Though admittedly the paradigm has shifted somewhat in the era of social media word-of-mouth, manipulable algorithms and so on, Polish heavy, like that of Greece, Ukraine and to a lesser extent Italy, has never seemed to carry the same respect in the greater continental sphere as bands from, say, Germany, Sweden, or the UK. I won’t claim to understand centuries of European tribal politics — and oh the war drums beat again — but such outright discrimination is only to the detriment of all. And again, that’s lessened over recent years, but in some cases there is still a sense of isolation, parallel perhaps to American views of bands from Mexico or Canada, both nations with vital undergrounds.

One could go on at length about the rigors of geopolitical relations as regards fuzzed out rock and roll, doom, and other sundry weighted sounds, but the thing is, with a mind toward Polish heavy, I put on Krapkowice-based four-piece Andromeda Space Ritual‘s All Shades of Perception when I started writing this, and I’m afraid my brain has melted. I can feel it quietly leaking out of my left ear as I slightly tilt my head in that direction to account for how I’m sitting on the couch with my legs folded under me and in the quiet of the early morning, I can’t say I regret either the inevitable cleanup — that extra roll of paper towels is gonna get put to work, I guess — or the liquefication of my train of thought.

Indeed, I’d much rather take out the ol’ stationary and send Andromeda Space Ritual‘s Kamil Lasonczyk a personal thank you note for ‘dat bass’ throughout the album. The crowded Euro underground — Northern, Southern, Eastern, Western — is not at all short on heavy psychedelic rock, but All Shades of Perception stands out in no small part because of the prominence of low end and the creativity of the play there in kind with the keyboards and synth of Dominik Spasówka, the guitar of Marcin Bis — which isn’t necessarily de-emphasized, but able to lead or recede in the well-balanced mix — and Mariusz Łyżwa‘s drums. Indeed, where more jam-minded fare is often held together by the drums, sometimes in what feels like endlessly looping progressions, in 15-minute opener and longest track (immediate points) “Signs of the Unseen” and along with the early, vaguely Eastern-tinged echoing howls of centerpiece “Relay,” Lasonczyk is doing the word of uniting the melody and rhythm, bringing the songs coherence they’d otherwise be very much lacking.

Released in June 2020 through Galactic SmokeHouse, the five-song/44-minute instrumentalist offering is cosmic in its sense of reach and ability to cast an atmosphere. The band bills it as their first full-length following 2017’s four-tracker Satellite, and if one considers All Shades of Perception as a debut release, its patience is all the more impressive. Toward the end of “Relay,” even as the guitar reaches outward toward My Sleeping Karma-style contemplation, bolstered in doing so by the weaving lines of keys, the vibe is particularly resonant in a way that, while shorter, feels like it’s building on the slower and languid soloing in the second half of “Signs of the Unseen,” the two tracks separated by the sub-four-minute “Lazarus,” a piece that would seem to be entirely synth-based (there may be some guitar effects in there, etc.) and intended as a bridge between the longer songs that’s more substantial than an interlude or at very least more hypnotic. That, too, could be the idea.

The structure of All Shades of Perception works along those lines, longer song, shorter, longer, shorter, longer, with the digipak edition of the album available from the label its only physical release to date, allowing for an entirely linear experience to which the flow is excellently suited. That is to say, while one could split sides A and B between “Lazarus” and “Relay” and I’m sure give vinyl psych heads a platter worthy of their various social-sharable photoshoots (nothing against them), the direct-from-one-end-to-the-other approach has its own rewards when it comes to listening. “Bullet Cluster” (6:41) follows “Relay” and holds a tense undercurrent in its first couple minutes, subtly telegraphing the surge to come at the 2:30 mark introduced by — naturally — the bassline as the full meditative lumber takes hold, shades of a fleshed-out Om taking the foreground backed by the steady tap of snare and the crashing cymbals. Guitar and bass are both exploring, and the vibe is almost improvised feeling, but there’s too much of an awareness of where they’re headed for it not to be plotted, the comedown before the five-minute mark leading to a second crescendo before the last keyboard drama — Wendy Carlos walks by and waves, carrying a beat up LP of the A Clockwork Orange soundtrack — before the near silence at the outset of 10-minute closer “Telepath” sets the foundation for its own movement.

For being five minutes shorter, “Telepath” is no less immersive than was “Signs of the Unseen” — or “Lazarus,” or “Relay” or “Bullet Cluster,” for that matter — as it works on a singular, patiently executed linear pattern, marked out by some more angular turns than have come before and a right-out-the-airlock spacey midsection of punchy noodling, but the end result is righteously fluid and settles itself in its final minutes on a throne of tonal substance, the guitar, bass and keys meeting in a way worthy of the far-off thudding drums backing them. It comes apart with a last crash and residual noise in a way that feels purposefully unplanned, but however much off-the-cuff it may or may not be, it hints at a spontaneity under the surface in what Andromeda Space Ritual do and is a welcome last-minute manifestation of the ‘ritual’ in their name.

To answer the question you didn’t ask, no, I don’t think I’ll miss my brain. Looking down at the puddle of goo that once held the noncorporeal essence of myself — the ‘me’ I think of as me — I’ll probably just scoop it up and shove it back in my ear, hope for the best. Fingers crossed, and such. And much respect for Polish heavy.

As always, I hope you enjoy. Thanks for reading.

—

By the early afternoon yesterday I was so tired I wanted to cry. The entire week was exhausting, and I slept late yesterday — until about 6:30AM, though doing so involved shutting off my alarm twice — but I’d gotten up before 4AM on Wednesday and a better night’s sleep obviously had not been enough. It’s 6:30 now too. My alarm went off at 5 o’clock so I could get up and write this before The Pecan was really kicking. I see him on the monitor, he’s awake. He hides in his blanket when he gets up now, as a game. When you go upstairs you say, “What is this lump? I remember putting a sweet kid to bed,” and then he uncovers himself and it’s a big reveal. Dude is big on repetitive play. We do this daily.

He was back to school this week, which was fine. We had a good week last week with him home but I think by the end he was ready for something else, so school is that. This week was kind of bumpier. I’ll ask him a question and he just ignores me, and last night at bedtime I don’t even remember why — I think I was putting away a toy — he started in both punching and biting me and I just took him upstairs and instead of closing out the usual bedtime routine just shut the door and left him there. He cried for a couple minutes and I came back downstairs and as usual The Patient Mrs. was like ‘you’re a terrible person’ without saying it out loud in her “I have WASP roots in Connecticut kind of way — which is lovely — and I went back upstairs and talked to him for a while. He asked why he didn’t have grandpas, so I sang him “Dear Prudence” and then talked about The Patient Mrs.’ dead father and my dead father for a while. Covid and a fall, respectively, if you’re curious.

The latter was interesting because The Pecan made the connection entirely on his own between his fall down stairs and cracked skull and my father’s — a connection I hadn’t previously made. He said “he got a big bonk” and I said “yes, much bigger than yours and he didn’t recover.” The kid is too smart for his own good. ALSO too smart for my good. I will cry when he moves across the country and abandons us here in this house.

Errands today. Shopping. Maybe Costco? I don’t know. I’m so out of it I might just be inclined to take him to a park and let him run it out, despite the fact that it’s been obnoxiously cold here all week. Just cold enough to make me want to hunker down. Cold enough that waiting for his bus in the morning has been an extra pain in the ass. We’ll see I guess. I tried to get him to watch A Hard Day’s Night yesterday but he wasn’t feeling it because it’s something different, plus he knows there’s a bus in Magical Mystery Tour — which is otherwise horrifying to a small child, mind you — and even the train in black and white doesn’t seem to be enough to persuade him away from that. Maybe I’ll put on the Yellow Submarine cartoon and just scar him for life. He can write an Obelisk Questionnaire someday about how his first musical memory was seeing Yellow Submarine at four years old and having nightmares forever about it.

There’s a Gimme show today. 5PM. All requests again. The playlist should be up by now, so thanks if you tune in. It’s a good show, as much as I can take responsibility for it.

Thanks for reading. Have a great and safe weekend. Watch your head, drink a gallon of water. I’m back on Monday and will be around in the interim working on whatnot.

FRM.

The Obelisk Forum

The Obelisk Radio

The Obelisk merch

Yes, it was the name that got my attention, but it was the song that held it. Based in Leipzig, Germany, the instrumentalist trio Godzilla in the Kitchen — which I feel like I can relate to on a number of levels, involving both my own sad, lumbering mass and the unrestrained destructive urgencies of the small child in my life — released their self-titled debut album in 2015, and it’s from the 2020 remaster of that record that the track “Dr. Moth” comes. They’ll have a new one out sometime, ever, maybe next year or late in 2022 given the vagueness on the issue from the PR wire below, but whatever. As Argonauta Records continues to branch outward from its foundation already in the varying spheres of heavy, Godzilla in the Kitchen bring to their roster more than just an evocative moniker.

You can hear that for yourself, so don’t let me keep you except perhaps to remind that the first record is seven years old and no doubt the theoretically-impending next one will be somewhat different. Time happens, etc. Still, if this is the general idea, I’ll be glad to find out what the years since 2015 have done for Godzilla in the Kitchen‘s sound.

Here’s the signing announcement:

Heavy Psych Rock Trio GODZILLA IN THE KITCHEN Signs With Argonauta Records!

Leipzig-based heavy psych and instrumental trance rock band GODZILLA IN THE KITCHEN has inked a record deal with Argonauta Records, home for acts such as Los Natas, Mitochondrial Sun by Niklas Sundin (formerly in Dark Tranquility), Mammoth Storm, High Fighter, Suma or Ancient Vvisdom to name just a few. Formed in 2011 in Jena, the German trio creates a vibrant mixture of melodical recognizability and rhythmic complexity. GODZILLA IN THE KITCHEN have released one full-length record to date, with a new album to follow in the hopefully not so distant future via the Italian powerhouse label.

“By a fan of Instrumental music I am, I have to warn you that Godzilla in the Kitchen are really something unique in the whole genre,“ Argonauta Records owner Gero Lucisano is convinced. “Trance inducing and Psych Rock in a very genuine way. Highly melodic and definitely with a lot of energy, the new album will set new standards for the underground movement!”

The band comments: “We are delighted to have signed our first record deal with such a prestigious and experienced label as Argonauta Records. Gero is an expert in the industry and an absolute specialist of the underground music scene. We are taking the next big step as a band and releasing our 2nd album together with him after our debut 7 years ago. We are really excited to present our new songs to you.“

www.facebook.com/GodzillaInTheKitchen
www.godzillainthekitchen.bandcamp.com
www.instagram.com/godzilla_in_the_kitchen

www.argonautarecords.com
www.facebook.com/argonautarecords

Godzilla in the Kitchen, Godzilla in the Kitchen (2015/2020)

Godzilla in the Kitchen, “Dr. Moth” official video

It’s the last Friday of the month, and in 2022 that means new All Them Witches. Following up on March’s “Silver to Rust” (posted here), February’s “Fall Into Place” (posted here) and January’s series-kickoff “Blacksnake Blues” (posted here), the 12:45 “Slow City” is a steady rolling linear instrumental jam the likes of which the Nashville four-piece used to periodically post on their Bandcamp page, at random, sometimes temporarily. One is reminded a bit of “George W. Kush” or the Effervescent EP (review here) that first came out in 2014, though certainly there are other examples of their gone-exploring impulses captured on tape, including on their studio albums. Dudes can jam. We knew that.

There’s a build in “Slow City,” and the guitar hints late at some foreboding vibes, but they don’t blow out a payoff. Robby Staebler‘s drums hold steady and are atmospheric in their own right, and the guitar of Ben McLeod is in its own trance throughout, with Parks‘ basslines and what may or may not be Allan Van Cleave droning keys out in the background — I’m honestly not sure; if you told me I was imagining it, I’d believe you — adding to the breadth. It’s a mellow vibe but not at all inactive for that, and answers the peaks and valleys of “Silver to Rust” with a fluidity of its own.

All Them Witches are on tour starting May 6 — they’re coming to Asbury Park, which is nice — and after playing what the folks who worked at the jam-band magazine in my old office used to refer to infuriatingly as ‘The ‘Roo,’ they’ll head to Europe for a slew of other festivals and dates, none of which seem to be written out in a conveniently cut and pasted list, but all of which can be found, with ticket links and whatnot, at the link below.

Enjoy the track and here’s to marking the calendar for May 27 and the next song in the Baker’s Dozen series:

All Them Witches, “Slow City” official video

Tour On Sale Now:
https://allthemwitches.lnk.to/tour

Subscribe: https://allthemwitches.lnk.to/subscribe

All Them Witches is:
Charles Michael Parks, Jr – bass, vocals
Ben McLeod – guitar, vocals
Robby Staebler – drums, vocals
Allan Van Cleave – Rhodes piano, keys, violin

All Them Witches, “Blacksnake Blues”

All Them Witches, “Fall Into Place” official video

All Them Witches, “Silver to Rust” official video

All Them Witches on Facebook

All Them Witches on Instagram

All Them Witches on Bandcamp

This isn’t the first time I’ve done this — an all-request show — but I’m especially happy to have put word out for people to pick tunes in this instance, because look at that middle block of songs! It’s like a guided tour through classic stoner rock. Not Slomosa so much, though they certainly emphasize the enduring influence of ’90s and ’00s heavy rock on new bands — or Circle, who end that block in avant-sludge fashion, but the rest of it is right in there. Unida. Goatsnake, Astroqueen. Lowrider. Acrimony. I’ll say them again. Acrimony. Even newer Bitchwax. I could’ve put Spirit Caravan in there as well, I guess, but I like the way this one flows as is, and you can see, they all came by request.

Some were just bands — play Slomosa, etc. — but some were specific to the songs included here. Playing Tin House and Funkadelic back to back is my idea of a good time. See also Lowrider and Goatsnake. I was thinking I might do blurbs in the Gimme chat for these bands while the show’s on. The last episode was pretty dead — I think it was also Good Friday? so maybe that had something to do with it — but just to help people kind of understand some of the context here, because I’m guessing that the more headbangerly contingent is going to see stuff like 500 Ft. of Pipe and not know what the hell is going on. Fair enough.

I may do that, I may not have the energy later today. I’ll be around in any case. Come say hi.

Thanks if you listen, thanks if you’re reading. Thanks in general.

The Obelisk Show airs 5PM Eastern today on the Gimme app or at: http://gimmemetal.com.

Full playlist:

The Obelisk Show – 04.29.22

The Obelisk Show on Gimme Metal airs every Friday 5PM Eastern, with replays Sunday at 7PM Eastern. Next new episode is May 13 (subject to change). Thanks for listening if you do.

Gimme Metal website

The Obelisk on Facebook

Based in Cape Town, South Africa, blues rockers Basson Laubscher & the Violent Free Peace have set a goal of going to Europe in 2022, and they seem largely unconcerned about where they play once they get there. To wit, they’ll come to your house and bring rock and roll if you’re willing to meet their rate, and it’s pretty awesome to see a band ready to throw down in such a way. “We don’t care, let’s do this.” As abiding ethics go, it’s about as rocking as you get. Near punk, actually.

“Shoot Me Down” is the band’s second single of 2022 and they’ve got a video filmed in their practice space to help spread the bluesy vibes of it. I don’t know if they’ll get to Europe this year or not — my understanding is that two years of solid no-tours has resulted in a backlog for venues now — but the fact that they even put it out there to their listeners instead of trying to work on it like it’s some kind of big secret I find admirable. I hope they’re able to make it happen.

Video’s at the bottom of this post, and the following came down the PR wire to go with:

Basson Laubscher & the Violent Free Peace release video for new single ‘Shoot Me Down’

Basson Laubscher & his band of blues-rock bandits brings you a hard-hitting, raw, garage-rock salvo on his latest single Shoot Me Down.

Shoot Me Down takes lyrical inspiration from the frustration and defeat from the end of a relationship and inevitable breakup and blends it musically into blissfully dirty, heavy, psychedelic, fuzzed-out rock n’ roll.

Hailing from his testify album, Laubscher shows how he makes his Stratocaster sing with his signature passionate, raw & pure soul ecstasy. This is a no holds barred riff burger and will get you headbanging and throwing the devil horns in no time.

There’s an accompanying video for the track which follows the no frills & cut the bullshit approach by letting the band do what they do best, get in a room and just let it rip. Shoot me down was filmed in their band room by the video’s director & editor Kyle Wesson, who also served as the band’s drummer till 2021.

https://www.facebook.com/BassonLaubscherandTheViolentFreePeace/
https://www.instagram.com/bassonlaubscher_thevfp/
https://www.bassonlaubscher.com/

https://www.facebook.com/sitthefolkdown/
https://www.instagram.com/sitthefolkdown/
https://www.stfd.co.za/

Basson Laubscher & the Violent Free Peace, “Shoot Me Down” official video

At some point, there must have been a conversation. I don’t know Thessaloniki, Greece’s Naxatras personally — though they’ve always been very polite in my dealings with them, which counts for a lot in my book — but even if it was the most tentative, “Let’s try something different this time,” there’s no way that a record like IV follows a record like 2018’s III (review here) without a conscious acknowledgement of changing approach. Sure enough, as IV‘s reported storyline is, “A fantasy tale of bizarre landscapes and valiant quests. A saga of transformation,” this would seem to be at least a tacit recognition of the shift that’s taken place in Naxatras over the last few years — one is reminded of the old adage that any act of creation is ultimately telling the story of the creating itself, consciously or not.

And as Naxatras have evolved from the admirably organic, dedicated-to-improvisation jams of III, the prior 2017 single All the Stars Collide into a Single Ray (discussed here), 2016’s II (review here) and EP (discussed here), as well as their 2015 self-titled debut (discussed here), into the spirited and multifaceted progressive rock — classic and modern in kind — that has so clearly here been worked out from those same jams into the 10-song/51-minute entirety of IV, topped with Chris RW‘s likewise lush, fantasy-style cover art, the story in these songs is inevitably also their own. And indeed, it is one of change to such a degree that one can put on old and new Naxatras next to each other and not even realize it’s the same band.

This ambition on the part of the group — a four-piece here for the first time with the welcome addition of Pantelis Kargas on keys and synth alongside the returning trio of guitarist/vocalist John Delias, bassist/vocalist John Vagenas and drummer/percussionist Kostas Charizanis — is remarkable. And it’s not just about having keyboards or vocals for the first time. It extends to the very construction of the songs themselves, even instrumentals like the opener “Reflection (Birth)” later complemented by the more electrified “Reflection (Death & Rebirth)” and the swirling but plotted “Journey to Narahmon” — which has vocals, but no lyrics — and the fact that even the impressionistic, which is not to say vague, placement of the words in “Omega Madness” early on feels intentional.

The calm AOR-on-the-beach realization of “The Answer,” blatantly classic pop, and the accompanying three-minute psychedelic hints of “Ride with Time” are different from anything Naxatras have done before, and they manifest the patience of the band’s jammier past while pushing deeper to hone a present that sees the songs tie together in a full-album flow while serving their own purposes in atmosphere. The band have essentially taken tighter control of the aspects of their creativity they formerly seemed to take such delight in letting roam free while rolling tape to give their listeners as organic an experience as possible.

IV is inevitably defined by this departure. It can’t help but be. The dreamy Rhodes notes, percussion and mellow uptempo strum that emerges in “Radiant Stars” is hypnotic and comes coupled with the ultra-memorable “Horizon” — which is both among the most straightforward of the inclusions and the kind of song that might, if somehow conjured out of a ‘thin air’ jam, might drive a group to reevaluate their processes in the first place — as if to emphasize the point of Naxatras‘ ability to create the world in which this story takes place. Aided by the clear and full production of Nikos Logiotatidis at Magnanimous Recording Studio, who also helmed the admirable mix (Dave Collins mastered), Naxatras are able to present their turn as more than simply that; rather, it is a step forward from who they were and a bolder confrontation against what might be expected of them than more bands would be willing to make.

IV shares its willingness to be beautiful, to be unrestrained by considerations of needing to be weighted-down tonally, needing to be this or that, and needing to be anything other than what the band feels it needs to be, with what Naxatras have done before, but again, it’s the shape that takes that is distinguishing factor both from their past and from the bulk of progressive rock at large, heavy or otherwise. The long stretch of “The Battle of Crystal Fields,” which lays parts after each other in linear fashion and leaves the subsequent “Reflection (Death & Rebirth)” to tie that procession in with the rest of its surroundings — effectively, mind you; it works — feels every bit like the culmination it is because the band are wholly confident in their delivery. Like the best of anything, Naxatras get away with redefining themselves through IV simply by doing it and leaving no room for questions.

That said, Naxatras are of a profile as regards acts within European underground heavy and certainly among the top exports of Greece’s ever-admirable crop of bands that there will be those unable to follow them on this new path, if indeed that’s what IV represents over the longer term. Does that matter? Probably not to the band, who will see new heads at shows to replace those dropped out precisely as a result of these changes and the more accessible nature of their songwriting as it is here. They should, if they haven’t, find a venue in which to present IV in its entirety live with all the according instrumental shifts to carry them to the acoustic, semi-twanging roll of the epilogue closer “Shape of the Evening,” but however IV comes to stand in their catalog in the context of what they might do next, the fact remains that in listening, it feels like exactly what Naxatras want it to be.

And for a group of musicians to not only take that new path but to bring their intention to life with such an accomplishment of craft is a staggering achievement. It may be since Sweden’s Witchcraft modernized their once-vintage-style sound that a band has so readily charted a way forward from the trappings of microgenre, and whatever else IV does for Naxatras over the next few years — whatever their next conversation might lead to — their uncompromised vision has made them a less predictable unit with a scope beyond what was known from them before. That would be enough to call the record a triumph, even if the songs weren’t also so richly executed as they fortunately are.

Naxatras, IV (2022)

Naxatras store

Naxatras website

Naxatras on Facebook

Naxatras on Instagram

Naxatras on Bandcamp

Naxatras on Spotify

Naxatras on YouTube

Los Angeles-based solo outfit Into the Valley of Death self-released its debut EP, Space Age, last Fall, and the five-songer has been newly picked up for release through Atlanta’s Doomsayer Records. The project is spearheaded by Spencer Robinson, also known for his bass work in The Lords of Altamont and for playing/recording with his backing band, The Wolf Spiders. On Space Age, he is on his own with what might be programmed drums pretty deep in the mix and very-much-real thickened guitar strumming at the forefront.

Doesn’t sound like anything too fancy, I know, but that balance — guitars up, drums down — turns out to be crucial in the EP’s overall affect. A song like opener “Leeches” or the centerpiece “Strip” present a vision of desert-style heavy rock redone in the methodology of bedroom solo folk. Where others might try to ape the sound of a full band, Into the Valley of Death does everything a band does — “100 Feet Tall,” with the video premiering below, proves that handily enough — but with the mellow-gruff vocal delivery casting shades of Mark Lanegan and the often stark instrumental spaces, Space Age sounds like it’s a one-person offering. The resulting vibe is intimate but not minimalist, tripped out and exploring but based on solid footing. Second cut “Under the Ground” has a march that would work on stage, and “Leeches” might too, if in more grumbly fashion, but the more languid moments feel geared toward something else entirely. They are what they are.

Rock gets the last word as “Malice” rounds out the 18-minute IPO with more uptempo riffing and a daring bit of rhythmic shake, but already the brooding sensibility has resulted in a style richer than just one thing and richer too than the rawness of the production might at first lead one to believe. In the video for “100 Feet Tall,” Robinson mines the public domain to discover animated footage from the 1982 Korean film, Raiders of Galaxy (yes, I asked; that is not information I could just pull out my ass), which, if you’re interested in reading about the politics of post-war importing of cultural products between Asian nations, offers some fodder for that. Mostly when it comes to the clip for “100 Feet Tall,” it’s got giant robots. Accordingly, you could only really say it’s on theme.

According to Doomsayer, there’s a follow-up EP in the works. Until then, the full Space Age EP is streaming near the bottom of this post, and you can see and hopefully enjoy the “100 Feet Tall” video below.

Right about here:

Into the Valley of Death, “100 Feet Tall” video premiere

Spencer Robinson on “100 Feet Tall”:

100 Feet Tall: Have you ever ingested something that mistakenly made you feel bigger than life? Invincible? That’s what 100 Feet Tall is about.

We are excited to announce and welcome Into The Valley Of Death into the Doomsayer fold. Our hope in this partnership is to gain more eyes and ears for the hardworking efforts of Into The Valley Of Death.

They have already been writing and working on a new EP, which will find its home here with us. So go experience “Space Age” and get familiar with them before the EP drops.

Into The Valley of Death is Los Angeles Stoner Metal. Taking their cue from the bands of the low desert, Doom Metal, and Psychedelic Garage, Into The Valley Of Death creates something dark and heavy, druggy and trippy.

Into the Valley of Death, Space Age (2021/2022)

Into the Valley of Death on Bandcamp

Spencer Robinson and the Wolf Spiders on Facebook

Doomsayer Records on Facebook

Doomsayer Records on Instagram

Doomsayer Records on Bandcamp

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: JP of Bog Body

—

How do you define what you do and how did you come to do it?

I am one half of Bog Body. Split between SVR and myself, we share most duties, but the one that is mine alone is drumming. We have been friends for a while, sharing musical and non-musical interests and somewhere in 2016 he contacted me about playing music and we set off from there. Bog Body started with a very simple idea; create rhythmically captivating music tied to the low-end and as abrasive as possible.

Describe your first musical memory.

My first musical memory is Beethoven’s 5th. I was enthralled with its famous refrain, hearing it felt like a name was given to something I could never identify before. I must have been five years old or so.

Describe your best musical memory to date.

Bog Body’s performance at Brooklyn Bazaar in the Fall of 2019. We shared the stage with Antediluvian and Adversarial; two very powerful and meaningful acts. I feel that our set that night was one of our best.

When was a time when a firmly held belief was tested?

No. I subscribe to no dogma, no methods, or rules; so there exists little ability for anything to be tested in that regard. I believe in myself and those close to me — and they’ve never let me down.

Where do you feel artistic progression leads?

It’s self-fulfilling, self-devouring. I shudder to call myself an artist, but I can speak to progression leading only to further desires and goals. Along the way, a sense of fulfillment, a cathartic release might be found. Conversely, you might look back at your “progress” and only lament on its shortcomings… but in that way you’re still looking forward to righting the wrongs and improving.

How do you define success?

Setting goals, meeting those goals, and being relatively content with the result. Wading into the fog without an idea of what you want to accomplish seems to be the most likely scenario, but sometimes a guidepost found might be the most rewarding one. I’ll define success here as creating a recording and wanting to do more.

What is something you have seen that you wish you hadn’t?

I’d take back discovering a dead family member.

Describe something you haven’t created yet that you’d like to create.

I would like to collaborate with an artist of a kindred spirit, but different musical style. It would be a full immersion of methods and views; an ecstatic crash of ideas and violent emotion that could be captured to tape. I won’t say who, but maybe one day it will happen.

What do you believe is the most essential function of art?

To express. Whatever you may want to express, there will be at least one other human out there that it will resonate. A need to express will keep your art pure and without credence to clout, money, or attention. For me, I want to be lost in what I create. The moments you forget you’re playing and your eyes close instantly; that’s what art is for.

Something non-musical that you’re looking forward to?

Robert Eggers’ new film, The Northman. I enjoyed the VVITCH and The Lighthouse. Eggers does so much without dialogue — it’s easy to get lost in the visuals and sound design of his films.

https://infernomerchstore.com/collections/bog-body
https://www.instagram.com/bog_body
https://www.facebook.com/bogbodyofficial
https://bog-body.bandcamp.com

https://profoundlorerecords.com
https://www.profoundlorerecords.bandcamp.com
https://www.instagram.com/profoundlorerecords
https://twitter.com/profound_lore
https://www.facebook.com/profoundlorerecords

Bog Body, Cryonic Crevasse Cult (2022)