Posted in Whathaveyou on February 23rd, 2022 by JJ Koczan
You don’t need me to tell you about the charm factor here, right? Two bands, disparate in locale, come together to collaborate and unite in creative purpose on a split where they also appear on each other’s tracks, and not only that, but they’re brought together a narrative spanning both of their work, given it 16-bit cover art (that’s right, I’m thinking Genesis-era, or maybe one of those super-underrated SNES RPGs; I’d play it either way) about a Froglord encountering a Bog Wizard. I don’t know how the Bristol, UK, and Michigan-based acts know each other, and frankly, it’s a secondary consideration given the above. However it came about, this sounds pretty awesome.
As someone who appreciates a good story and has dug Bog Wizard‘s work to-date — Froglord‘s various singles on Bandcamp are right on as well, just new to me — this feels like a no-brainer. Hail the reptilian death squad, which I’m sure someone out there believes is a real thing.
To wit:
Bog Wizard/ Froglord to release collaborative concept split, A Frog in the Bog on April 1st, 2022
A Frog in the Bog is a collaborative concept split album. What that means is that this split has been written from the ground up to tell a cohesive story. Both halves of the split feature shared vocal parts between the bands, in the conclusionary tracks.
Bog Wizard and Froglord are both very narratively driven bands, telling tale of their respective characters. The Froglord is a god-like swamp dwelling being with a congregation of worshippers and followers. The Bog Wizard is an angry hermit wizard whos only preferred company is the creatures he summons to do his bidding, and he’s highly protective of his territory.
A Frog in the Bog tells the story of their fateful meeting, as the Froglord encroaches into the Bog Wizard’s well-guarded territory with his congregation, from each of their unique perspectives. It describes the Bog Wizard’s anger as he realizes this being has intruded on his land, the curiosity of the Froglord as to who and what lies in the swamp, their ultimate battle, and face to face meeting. Who will win?
Track Listing for A Frog in the Bog: 1. Bog Wizard – Reptilian Death Squad (8:12) 2. Bog Wizard – The Frog Lord, feat Froglord (12:21) 3. Froglord – The Bog (5:27) 4. Froglord – The Wizard (5:34) 5. Froglord – The Bog Wizard, feat Bog Wizard (5:35)
Preorders for cassettes, vinyl, and CDs available March 4th!
US Shipping merch via Bog Wizard, UK via Froglord
Bog Wizard is: Ben Lombard (guitar/vox) Harlen Linke (percussion, synth, vox) Colby Lowman (bass)
Posted in Reviews on February 23rd, 2022 by JJ Koczan
Imagine being the driving creative force in one band for more than a decade, then moving to a different continent, seeing that band come to a close, and starting a new one on your own, in a new place, after having purposefully pulled away from the direction of your former act. Such it is that Christian Peters arrives at the debut album of Fuzz Sagrado, A New Dimension. And given the above, he might feel like he’s in one, but Peters has brought a few hallmarks of his craft along for that ride, and the nine-song/48-minute collection puts to use the familiar and not in moving toward a style that is a marked departure from Samsara Blues Experiment, Peters‘ former three-piece, which was based as he was at the time in Berlin, Germany, before undertaking a move to Brazil.
Peters is no stranger to explorations of solo songwriting. His Soulitude project was short-lived but resulted in a righteous take on acid folk and psychedelic rock, and the largely-synth-based work he’s done under the banner of Surya Kris Peters over the last few years has resulted in a swath of releases from minimalist drone to higher-energy dance electronica. In founding Fuzz Sagrado, offering an initial two EPs in 2021 — a self-titled (review here) followed by the archival second EP, Vida Pura — and ultimately winding up with enough material to self-release this first full-length, Peters both marks a “return to rock,” especially rock with vocals, and offers listeners a real-time look at the process through which that return is taking place.
A New Dimension touches on some aspects that will be familiar to fans of Samsara Blues Experiment, mostly on second cut “Lunik IX,” but certainly in some of the vocal patterning throughout as well. More than that, though, it is a fresh start for Peters, working completely on his own in the writing and recording (he also mixed and mastered), feeling his way through working with new methodologies and toward new, more progressively-leaning stylistic ends. “In Her Garden” effectively basks in a lush chorus, but is clearheaded in doing so and straightforward in its structure in a way that the break-into-a-“Children-of-the-Sea”-jam opening title-track was pointedly not. It’s fair to call A New Dimension experimental not necessarily because Peters is finding ways to be weird for weirdness’ sake — he isn’t — but because what’s happening across this first LP from Fuzz Sagrado sounds like he’s discovering new ideas, sounds, and means of building and presenting his songs as he goes.
The light strum and mellotron of “Baby Bee,” a song that’s only two minutes long, sets a backdrop for layered vocals in a way that not only sets up the relative rush at the start of “In Her Garden,” but that efficiently creates a pastoral serenity that is a crucial part of the atmosphere of A New Dimension as a whole. Though he’s still a melancholy lyricist at times, Peters is also pretty clearly madly in love. He not only moved to Brazil for the cause, but has continued to find a muse in his relationship, and that comes through on Fuzz Sagrado‘s work here as it has in offerings from Surya Kris Peters.
Nothing against love, and lines like “I’ve seen our love is in the gods’ intention/There’s no need to question it/No time for sorrow when you do believe that truth is all I see/By turning myself unto you it really doesn’t matter where we’re gonna be,” from “A New Dimension” itself are indicative of the perspective of the album as a whole in pieces like the melodic-progger “The Mushroom Park” where Peters‘ vocals are backed by runs of keyboard and insistent programmed drums, or “Tropical Rain,” which begins a series of three final cuts that feel particularly cohesive in Peters‘ new approach, working to define Fuzz Sagrado — which, yeah, has some fuzz if perhaps not as much as one might think given the moniker — as something distinct from that of Samsara Blues Experiment.
He is successful in that, and in fostering an engaging level of songcraft as he carves this new sonic identity. That is no small feat, by the way. Samsara Blues Experiment were a successful, internationally touring band whose records still sell. To give that up and embark on something else would have to be taxing both emotionally and practically. It is to Fuzz Sagrado‘s credit that as it reaches willfully toward a style of its own, it doesn’t come across as cloying or overly desperate to get there. “Lunik IX” sends a clear message that sitar is fair game if Peters wants to break it out, and the later 11-minute instrumental “Furthur” seems to answer back that an entire breadth of krautrock is likewise on the table, working in movements led alternately by guitar or electronics to immerse the listener in its movement before “Tropical Rain,” “Need for Simplicity” and “Crashing Cascade” finish out.
And those final three tracks — which together are almost as long as “Further” — come through as especially fluid. Keyboard handclaps under the solo in “Tropical Rain” speak to the burgeoning level of detail in Peters‘ arrangements, not to mention the Hammond line, and while “Need for Simplicity” brings stringier sounds in classically progressive fashion, instrumental and flowing as a setup to the more percussive “Crashing Cascade,” which takes mellotron and foreboding low end and uses them to offer a final shift in atmosphere that renders the finish of A New Dimension different from most anything that came before it — the electronic rush in the middle underscoring the point — and perhaps indicating an increased scope for future material.
Because that is the prevailing sensibility here: that Peters is figuring out where he wants to go in songwriting and style. In that way, Fuzz Sagrado is refreshing and organic, would almost be humble if not for the actual depth of the keyboard and guitar, etc., while still feeling formative in terms of to what A New Dimension might lead. But as regards this album, right now, the concept is proven, and Peters has set the beginning point from which this new exploration can flourish.
Posted in Whathaveyou on February 23rd, 2022 by JJ Koczan
Just a band hitting the road in their native region to support their last record and herald the coming of a new one. God damn it feels good to think of that as a normal thing. Morass of Molasses released their last album, 2019’s The Ties That Bind (review here), through Wasted State Records, and that’s plenty nifty, but if you squint a careful eye on the poster for the Reading trio’s upcoming UK tour — starts April 8, ends April 23, goes North and South in England and Scotland between — you’ll note in the top left corner a logo for Ripple Music. It’s by no means the only logo on the poster, between the band’s own and various other promotional concerns, but there it is, top left. Pretty prime placement for a band who, to my knowledge, haven’t been announced as signing to the label. Yet.
So I’ve got a brow raised above my recently-squinted careful eye, then, as to what will unfold as the band get ready to unveil their next full-length in earnest. In the meantime, intrigue.
Here’s the poster and dates:
Morass of Molasses – April Tour
After over two years of waiting, Morass Of Molasses are finally back on the road with ‘The Fall & The Rise’ Spring UK Tour. We will be revisiting many of our favourite places to play, but also adding a nice healthy chunk of new venues. Expect music celebrating our whole career up to this point, including new songs from the up and coming album. So why not have a look and see if we are playing some where near you!
08/04/22 – The Swamp, Reading 09/04/22 – The Star Inn, Guildford 10/04/22 – The Louisiana, Bristol 13/04/22 – Trillians Newcastle Upon Tyne 14/04/22 – Bannermans Bar, Edinburgh 15/04/22 – The Freebird, Newcastle Under lyme 16/04/22 – The Star and Garter, Manchester 17/04/22 – Duffy’s Bar, Leicester 20/04/22 – The Black Heart, London 21/04/22 – The Bunkhouse, Swansea 22/04/22 – Firehouse, Southampton 23/04/22 – The Four Horsemen Pub, Bournemouth
BUY MUSIC, MERCH AND TICKETS AT https://linktr.ee/morassofmolasses
Morass of Molasses: Vocals/Baritone – Bones Huse Lead Guitar – Phil Williams Drums/Vocals/Percussion – Raj Puni
Posted in Whathaveyou on February 23rd, 2022 by JJ Koczan
It’s kind of funny. In my head I still think of Philly’s Ecstatic Vision as a relatively new band. But look at their bio below. Formed in late 2013 means they’ve been around for about eight years now, and in that time, they’ve done three full-lengths — soon to be four — and an EP, releasing through Relapse Records and Heavy Psych Sounds while touring like mad throughout Europe and the US, which is a trend they’ll look to continue with a reported seven-week run through the Old World this summer. That’s a pretty big deal in itself, and then you get to the album, for which the details will be announced next week probably right around this time. A fourth Ecstatic Vision long-player. Put that in context. For a band as brash as this, how does their raucousness translate to being veterans in the studio together as well as on the road?
What kind of madness will unfurl here?
I guess we’ll find out at least a little bit next week.
From the PR wire:
Heavy Psych Sounds to announce ECSTATIC VISION signing for a new album !!!
We are so stoked to announce that the psychedelic riffers ECSTATIC VISION has signed a worldwide deal with Heavy Psych Sounds for their brand new album !!!
PRESALE + first track premiere: MARCH 1st
SAYS THE BAND: Stoked to be putting out another album with the Gabri and the Heavy Psych Sounds boys! They help us facilitate the rock and actually were able to get our record pressed, which we will need when we sail the pirate ship to Europe this Summer for a massive 7 week tour. See you on the warpath. — Doug
ECSTATIC VISION introduced their brand of heavy primal psych influenced by groups like Hawkwind, Aphrodites Child, Olatunji, Can and early Amon Duul ll in late 2013. Formed in Philadelphia to primarily “play what they wanted to hear,” the band quickly rose to those in the know as a force to be reckoned with.
ECSTATIC VISION signed to Relapse Records on the power of a demo and their psychedelic freak out, primal live concerts. Their debut LP, Sonic Praise saw a release by Relapse in June 2015 and during this time the band toured the US with prestigious acts such as Enslaved, YOB and Uncle Acid & The Dead Beats in addition to numerous shows with the likes of Earthless, Red Fang, Acid King and many others. This was followed by a European run that saw them perform at the legendary Roadburn Festival in addition to dates with Bang, Pentagram, and more.
In April 2017, ECSTATIC VISION returned with their 2nd LP Raw Rock Fury, an even more tripped out showcasing of the band’s raucous mix of troglodyte Detroit rock grooves, soothing Krautian motoric sounds, filthy Beefheartian blues and Hawkwindian primal world heavy psych! The addition of multi-instrumentalist Kevin Nickles (Saxophone/Flute/Guitar) has helped the band reach beyond the void and further create a sense of auditory hallucination with Raw Rock Fury. Prepare for one of the dirtiest sounding recordings since MC5’s Kick Out the Jams. Headlining tours of the USA and Europe followed and saw the band share the stage with John Garcia, Dead Meadow, Bongzilla, and the Cosmic Dead and also included a blistering headlining slot on one of Desertfest Berlin’s stages.
In 2018 the band returned with Under The Influence on the Italian label Heavy Psych Sounds. Under The Influence is Ecstatic Vision’s take on some of their favorite songs by some of their biggest influences ranging from Zam Rock to the kings of early Psychedelia and Detroit rock.
In 2019 fall the band released For The Masses on Heavy Psych sounds and supported Brant Bjork on a USA tour. They then immediately headed to Europe for a packed-out club tour. After the For The Masses tour was cut short due to the pandemic the EV boys took a much needed break.
They re-grouped a year later and started jamming what would become their new album. In fall 2021 the band recorded live at RetroCity Studios in Philadelphia with Joe Boldizar. He brought the band out of the muck and together they produced their best sounding record to date.
The band will release the new album in May 2022 in front of a massive 7 week tour of Europe that will see them play to anywhere from thousands of people at Hellfest to 50 die-hards in some sweaty club.
ECSTATIC VISION is Doug Sabolik Michael Field Connor Kevin Nickles Ricky Kulp
Posted in Questionnaire on February 23rd, 2022 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: Leif Herland of Bismarck
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How do you define what you do and how did you come to do it?
First and foremost I’m an audio engineer and songwriter at Polyfon Studio, I don’t consider myself a musician although I play bass in several bands. At the studio I produce, record, mix and master music for bands, filmmakers and artists. I’ve been fascinated by sound and music since a very young age, and I started writing and recording music at the age of 16. I took a degree in Music Technology at Glamorgan University in Cardiff in 2011 and have been working with music and sound on a regular basis since then. I started Polyfon Studio in 2019.
Describe your first musical memory.
My first musical memory was my grandmother’s old Yamaha keyboard which had built-in rhythms and different sounds. I played with that a lot!
Describe your best musical memory to date.
I played a show with a band called Sworn at Garage in Bergen for 10-ish people in 2007. At the gig we got discovered by a German fellow who wanted to manage us and book shows for us. A few weeks later we played in front of 6,000 people in Germany, that was surreal and one of my best musical memories to date! We also got to play festivals and went on tour with Behemoth and Aborted!
When was a time when a firmly held belief was tested?
I get tested in my work all the time. It’s important to stay open minded and alway try new things to achieve new sounds and new music! I try not to have any firm beliefs, neither professional nor private ones.
Where do you feel artistic progression leads?
In many cases artistic progression leads to better art. For me constant development and experimentation is key to keep my work interesting, both for me, my bandmates and customers in my studio.
How do you define success?
Success for me is when you can do what you love and make a living out of it. Most bands and artists strive to make this happen and when you’ve found your way and succeed it’s one of the greatest feelings there is!
What is something you have seen that you wish you hadn’t?
I’ve seen some shit. I especially remember a foul website called rotten.com which had the worst kind of images and videos. I saw a man getting slowly beheaded with a knife when I was about 13 years old and that image stuck with me…
Describe something you haven’t created yet that you’d like to create.
I’ve always wanted to create and release an electronic ambient doom album, and I work on it from now and then.
What do you believe is the most essential function of art?
I believe the most essential function of art is to give you something. Whether it is anger, sense of relief or provoking doesn’t really matter to me. If the art doesn’t give me anything it is not relevant to me.
Something non-musical that you’re looking forward to?
I’m currently renovating my apartment and I’m very much looking forward to getting it done!
Posted in Whathaveyou on February 22nd, 2022 by JJ Koczan
Already confirmed for Desertfest NYC 2022 in Brooklyn this May, Athenian heavy rockers Planet of Zeus today announce their inaugural US tour after stomping only so many mudholes in the European circuit. The run was originally supposed to take place in 2020, but I think we all know how that went. Needless to say, I like their chances of making it over now much better than they might’ve been as the world was turning to shit, and having the occasion of Desertfest to tour around only makes it make more sense. I’m not saying it’s convenient to have the tour kicked back by two years, but I’m saying that at least they’re making the most of the opportunity that delay presents.
Speaking of presents, I was one of the presenters of the original tour and have been back and forth with the booking concerns, etc., over the last couple days about this announcement. I don’t know if I’m still presenting or what, but frickin’ hell, this band plays arenas in Greece. I’ll bet they blow the roof off some of these places they’re playing.
Here there be tour dates:
PLANET OF ZEUS NORTH AMERICAN HEADLINE TOUR
We are so excited to visit North America for the first time. Things are about to get loud in here and we can’t wait to perform alongside Freedom Hawk, Void Vator and Druids and to bring the party to NA. See you on the road!!
DATES May 4 – Des Moines, IA – XBK LIVE MAY 5 – Chicago, IL – REGGIE’S May 6 – Youngstown, OH – WESTSIDE BOWL May 7 – Toronto, ON – BOVINE SEX CLUB May 8 – Ottawa, ON – DOMINION TAVERN May 9 – Quebec City – QC – LA SOURCE DL MARTINIERE May 10 – Providence, RI – ALCHEMY May 11 – Frederick, MD – CAFE 611 May 12 – Brooklyn NY – DESERTFEST – ST VITUS BAR May 13 – Virginia Beach – THE BUNKER BREWPUB May 14 – Atlanta, GA – BOGGS SOCIAL May 15 – New Orleans, LA – PORTSIDE LOUNGE May 16 – Lafayette, LA – FREETOWN BOOM BOOM ROOM May 17 – Austin, TX – INDEPENDENCE BREWING May 19 – Tempe, AZ – YUCCA TAP ROOM May 20 – San Diego, CA – KENSINGTON CLUB May 21 – Costa Mesa, CA – THE WAYFARER May 22 – San Francisco, CA – BOTTOM OF THE HILL May 24 – Portland, OR – DANTES May 25 – Seattle, WA – FUNHOUSE May 26 – Boise, ID – SHREDDER May 27 – Salt Lake City, UT – THE LOADING DOCK May 28 – Denver, CO – HQ
Art by Bewild Brother
PLANET OF ZEUS is: Babis Papanikolaou – Vox & Guitars Stelios Provis – Guitars Giannis Vrazos – Bass Serafeim Giannakopoulos – Drums
Posted in Questionnaire on February 22nd, 2022 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: Greg Dellaria of Raibard & Oxblood Forge
—
How do you define what you do and how did you come to do it?
I remember back in the late 70’s my parents told me “you don’t like sports, You have to do something.” Being someone who’s main interests in those days was Creature Double feature, Star wars, Kiss and being big music fan for my whole younger life I said why not try guitar. I got one of those Nylon string acoustic guitar and took lessons in Newton Center music for a bit. It was all Mel bay music books and such but I also started to dabble in bass after seeing The Kids Are Allright and Let There Be Rock in the cinema. Seeing John Entwistle and Cliff Williams totally destroying it made me want to play bass. I was a pretty novice guitar player but as a bass player, my playing improved much more than guitar. I was auditioning for a garage band around that time and they asked “You play both guitar and bass”? I said yes. I then tried out on guitar and they were like ehhh, then played bass right after and they said “Guess what? you are the new bass player.” We did a couple of covers like Cheap Trick’s Reach out, Aldo Nova’s Fantasy but that was about it. So begins the big journey that still goes to this day.
Describe your first musical memory.
Back in the early 70’s I would say around 70-75, records use to be played all the time in the house where I lived in and my mother was a big Johnny Mathis fan so there was a lot of that, The Fith Demension, Bread and the first Paul McCartney album being played all the time. My sister was a big Partridge family fan but this was like early 70’cersa 72-73. There was a lot of WRKO radio going on also. I use to fall asleep to that station a low volume so music was always going.
As far as first music I would have to say The Beatles were my go to band. I remember getting the Red And Blue double albums as an Xmas gift and that time. Watching the Monkees on TV was a big one also. Then the late 70’s came about and Led Zeppelin, Ac/dc, Aerosmith were big on my list. Toys In The Attic was a big one for me. But I was young and you know how you are when you are young, that early hunger for musical exploration sets in. Someone brought into music class on the day the teacher would have everyone bring in thier favorite albums. One kid brought in the first Van Halen album, I was completely blown away. Never heard guitar like that before in my life. That and seeing The Ramones on Sneak Previews when they had an episode of cult movies on. The were doing I Just want to have something to do while riding in a car in that clip from Rock And Roll High School. I thought that was the coolest thing ever, plus the music was something I never heard before. So much power!
From there the early 80’s came. I started to want and explore heavier, more wild music. I started to go to Newbury comics back when it was a hole in the wall on Newbury street buying up metal Massacres compilations, Kerrang mags and discovering bands like Warlord, Killer, Tank, Raven, Venom and so on. Heavy metal From Hell was a show on WBCN and I use to go to the Nuggets when they had one in Chestnut Hill and I would go to the promo bin/bargain bin and buy whatever I heard on that show I liked. Nasty habits was another show that had crazy infuence on me around 83 and onward. There were minor hits on WCOZ by bands like Def Leppard with Wasted, The rods- Turn it up, Krokus- Burning Bones, etc. Motorhead had a minor hit on that station with that song The chase Is better Than the catch. You did not hear it a lot but when you heard them, It really got me going because you felt like a bolt of lightning hit you. There was also a show on WLYN before it became FNX called Headbangers. That had crazy influence on me because it was not just Hard rock/early metal. It was a lot of punk and post stuff going on also. You heard Saxon but then they would play the Sex Pistols and Wipers right after. They had a format, they don’t care what it was, as long as it had loud guitars in it, they played it. Such openmindness was very rare in those days.
Describe your best musical memory to date.
Seeing Metallica play the Rat before Kill Em’ all was released when they toured with Raven on the Kill Em’ All For One tour at the Rat was one. I was talking to Cliff Burton before the show and I told him I wanted to start a totally heavy band and that was my dream and he said “Allright Man!” After their set was done I was walking about with my ears ringing in a daze, he hands me a Gin and tonic. I tell him I am not of age to drink and he said “You earned it.” That and seeing Motorhead and the crogmags at the Channel. When Motorhead opened up with Ace of spades, the entire place jumped in cue with the accents at the beginning, I mean the WHOLE place then as soon as the song took off the floor of The channel went ballistic. It was amazing. Another one is when I went to see the Venom, Cromags and Voivod in New York around 1986. Voivod starts up on stage with the song Thrashing rage with full on thermonuclear warrior outfits with the singer with a laser looking smoke machine gun as giant mushroom cloud smoke bombs are going off on stage while the front was a blur of headbanging and behind them people were pitting like crazy. Seeing moments like this is something you can’t put a price tag on.
When was a time when a firmly held belief was tested?
Not really because all the people who tried to shake my faith in the things I believed and the things I enjoyed ended up being their own worst enemy. I always was a bit of a moderate with stuff to I was always able to look at both sides. I feel a bit of where I am at is a victory of sorts.
Where do you feel artistic progression leads?
To enlightenment. It is a never ending path that never stops. You can get stagnant at times but that is part of the progression. Sometimes it’s good to take a small break to regroup yourself. Trying different things helps. Last place I want to be is where I was at in the past despite how amazing and awesome the trip has been so far.
How do you define success?
Being happy with the work you have done. Being happy who you are. And a few bucks in the account does not hurt either. I see people liking the music I play is good enough. Can’t get to greedy or you end up falling on your face.
What is something you have seen that you wish you hadn’t?
Too many things. Some people were sending me emails with youtube style clips of horrible stuff and I told them to knock it off. Especially that 2 girls one cup bit. Some people need to fuck off.
Describe something you haven’t created yet that you’d like to create.
A universe that realizes itself. Or dark matter. whatever comes first. I’m not picky. I am a creature from Scotland.
What do you believe is the most essential function of art?
Communication. Making people happy. Creativity is boss. Yay art.
Something non-musical that you’re looking forward to?
Respect and common sense returning. I can dream and when I do, I dream big. Or not. It’s strange to think about that because everything I have been looking forward to has been musical and mostly every movie I wanted to see made has been made. A third season of One Punch man would be nice. I would say visitng family and seeing friends over the holidays. A true Hallmark moment. Have a great one!
Posted in Reviews on February 22nd, 2022 by JJ Koczan
Let’s talk about Acid King. I know it says ‘review’ up there, and that’s all well and good, but in this case, that’s really just me needing to categorize a thing. I remember Acid King getting announced for Roadburn 2011 in Tilburg, the Netherlands. I remember the poster art that’s now the cover for Roadburn Records/Burning World Records‘ Live at Roadburn 2011 live album. I remember that they played the same day as Wovenhand. I remember being stoked to see them, not for the first time, but on the Main Stage of the 013 venue. It was the biggest stage I’d ever seen them play on, and the way the San Francisco trio filled that room with sound — it was smaller then, you’ll recall — was incredible. It was like Lori S.‘s fuzz swallowed Tilburg. The whole town. Not even just the Roadburn part. I’m pretty sure they were feeling the rumble over by the university.
Some sets stay with you over time. I’d seen Acid King before and I’ve seen them again since, but on that stage, with that sound system, and with that crew, it was something special. I could say the same of Colour Haze in 2009, Ufomammut in 2011 or Sleep in 2012, among countless others (one should note that Dead Meadow‘s 2011 set has already been released, and so has Ufomammut‘s, and Godflesh‘s; it was quite a year). But even on Live at Roadburn 2011, you can hear it when Lori intones, “Tell all the people/That I’m on my way,” the sense is that, yeah, she means all the people. You want to run out and let the world know. I don’t know what chain is being broken on “Silent Circle,” taken as is the opening title-track from 1999’s ultra-classic, seriously-I-mean-it’s-one-of-the-best-heavy-rock-records-of-all-time-and-if-you-don’t-agree-there’s-a-good-chance-I’ll-think-less-of-you-as-a-person Busse Woods (discussed here, discussed here, discussed here), but clearly it doesn’t stand a chance against the rattling force of Acid King on that stage. Pushed ahead by then-drummer Joey Osbourne and underscored by the low end of Mark Lamb‘s basslines, Acid King‘s sound was engrossing in the extreme. You could stand there and nod, and you could stand there and nod.
As a live album, it runs a tidy-enough 47 minutes. The show begins with a simple “Alright,” and then a pause presumably while the steam engines that powered their Orange stacks that day got going. “Busse Woods,” again, is the opener, followed by the hooky “2 Wheel Nation,” which led off 2005’s III (discussed here), which it’s worth noting was the band’s latest record at the time, already six years old. That tradeoff, Busse Woods into III, plays out again with “Silent Circle” and “On to Everafter,” and in the closing duo of “Electric Machine” and “Sunshine and Sorrow,” but the ride along the way is sweet, thick and for the most part molasses slow, emphasizing just how much Acid King are able to make a riff roll in a way that’s not only been hugely influential over a generation of heavy rock and then some, but in a way that despite the best efforts of many is still utterly the band’s own.
I watched some of the set from the side of the stage — traditionally, at the Roadburns I’ve been fortunate enough to attend, I’ve given myself one band to do that for; I don’t want to be in the way, but just once for something special — and I watched from the back of the house. When they were done, you could hear the crunch of the plastic beer cups on the floor as people filed out, no doubt to grab some munten tokens and purchase their next round, and as I remember it, things felt quiet. That might honestly be me projecting in hindsight, but I kind of stood there for a while, stupefied, exhausted from travel but very much alive despite having been chewed up and spit out by what I’d just seen and heard. These 11 years later, and especially given the events (and in terms of concerts, lack thereof) over the last two years, hearing Acid King‘s Live at Roadburn 2011 feels like something precious.
And yeah, that might be true of any number of live albums that happened to be made at a show you attended. It’s always cooler when you can say you were there. But god damn. Consider the unveiling of “Coming Down From Outer Space.” What would eventually show up on 2015’s Middle of Nowhere, Center of Everywhere (review here, discussed here) — which came out on Svart Records, no less — was aired in the midst of the show, right between “On to Everafter” and “Electric Machine.” There was no grand announcement, no “Here’s a new one” or anything like that. Just feedback and then the riff that would in no small part define that album, itself a landmark that continues to hold up. Immediately catchy, immediately spaced out to suit the title, “Coming Down From Outer Space” here only leaves me wondering why Live at Roadburn 2011 is the first Acid King live outing, and sits easily among the already-then-familiar cuts from III and Busse Woods. And even for being unfamiliar at the time, that it heralded more to come from the band was a joy and a relief to witness.
Understand, as a fan of the band, I want this release to do well because I believe strongly in what Acid King do and I want them — or Lori S., who is now the sole remaining founder and has a different lineup in place — to continue doing it, but I can’t and won’t try to separate this live record from my experience of it, and if nobody buys it and it’s a huge flop or whatever, I’m still happy it got made because damnit, I want it for myself. You either get Acid King or you don’t. They’re either pioneers who helped shape the sound of modern heavy or they’re not, and if you think not, I seriously doubt any ranting and raving from me about how great their Roadburn 2011 was is going to change your mind. But know this — if you don’t appreciate this band, everything we as listeners get from them, it’s your loss. As a member of the human species. Your loss.
Good talk. Now if you’ll excuse me, I have a preorder to wait on.
Acid King, “Electric Machine” Live at Roadburn 2011
