Granted, my understanding of such things is limited, but as I have it, Juárez-based outfit Dizz Brew are working their way toward an eventual full-length debut. Due when? I don’t know. Fine.
Before they get there, the fuzznotizers will offer a live record called Live at Pandemic, which will presumably be available sometime this Fall. “From Hell,” the version of which you can see/hear in the video below, will be featured on that. The clip was filmed at the Victor Hugo Rascón Theater in Ciudad Juárez, which is one of two spots the band recorded songs for the live album. I don’t know where the other place is. Okay.
Now, the performance of “From Hell” and other songs that will also be featured on that live album — and perhaps on the studio debut when the time comes for that — are also part of an upcoming movie the band is making called Papi, Donde Esta el Fuzz?, which even my limited Spanish skills are enough to translate. So where’s the fuzz? Well, they’ve clearly found it, and “From Hell” is a nine-minute sample of their intention in the film as well as on stage, where weirdo Magma-style prog vibes pervade alongside the cutscenes and stonerized fare. I’ll be blunt with you (pun absolutely intended) and say that yes, part of what I enjoy about this is that I’m not sure what’s happening.
The band told me that Papi, Donde Esta el Fuzz? will be released approximately in October. After this, I’ll be happy to keep an eye out for it. Maybe you will too.
Enjoy:
Dizz Brew, “From Hell” from Papi, Donde Esta el Fuzz?
Excerpt from the movie, ‘Papi, donde esta el fuzz?’ Band: Dizz Brew Song: From Hell
This debraye took place on April 18, the year of our lord of darkness, 2021.
This is a collaboration of: -Satan. -Audio capture and mix by Tracking Room: Arturo Hernandez & Sergio Mendoza. -Camera director: Cristian Vega (Kbin Spielberg) & Javier Armendáriz. -Camarographers: Ivan Rochin, Emilio Muñoz Barsse, Cesar Ochoa & Axel Hernandez. -Assistant: Raúl “Po” Rodriguez, Andrea Mata, Antonio “Goyo” Saenz -Lights by Crew of the Victor Hugo Rascón theater. -In charge of production of the theater: Cristobal Salas. -Edited and Directed by Nitram.
Thanks to the Victor Hugo Rascón & crew theater and everyone involved.
Debraye in the afterlife. (SHORT) Actors: -Guillermo Almeida -Gabriel Cardoso
I have precious little insight to offer here. Like, none. I guess it’s probably pretty nice when your drummer knows how to make videos? Somnuri are killer? I’m sorry, I’m not sure what you’re looking for. The Brooklynite trio offered up Nefarious Wave (review here) in June through Blues Funeral Recordings, and I feel like if you’re not down with it as yet, well, if you haven’t heard it, that’s okay. The video’s another chance.
But if you’ve heard it and for whatever reason it’s not speaking to you, I can only respectfully disagree. Maybe it’s my born-and-bred Northeastern US mentality — we are an aggressive people by nature — but Nefarious Wave hit me like the proverbial ton of bricks, and continues to do so. Enough that I’m taking the excuse this video provides and posting more about it when I’m sure there’s something out there I could be chasing down. Screw that, whatever it is. This’ll do just fine.
The video? Yeah, some shots of the woods, some shots of the band — guitarist/vocalist Justin Sherrell, bassist Philippe Arman, drummer/video director Phil SanGiacomo — all turned red. Standard enough, but it’s fine. It serves its purpose. It’s better than watching dudes try to sync to parts on Zoom. You know what I’m talking about. We all lived through last year.
This is the third clip by my count from the record. They keep makin’ ’em, I’ll keep postin’ ’em. Simple as that.
Enjoy:
Somnuri, “Nefarious Wave” official video
Says the band about this new song and video: “The song has a trodding and lumbering feel to it. It builds layer after layer, and we wanted the video to have textures as well. We ended up shooting a lo-fi, psychedelic, first-person trek through the woods, tying to the song’s themes of survival and resilience,” said the band. “Those themes are present throughout the record as well and, ultimately, it was easy to see how they paralleled the world around us, filming and editing this video during lockdown. Thanks to our friend Eric Adams of the band Adam’s Castle, who helped get us some crazy shots way the fuck up in the mountains. We’re proud to have this video accompany the title track of this record.”
Video Directed by Phil SanGiacomo (Somnuri)
Taken from the Album “Nefarious Wave” Release Date: June 4, 2021
SOMNURI is: Justin Sherrell — guitars/vocals (also bass on the album) Philippe Arman — bass Phil SanGiacomo — drums
Acid Magus release Wyrd Syster July 30 on Mongrel Records. Hardly a year after unveiling their first single and thereby exposing the lizard people of their native Pretoria, South Africa, heavy psychedelic four-piece Acid Magus bring forth Wyrd Syster as their debut full-length through countryman imprint Mongrel Records. It is duly tripped out, putting modern psych and garage-style heavy in a nebular swirl and sculpting the results into songs of varying length and intent, sometimes headed ‘out there’ in a fashion that reminds of Black Rainbows — looking at you, “Conscientious Pugilist” and “She is the Night” — and offering more weighted blowout heavy ethereality in its closing pair “Evil” and “Red Dawn,” the latter of which answers the shouts of “Rituals” earlier on as though to confirm that, no, their arising from all that wash of fuzz was not a dream, but a reality altered by the molten churn bent to the band’s will. Garage doom is a factor — Witch, Uncle Acid‘s melodious threat, etc. — but so is grunge, and there’s depth of mix to account for all of it as made earthbound by guitarist Keenan Kinnear, bassist Jarryd Wood, drummer Roelof van Tonder and vocalist Christiaan Van Renen. One way or the other, Wyrd Syster is the stuff of run-on sentences and mixed metaphor, clearly.
True, all things are fleeting, ephemeral, mortal, and some day the sun will swell to however many times its size, burn away the oceans and the atmosphere and eventually the rest of the planet itself. Nothing we as a species do or have ever done can possibly last or matter into such a scale of time. Can’t argue. Sooner or later, the bubble that is the universe itself may simply pop. But in the meantime, Acid Magus cull 44 minutes of deep-dive-ready, headphones-on fuzz-o-buzz, the riffs of the title-track leading the way with echo-drenched leads and a laid back hook delivery from Van Renen. The rhythm is a subtle charge, but it’s intermittent, coming and going amid drifting guitar and a more open verse, and spaciousness and atmosphere feel as much an essential facet of the band’s execution as does the lattice from which they launch, but “Wyrd Syster” is also only half a tell.
As the shortest inclusion — the interlude “Virgo” notwithstanding — on the album that bears its name, “Wyrd Syster” is as much a tease as it is an introduction to what follows, and there’s a marked shift as “Rituals” takes hold with riffage hypnotic and more patient in its flow, the rolling groove that starts out receding behind the central guitar line only to emerge again, massive, powerful, as the procession hits its payoff. For all the space the band have covered, they’ve only just begun, and “Conscientious Pugilist” follows with samples, a spaced-out wacky solo backed by room-emphasis drums leading to Sabbath crunch, start-stop-then-all-start shove and echoing screams and suddenly you get a better sense of why one might call the band “experimental.” It’s not so much about them playing their instruments upside down or making noise for noise’s sake — nothing wrong with that if that’s your thing — but there’s a sense of adventure in “Conscientious Pugilist” as the longest track on Wyrd Syster, and even in the moment to recover that the subsequent quiet stretch of “Virgo” represents as the record’s centerpiece, the impact of Acid Magus‘ outbounding is not to be understated. No lack of exploration for their carrying structure with them.
I’ll make it easy for you: If you’re not on board by the time they ooze into “She is the Night,” the rest will only be a slog, but for those who can get to it and those to whom it gets, side B of Wyrd Syster has plenty more delights of its own to offer, mirroring the shortest-to-longest setup of “Wyrd Syster,” “Rituals” and “Conscientious Pugilist,” but with “She is the Night” setting out from a place less initial than the opener (duh), benefiting from the altitude adjustment already wrought by Acid Magus on the tracks preceding. Like the title-track, “She is the Night” has a standout delivery of its titular lyric, and its guitar rings in ambient fashion, but the joy is the nod and layered movement that takes hold at the end, rumbling out to stillness eventually as all things must, but leaving that resonant guitar behind as an epilogue. “Evil” churns and writhes and seeps and careens through dynamic turns, coalescing around its groove as much as anything, and cutting off cold ahead of “Red Dawn” at the finish. I don’t think the closer is about the Patrick Swayze movie, but I’ve certainly been wrong before. The fuzz and the hey-man-what’s-wrong-aren’t-you-coming shove are reaffirmed early alongside a melodic highlight and given counterpoint in the slower march that arises, spaceborne and elephantine, to lead into the last fadeout with silence to spare at the end, more cosmic than kosmiche, but unfurling in the vacuum either way.
Whether or not you take the journey out the airlock with Acid Magus is ultimately up to you, but Wyrd Syster provides more than enough reach and breadth and resonance to justify the minimal effort in doing so. As their debut — if in fact it is — it shows a distinct chemistry taking shape within the familiar aspects of genre, and sees the band honing their persona out of the various elements and tropes with which they’re working. Consider yourself dared to give it a shot and see where it takes you.
Impassioned, epic, slow, and heavy; it’s all here as Acid Magus present their finest work to date.
In the faint light that separates dreams from reality, lies from truth and heaven from hell, lives the Acid Magus. Meditating, surrounded by darkness and light, energising the air with electric anticipation. Come forward and listen, stay awhile, there are no sins.
“For the first time the band have experimented with some low tuning, so expect octave drops and tempo changes. All the psych/stoner/doom vibes to be expected but once again, that alt rock accessibility lingers.” Comments guitarist Keenan Kinnear
Line Up: Keenan Kinnear: guitars Jarryd Wood: bass guitar Roelof van Tonder: drums Christiaan Van Renen: vocals
Posted in Whathaveyou on July 26th, 2021 by JJ Koczan
As I recall, Orange Goblin‘s 2007 offering, Healing Through Fire, went through copious shenanigans before finally seeing US release through Sanctuary Records. Great record. And it never really got its due, at least in the States. “Cities of Frost,” “The Ballad of Solomon Eagle,” “They Come Back (Harvest of Skulls,” on and on. This is Orange Goblin at their most fuckin’ doom, and I’ll put it against anything in their catalog before or after. The Sanctuary version originally came as a CD/DVD with this Mean Fidder show from 2006 as a video, but, well, I don’t think they even make DVD players at this point, so doing it as a live album is probably a better call. For me, I’ll take the BBC live tracks and the demos as well, thank you kindly.
There’s a bevvy of Orange Goblin news as they look to break out post-COVID and start to play shows — their first is next weekend — with new bassist Harry Armstrong. Live dates have been announced for a Scandinavian tour, and they’re headlining the Uprising fest on Sept. 11, and they’ve still got their holiday tour this December as well. Much going on.
The following is culled from their social medias:
We’re re-issuing the ‘Healing Through Fire’ album as a deluxe 2CD set featuring 27 tracks and a wealth of bonus material via our friends Dissonance Productions and Cherry Red Records !!!
Disc 1 features the original album, remastered, and adds four BBC Radio One Rock Show Session tracks, as well as three demos from 2006, including a raucous cover of The Damned’s ‘New Rose’.
Disc 2 contains a full 11 track live set recorded at the Mean Fiddler in London in 2006, showcasing the Orange Goblin live experience in all its high volume high octane glory.
Boasting updated artwork with liner notes from the guys, and housed in a deluxe double digipack, the new edition of ‘Healing Through Fire’ is considered by the band to be the definitive version
Track Listing:
CD 1 – HEALING THROUGH FIRE 1. The Ballad of Solomon Eagle 2. Vagrant Stomp 3. The Ale House Braves 4. Cities of Frost 5. Hot Knives and Open Sores 6. Hounds Ditch 7. Mortlake (Dead Water) 8. They Come Back (Harvest of Skulls) 9. Beginners Guide to Suicide 10. The Ballad of Solomon Eagle (Radio One Rock Show 17.08.07) 11. They Come Back (Harvest of Skulls) (Radio One Rock Show 17.08.07) 12. Scorpionica (Radio One Rock Show 17.08.07) 13. Blue Snow (Radio One Rock Show 17.08.07) 14. The Ballad of Solomon Eagle (2006 Demo) 15. They Come Back (Harvest of Skulls) (2006 Demo) 16. New Rose (2006 Demo)
CD 2 – LIVE AT THE MEAN FIDDLER, LONDON, DECEMBER 16, 2006 1. Intro 2. Some You Win, Some You Lose 3. Quincy the Pig Boy 4. Getting High on the Bad Times 5. The Ballad of Solomon Eagle 6. Hot Magic, Red Planet 7. Round Up the Horses 8. They Come Back (Harvest of Skulls) 9. Your World Will Hate This 10. Blue Snow 11. Scorpionica
**ORANGE GOBLIN TO HEADLINE UPRISING FESTIVAL**
We are delighted to announce that Orange Goblin will headline this awesome bill at Uprising, to be held at the o2 Academy, Leicester UK on Saturday 11th September 2021. Also joining us there across the weekend of the 10th-12th September will be Raging Speedhorn, Heart of A Coward, Diamond Head, Ingested, Mage, Shrapnel, Divine Chaos and many more.
**ORANGE GOBLIN – SCANDINAVIAN TICKETS ON SALE NOW!**
Tickets for our ‘The Cold North’ Scandinavian Tour in November 2021 are on sale NOW from the link below:
Support on all dates comes from Swedish rockers Bürner.
Full set of dates as follows: NOVEMBER 2021 THU 11 – BETA, COPENHAGEN, DK FRI 12 – PLAN B, MALMO, SE SAT 13 – THE CRYPT, LINKOPING, SE MON 15 – JOHN DEE, OSLO, NO TUE 16 – FRIHAMNEN, GOTHENBURG, SE WED 17 – DEBASER, STOCKHOLM, SE FRI 18 – KLUBI, TAMPERE, FI SAT 19 – KORJAAMO, HELSINKI, FI
Orange Goblin live: Sat 31 Jul – The Yard, Cornwall, UK Sun 15 Aug – Bloodstock Open Air (Main Stage), UK Sunday 22 Aug – Dynamo Metalfest, Eindhoven, NL Sat 02 Oct – Headbangers Balls Festival, Izegem, BE Fri 05 Nov – Night of Salvation (Damnation Fest), Leeds, UK Sat 04 Dec – Dome of Rock Festival, Salzburg, AT Wed 08 Dec – The Booking Hall, Dover, UK Thu 09 Dec – The Tivoli, Buckley, UK Fri 10 Dec – Limelight 2, Belfast, UK Sat 11 Dec – Grand Social, Dublin, IRE Mon 13 Dec – King Tuts, Glasgow, UK Tue 14 Dec – Gorilla, Manchester, UK Wed 15 Dec – Asylum, Birmingham, UK Thu 16 Dec – The Globe, Cardiff, UK Fri 17 Dec – The Underworld, London, UK Sat 18 Dec – The Underworld, London, UK
Orange Goblin is: Ben Ward – Vocals Joe Hoare – Guitar Harry Armstrong – Bass / Backing vocals Christopher Turner – Drums
Posted in audiObelisk on July 26th, 2021 by JJ Koczan
Norwegian heavy rockers Suncraft release their debut album, Flat Earth Rider, on Aug. 6 through All Good Clean Records. In the vast annals of modern conspiracy theory, those who are committed to the notion of the planet being a disc which one might one day go off the side — ridiculous; reality as a holographic simulation, on the other hand… — are ultimately harmless, at least in comparative terms, and as Suncraft‘s first full-length following behind a few Spotify-able singles likewise content to dig into its own stylistic niche, throw a burly elbow here and there en route to hard-hitting, forward push hooks, but especially early on in “Flat Earth Rider” and “Space Buddha,” the Oslo four-piece seem to be exploring their way through songwriting toward establishing their sound and discovering who they are as a band. The double-guitars of Sigurd Grøtan and Vebjørn Rindal Krogstad lead that charge and boast duly charged leads, while bassist Rasmus Skage Jensen serves vocal duties and drummer Tobias Paulsen patiently awaits the next change requiring a fluid transition, leading the riffs from inside the pocket.
Jensen‘s vocals get into gruffer fare in “Flat Earth Rider,” centerpiece “Lingo Hive Mind,” and here and there throughout “Commie Cannibals and even the more spacious “Adaptation” ahead of the 11-minute closer “Bridges to Nowhere” (premiering below), but the delivery is more dynamic than, say, a cleaner verse and shouted chorus, or vice versa. It might be a line or two with a throatier delivery, then back to a burgeoning melody making a song like “Space Buddha” or “Lingo Hive Mind” less predictable for the single fact that one is less sure where it’s going to turn next, even if the underlying structures are largely straightforward. These clever arrangements, coupled with the ability of the guitars to push the energy of a song forward with a sense of build to which the drums are only suited, help to give Flat Earth Rider its sonic persona, which doesn’t seem to be taking itself too seriously but can bear significant heft when inclined to do so, as in the rolling chorus of “Commie Cannibals” or the early verses of “Bridges to Nowhere,” which opens in its midsection to more complex melodic layering before surging outward and paying off the touches of metallic aggression and progressive heavy rock that have shown themselves across the six-song span to that point.
That span is manageable at 37 minutes and of course vinyl-ready with the atmospheric echo of “Adaptation” signifying a shift to side B even digitally, but that movement becomes important to someone making their way through the entirety, and it feels like another level on which Suncraft‘s potential shines through. The rougher-edged moments bring to mind Orange Goblin from the title-track onward, and “Flat Earth Rider” indeed sets the tone for side A with the hooks of “Space Buddha,” “Lingo Hive Mind” — for which I’d love to read the lyrics; getting a very “guess I’ll go live on the internet” kind of vibe from what I can discern — and the more weighted, longer “Commie Cannibals” acting as a bookend for what’s almost the first of two mini-albums, with “Adaptation” and “Bridges to Nowhere” serving as the second, broader in ambition but holding to a lack of pretense on the whole. All of this rounds out to an affect that makes me less concerned about where Suncraft are going — surely not off the end of the earth — than where they are now.
Their songcraft is obviously in capable hands, and their performance is energetic without losing the thread of its own purpose in being part of the larger album as a whole. If you were looking for an encouraging debut from a relative-newcomer heavy rock band, well, that’s one thing you can tick off your to-do list for today. Cheers. Take the rest of the afternoon off.
Enjoy “Bridges to Nowhere” on the player below, followed by some comment from the band and more info from the PR wire.
Dive in:
Suncraft on “Bridges to Nowhere”:
“Bridges to Nowhere” is the closing track on Suncraft’s debut album, Flat Earth Rider. A ten-minute, ever-changing epic, the song is a journey of a listen, not holding back on anything the band has to offer. Heavy stoner rock riffs, impactful build-ups, thrash-metal-like choruses, riveting guitar solos and intense blast-beats are some of the features to expect. Lyrically, the song is about alienation from a commodity-based society, as seldom knowing where the commodities we buy come from, who made them and why, can make us feel disconnected from others. The song gradually turns from despair to hope and optimism, insisting that a better future is possible.
“Flat Earth Rider” was produced, mixed and mastered by Ruben Willem (The Good The Bad and The Zugly, Okkultokrati, Djevel, etc…) and features six unique tracks that show Suncraft combining elements from groovy stoner rock and riff-based heavy metal.
Since late 2017, this Oslo-based quartet have played their fair share of club shows in the nooks and crannies of Norway, honing the craft of playing explosively energetic concerts. After releasing released their debut EP, “Saigon” in 2019, the live-performances abruptly ended due to Covid-19. Turning the blow of the pandemic into a positive, the boys put all their efforts into writing their debut album, “Flat Earth Rider” and as soon as the world is safe enough, Suncraft will hit the road again and bring their unique flavor of rock n’ roll to a growing audience.
Posted in Whathaveyou on July 26th, 2021 by JJ Koczan
You ever listen to a band and ask yourself why you don’t listen to them every day forever? That’s me right now and this Ouzo Bazooka record. Sounds like hyperbole, and I guess it is, but the synth-o-psych vibe is hitting me pretty hard this morning and much like the groove of album opener “Monsters” — for which you’ll find a video below — flows into danceable “Million Years of Light” and the delightfully keyboardy instrumental “Alhagamal,” I’m just going to roll with it. Dalya is six new songs, runs a whopping 34 minutes, and is too percussive to really drift, but certainly has that air about it anyway by the time the also-instrumental “Kruv” launches side B and shifts through “It’s a Menace” into the shuttle-launched-from-Tel-Aviv that is “Nine” jamming to the finish — oh, hello bass — Middle Eastern vibes running rampant all the while.
Aug. 27 is the release date from Stolen Body Records, but hell’s bells, go find yourself some preorders and let the dates come and go from now until then. You can worry about the daily habit in the meantime.
We are delighted to announce the release of the first single – Monsters – from Ouzo Bazooka’s fifth album Dalya. Monsters comes out July 26th along with pre orders of the album.
Monster’s has Ouzo Bazooka returning with a fresh but familiar recipe of their own unique blend of east meets west.
The fuzzy oriental riffs cupped with the addictive groove will take you on a mind bending journey from the sweltering banks of the Nile, down to Jaffa beach and around the spice scented alleys of Istanbul on Ouzo Bazooka’s hot rodded magic carpet ride. Check out the new video for Monsters now.
The undisputed champions of middle eastern psych rock return with Dalya, their epic fifth studio album.
Suspiciously smelling like a mix of prohibited substances and powerful homebrewed potions, Dalya manages to effortlessly be a lot of things that, in a similar universe, contradict each other: it is psychedelic but accessible. It is adventurous and creatively free spirited, but also filled with anthems waiting to be discovered. The sound is recognizable, but simultaneously original and an expansion of the band’s wide creative palette.
Dalya consists of 6 long, swirling, hallucination-inducing doses of music to be consumed with your eyes wide shut. But make no mistake – this is still Ouzo Bazooka’s good ol’ sweaty oriental fuzz party. Monsters, the album’s opener, has the anthemic qualities one would secretly hope to find on an Ouzo Bazooka album. It is followed by the sunstroked dubby and dare we say disco-ish Million Years Of Light, continues with the dense and sweaty instrumental pieces Al Hagamal and Kruv and continues to ascend with It’s A Menace towards the spectacular climax that is Nine.
Filled with imaginative, mind bending moments, Dalya is yet another monument in Ouzo Bazooka’s epic sonic journey and a grand new chapter in the band’s story.
I’ll be honest with you. I had something else all set up and ready to roll out to close the week. The back end of the post was all set, player embedded, tags made, image placed, metadata, all that stuff that I do on my side of what goes up here except for the actual writing, and then I stumbled on Dream Phases’ Bandcamp page, heard the just-over-five-minute two-songer Helen Highway b/w Tandy and decided it suited my mood more. Nothing against the record that was going to close out before — I’ll probably save the post for next week, actually — it’s an album I’ve loved for a long time and very much enjoyed revisiting, but it turned out I wasn’t feeling so academic this morning adn I’m digging the float and classic ’60s psych vibe of “Helen Highway” and “Tandy” and I’d never heard Dream Phases before, so yeah. There’s precedent I’m pretty sure for pushing something off like this last-minute — not that anyone but me cares — but either way, whatever.
Dream Phases come from L.A. and released the single last Fall through Hypnotic Bridge Records. It’s two songs, melodic like a bastard and dream-toned to suit. The band have two full-lengths, other singles and an EP up on their Bandcamp, which is here: https://dreamphases.bandcamp.com/
If you need more than that and the audio to go on, frankly I’m not sure why.
This morning I slept until just before 8AM. I don’t remember the last time that happened, but when my alarm went off at 5:30, I asked The Patient Mrs. if she minded if I slept late and she said no and so I did. I’m pretty sure I was asleep before 9PM last night, so that makes me… well… rested…? It is a strange feeling. I think another month or two of it and I’d almost be human.
Nah, probably not.
This week was a lot of back and forth and it’s not really over as I type this. I took my laptop in for repair again yesterday to have a new hard-drive put in — 2TB as opposed to the 500GB I got back last time, which I’m sorry isn’t nearly enough for me to work with on a daily basis — and this weekend I’ll get on porting over data from one to the other. Many, many albums, pictures of The Pecan, Star Trek ebooks, the like. There’s a lot that needs to be reinstalled — Office, PhotoShop — and I’ve got my work cut out for me in readjusting Windows settings to how I prefer them vis a vis getting rid of extraneous bundled software and notifications, but that stuff I can do gradually as the annoyances pop up. In terms of laptop infrastructure, I’m hopefully good to go for a while.
The Pecan is getting a haircut at the moment, in a kid salon, and that’s something of an adventure. The Patient Mrs. brought him on her own last time. He said this morning he didn’t want me to come, because that’s kind of his general position on anything these days, but he seems to have forgotten about that, so here I am. Thomas The Tank Engine is on. It’s a rich town. A gathering of bikes at Starbucks across the way. Luxury condos. Surreal to think the world’s ending.
Next week is next week. I’m still confirming stuff for Monday but there’s no day that doesn’t have something booked. Some of that is still overflow from the Quarterly Review. I was annoyed at myself this week. Hard. I had a review I wanted to do that I shoved off in favor of a premiere. Something I actively wanted to write about. That was kind of my favor to myself for making it through the QR that I then denied myself in favor of something else. And not that I didn’t want to do what I ended up doing — otherwise I wouldn’t have — but it was a question of treating myself or not. That kind of defined the early part of my week, to be honest. Then I got over it. And the band I did the premiere for seemed to appreciate it too, which was nice. I’ll still cover the other thing, just later. Not this coming week, but in August for sure.
New ‘Obelisk Show’ today 5PM Eastern on Gimme Metal. I almost got in trouble with the playlist because something I was playing wasn’t at all heavy. Rose City Band. Fair enough. Didn’t actually hear if they were canning the track. We’ll see, I guess.
Alright that’s enough out of me. Haircut’s done and it’s time to roll on to the next thing, uncertain though I am of what that is. Hope you have a great and safe weekend. Hydrate. Have fun. Watch your head. Please buy Obelisk merch. All that stuff.
If you’re paying attention at all — and fair enough if you’re not — you had to see this one coming, right? No way I wasn’t going to follow up that massive Quarterly Review with a playlist for The Obelisk Show on Gimme Metal. Had to happen. Honestly, I covered enough stuff in that 110-record span that I might do two shows out of it. Have to see what I can pull together for next time.
To answer your next imginary question, yes, it is somewhat bittersweet after two all-Neurosis episodes to be playing anything else. It was bound to happen eventually, some return to normalcy. Such as it is. Fortunately the selections here are killer if I do say so myself, and if you think it’s a coincidence that I reviewed so many albums and this playlist is starting with a cut from the Maha Sohona record, I promise you it is not. That one might’ve been my pick of the whole thing. Also took the excuse to play the Spaceslug track here again, just because it rules and fits that vibe too.
Thanks for listening and/or reading. I hope you enjoy.
The Obelisk Show airs 5PM Eastern today on the Gimme app or at: http://gimmemetal.com
Full playlist:
The Obelisk Show – 07.23.21
Maha Sohona
Leaves
Endless Searcher
The Crooked Whispers
Hail Darkness
Dead Moon Night
Filthy Hippies
I’m Bugging Out
Departures
Paralyzed
Golden Days
Paralyzed
VT
Alastor
The Killer in My Skull
Onwards and Downwards
Spelljammer
Bellwether
Abyssal Trip
Spaceslug
The Event Horizon
The Event Horizon
Los Disidentes del Sucio Motel
Horizon
Polaris
VT
Hellish Form
Shadows with Teeth
Remains
Vouna
Grey Sky
Atropos
Rose City Band
World is Turning
Earth Trip
Moanhand
The Boomerang of Serpents
Present Serpent
VT
Methadone Skies
Retrofuture Caveman
Retrofuture Caveman
The Obelisk Show on Gimme Metal airs every Friday 5PM Eastern, with replays Sunday at 7PM Eastern. Next new episode is Aug. 6 (subject to change). Thanks for listening if you do.
