Posted in Whathaveyou on October 26th, 2018 by JJ Koczan
You might recall Cypriot psychedelic rockers Arcadian Child premiered ‘Painting’ in a visualizer here over the summer. Details at the time were pretty scarce for the follow-up to 2017’s Afterglow (review here), but a Nov. 23 release date has been set through Ripple Music offshoot Rougue Wave Records, and preorders are up now. I’m not saying I’ve heard it and it’s awesome or anything, but I’ve heard it and it’s awesome, so okay, yes, that is what I’m saying. You win this round.
Since I’d really like to drive that point home — the part about “awesome,” not about the part where you win, though you have my congratulations — “Painting” and the video for “She Flows” are both at the bottom of this post. The PR wire sent the artwork and track details for Superfonica accordingly:
Arcadian Child to Release New LP, ‘Superfonica’, November 23
Fast-Rising Neo-Psych Group Blends and Bends Genres to Create Singular Sound of its Own; New Songs “Painting” and “She Flows” Premiere
Greek neo-psych band Arcadian Child will release its new LP, Superfonica, on November 23 via Ripple Music / Rogue Wave Records. Hailing from Limassol, Cyprus, Arcadian Child formed in 2013 and soon made a name for itself via a cool and coherent sound that combines hypnotic psychedelia, stoner rock riffage, and indie rock groove. Potent and intoxicating, Arcadian Child delivers guitar-orientated psych rock blended with ambient elements, hallucinogenic patterns and kaleidoscopic, headphone-friendly swirl.
To advance the release of Superfonica, Arcadian Child has released the new singles, “Painting” and “She Flows”. “Painting” is released via a cool visualizer video and “She Flows” makes its debut via music video. Arcadian Child’s unapologetic references to music of earlier eras infused forge a transcendent maze of heady resonance and drones.
Superfonica is the follow-up to Arcadian Child’s celebrated 2017 debut, Afterglow, a record that immediately established the unit as a buzzworthy band to watch.
Arcadian Child’s beautiful songs lure you slowly and smoothly into a sort of soothing numbness; the group’s use of 60s/70s pop style progressive theatrics call up a web of guitars, keyboards, and drums that thunder and ooze at the same time, and the melodies walk steadily more than they lurch. Arcadian Child are masters at sounding simultaneously cool as a block of ice and hot as hellfire, but the unshakeable pop melodies are the real key to this album’s success.
Track listing:
1.) Bain Marie 2.) Twist Your Spirit 3.) Brothers 4.) Constellations 5.) Painting 6.) She Flows 7.) Before We Die 8.) The March
True to form in classic psychedelia, the new Arcadian Child single doesn’t shy away from its poppier elements. “Painting,” which is the lead track from the band’s upcoming album, Superfonica, is the first taste of that follow-up to 2017’s debut, Afterglow (review here), which was picked up for release earlier this year by Ripple Music offshoot Rogue Wave Records, an imprint focused on exploring outside-the-box vibes in psych, classic heavy rock, and beyond. Arcadian Child fit that bill easily. Especially the part about “beyond.”
“Painting,” which is evocative unto its title — painting of what? painting with sound? a specific painting? etc. — begins with a peaceful stretch of guitar before introducing its gentle and straightforward drum progression. There’s a tonal presence and resonance from the outset that builds along the song’s near-seven-minutes, and when the vocals arrive circa 1:50, the trance effect of the intro comes into focus smoothly with a shift into more weighted fare as the chorus takes hold. Melodically sound as was the debut, “Painting” nonetheless demonstrates growth in its patient rollout and its meld of accessibility with atmosphere. An airy guitar lead takes hold backed by subtle swirling noise prior to the next verse, passing the four-minute mark with headphone-ready volume swells in the background, a serene version of space rock unfolding not so different from what Quest for Fire might bring to bear, if a little less folk-infused in its rhythm.
It is a graceful execution that wraps with a last-minute push continuing to hold firm to the established vibe: nothing overdone, but nothing too perfect to pass the uncanny valley of believability. The accompanying visuals in the clip below are colorful enough to be appropriate, and only bolster the song’s soothing affect. I don’t know the exact release date for Superfonica as yet, but it’ll be worth keeping an eye out as we get closer, and news should be coming down the PR wire any minute. In the meantime, there’s some preliminary info about the impending record under the video below.
As always, I hope you enjoy:
Arcadian Child, “Painting” official video premiere
Psyched, potent and and intoxicating, Arcadian Child deliver resonating psychedelia blended with ambience, hallucinogenic patterns and cathartic eruptions. With sounds rivaling the squealing sirens of the Mediterranean up to the dark bellows of the West, Arcadian Child convey their psychedelic ritual in their jam-filled live shows where they spread their hypnotic vibrations. Their critically acclaimed debut, “Afterglow” came to light on the 29th of October, 2017 and received raving support from the growing neopsych audience.
“Painting” becomes the first release to see the light from Arcadian Child’s sophomore studio set “Superfonica” and represents a spiritual portraiture of human interaction and conflict. Arcadian Child’s unapologetic references to music of earlier eras infused in “Painting” forge a transcendent maze of heady resonance and drones.
Produced by Andreas Trachonitis and Arcadian Child Recorded and Mixed by Andreas Trachonitis at studio eleven63 in Nicosia Additional recordings by Mikaela Tsangari Mastered by Yiannis Christodoulatos at sweetspot productions in Athens
Music by Arcadian Child Lyrics by Panagiotis I.G Additional vocals by Mikaela Tsangari
Posted in Whathaveyou on April 27th, 2018 by JJ Koczan
Greek heavy psych rockers Arcadian Child have announced a May 18 release through Rogue Wave Records for their debut album. The record, Afterglow (review here), was initially put out by the band itself in 2017, and so far as I know it’s done nothing but garner more and more acclaim since. Reasonably so for its classic psych influences and unashamed pop structures and accessibility, offset by tonal weight and an undercurrent of desert rock. With a fervent melodicism tying varied songs together, it’s a more than solid debut album, and I guess my only question about it is whether I should consider this an official release or a reissue, because if it’s an official release, it definitely goes in the notes as one of the best debuts of 2018. Doesn’t kick any less ass if it’s a reissue; really just a matter of bookkeeping. Maybe I’ll flip a coin.
Rogue Wave is, of course, an offshoot of Ripple Music intended to focus on psychedelia and material that doesn’t otherwise fit the regular sphere of the parent impint.
You can hear the album in full at the bottom of this post and check out the band’s video for the sunshine-grunge of “Irresistible.” More info follows, courtesy of the PR wire:
Arcadian Child to Release Debut LP, ‘Afterglow’, May 18
Greek Neo-Psych Group Releases Video for New Song “Irresistible”
Fast-rising neo-psych band Arcadian Child will release its debut LP, Afterglow, on May 18 via Rogue Wave Records. Hailing from Limassol, Cyprus, Arcadian Child formed in 2013 and soon made a name for itself via a cool and coherent sound that combines hypnotic psychedelia, stoner rock riffage, and indie rock groove
Potent and intoxicating, Arcadian Child delivers daunting guitar-orientated psych rock blended with ambient elements, hallucinogenic patterns and kaleidoscopic, headphone-friendly swirl. With sounds rivaling the squealing sirens of the Mediterranean and the dark bellows of the West, Arcadian Child showcases its uniquely trippy anthems and hypnotic vibrations via jam-filled live shows which have met to wide acclaim from the growing neo-psych audience.
Arcadian Child’s beautiful songs lure you slowly and smoothly into a sort of soothing numbness; the group’s use of 60s/70s pop style progressive theatrics call up a web of guitars, keyboards, and drums that thunder and ooze at the same time, and the melodies walk steadily more than they lurch. Arcadian Child are masters at sounding simultaneously cool as a block of ice and hot as hellfire, but the unshakeable pop melodies are the real key to this album’s success.
A taste of Arcadian Child’s cunning songwriting can be sampled now as the band has released a music video for the song “Irresistible”.
Track listing: 1.) She’s On My Mind 2.) Little Late for Love 3.) Rabbit Hole 4.) Electric Red 5.) Irresistible 6.) Run 7.) Afterglow 8.) Used
Posted in Bootleg Theater on January 19th, 2018 by JJ Koczan
Granted, it’s only three minutes long, but in that time, Arcadian Child‘s new video does well in summarizing a key appealing aspect of the band’s debut album from whence it comes. The track in question is called “Irresistible” and the hook thereof just about meets that lofty standard in its unabashed pop catchiness, but like much of 2017’s Afterglow (review here), it also has a sense of expanse to it, a far-out vibe that extends to the heavy psych effects at root in its tones and the subtle-but-definitely-present rhythmic push that takes such care to keep it on its efficient and serene course.
Where “Irresistible” doesn’t necessarily represent Afterglow is in the fact that it couldn’t possibly capture the full diversity of sound on the record without giving up that efficiency. Complemented by the post-desert heavy of opener “She’s on My Mind” or the cool Bowie-ism of “Little Late for Love” and the relative sprawl of the Queens of the Stone Age-style moodiness of “Run,” “Irresistible” can inherently only be part of the whole story when it comes to Afterglow, but in terms of the faces Arcadian Child show throughout, it’s one that well earns the focus that the video invariably brings to it.
And about that video — hey, look down: there it is! Its manipulated footage is duly atmospheric and duly colorful to do justice to Arcadian Child‘s style and sonic depth, while still showcasing the human core beneath in much the same way the tracks throughout Afterglow hold firm to traditionalist structures even as the explore various the textures being skillfully laid over top of them in songs like the fuzzy, semi-garage penultimate title-cut or the smooth, drifting and patient “Rabbit Hole” earlier. You can view the clip here, followed by more info about its making, and then check out the full stream of Afterglow from Arcadian Child‘s Bandcamp page to get a better sense of the context from which it arises.
Please enjoy:
Arcadian Child, “Irresistible” official video
Produced by Andreas Trachonitis and Arcadian Child Mixed, Engineered by Andreas Trachonitis Recorded at studio eleven63 in Nicosia Additional recordings by Mikaela Tsangkari Mastered by Yiannis Christodoulatos in Sweetspot Productions in Athens
Posted in Reviews on January 12th, 2018 by JJ Koczan
Today is the last day of The Obelisk’s Quarterly Review, and it’s kind of hard to believe it’s gone so fast. Before I put the Big Boot to the proceedings like Hulk Hogan getting ready to call it a day with an elbow drop at Wrestlemania — yup, just like that — I have to take a special moment to thank The Patient Mrs. for allowing me the time this week to bang out all of these reviews and get everything sorted on the back end, etc., for these posts. She, of course, as always, perpetually, has been unbelievable, and especially with The Pecan to manage, she’s earned her title more than ever. It is thoroughly, deeply, appreciated. Much love, baby. Thank you.
Okay, Big Boot time. Let’s do this thing.
Quarterly Review #41-50:
Godflesh, Post Self
Guitarist/vocalist/programmer Justin K. Broadrick and bassist BC Green return with Post Self, their second post-reunion full-length behind 2014’s A World Lit Only by Fire (review here) and a collection of churning electro-noise hymnals that work in a sphere that should by now be well familiar to their multi-generational fanbase. The groundbreaking industrial pioneers sound decidedly led by the guitar on the chugging “Parasite” and the airy, almost Jesu-style wash of “The Cyclic End,” but the intensity of the beat behind “No Body,” bass and noise onslaught of “Be God” and synth-driven soundscaping of “Mortality Sorrow” recall the sonic diversity that’s always been as much a part of Godflesh’s approach as their signature cyclical rhythmic style. More perhaps than ever, Broadrick and Green seem to be aware of what defines Godflesh as a band in terms of sound, and as they make the crucial move from a “reunion” band to a working one, they seem as glad as ever to push those boundaries once more.
This two-song single may end up bring the only offering Serpents of Secrecy ever make public, and it was years in coming together. In December, the Chesapeake region group with members of Foghound, Borracho and King Giant suffered the loss of bassist Jim Forrester, who was murdered in Baltimore, and while a debut long-player was in discussion, to-date the five-piece have only issued “Warbird’s Song” and “The Cheat” as Uncoiled – The Singles, and obviously now any kind of follow-up is in question. Whether it’s the raucous burl of “Warbird’s Song” or the bluesy, organ-topped fluidity of “The Cheat,” the J. Robbins-produced tracks demonstrate the potential at heart from the lineup of vocalist Mark Lorenzo – who wound up in the role after members of Alabama Thunderpussy and Mister Bones vacated – guitarists Steve Fisher and Todd Ingram, Forrester and his former Sixty Watt Shaman bandmate Chuck Dukehart III. The only question at this point is whether that potential will ever see further realization. Right on as these songs are, I’m torn on the idea, to be honest.
Multinational space rockers Vymaanika debut with the 20-minute two-songer Spectroscope EP, comprised of its 10-minute opening title-track and the subsequent “Golden Void,” which may or may not be named in honor of the side-project of Earthless guitarist Isaiah Mitchell. I’d believe it either way. The band comprises members from Catalan – guitarist/vocalist/synthesis Carles Esteban and bassist Andrés Paniagua, Chile in drummer/synthesist Jose Jünemann, and the US in guitarist/vocalist/synthesis Benjamin Mahoney, but they all seem to have come together to record in Barcelona, and the breadth of “Spectroscope” and serene psychedelic mantra-making of “Golden Void” benefit from that band-in-the-room vibe. Especially so the latter, which touches early on vocal harmonies over drifting guitar strum, steady synth drone and percussive pulsations before building to a more active apex in its second half. After the cacophony taking hold in the back end of “Spectroscope,” it’s a clear demarcation of a varied sonic persona, and while I don’t know how often Vymaanika will be able to get everyone together with the geographic spread, it’s easy to be glad they did it for this first EP.
Flowing arrangements abound on Zong’s self-titled four-track debut full-length. The Brisbane, Australia-based heavy psych three-piece are well within their genre sphere, but from opener and longest track (immediate points) “Cosmic Embryo” (13:00) through “Arcane Sand” (8:10), the perhaps-Zardoz-referential “Giant Floating Head” (11:48) and closer “Return of the Alien King” (10:32), they demonstrate a natural chemistry, patience and warmth of tone that is no less comfortable in the march and lurch of its penultimate cut than in dug-in repetition-born hypnosis of the leadoff. Deceptively weighted from almost its beginning point with the low end of Michael Grinstead’s bass and the rolling drums of Henry Bennett, there’s also a balance of airiness from guitarist Adam Anderson that adds nuance when called upon to do so, though there are plenty of moments where Zong’s Zong seems perfectly content to cave-jam its far-out atmospheric fluidity. Not an ethic and not a result you’re going to hear me complain about.
Brutal tech-death pervades Vitriol’s first EP, Pain Will Define Their Death – a three-song onslaught the violence of which is writ large over every minute of its total 12. Sharing a penchant for opening to bigger-sounding choruses like that of its opening title-cut with peak-era Hate Eternal, the pummel factor, ultra-tense push and unmitigated viciousness eschews some of the more machine-like aspects of such technically-minded fare, and while Vitriol’s overarching groove, gutturalist execution and hammer-swing breakdowns are casting out their own assault on the aforementioned opener as well as the subsequent blast-laden “Victim” and “Violence, a Worthy Truth,” they’re working in service to songcraft much more than to an indulgent showcase of prowess, and that makes all the difference in terms of the material’s ultimate impact. That impact? When was the last time you were actually kicked in the face? Nothing if not aptly named, Vitriol’s death metal seethes and rages in kind and bodes remarkably well for future manifest devastation.
Hailing classic doom and darker atmospheres, French four-piece Pillars debut on Seeing Red Records via the Pyres and Gallows EP. Its four songs run a gamut of traditional grooves, but lumber with a balance between their rawness and a spirit of underlying riffy nuance that adds texture beneath the gruff, dudely vocals of frontman Klem, the tones of guitarist Djé and bassist Disaster well suited to the plodding companionship of drummer JJ on a song like the problematically-titled second cut “Dirty Whoreshippers” or the 10-minute title-track that rounds out. At 33 minutes, I’m not sure what’s stopping Pyres and Gallows from being a full-length, but if that’s a hint that Pillars have more to say going forward, then fair enough. They may be preaching to the converted in these tracks, but they’re doing so in righteous fashion and with a sense of their own identity under development. Doom on? Yeah, totally doom on. By all means. Please do.
Among the fascinating factors at work on this cross-continental Clostridium Records split release between long-running New Zealand acid folk outfit Lamp of the Universe and Austrian psychedelic fuzz purveyor Kanoi is the fact that both parties involved are solo-projects. For Lamp of the Universe’s Craig Williamson (also Arc of Ascent), he brings three tracks of his signature drenched-wet lysergism in “In the Beginning,” “The Cosmic Body Track,” “Father” and “Space Chant,” while Kanoi’s Benjamin Kantschieder revisits two cuts from 2016’s Mountains of the Sun full-length in the extended “I’m Gone (I’m Gone)” and “Mountains of the Sun” itself. The novelty of having two single parties match wits on such fluid arrangements – my head always begs for collaboration in these instances – is offset by the quality of their work itself. Neither is new to their sphere, but both seem keen to continue to experiment and explore, and it’s from that commonality that the split most benefits.
The first Azonic offering since the mid-‘90s finds Brooklyn-based experimentalist Andy Hawkins reviving the project alongside his Blind Idiot God bandmate Tim Wyskida as a melding of drone/noise and percussive ideas. Released through Hawkins’ own Indivisible Music, Prospect of the Deep Volume One – pretty ambitious to put a “volume one” in the title of your first record in 20-plus years – presents two expansive works in “Oblivion of the Deep” (18:53) and “The Argonauts Reckoning” (18:42) as well as the CD bonus track “Voices of the Drowned” (10:12) that brim with atmospheric intent and have an underlying sense of control on the part of Hawkins that speaks to some measure of steering what might in other hands simply feel like sonic chaos. You can hear it early into “The Argonauts Reckoning,” as the layered wash seems to want to fly off the rails and swell and Hawkins’ guitar simply doesn’t let it go, but it’s true elsewhere on Prospect of the Deep Volume One as well, and in listening, it’s the difference between the album being a joy in the immersion, which it is, and a self-indulgent misfire, which it very much is not.
Thousand Vision Mist, Journey to Ascension and the Loss of Tomorrow
Named for the lone 2002 full-length from Maryland doomers Life Beyond, in which guitarist/vocalist Danny Kenyon also featured, newcomer trio Thousand Vision Mist debut with the progressive-leaning edge of Journey to Ascension and the Loss of Tomorrow, a 52-minute 10-tracker. Yes, Rush are a factor in terms of influence. However, propelled by the drumming of Chris Sebastian, whose frenetic snare adds a Mastodonic feel to “Headstones Throw,” the otherwise classic-vibing “Final Flight of Fall” and the later “Darklight,” among others, the cumbersomely-titled offering sets its balance between modern prog metal, doom and classic heavy rock, with bassist Tony Comulada adding vocal harmonies alongside Kenyon and providing a needed anchor to keep songs like the penultimate “Skybound and Beyond” from actually taking off and leaving their audience behind. Reportedly long in the works, Journey to Ascension and the Loss of Tomorrow isn’t a minor digestion process at its busy and extended runtime, but while the recording is raw, there’s no shortage of fodder for engagement throughout its swath of choruses and head-spinning turns.
Though not at all without its more driving aspects, some of the most satisfying moments on Arcadian Child’s debut album, Afterglow, come from a soothing hook like that of “Rabbit Hole,” which finds the Cypriot four-piece more fully embodying a laid back desert rock atmosphere that underpins the Fatso Jetson-esque opener “She’s on My Mind” and subsequent “Little Late for Love.” As the feels-short-at-29-minutes record unfolds, “Electric Red” blends fuzz and Mediterranean rhythmic push, “Irresistible” toys with layered swirl beneath a solidly-weighted verse and chorus, “Run” makes itself a highlight around a post-Lullabies to Paralyze atmospheric lead and start-stop riff, and the title-track casts momentum in melody and groove into closer “Used,” which pays one more welcome visit to the more serene side of their personality before they’re done. It might be a sleeper, but I’d be surprised if someone didn’t pick Afterglow up for a vinyl release sooner or later; the songwriting, performance, presentation and potential for future growth are all there waiting to be found by the right ears.
I don’t do podcasts that often at this point. I figure between the radio stream — which runs 24/7 — and the sundry track streams and other media, video premieres, and so on, there’s not much need. But every now and then I feel completely overwhelmed by the onslaught of music and the chance to put together a compilation of tracks is just too good to pass up. Most of the time, nobody complains. It being the internet, I generally take that as a good sign. If it sucked or was a crappy idea, for sure someone would be telling me to screw off.
So is there a running theme for this latest podcast transmission? Nope, not really. If you’re looking for something to tie it all together, it’s just stuff that I’ve been listening to lately. Some of it has already been covered — Low Orbit, T.G. Olson, 3rd Ear Experience — and some of it has coverage pending — Bong Wish, The Discussion, Arcadian Child, Zong, etc. — but basically this is all what that might be coming out of my speakers over the last however long. Couldn’t be any simpler than that, but for what it’s worth, I think it came together really well, whether it’s Telescope moving into Bong Wish or the transition into the second hour, which is ultra-tripped out, as usual.
As always, I hope you enjoy.
Track details follow:
First Hour:
0:00:00 Son of the Morning, “Left Hand Path” from Son of the Morning EP
0:05:08 All Souls, “Silence” from All Souls
0:09:15 Telescope, “With Your Truth” from Telescope EP
0:13:06 Bong Wish, “My Luv” from Bong Wish EP
0:15:29 Torso, “Mirror of My Mind” from Limbs
0:20:17 The Discussion, “Surf Jesus” from European Tour EP 2017
0:24:14 Arcadian Child, “Electric Red” from Afterglow
0:27:01 Comacozer, “Nystagmus” from Kalos Eidos Scopio
0:39:23 Deadly Vipers, “Dead Summer” from Fueltronaut
0:45:20 Low Orbit, “Dead Moon” from Spacecake
0:51:31 T.G. Olson, “On a High Like a Mountain” from Searching for the Ur-Plant
0:55:28 Jesus the Snake, “Karma” from Jesus the Snake
Second Hour:
1:03:31 Zong, “Cosmic Embryo” from Zong
1:16:18 Les Lekin, “Morph” from Died with Fear
1:29:50 3rd Ear Experience, “Infinite Unmanifest (Warm-up Jam Day One)” from Stoned Gold
1:46:34 Sleeping Pandora, “Sunrizer” from Quiet Pass
