemetery Angels” from 2014’s Symmetry in Black (video posted here) and 2011’s Sever the Wicked Hand (review here), respectively. Kind of a surprise to have 2016’s The Serpent Only Lies (review here) unrepresented, but this is Crowbar‘s third stream, so maybe they’ve visited it elsewhere. In any case, “Cemetery Angels” — complete with what Windstein called the “proper half-time New Orleans-style” chugging end — was heavy enough to fill any perceived gaps that might’ve cropped up.
For my own viewing pleasure, to have “Thru the Ashes (I’ve Watched You Burn)” along with the more staple “The Lasting Dose” from 2001’s Sonic Excess in its Purest Form was a highlight, and a couple fan-nods in the form of “Waiting in Silence” from the band’s 1991 debut, Obedience Thru Suffering, and “New Man Born” from 1998’s Odd Fellows Rest— which Windstein noted were the first song the band ever wrote and a song they’d only played twice, respectively — found likewise welcome.
But let’s face it, you’re not coming out of watching Crowbar in-person or otherwise feeling like you didn’t get your money’s worth. For as t-shirt-and-beer as their aesthetic has always been, they’re a professional band and have been for decades. Watching my toddler son dance in circles and play bells along with “Planets Collide” didn’t lessen that any. The highest compliment I can pay it is it felt like seeing Crowbar.
I’ve talked to a few artists in the last couple weeks on the record and off about the livestreaming form as a way to connect with their audience — no one in Crowbar, so I don’t necessarily know how they feel about it — but a lot of what I’ve heard rounds out to missing audience feedback, be it actual applause or just the energy of a room anticipating what the next song is going to be. Even if someone’s aware of a live chat happening while they’re playing, you can’t really stop playing music and check what’s being said without derailing your set — maybe in a tuning break? But Crowbar didn’t do that. The camera faded out after each song and brought up a title card for the next one, then Windstein either introduced it or they just started playing.
Without trying to speak for anyone else who’s watched this or any other livestream, I know that the appreciation I have for being able to see Crowbar playing a set goes beyond that set itself. You know what I mean? Not only is it comforting to know that the steamroller of heavy that this band is still exists somewhere out there, but if it’s not a direct back and forth with their fans — and let’s be honest, it’s a way for the band to bring a little cash too; not nearly enough to cover missing a tour, but every little bit counts — it’s a way for them to offer something that, despite being so aurally grueling, is kind of comforting in its own way.
So no, streaming isn’t the same vibe as a live show. It was never supposed to be and it never will be. But shit, I was happy to watch this band, and they delivered the quality performance that one could only hope for and expect each time they step on stage.
Ultimately it was Crowbar being Crowbar, and god damn it, that’s sludge you can rely on.
Posted in Whathaveyou on February 24th, 2021 by JJ Koczan
Finland’s Caskets Open have signed to Wise Blood Records and Seeing Red Records for new physical pressings of their fourth album, 2020’s Concrete Realms of Pain (review here). Seeing Red will do vinyl for US and Canada and Wise Blood has the tape, after Nine Records did the CD version last year. If you didn’t hear the record at that point, you get a pass — it came out in March 2020, everyone gets a pass for everything except not wearing a mask — but short of referring you to the review, which I already did, I’ll just say that it’s worth the second look it’s getting as it checks off LP and cassette formats.
There are references to acts below like Carnivore and In Solitude and I heard shades of Misfits when I made my way through as well, but these guys are four records deep as they’re starting to hit home, so don’t be surprised when it comes through with an identity of its own either.
The announcement follows here as well as the severe artwork, with moniker and title also somewhat reminiscent of Type O Negative, now that I think about it. Go figure.
PR wire has it like this:
Caskets Open – Concrete Realms of Pain – Wise Blood & Seeing Red
For 14 years, Finnish doom trio Caskets Open have written songs rife with strife and dark-souled riffs. Their fourth LP “Concrete Realms of Pain” emerged from the wasteland of a pandemic summer as the band’s brooding masterwork. Caskets Open’s evocative compositions conjure the frailty of the crestfallen ballads of Type O Negative and Danzig. Meanwhile, there’s also a simmering snarl of hardcore punk that raises a chalice to Peter Steele’s Carnivore. Throughout the years, Caskets Open has warmed up the stage for bands as awesomely diverse as Church of Misery, Wolves in the Throne Room, and Primitive Man. Bonded by a mutual love for this album, Seeing Red Records and Wise Blood Records have brought the songs stateside to celebrate this stunning doom achievement.
Originally released in March 2020 when COVID struck worldwide, Finnish misfits CASKETS OPEN released the album Concrete Realms of Pain quietly on Nine Records (Poland) via CD/Digital. When listening to this record you may recall the dirge of Type O Negative, the vibe & aesthetic of early Danzig, and the melancholic emptiness of country-mates In Solitude. There is probably a bunch more you will pick out as they seem to flirt with post punk and there are certainly moments that lean heavy into the hardcore punk realm, but with that said, it’s along the same lines as Type O’s harder moments or even Peter’s previous work in Carnivore. CASKETS OPEN not only blend all of these influences brilliantly, but in such authentic fashion I’d swear these songs were written between ’89-’91!
Recorded and mixed 2019 at Tonehaven Recording Studio by Tom Brooke. Mastered 2019 by James Plotkin. Front cover and band photo by Perttu Salo.
Posted in Features on February 24th, 2021 by JJ Koczan
Last week Sweden’s Dozer oversaw reissues of their final two (to-date) albums through Heavy Psych Sounds. The Italian label has been making its way through the Dozer catalog, and so has this interview series. Below, bassist Johan Rockner takes us back to 2005’s Through the Eyes of Heathens (discussed here), following the discussion yesterday of the demo collection recorded in the same era, Vultures (review here; discussed here), originally issued in 2013.
Through the Eyes of Heathens is a special album, and to be completely honest, I’m just happy to have the excuse to put it on while I write. From the bombastic opening of “Drawing Dead,” it establishes Dozer as a more dynamic outfit than any of their prior material could have, even as it hinted toward what was coming. “Born a Legend,” “From Fire Fell,” “The Roof, the River, the Revolver,” are more than just catchy tracks. They find Dozer more fully realizing the brash side of 2002’s Call it Conspiracy (discussed here; also discussed here), as they moved farther away from the desert-style heavy of 2001’s Madre de Dios (discussed here) and 2000’s In the Tail of a Comet (discussed here) and deeper into their own identity. Recording in Finland, they nonetheless set a standard for Swedish heavy rock that few beyond themselves could hope to meet, try though they might and have.
Their fourth album was also their 10th anniversary, and Rockner, as well as guitarist Tommi Holappa, guitarist/vocalist Fredrik Nordin, and then-drummer Karl Daniel Lidén rose to that occasion in songwriting and performance. Complete with a guest vocal spot from Troy Sanders of tourmates Mastodon on closer “Big Sky Theory,” Through the Eyes of Heathens is the moment at which Dozer became the band they were meant to be, and the identity of their craft has not been dulled in the least by the ensuing 16 years. It is a thing of beauty right unto Peder Bergstrand‘s willfully weird cover design, and whether you’ve embraced and been embraced by the record before or you’re a stranger to it, as someone listening to it right now, I’ll tell you flat out that you’ll only find welcome and refuge in its course.
This interview series, the other parts of which are all haphazardly linked above, will conclude tomorrow with Rockner discussing Beyond Colossal.
Until then, here’s this and thanks for reading:
Through the Eyes of Heathens Q&A with Johan Rockner
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Tell me about where you see Through the Eyes of Heathens in terms of Dozer’s overall progression. How does it relate to Call it Conspiracy in your mind?
That album was a big turning point, in the same way Call it Conspiracy was, but different. I think it relates mostly through songwriting. But also, we learned alot from the making of Call it Conspiracy, which was a big project from start to finish. Especially for us. Best producer and best studios.
So, take all the good lessons we learned from CIC, and carefully use those, but in our way in the process of THEOH.
This was the first album Dozer put out with Small Stone Records. How did that deal come about and what did that change in distribution mean for the band?
Haha! I guess all the money ran out on the CIC project, and we were in urgent need of someone else to pay for the next album. ;) I guess distribution was a part of it, and also other connections the label had. But I guess, we needed a change over and all and Small Stone was back then a place for bands like us to be.
Looking back on them now and revisiting them for this reissue, what do songs like “Born a Legend” and “Man of Fire” mean to you now? What do you remember about writing or recording them?
For me, all the songs are great, and the songs “Big Sky Theory,” “Until Man Exists No More” and “From Fire Fell” stick out the most to me, but they are also songs we always love to play live. But this album is the album that I guess had the best impact for us as a band.
A lot of things happened before recording it, Erik [Bäckwall] left the band, Daniel joined the band, European tour with Mastodon and two years of making songs. So the band was full of new energy and the direction of the songs just came naturally. We made 16 songs for this album, 10 on album and six of them ended up on Vultures. Says a lot about our creativity at this time, we were definitely on a roll. :)
What’s the story behind the album cover?
Love the cover that Peder [Bergstrand, Lowrider] made. I don’t know the story, but I guess Peder had some weird fantasies about crossing different animal species and see what kind of strange new ones who would appear. We’ll never know.
Anything in particular you’d like to add about Through the Eyes of Heathens? Any other standout memories to share about this time in the band?
This album recording sticks out for me. A lot of good memories. This was around Midsummer’s Eve on an island just outside Helsinki, Finland. Two weeks of good times. Good recording days, music, friends and parties. Troy [Sanders, Mastodon] came by to sing some guest vocals, went to see their show with Iron Maiden. Good hang with them and Fantomas, who also toured Europe at that time.
The only video recording diary we ever made. Which also reflects how much fun, crazy and weird stuff that was going on during our recording. Watch it!
Posted in Whathaveyou on February 23rd, 2021 by JJ Koczan
This one feels like it’s been a while in the making, and that’s very likely because it has. But the debut album from Spiral Grave, which features three of the four members of the final Iron Man lineup in vocalist Dee Calhoun, bassist “Iron” Louis Strachan and drummer Jason “Mot” Waldmann as well as former Lord guitarist Willy Rivera, will nonetheless be welcome when it arrives on June 5. The record is called Legacy of the Anointed — fair enough — and it’ll be issued through Argonauta, which has also overseen all of Calhoun‘s solo work to-date and will issue the Iron Man live album, Hail to the Riff, on March 5.
You might recall Spiral Grave was announced as a project in Jan. 2019, and quickly embraced by their native Maryland doom community. Their first single, “Nothing” (video premiere here), and a performance at Maryland Doom Fest 2019 (review here) and of course other shows led to 2020 bookings at Shadow Woods, New England Stoner and Doom, and so on, but why even bother listing them because we all know what happened to 2020.
But hey, the record’s done and coming out, so there’s something to look forward to.
No audio yet, but Spiral Grave trickled out two singles last year on their Bandcamp and you can hear both of them below. I have no idea if they’ll be on Legacy of the Anointed or not.
From the PR wire:
The Return Of SPIRAL GRAVE: Long-Awaited Debut Album Coming This Year On Argonauta Records!
It feels like a legacy, but most likely a news that will make every doom heart beat faster: Members of the final lineup of doom legends IRON MAN, have announced their return with SPIRAL GRAVE!
SPIRAL GRAVE, comprised of vocalist Screaming Mad Dee, Iron Louis Strachan (bass), Mot Waldmann on drums and former LORD guitarist Willy Rivera – whose aggressive riffing sets the mood for the band’s heavy as hell, in your face doom – was born after the tragic death of IRON MAN founding member Alfred Morris III.
They quickly carved a place for themselves in North America’s heavy music scene, playing well-received sets at New England Stoner Doom Fest or the Maryland Doomfest. Their first single, Nothing, was released by Salt of the Earth Records in mid-2019. But finally the wait is over, since SPIRAL GRAVE have just announced to release their long- awaited debut album, entitled Legacy of the Anointed, in 2021 through Argonauta Records; the Italian powerhouse label and home for all that is heavy, who not only released Dee Calhoun’s recent solo records but also IRON MAN’s Hail To The Riff, due out on March 5th!
Says guitarist Willy Rivera about SPIRAL GRAVE’s upcoming debut:
“Some of the musical ideas that ended up as songs on our debut were initially written while I was still with my previous band but with a rift growing between myself and the other members over personal and musical differences, I decided to hold onto them til I was able to find the right vehicle for them. I wanted to step away from the extremity of my former band and get back to writing songs that were heavy but had hooks and a strong vocal presence. For this band, I wanted to draw from bands such as Dio-era Sabbath, Candlemass, Metal Church, Armored Saint, Mountain, UFO and Judas Priest with enough experimentation that would allow us to branch out on future releases. I wanted that to be the template and I found like-minded friends in the surviving members of Iron Man. I’ve known Dee for over a decade and met Lou and Mot from the scene and affiliations and while I knew working with them would bring certain expectations due to the legendary status of Iron Man, I was hopeful in what we could create and had a gut feeling that it would be great. I was very aware of the fact that you only get one shot to make your 1st impression and being that I was writing a lot of the initial ideas, it meant that I had a lot to prove…not to mention, the scrutiny that I may encounter from people who perceived me as somehow trying to replace Al Morris but you can’t replace a legend so you just try to make your own mark. So Spiral Grave is a new band with a debut album that I think will do justice to not only the scene we come from but those who helped pave the way…“
More details about the upcoming SPIRAL GRAVE release of Legacy of the Anointed, as well as first album tunes will follow in the weeks ahead.
Posted in Questionnaire on February 23rd, 2021 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: Jessie May of Turkey Vulture, Owl Maker, AltCtrlCT, and More
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How do you define what you do and how did you come to do it?
Defining what I do is the hard part. I enjoy writing and music, and do bit of both. My illustrious writing career began in middle school with an “underground newsletter” of dirty jokes called The Funky Chicken. (Apparently my bird obsession goes back a long way too.) Right now I edit the blogs Alternative Control and Metalhead Money, and do some freelance copywriting on the side. I also self-published a book about personal finance last year, called Money Hacks for Metalheads and Old Millennials. I came to do that through a lot of research, personal screw-ups, and some extra time on my hands due to the pandemic.
Re: music… My most active band right now is Turkey Vulture, where I play guitar and sing. My husband Jim plays drums. I like to think of us as a really loud Americana band, but there are influences from doom, punk, and 80s metal as well. Turkey Vulture’s journey started about twelve years ago when I joined Jim’s band Pink Missile. Several bands, a marriage, and one baby boy later, here we are!
Bass is my main instrument, or at least the one I’m decent at playing. I’m on “maternity leave” from a folk band called The Shoutbacks and I’m also the bassist of Owl Maker, who I hope will come out of hibernation once all this pandemic stuff is over.
Describe your first musical memory.
Probably hearing that song “I’ve Been Working on the Railroad,” as a nursery rhyme or something.
I also remember singing along to the Allman Brothers and Vanilla Ice cassettes in my dad’s truck!
Describe your best musical memory to date.
My best musical memory is a recent one: Jim and I made a playlist for the hospital to listen to during our son’s arrival. The playlist ended up being longer than the entire labor and delivery process lol… One highlight was hearing “Faithless” by Social Distortion in the delivery room shortly after our son was born, which was our wedding song.
When was a time when a firmly held belief was tested?
I can’t think of a specific time, but I remember thinking during my first marriage (which ended in divorce), “Gee, this is a lot harder than it looks!”
Where do you feel artistic progression leads?
Speaking for myself, I’ve gotten more comfortable advocating for my own musical ideas. I no longer need other band members to confirm for me that a riff or something is “cool” — not that I want to run a band dictatorship lol, but it feels good to have more confidence.
On the other hand, my “artistic progression” of playing in basement metal bands also means I’m rusty at things like reading sheet music.
How do you define success?
Music-wise, I think success is creating something that connects with your audience and communicates a story or feeling to them. And if people like it enough to buy it, even better!
In broader terms, success is spending your time in a meaningful way and making your corner of the world a better place — whether that’s through your relationships, job, art, or all of the above.
What is something you have seen that you wish you hadn’t?
I wish I could erase thousands of crime show episodes from my memory; I think they have made me distrustful and even paranoid about certain things. But on the other hand, there are a lot of disturbed people out there — and my aim is to avoid running into them.
Describe something you haven’t created yet that you’d like to create.
Welp, Turkey Vulture has another five or six songs we could possibly record. Jim and I have talked about giving it a try this summer if we can wrangle the cost and scheduling. Until then, it’s gonna be all home-recorded GarageBand demos!
What do you believe is the most essential function of art?
To communicate ideas and feelings.
Something non-musical that you’re looking forward to?
Watching our baby grow! And hopefully adding a little brother or sister to the lineup. ;)
