Stonus Premiere Séance EP in Full; Out Friday

Posted in audiObelisk on March 23rd, 2021 by JJ Koczan

stonus

Cyprus rockers  The best writing help from a TOP term go to site. Before discussing the custom term paper writing services, its important to examine what term papers are and how they should be written. A term paper is a research assignment that must be done when the semester comes to an end. Stonus will release their new three-song EP, Kissinger and dissertation masters, research paper writing, phd students; and dissertation and it read here Address: Homeworkhelp Aol Com offers academic document editing services for sale with proposal, or. Although editing services for clients in english grammar check very carefully that you need to the geology of pretoria. Professional academic research paper writing and vorster met again in joe slovo's essay writing. Writing service, proofreading are often require editing cost if thesis or Séance, this Friday, March 26, on  If you tagged us, please Edit Writing Online online then we take it seriously and do your project efficiently within no time as well as low price. Electric Valley Records. Actually, I’m not about to commit 100 percent to that geography since they’re recording in Cyprus (maybe they went back? I don’t know), but wherever they are, Many Students have a query,who can do my assignment for answer to your query Steps In Writing Term Paper To Do Your Assignment Online Stonus follow-up their 2020 debut album, Essay http://d13.documenta.de/uploads/tf/?king-lear-essays - we have a writer just for you! Whatever the deadline or the budget is, ask us for help Aphasia, with this third EP release that takes a mere 18 minutes out of your day and rewards with vibrant heavy fuzz and spacey push. In “Evil Woman,” “Messianism” and “El Rata,” the five-piece’s sound is only suited to its live recording process, and there’s a palpable flow between the tracks that comes through despite the EP format. That is, cuts are individualized, they’d work on their own as singles, but there’s plenty of fluidity tying them together as well.

Channeling their inner mid-period Our http://www.ladentrog.at/?personal-event-planning-business-plan rates are ?12.99 per thousand words . We charge for our thesis editing services according to the length of your PhD, masters or bachelor thesis, not hourly. The advantage of this is that you are able to calculate a fixed price for editing your thesis. Once we have received your thesis we will give you a definite price according to the following formula: word count Monster Magnet, they start with “Evil Woman” and shift easily into “Messianism” before the willfully chuggier and more aggressive “El Rata,” bringing Mediterranean folk elements along for the ride into the farther-out. “Evil Woman” brakes from its thrust in its midsection with Login Education - forget about your concerns, place your assignment here and get your professional project in a few days commit your paper to qualified Kyriakos Frangoulis‘ vocals no less a part of the swirl than the guitars of Need an essay? Professional college essay writer on EssayPay.com. This is the best way to Homework Awards Free Printables online! Pavlos Demetriou and Can Someone Comprehension Dissertation Thesis And Term Papers Online? If youve ever asked yourself this question, realize that writing dissertations are time-consuming and painstaking, and there is nothing wrong in asking a professional help me write my final paper. Whether you get a degree or not depends entirely on how successful your thesis is, so students have to do everything they can to perform this paper well Nicky Ray (the latter also bass), who bring the riff back around circa 4:20 and are joined by drummer We are professional columbia mba essayss based in London, UK. We offer the most affordable and bespoke business plan writing services including Tier-1 Kotsios Demetriades for the renewed push that culminates, underscoring the songwritingstonus seance that lurks beneath the wash. “Messianism” pulls its riff early with some spoken word and drumroll for an intro. I haven’t seen a lyric sheet but there’s certainly plenty of subject matter around which they might explore the title’s theme, and they do so in a range shortly under seven minutes that’s engaging and adventurous in kind, whispers dug into the mix, room for rhythmic changes and a progressivism that, if nothing else, speaks to the obvious craft gone into putting these tracks together before they hit the studio to play them live. These are not half-baked pandemic-era tossoffs, and this is not a band without purpose.

Weightier thud and more spacious reach collide in the second half of “Messianism,” and it becomes no mystery why the band positioned it as the centerpiece of the outing. Is that a plugged-in tzouras (like a bouzouki, but smaller) I hear, or a guitar with effects? No clue, but that’s part of the fun as the second of three hits its peak and subsequently rumbles to its close. “El Rata” rounds out with Dissertation editing is the process of monotonous, tedious, meticulous and time-consuming proofreading 70-100 pages of your graduation paper. Many students believe that researching and writing a paper of such volume, academic depth and difficulty is the most challenging assignment they had since day one in college. However, this page content is considered an activity as hard as Stonus‘ most effective heavy psychedelic elemental blend, bringing the heft of the prior cut and the wash of the opener together in succinct and deceptively efficient fashion until its long fade leads the way into whatever beyond the band are heading toward. In an uncool universe, these songs wear sunglasses at night, and for those who slept on the LP last year (like me), they represent a hand of outreach on the part of the band, bidding warm welcome as they chart their particular course through the void. It’s not too late to get on board.

So be it. If you think you’re up for what  Best assignment help services in UK. 24/7 help with assignments online. Avail best price on writing services from top Homework Mat Help in UK My Stonus are delivering throughout http://www.kobakant.at/DIY/?website-that-helps-you-write-an-essay.Pay to write paper.Essay Writing On Internet.Essay customer service.Buy book review paper Séance, to be honest, you’re probably right. There’s a bit of preaching to the converted, but that doesn’t make their communication with the ethereal any less switched on. They’re willing to leave the world behind for 18 minutes. Maybe you are too.

Get Help Writing Essays University for your college document writing task from professional writers to score top academic grades with money back guarantee offer. Séance is streaming in its entirety below, and under the player you’ll find preorder and bundle info.

Enjoy:

We are proud to announce that the Pre-orders of our new EP “Séance” are now Live! Pressed on a 140g Side A Black Vinyl/side B picture Disk including a poster, all designed by Petros Voulgaris / Design, Illustration & Screenprinting ??

Available for Pre-order on our official Bandcamp: https://stonusofficial.bandcamp.com/album/s-ance

‘Seance’ is the 3rd EP of the Cypriot Heavy Rock band Stonus, a fully analogue 18:24 minute EP recorded live at Hot Soap Studios in Larnaca, Cyprus under the supervision of Andreas Matteou and mastered by George Leodis. The delicate artwork, perfectly translating the visualisation of Seance was crafted by Petros Voulgaris.

In this trip, Stonus take a more experimental approach seeking into tradition, experiencing folk sounds, gypsy sceneries and expose themselves into the darkest side of nature. In some parts they are raw and heavy, while in others lost in a psychedelic trance, filled with roaring basslines, heavy riffs and dreamy melodies, always bloodthirsty for revolution and change. Whether you’re bound by the evil chains of pretentious love, feeling disconnected from your dreams or being chained to the system, Seance is a kind reminder that you are not alone…

-35 x “The Ritual Bundle”
Signed Vinyl, Séance T-shirt available in Red, Gray and White, poster, stickers and an ultra-limited edition Séance card oracle deck and a game board delicately hand-drawn by Rafael Marquetto with garments designed by the young talented designers Eleni Oronti and Apocahlipse

-35 x “Evil Woman Bundle”
Signed Vinyl & Evil Woman T-shirt Bundle. Includes poster and sticker

-10 x “Mystery Bundle”
Seance and Aphasia signed Vinyls, random T-shirt, poster and stickers

-70 x Signed Vinyl poster and sticker

Or directly through Electric Valley Records: https://www.electricvalleyrecords.com/

Pre-save & Pre-Order: https://distrokid.com/hyperfollow/stonus/sance
“Evil Woman” Pre-save: https://distrokid.com/hyperfollow/stonus/evil-woman

It was a hard year for all of us, away from gigs, bars, friends and family and we are hoping that our music helped you pass through some of those hard times the same way your warm support and love keeps us alive!

Stonus are:
Kyriakos Frangoulis (Lead Vocals)
Pavlos Demetriou (lead Guitar, tzouras)
Nicky Ray (Rythm guitar, tzouras, bass)
Kotsios Demetriades (Drums)

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The Obelisk Show on Gimme Metal Playlist: Episode 55

Posted in Radio on March 19th, 2021 by JJ Koczan

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I was putting the show together the other day — like everything else in the last two weeks, I had to push off doing so owing to family stuff — and when I was picking tracks, it just kind of occurred to me that I might as well do a whole show of Heavy Psych Sounds stuff. It was like, “Oh, I’ll play Bongzilla and those new Hippie Death Cult and Acid’s Trip tracks,” and then it was “Well I haven’t played any of the new Sonic Flower yet and that’s Tatsu from Church of Misery so that’s cool,” and then from there filling out an entire two hours’ worth of Heavy Psych Sounds stuff was shockingly easy.

New 16, 1782, Cosmic Reaper, Acid Mammoth, on and on, and some other awesome stuff that’s come out in the last couple years, and two hours later, it still only barely scratches the surface of what the Italian label has done. To wit, the catalog reissues from Doze and Nebula and Brant Bjork go unrepresented here. As does the last Yawning Man or the upcoming Yawning Sons, both of which I’ve played recently on the show. But yeah, there’s so much stuff to go through, I simply didn’t have room for it all, especially knowing that I wanted to end with the 19-minute track from Orgöne because that record is so weird and out there even in comparison to other stuff the label does.

I talk a bit here, mostly just to be like, “Duh that was awesome” about one song or another. Despite my verbal bumbling and constant “uh”-ness, I hope you enjoy the show.

Thanks for listening and/or reading.

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

Full playlist:

The Obelisk Show – 03.19.21

Bongzilla Free the Weed Weedsconsin
Hippie Death Cult Red Meat Tricks Circle of Days
Acid’s Trip Faster, Chopper, Boogie! Strings of Soul
Sonic Flower Super Witch Rides Again
16 Death on Repeat Doom Sessions Vol. 3
VT
Black Rainbows Sacred Graal Cosmic Ritual Supertrip
Fatso Jetson Flesh Trap Blues Split with Farflung
Ecstatic Vision Grasping the Void For the Masses
Acid Mammoth Ivory Towers Caravan
Crypt Trip Hard Times Haze County
VT
Big Scenic Nowhere Tragic Motion Lines Vision Beyond Horizon
High Reeper Bring the Dead Higher Reeper
The Pilgrim Waiting for the Sun …From the Earth to the Sky and Back
Geezer Black Owl Groovy
Cosmic Reaper Hellion Cosmic Reaper
1782 The Chosen One From the Graveyard
VT
Orgöne Erstes Ritual Mos/Fet

The Obelisk Show on Gimme Metal airs every Friday 5PM Eastern, with replays Sunday at 7PM Eastern. Next new episode is April 2 (subject to change). Thanks for listening if you do.

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Doors to No Where Sign to Desert Records for Darkness Falls LP; Premiere Title-Track Feat. Bob Balch

Posted in audiObelisk, Whathaveyou on March 18th, 2021 by JJ Koczan

doors-to-no-where

Santa Cruz, California’s  At PhD Writing Coach, find qualified writer and editor to help you with your academic documents. Literature Review Helper provide meaningful support and Doors to No Where have signed to  Desert Records and will release their new album, Darkness Falls, on May 21. From masterblaster-punk opener “Lie, Lie, Lie” through the early-Alice in Chains-style grunge chug of “Fade” and the classic metal epic tension in near-eight-minute finale “Darkness Falls,” the record runs a gamut of styles in a mere 31 minutes, finding a post-hardcore kind of heavy rock melody in “Worship the Machine” before the two-minute “Got Mine” shoves and sprints in post-Songs for the Deaf careening fashion. The trio don’t stay in any one place much longer than to leave a boot print as they’re off to the next thing, but there’s a consistency between “Fade” and “New Monster,” as vocals, tonal thickness and production/songwriting draw the release together as a whole. The succession of jabs, between the Goatsnake-ing groove of “Policy” and the finishing surge in “Who Died” and the rest of what surrounds becomes something of a consistency in itself, and the album is stronger for that.

One can tell from the track titles that Darkness Falls is something of a COVID-era production, and indeed, Doors to No Where recorded it last year. There are already and there are going to continue to be a glut of albums on the theme since, on the most basic level, art as an expression of processing common trauma is a human impulse. If the momentum of their tempos is anything to just by, Doors to No Where don’t seem to have been dragged down too far, or maybe that just means they had farther to go. I won’t speculate.

Fu Manchu and Big Scenic Nowhere‘s own Bob Balch sits in on the concluding title-track, which you can hear premiering at the bottom of this post. Album info and the signing announcement follow, courtesy of Desert Records and the PR wire:

doors to no where darkness falls

DESERT RECORDS PRESENTS “DARKNESS FALLS” DOORS TO NO WHERE

“Darkness Falls” is the fourth studio album from Doors To No Where, a trio from Santa Cruz, California. The album was recorded in 2020 smack-dab in the middle of COVID lockdowns. The band once again worked with producer Aaron Cooper (Pylon Productions).

“Darkness Falls” consists of eight blistering tracks that touch on Doors To No Where’s stoner rock roots and punk influence. The band brings big riffs and touches on elements of psych, doom and a hint of the heavier side of grunge. Plenty of groove to feel on this record.

The title track “Darkness Falls” features a guest performance from Bob Balch (Fu Manchu, Big Scenic Nowhere) on guitar. “Darkness Falls” also features percussion by Aaron Cooper. Darkness Falls was the last song written for the record and truly reflects the crazy time that 2020 was. Balch brings his huge tone to add to the song’s vibe.

“Darkness Falls” was recorded, mixed and mastered by Aaron Cooper at “pylon Studios” in Santa Cruz, California (USA). Doors To No Where has three albums under their belt, “Lucky You”, “I’m Alive” and “The Haunting.” The band will release their fourth record “Darkness” via Desert Records May 21st 2021. Joining Marc Lewis (guitar/vocals) is longtime drummer Pete Testorff and Marc Prefontaine (bass). “Darkness Falls will be Prefontaine’s first album with the band.

Marc Lewis on Working with Bob Balch:
Working with Bob was an honor and his contributions to the track are huge. He is a true pro and his tone is so recognizable and heavy. I had an idea of the whole song in my head before I even picked up a guitar and I knew I wanted Bob to contribute to it. I wanted that classic fuzz and grit and to give him room to shred some. When we played with Fu Manchu I picked his brain a lot about tone and threw out the idea of working together someday. I reached out to him with a very rough version of the song and he was into it. The dude just lives for guitar and working with him was so easy. He really nailed the vibe I had in my head. The dude is a special talent on guitar for sure.”

1. Lie, Lie, Lie
2. Fade
3. Worship the Machine
4. Got Mine
5. Policy
6. Who Died
7. New Monster
8. Darkness Falls (Feat. Bob Balch)

Doors to No Where are:
Marc Lewis (guitar/vocals)
Pete Testorff (drums)
Marc Prefontaine (bass)

https://www.facebook.com/D2NROCKNROLL
https://www.instagram.com/doors_to_no_where/
https://doorstonowhere.bandcamp.com/
http://www.doorstonowhere.com/
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https://desertrecords.bigcartel.com/

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Mothman & the Thunderbirds Premiere “Infinite Ocean” Single

Posted in audiObelisk on March 15th, 2021 by JJ Koczan

Mothman and The Thunderbirds

Philadelphia-based one-man progressive heavy rock outfit Mothman and the Thunderbirds will make its self-released debut with Into the Hollow on May 21. Running just over half an hour in a span of 11 tracks, the record careens across its material, translating prog-metal à la Devin Townsend, Opeth and others into a heavy rock and sludge context with an overarching experimental feel — each track seeming to take an idea and using it to flesh out its own sonic intent while feeding into the flow of the whole. The guttural vocals on “Nomad,” for example, will remind of Crowbar, but they’re Mothman and The Thunderbirds Into the Hollowsurrounded by winding leads, tambourine urgency, and what may or may not be an oud. The line between metal and rock is blurred throughout largely to the point of irrelevance, and as vocalist, guitarist, bassist, programmer, general-mastermind Alex Parkinson taps his inner Remission-era Mastodon on “Indrid Cold,” having already intro’d the record with the rush of “Mothman Takes Flight” and vocoder-izing chug “Hollow Earth,” the referential vibes feel no less multifaceted than the songs themselves.

‘Mothman’ and ‘Thunderbirds,’ as well as numerous other titles and lyrics, refer to American folklore and cryptozoology, and Into the Hollow itself is decidedly American in its melding of styles, but it’s also remarkably purposeful. “Infinite Ocean” dares a hook over its programmed drums, more Devin Townsend-esque runs, and clever layering, while “The Simpsons = Real Footage” — one of several cuts that brings in a guest on vocals — full-on engages a conspiracy theory mindset in its lyrics, with references to psyops and cover-ups. I don’t know Parkinson‘s actual views on any of the subjects the album is covering — if you were forcing me to guess I’d say “fascinated by” — but he seems remarkably well versed, and as the second half the tracklist unfolds with “Agarthan Riders” settling into the surrounding context in a way that feels like it’s evening out somewhat, the material doesn’t dull in the slightest. “Cloud Giant” brings in programmed flute sounds, more guest vocals (indeed, harmonies) and compositional surety, while the birdsong-laced acoustic “Squonk” is a quick harmonized lead-in for the outright pummel of “Roko’s Basilisk.”

If you don’t know — and I didn’t — the reference in that song’s title, you could Google it and lose the rest of your afternoon to furrowed-brow reading and confusion while simultaneously opening a wormhole of targeted ads for who knows what (I guess I’ll find out), but the shove in “Roko’s Basilisk” feels like it’s being mothman and the thunderbirds infinite oceangiven due ceremony as the penultimate and most aggressive cut ahead of the melodic roundout in “Hollow Sun,” an obvious complement to “Hollow Earth” earlier on. It is a strange world inhabited by strange creatures and ideas that Parkinson is creating, but the fact is, he is creating a world. In 31 minutes. Across 11 widely varied songs. On a debut release. The achievement of such isn’t to be understated, and while there are moments where for the breadth he’s shooting for he’s a bit undercut by the home-recorded feel, especially for a first outing, Into the Hollow is impressive in scope and execution alike, as well as brimming with forward potential for where Mothman and the Thunderbirds — why should Britain get all the silly band names? — might go next. I take the fact that I’m not willing to hazard a guess beyond “further” as a good sign.

Understand as you listen to the premiere below that “Infinite Ocean” isn’t so much a summary of Into the Hollow as a whole as a teaser of just some of the ideas Parkinson is working with across it. He offers some comment under the player that follows, and there’s some more background as well, dutifully hoisted from Bandcamp, where preorders are up.

Please enjoy:

Alex Parkinson on “Infinite Ocean”:

“Infinite Ocean” is one of the few songs that was completely written before I started this project, and thus is one of the few without any obvious references to conspiracy theories or cryptids in its lyrics. I had originally written the song about my experience with anxiety, which is made pretty obvious by the chorus. When I was doing my “research” for this album, I came across a theory about the ocean being bottomless. I thought this idea fit well with the song’s themes, so I tweaked a lyric and then boom – the song was complete!

When I went to record vocals for the album, I wasn’t super comfortable with the idea of doing all the clean vocals myself, so I brought in a few ringers to shake things up. I’m really thrilled with how all the guests’ – or rather Guest Thunderbirds’ – performances turned out, and “Infinite Ocean” is just one shining example of that. Jason Roberts of the bands Breaths and CHNNLR sings on the song’s third and fourth verses, and I think his voice is such a perfect fit!

Preorder here: https://mothmanandthethunderbirds.bandcamp.com/album/into-the-hollow

Into the Hollow, the debut album from Mothman and The Thunderbirds, will be released on May 21st. The first single “Infinite Ocean” will be released on March 16th.

Mothman and The Thunderbirds is the ambitious and conceptual solo project of Alex Parkinson. Will the Mothman be able to prevent disaster this time? Who knows, there’s bigger things going on to worry about like hollow earths and oceans without end. It’s going to take a whole cast of characters and guest musicians to save us from this one. Do you believe in reality?

Into the Hollow is a stoner metal album for people who are bored of stoner metal. The album is eclectic in scope; no two songs sound alike. Many of the song titles reference cryptids and conspiracy theories, but the lyrics intertwine these subjects with themes of anxiety, isolation, global warming, war, and manufactured consent. The insanity of it all is woven into an emotional, often aggressive, experience that just barely exceeds a 30-minute runtime.

Alex Parkinson – guitars, bass, vocals, vocoder, programming, mixing, mastering

Guest Thunderbirds:
Jason Roberts (of Breaths/CHNNLR) – Lead vocals on verses 3 & 4 of “Infinite Ocean”
Kirby – lead vocals on “The Simpsons = Real Footage”
Sam Parkinson – guitar solo on “Agarthan Riders”
Joe Sobieski – lead vocals on “Cloud Giant”

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Moon Coven Announce Slumber Wood Out May 7; Premiere “Further”

Posted in audiObelisk, Whathaveyou on March 11th, 2021 by JJ Koczan

moon coven

Swedish psych-doom riffers Moon Coven have signed to Ripple Music and will release their third album and label debut, Slumber Wood, on May 7. You may recall the culty obscure radness that ensued on their 2016 self-titled (review here), and honestly, whether you do or not it’s up on Bandcamp and if you want a way to get stoked for the new record to come, listening to the band is probably the way to go.

Not much of an insight, I know, but to make up for that I’m pleased to be able to host the premiere of the first single post likely several slated from Slumber Wood. The track in question is called “Further,” and I can scarcely think of a better word to describe the way it builds on what Moon Coven were doing half a decade ago. In the underlying sharpness of the songwriting and the maintained atmospheric murk it’s inherited, “Further” indeed stands as ready evidence of sonic progression, and whether you’re familiar with the band or not, there’s nothing quite like having your interest piqued by new tunes. You know that or you likely wouldn’t be here.

I would love to go on about the album, but honestly, my plan was to listen today (Wednesday) and write about it in advance of this post as you see it now (on Thursday), but I’m in the hospital with my kid and his cracked skull. I beg your indulgence. I’ll have a review up sometime before the release — with a little under two months to go, that should just about be enough time — and until then, I put you in the capable hands of the PR wire.

Thank you:

moon coven slumber wood

Moon Coven are a Swedish stoner rock band whose deep understanding of the classics and their passion for fuzz make for a distinct and potent sound. Having formed out of the desire to get back to their musical roots, Moon Coven documents the musicians journeys both as individuals and as friends. The bands sound is a fusion of genre staples like Black Sabbath and Acid King with the progressive magic of Pink Floyd and the psychedelic influences of The Black Angels. They are currently gearing up to release their brand new album, “Slumber Wood” on Ripple Music in 2021.

Having opened for bands like Uncle Acid & The Deadbeats, Monolord, Blues Pills and Jex Thoth – Moon Coven knows what it means to share the stage with the best of the best. It was this same attitude that they brought on their three European tours as well as to festivals like Krokbacken, Children of the Sun fest or the legendary Red Smoke Festival in Poland! As work wraps up on their third album, it seems like at long last the early promise of these Swedish riff masters is becoming fulfilled and pointing towards bold new futures.

The band have already looked beyond 2021’s “Slumber Wood” though. They are deep in the process of writing a fourth album. This period of intense creativity for Moon Coven belies their goal of continuing to create heavy music together for years to come. As for now though – fans have a veritable storm of fuzzy riffs descending upon their eardrums in just a few months time. “Slumber Wood” will be Moon Coven’s first new album in five years and they promise that it will have been worth the wait. The journey back to their roots is nearly complete!

https://www.facebook.com/mooncoven
https://mooncoven.bandcamp.com/
https://www.facebook.com/theripplemusic/
https://www.instagram.com/ripplemusic/
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The Obelisk Show on Gimme Metal Playlist: Episode 54

Posted in Radio on March 5th, 2021 by JJ Koczan

the obelisk show banner

Back to normal, such as it is, for The Obelisk Show. I did two songs in two hours last time and though it seemed to go over decently well in the chat, it was less welcomed by the station itself. Fair. I’ll readily admit that two hours of psychedelic improv is not going to be everybody’s cup of tea, even in a setting that supports extreme fare as a central ethic. I’m lucky they decided to air it. I’m lucky they let me do another episode.

In here you’ll find some more rocky stuff like Greenleaf and Formula 400. I’ve yet to really dig into the new Domkraft, so I wanted to give that a roll, and then the show gets into some heavier industrial stuff. Godflesh were talked about here last week, and Trace Amount, but some Sanford Parker and Author & Punisher too. I’ve had an itch lately that stuff has helped scratch. After that and Yawning Sons is my little homage to the Live in the Mojave Desert stream series. Mountain Tamer are on that this weekend and it’s well worth your time to search out. Of course, Earthless started that series so they’ll end the show here. Only fitting.

Thanks for listening and/or reading.

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

Full playlist:

The Obelisk Show – 03.05.21

Greenleaf Love Undone Echoes From a Mass
Genghis Tron Ritual Circle Dream Weapon
Sunnata A Million Lives Burning in Heaven, Melting on Earth
VT
Sonic Demon Black Smoke Vendetta
Formula 400 Messenger Heathens
Domkraft Dawn of Man Seeds
Kauan Raivo Ice Fleet
VT
Godflesh Avalanche Master Song Godflesh
Author & Punisher Ode to Bedlam Beastland
Trace Amount ft. Body Stuff Concrete Catacomb Concrete Catacomb
Sanford Parker Knuckle Crossing Lash Back
VT
Yawning Sons Cigarette Footsteps Sky Island
Spirit Mother Space Cadets Cadets
Nebula Let’s Get Lost Holy Shit
Mountain Tamer Black Noise Psychosis Ritual
Brant Bjork Stardust & Diamond Eyes Brant Bjork
VT
Earthless Violence of the Red Sea From the Ages

The Obelisk Show on Gimme Metal airs every Friday 5PM Eastern, with replays Sunday at 7PM Eastern. Next new episode is March 19 (subject to change). Thanks for listening if you do.

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Review & Full Album Premiere: Acid Mammoth, Caravan

Posted in audiObelisk, Reviews on March 3rd, 2021 by JJ Koczan

acid mammoth caravan

[Click play above to stream Acid Mammoth’s Caravan in full. Album is out this Friday, March 5, on Heavy Psych Sounds.]

It is difficult to separate Acid Mammoth‘s third full-length, Caravan, from the context in which it arrives — and no, I’m not talking about covid-19, though obviously that too. It is the band’s second offering through Heavy Psych Sounds behind 2019’s Under Acid Hoof (review here), and the label has gotten behind a recent reissue of their 2017 self-titled debut as well, and the Athenian four-piece appeared last year on a split with 1782 (review here) as part of the label’s ongoing Doom Sessions series. With the boom in underground heavy that Greece has seen in the past decade, Acid Mammoth find themselves in a somewhat vaunted position, representing Athens on Europe’s preeminent heavy label. True, Nightstalker and Planet of Zeus — both of whom have been around longer — released albums on Heavy Psych Sounds in 2019, but as much as Acid Mammoth‘s lineup crosses generations in its string section with Chris Babalis, Jr. on vocals on guitar and his father, Chris Babalis, Sr., also on guitar, their sound and presentation represent that which is thoroughly modern in doom, a sonic devotion to riff that’s made its way through the lumber of Black SabbathElectric Wizard and Monolord to get where it is today.

In Acid Mammoth‘s hands, with Marios Louvaris slamming away on the floor tom as though stomping out the beating heart of societal collapse itself in “Psychedelic Wasteland” — a song for our times if ever there was one — and Dimosthenis Varikos bringing a murk to the low end that dooms the doom all the more, it is primitive on its face but deceptively intricate and ably constructed, with a consistency of craft that unites the material across this five song/40-minute release and finds Acid Mammoth living up to the challenge and responsibility before them. No single band could possibly embody the entirety of ‘Greek heavy’ as a form simply because it isn’t a singular form, but in culling influences from the worldwide heavy sphere and reshaping them into something of their own, Acid Mammoth nonetheless bring to life a key ethic in what’s made Greece flourish these last years, and so, are a fitting and vital representation after all.

Also, they riff. Oh my how they do riff. Caravan begins its course with “Berserker,” a five-minute clinic in how to make plod catchy that starts with an evil laugh as if Acid Mammoth, in knowing what’s coming, stand before the open door of a house of horrors. Sorry to disappoint, but what follows is far from horrific. It is stoner-doom for stoner-doomers, to be sure, and perhaps its argument for conversion might win a few new heads along the way — anything’s possible — but what’s clear from the outset is Acid Mammoth know what they’re doing and where they want their Caravan to go. Shades of psychedelia affect the solo in “Berserker” momentarily, but the lead work is almost oddly classy throughout the release, and it’s the forward push that ultimately wins the day, driven in no small part by Louvaris‘ insistent snare. A final chorus, a momentary ride on the groove, some slow-fade rumble and “Psychedelic Wasteland” takes hold with due feedback and thud.

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Slower, longer at 8:53, and less immediate, it’s a suitable follow-up to the leadoff, luring the listener deeper into the world of Acid Mammoth‘s making, for which perhaps their own description is best. “Psychedelic Wasteland” isn’t as catchy as “Berserker” before it, but it doesn’t need to be for the job it’s doing, and its patience in delivery acts as a foreshadow for what will soon enough follow on side B’s two cuts, “Caravan” and “Black Dust.” After rolling out its grim procession, it culminates with a bookend of noise and fading tom hits, giving way fluidly to the opening riff of “Ivory Towers,” which reminds of Acid King‘s “Electric Machine” in its central progression but, again, is given a roll and a role of its own in capping the first half of Caravan. Thus far, the key throughout the release has indeed been the sense of forward motion, and another manner in which the collection isn’t as straightforward as it might at first seem is in how successfully it pushes its audience along the path its sets out. Even when they’re at their most mired — those moments are still to come in side B, granted — Acid Mammoth aren’t by any means still, and in “Ivory Towers,” they make a worthy centerpiece out of the structure that underlies their superficial rumbling chaos.

The “Caravan” departs about 15 seconds into the song of the same name after a beginning rumble. Acid Mammoth work quickly to align themselves with the storied stoner epics of yore — need I namedrop “Dopesmoker?” — with a general uptick in largesse of sound, and the nodding groove that accompanies is of the sort that one might want to title an album after. They’re just about four minutes into the total 11 before the first vocals arrive, which is plenty of time for them to establish the hypnotic roll they’re shooting for, and amid fuzzy solo lines peppered throughout in homage to those who’ve journeyed before them, they set out. Guitars drop circa 8:30 and the bass leads the way into the final push, and father and son solo lines (or at least one of them layered; but who doesn’t like a story of familial togetherness?) take the forefront on the way out.

“Caravan” would seem to be the apex of Caravan, but “Black Dust” is more than epilogue at a near-nine-minute stretch. Its Wizardly riff reaffirms Acid Mammoth‘s place among the chosen few, and if this it’s the band’s image of a pandemic-era dystopian aftermath, one is not the least inclined to argue. Further, “Black Dust” subtly unites sides B and A by leaning a little more into a hook than did “Caravan,” recalling “Berserker” and “Ivory Towers” earlier on, thereby summarizing the proceedings as a whole. There’s no corresponding sample at the end to answer the laugh at the beginning, but Acid Mammoth leave little unsaid just the same. In sound and style, Caravan isn’t revolutionary by any means, but the band acquits themselves as able to stand tall among their forebears, and their delivery is enough to make those footsteps of giants feel freshly trod.

Acid Mammoth, “Caravan” official video

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Dayeater Premiere New Single “Sweet Earth”

Posted in audiObelisk on March 2nd, 2021 by JJ Koczan

dayeater

This Friday, March 5, Austin trio Dayeater will release their new single, ‘Sweet Earth.’ And with it, the everybody-sings three-piece of guitarist Jesse Lee, bassist Christopher Brockett and drummer Landry Jackson begin to make their way toward their third full-length by challenging the very form. True, they could put together groupings of songs in some manner of flow as a regular LP might — they’ve done so twice before, with 2016’s Voices Out of Nowhere and their 2018 self-titled — but the times have changed and where one might release a full-length album, plop it out there in the digital/physical ether, be unable to play shows to support it and reap a few decent weeks of momentum then be done, they’re choosing instead to bring out one song at a time, giving their audience a chance to absorb each track on its own before, presumably, some later assembly.

It’s a bold move. “Sweet Earth,” sure enough, is a gem, moving from its uptempo, hooky beginning into later reaches of dayeater sweet earthpsychedelic medley, but generally within the span even of a 38-minute LP, there’s something that, if not an outright clunker, is serving a purpose complementary to the songs around it. That’s a luxury Dayeater are denying themselves. Each song comes under a much closer microscope when released as a single, and in this strange, show-less age, maybe that’s even more true since there isn’t sheer volume of personal delivery or stage energy to draw from in introducing material to listeners, as there would be on a tour. So it goes.

The good news here, which by now I’m sure you’re expecting, is that Dayeater‘s songwriting on “Sweet Earth” finds them meeting that challenge head-on. I won’t speak to the rest of the ‘album’ to come piece-by-piece over the next however long, but a six-minute first single isn’t nothing as regards a sampler, and Dayeater acquit themselves with a sharp sense of purpose and atmospheric flourish alike. They sound like they’re making a go of it, looking to actively engage their audience, and while it’s true this is a harsh moment for a group like that, who would otherwise probably make a killing at SXSW in their hometown, the vitality they’re working with here and the balance of arrangement depth and songcraft makes them that much harder to ignore, which one suspects is precisely the point. The proverbial band with a plan. Right on.

Track premiere follows below, along with details from the PR wire.

Please enjoy:

Roaring out of the sonic breeding ground that is Austin, Texas come DAYEATER. Long since branded ‘Austin’s Loudest Psychedelic Trio,’ DAYEATER are a one of a kind force in the underground. Their music is built around the riffs of Black Sabbath, the harmonies of the Zombies and Jimi Hendrix inspired guitars all with a power trio lineup. Featuring a one handed guitarist, an insulin addicted bassist and a vegetarian drummer, DAYEATER are just the sort of motley crew to become the next big thing in rock.

After forming in the spring of 2014, the band released a pair of full length albums, 2016’s Voices Out Of Nowhere and a self titled effort in 2018. Their powerful songwriting full of psychedelic riffs and lush vocal harmonies won over a small legion of fans. That’s why 2020 was when the band really started to pick up steam, being selecting for the Austin Music Foundation Artist Development Program and even having January 9th, 2020 being declared ‘DAYEATER Day’!

Now, the band is gearing up to release their next offering, the single “Sweet Earth,” recorded with Grammy nominated producer, Chris “Frenchie” Smith. The band have a new album ready to go and plan to release one single at a time and through a sustained promotional effort break through to the right audience and explode. As the ongoing COVID crisis comes to an end, DAYEATER look to go out on tour and never come back.

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