Quarterly Review: Alcest, Galley Beggar, Pontiak, White Light Cemetery, Fever Dog, Duel, Seven Nines and Tens, Automatic Sam, The Next Appointed Hour, Blown Out

Posted in Reviews on March 29th, 2017 by JJ Koczan

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Always a special moment in the Quarterly Review when we pass the halfway mark. That’s where today’s batch brings us, and in rocking style as well. You might say I’ve been taking it easy on myself with the selections this time out — albums there’s plenty to say on and generally good stuff — but the basic fact of the matter is even with 50 reviews in a week, this is still just a fraction of what’s out there and still just a fraction of what I’d cover if I had the time. I couldn’t in terms of my own sanity, but one could probably do 10 reviews a day every day of the year and still have room for more. I do the best I can. Picking and choosing is a part of that process. Let’s get to it.

Quarterly Review #21-30:

Alcest, Kodama

alcest kodama

After the bold departure presented in 2014’s Shelter (review here) toward even-airier, more indie-hued fare, French post-black metal innovators Alcest make a no-less-bold return to their core sound – screams included, as they’re quick to show on “Eclosion” – with 2016’s Kodama (on Prophecy Productions). It’s a less progressive move, and for that distinct in Alcest’s discography, but one can’t argue with their execution of a track like “Je Suis d’Ailleurs” and the immediately recognizable melodic wash they craft, as resonant emotionally as it is heavy in its tone. Most of the six cuts seem contented to have (re-)found their place, but “Onyx” finishes out with just under four minutes of layered guitar droning, and so Alcest seem to tease that perhaps they’re not completely ready to settle the issue of their aesthetic just yet. One hopes that’s the case, and in the meantime, the reorientation that Kodama brings with it should no doubt please those longtime fans who bristled at the turn they made their last time out.

Alcest on Thee Facebooks

Prophecy Productions on Bandcamp

 

Galley Beggar, Heathen Hymns

galley-beggar-heathen-hymns

Galley Beggar’s fourth offering and second for Rise Above, Heathen Hymns, brings 42-minutes of the traditional acid folk one has come to expect from them over the last half-decade plus, no less graceful in its melodies, harmonies and weaving into and out of psychedelia, Eastern inflections on the sitar-laced “The Lake” and cleverly rhythmic in the post-rocking electric flourish of “Let No Man Steal Your Thyme.” Knowing what to expect, however, does nothing to diminish the joy of the listening experience. Rather, the return of Galley Beggar’s fluid string and/or more rock-based arrangements, memorable songcraft and gorgeous vocal treatments is welcome, and perhaps most of all on closer “My Return,” which draws their multiple sides together in a cohesive vision of futures past that only benefits from the maturity they’ve grown into. With poise as a defining feature as much as their British folk stylistic lineage, Galley Beggar remain a special outfit doing deeply individualized and satisfying work.

Galley Beggar on Thee Facebooks

Rise Above Records website

 

Pontiak, Dialectic of Ignorance

pontiak-dialectic-of-ignorance

A steady foundation of low-end drone underpins songs like “Ignorance Makes Me High” and “Hidden Prettiness” on Pontiak’s Dialectic of Ignorance (released via Thrill Jockey), and though they move away from it somewhat in the more active freakout “Dirtbags,” the patience shown by the Virginian trio forms a key part of the album’s personality. To wit, they open with “Easy Does It,” essentially telling their listener their intention for what will ensue throughout the eight-track/46-minute offering. Brothers Jennings, Van and Lain Carney bring forth willful drift in that opener and across the percussive-but-still-shoegazing “Tomorrow is Forgetting,” finding an organ-laced folkadelic middle ground later in “Youth and Age” and punctuating the dreamy harmonized gorgeousness of “Herb is My Next Door Neighbor” with fervent tom runs and ping ride before closer “We’ve Fucked this Up” starts out amid blistering chaos only to smooth itself as it goes. Serene and somewhat moody to the same degree their last outing, 2014’s Innocence, was raw, Dialectic of Ignorance carries the feel of a personal journey undertaken, but is ultimately too warm in tone and melody not to welcome its audience to be a part of that as well.

Pontiak on Thee Facebooks

Pontiak at Thrill Jockey Records

 

White Light Cemetery, Careful What You Wish For

white-light-cemetery-careful-what-you-wish-for

Nearing the mark of their first decade together, Louisiana Southern heavy four-piece White Light Cemetery issue their second full-length, Careful What You Wish For, through Ripple Music and keep a steady focus on songcraft throughout. Heavy riffs, a bit of boogie on “Sky River” and the stomping “Better Days,” boozy Southern-isms on the directly countrified “On a Dime” and a cowbell-infused finish with “Bullet to Erase” – it’s only fair to say White Light Cemetery hit all the marks. The beery post-Deliverance execution of “Looking Out (For Number One)” will likely ring familiar to many who take it on, but that’s the idea, as vocalist/guitarist Shea Bearden, guitarist Ryan Robin, bassist Tara Miller and drummer Thomas Colley are clearly less concerned with reinventing rock in their own image than honoring the pantheon of those who’ve come before them in the style. Hard to argue with the ethic preached or the dual-guitar harmonies of “Quit Work, Make Music,” though the record as a whole seems awfully “workingman’s rock” for any such bohemian aspirations.

White Light Cemetery on Thee Facebooks

Ripple Music on Bandcamp

 

Fever Dog, Mainframe

fever dog mainframe

It’s been three years since next-gen Californian desert trio Fever Dog released their last album, Second Wind (review here), which was long on potential, big on songwriting and resonant in vibe. I’d been hoping for a third long-player in 2017, but even the arrival of new single Mainframe – which of course doesn’t preclude a subsequent album release – is fine by me, the three-piece of guitarist/vocalist Danny Graham, bassist Nathan Wood and drummer/organist/synthesist/vocalist Joshua Adams digging into progressive vibes on the title-track and the subsequent, talkbox-inclusive “Let Me Out.” I don’t know if they’re planning to press a 7” – somebody call H42 Records! – but the cover art certainly justifies one if the songs themselves don’t (and they do), and the name-your-price download comes with the raw 19-minute classic heavy rock jam “Alpha Waves Medley Live at Club 5,” which emits buzz like it’s a bootleg from 1973. If Mainframe is the process of Fever Dog getting weirder, it bodes well. All the more reason one might keep their fingers crossed for a new full-length.

Fever Dog on Thee Facebooks

Fever Dog on Bandcamp

 

Duel, Witchbanger

duel witchbanger

“If you see him it’s much too late/Close your eyes, girl, accept your fate.” So goes the title-track hook of Duel’s Witchbanger, the Austin-based rockers’ second album for Heavy Psych Sounds. Released on a quick turnaround from last year’s debut, Fears of the Dead (review here), the eight-track/34-minute swaggerfest delves into fantasy themes drawn from classic metal – hard not to look at six-minute closer “Tigers and Rainbows” and not think of Dio, at least thematically – but cuts like “Astro Gypsy” and “Heart of the Sun” in the record’s midsection build on the ‘70s loyalism of the first outing and find guitarist/vocalist Tom Frank, guitarist Jeff Henson, bassist/vocalist Shaun Avants and drummer JD Shadowz clear in their intentions in that regard. Though it takes a sizable grain of salt to get over that title, Duel’s heavy rock traditionalism comes complemented by efficient songwriting and a natural-sounding recording that’s neither completely retro nor totally modern but draws strength and fullness from both sides. A worthy and rousing follow-up.

Duel on Thee Facebooks

Heavy Psych Sounds website

 

Seven Nines and Tens, Set the Controls for the Heart of the Slums

seven-nines-and-tens-set-the-controls-for-the-heart-of-the-slums

If the dates are to be believed, the second full-length from Vancouver’s Seven Nines and Tens, cleverly-titled Set the Controls for the Heart of the Slums, has roots going back to 2014, when basic live tracks were recorded and subsequently built on for about two years. Indeed, the four-song offering – whose tracks “I Come from Downtown,” “Metropolis Noir / Rigs” and closer “Rave Up” have been presented in the meantime as singles and/or on early 2017’s Live at the Smilin’ Buddha Cabaret – has plenty of layers in its heavy post-rock wash, and it’s with depth and heft that guitarist/bassist/vocalist David Cotton and drummer Mario Nieva (the current incarnation of the band has a different lineup), make their prevailing impression, be it in the roll of 13-minute “Metropolis Noir / Rigs” or the loud/quiet trades of “Dope Simple,” which follows. With a focus on atmosphere over structure, Seven Nines and Tens offer a quick 32-minute immersion that feels less pretentious than purposeful and would seem to have been worth the time it took to construct.

Seven Nines and Tens on Thee Facebooks

Seven Nines and Tens website

 

Automatic Sam, Arcs

automatic sam arcs

With their third album, Nijmegen’s Automatic Sam bring together a straightforward and coherent collection of well-intentioned semi-psychedelic heavy rock. Their past works, 2011’s Texino and 2013’s Sonic Whip, have been conceptual or at least thematic pieces, and it may be that the 13-track/38-minute Arcs (on Goomah Music) is as well, but if so, it would seem to find that theme in a vision of post-grunge ‘90s alt rock, cleanly and clearly executed and vibrant in the performance of vocalist/guitarist Pieter Holkenborg, guitarist/vocalist Rense Slings, bassist/vocalist Erik Harbers and drummer/vocalist Lars Spijkervet, who open with the five-minute “Ukiyo” (their longest inclusion; immediate points) and then run through a varied swath of shorter pieces from the attitude-laden “City Lights” through the uptempo post-punk of “This is Not a Holiday” and the fuller push of “Parnassia.” Side B seems more flowing, with that song, “Tarantula,” a complementary reprise, the title-track and drifting acoustic closer “So Long in E Minor,” but Automatic Sam manage to hone a diverse approach across Arcs’ span while skillfully directing themselves around choppier waters.

Automatic Sam on Thee Facebooks

Automatic Sam at Goomah Music

 

The Next Appointed Hour, Not the End of the World

the-next-appointed-hour-not-the-end-of-the-world

Ambition may be the defining aspect of Not the End of the World. The 2016 self-released debut from Birmingham, Alabama’s The Next Appointed Hour willfully refuses easy categorization, basking in bright psychedelic space rock harmonies one minute and digging into folkish melancholia the next in a way that one is left with no other option but to call “progressive.” What ultimately makes songs like “Keeper’s Heart” and the ethereal pop of “Back to You back to Me” work is an underlying cure of songcraft, and whatever ground the six-piece cover on the 10-track outing, from the fuzzy rush of “Drone Riot” to the trippy shimmer of the penultimate “Red Flame,” that core is maintained, uniting the material and making Not the End of the World a work of scope rather than haphazard. It requires an open mind, but rewards open-mindedness with moments like the accordion on “Valley,” or the rhythmic drift of “Any Who but Here,” the nuance of which is no less gracefully held together than the overarching flow of the album as a whole.

The Next Appointed Hour on Thee Facebooks

The Next Appointed Hour on Bandcamp

 

Blown Out, Superior Venus

blown out superior venus

Already sold out on preorders, the vinyl edition of Superior Venus from UK cosmic jammers Blown Out features two tracks – one per side – of space-wash heavy righteousness. “Impious Oppressor” and “Superior Venus” both top 15 minutes (and are accompanied by demo versions if you get the download), and proffer the kind of progressive improvisation-based flow that, indeed, might make one inclined to get an order in while the getting’s good. Blown Out, with members of Bong and Pigs Pigs Pigs Pigs Pigs Pigs Pigs, have put out a slew of live and studio releases over the last three years, but as planets invariably revolve in cyclical patterns, so too does the regular frequency of their work become part of the expression itself. If you’re going to jam, do it all the time. On Superior Venus, Blown Out once more bring this ethic to life, and the resulting material spreads itself wide over its still relatively brief span. A short trip to orbit, perhaps, but well worth the undertaking.

Blown Out on Thee Facebooks

Riot Season Records on Bandcamp

 

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Yellowstock X: Lineup Complete; Kadavar to Headline

Posted in Whathaveyou on July 6th, 2016 by JJ Koczan

Set for Aug. 13 and 14 in Geel, Belgium, Yellowstock X is sort of where the summer festival season meets the fall festival season in Europe, thus reinforcing the notion that there is at this point no such thing as a festival season at all, and awesome shows are just a year-round occurrence. Either way, the lineup for the 10th edition of the fest is a striking international assemblage, from Kadavar confirmed to headline to the psych jams of Hills, The Midnight Ghost Train‘s bluster-blues, Zone Six‘s space rock triumphs, Greenleaf‘s hard-driving choruses and on and on.

With bands from Russia to the US, as well as Belgian acts like Flying Horseman, the why-would-you-call-your-band-this Kiss the Anus of a Black Cat, Tangled Horns and The Glücks, it looks like a well-curated mix of groups and should make for a great precursor to the busy autumn ahead.

Complete lineup and headliner announcement follow, courtesy of the fest:

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The Line-up is complete!!! We are siked to have the almighty KADAVAR to headline Sunday August 14th at Yellowstock Festival 10th Anniversary Edition!!! These retro rockers combine the finest 70’s Rock with enough Psychedelic & Stoner grooves to let y’all band or move!! IF you don’t know’m yet make sure to check’m out!!

Spread the words boys & girls; mothers & fathers; Psychedelic MoFo’s and all the rest!! See you at Yellowstock 2016!!!

TICKETS available now at: http://bit.ly/1prkFxW

EARLY BIRD TICKETS: SOLD-OUT!!!

ALL BANDS CONFIRMED
KADAVAR (Ger)
MICHAEL ROTHER plays NEU!, Harmonia and selected solo works (Ger)
HILLS (Se)
GREENLEAF (Se)
THE OSCILLATION (Uk)
THE MACHINE (Nl)
K-X-P (Fin)
SIENA ROOT (Se)
ZONE SIX (Ger)
THE FLYING EYES (Usa)
FLYING HORSEMAN (B)
PAUW (Nl)
THE MIDNIGHT GHOST TRAIN (Usa)
TERMINAL CHEESECAKE (Uk)
BIRTH OF JOY (Nl)
KISS THE ANUS OF A BLACK CAT (B)
LAY LLAMAS (It)
THE GRAND ASTORIA (Rus)
BLOWN OUT (Uk)
THE GLÜCKS (B)
MANTRA MACHINE (Nl)
TANGLED HORNS (B)

https://shop3.ticketscript.com/channel/html/get-dates/rid/4BHR9KMQ/eid/297973/language/nl
https://www.facebook.com/events/118832615129683/
https://www.facebook.com/YellowstockConcerts/

Kadavar, “Filthy Illusion” official video

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Yellowstock Festival: First Bands Confirmed; Early-Bird Tickets Sold Out

Posted in Whathaveyou on March 8th, 2016 by JJ Koczan

This year’s Yellowstock festival is set for Aug. 13-14 at Bogaard in Geel, Belgium. 2016 marks the 10th anniversary of the fest, which has in years past featured lineups gathering a particular slice of European and American heavy psychedelia, and it looks like this incarnation of the fest is no different. It’s up from one day in 2015 to two now, so I’d expect more than a few lineup additions are still to come, but they’re off and running with the likes of Michael RotherGreenleafHillsThe Flying EyesThe Midnight Ghost TrainThe MachineThe Grand Astoria and so on in their initial announcement.

Enough so that upon being made available this past weekend, early-bird tickets sold out quickly. There’s still time before August gets here if you happen to be near Geel or otherwise ready to travel, but it’s one to keep an eye on. The first Yellowstock was in 2007, and since then the fest has continued to flourish and build its own community in an increasingly crowded heavy scene.

I’ll do my best to keep up with announcements as they come out, but here’s the initial word from the fest itself, as seen on the social medias:

yellowstock header

Yellowstock Festival 10th Anniversary Edition!

TICKETS available now at: http://bit.ly/1prkFxW

EARLY BIRD TICKETS: SOLD-OUT!!!

August 13 – August 14
BOGAARD Diesteweg 135 B-2440 Geel Belgium

First bands confirmed!
Michael Rother plays NEU!, Harmonia and selected solo works (Ger)
HILLS (Se)
GREENLEAF (Se)
THE OSCILLATION (Uk)
K-X-P (Fin)
THE MACHINE (Nl)
THE FLYING EYES (Usa)
THE MIDNIGHT GHOST TRAIN (Usa)
TERMINAL CHEESECAKE (Uk)
KISS THE ANUS OF A BLACK CAT (B)
LAY LLAMAS (It)
THE GRAND ASTORIA (Rus)
BLOWN OUT (Uk)
THE GLÜCKS (B)
+ many more soon!

We are back with 2 full days of music!! Campsite!! and lots more coming soon!!

Cross the dates in your agenda!

https://shop.ticketscript.com/channel/web2/start-order/rid/4BHR9KMQ/language/nl
https://www.facebook.com/YellowstockConcerts/
https://www.facebook.com/events/118832615129683/
http://www.yellowstock.be/

Greenleaf, Rise Above the Meadow (2016)

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Quarterly Review: Horsehunter, Church, Corpse Light, Sunder, T-Tops, The Space Merchants, Etiolated, Blown Out, Les Discrets, Beast Modulus

Posted in Reviews on June 30th, 2015 by JJ Koczan

the obelisk summer quarterly review

Day one down and feeling good so far. Day two continues the thread of mixing more known quantities with bands either self-releasing or putting out demos, etc., and I like that. More than last time around — last quarter, if you want to use the business-y sounding language for it — I tried to really get a balance across this batch of reviews, posted yesterday and coming up over the next couple days. We’ll see how it works out when it’s over. It remains a ton of stuff, and I hope you dig it. Day two starts right now.

Quarterly review #11-20:

Horsehunter, Caged in Flesh

horsehunter caged in flesh

Pushing their way to the fore of Melbourne’s heavy surge, double-guitar four-piece Horsehunter proffer oppressive tonal crush on the four tracks of their 2LP Magnetic Eye Records debut, Caged in Flesh. The story goes that, unsatisfied the initial recordings weren’t heavy enough, the band – guitarists Michael Harutyanyan (also vocals) and Dan McDonald, bassist/vocalist Himi Stringer and drummer Nick Cron – went back into the studio and redid the entire thing. Mission accomplished. By the time 16-minute opener and longest track (immediate points) “Stoned to Death” is done, lungs are suitably deflated, spines are cracked, skulls cleaved, and so on. They’re hardly the only ones in the world to conjure formidable tonal heft, but it’s the deft changes in vocals – clean here, shouts there, more abrasive at the start of the title-track – and the sense of atmosphere in the three-minute penultimate interlude that really distinguish Horsehunter, as well as how smoothly that atmosphere integrates with the pummel in the second half of closer “Witchery,” attention to detail and awareness of the need for more than just sonic weight boding well for future progression.

Horsehunter on Thee Facebooks

Magnetic Eye Records on Bandcamp

Church, Unanswered Hymns

church unanswered hymns

A staggeringly heavy debut full-length from Sacramento, CA, five-piece Church, Unanswered Hymns was initially released digitally by the band and quickly picked up for a cassette issue by Transylvanian Tapes and forthcoming LP through Battleground Records. One gets the sense listening to the three extended tracks – 19-minute opener “Dawning” being the longest of the bunch (immediate points) – that those won’t be the last versions to come. Psychedelic doom blends seamlessly with vicious sludge extremity, creating a morass engulfing in its tones, spacious in its breadth and unrepentantly heavy, making it one of 2015’s best debut releases, hands down, and a glorious revelry in bleak tectonics that challenges the listener to match its level of melancholy without giving into an impulse for post-Pallbearer emotive theatrics. As thrilling as they are plodding, expect the echoes of “Dawning,” “Stargazer” and “Offering” to resonate for some time to come, and should Church show any predilection for touring in the next couple years, they have the potential to make a genuine impact on American doom. Yes, I mean it.

Church on Thee Facebooks

Transylvanian Tapes

Battleground Records

Corpse Light, Without Form

corpse light without form

Recorded in a day and released by Grimoire Records, the four-track Without Form is slated as the debut from Baltimore atmospheric doomers Corpse Light, but the band have had tracks come out in drips and drabs since getting their start as Ophidian in mid-2012, even if this is their first proper release. Either way, “The Fool” sets up an immediate and grim ambience, the churning lurch from guitarists Keiran Holmes and Don Selner and bassist Aurora Raiten set to roll by Lawrence Grimes (The Osedax) and given earthy aggression by the vocals of Jim Webb. “Lying in State” fleshes out these morose aggro vibes, but it’s with the drop-everything-and-kill peak of the subsequent “R Complex” that Corpse Light hit their angriest mark. If Without Form was just about that, it would be the highlight, but the album’s 29 minutes have more to offer than pissed off tonally-weighted post-hardcore, as closer “Kenophobia”’s clever turns and deceptive forward momentum demonstrate, though a touch of that kind of thing never hurts either.

Corpse Light on Thee Facebooks

Grimoire Records on Bandcamp

Sunder, Demo

sunder demo

Heavy psych four-piece Sunder will make their debut this summer through Tee Pee and Crusher Records with a 7” for “Cursed Wolf,” so consider this notice of the tracks on their not-for-public-consumption demo a heads up on things to come. Their “Deadly Flower” was streamed here this past April, and the band’s previous incarnation, The Socks, released their self-titled debut (review here) on Small Stone in 2014, but with songs like the key-laced stomper “Bleeding Trees,” the ‘70s rusher “Against the Grain,” and the Uncle Acid-style swinging “Daughter of the Snows,” the Lyon, France, outfit continue to refine a style drawing together different vibes of the psychedelic era. “Deadly Flower” was also distinguished by its key work, and as for “Cursed Wolf” itself, the melody reminds of proto-psych Beatles singles (thinking “Rain” specifically), but the groove still holds firm to a sense of weight that’s thoroughly modern, and by that I mean it sounds like 1972. Keep an eye out.

Sunder on Thee Facebooks

Tee Pee Records

T-Tops, T-Tops

t-tops t-tops

Granted not everyone is going to make this immediate association, but when I first saw the moniker T-Tops, I couldn’t help think of like C-grade generic stonerisms, songs about beer and pretending to be from the South and all that. If you experienced something similar in seeing the name, rest easy. The Pittsburgh trio of guitarist/vocalist Pat Waters (ex-The Fitt, Wormrigg), bassist Jason Orr (Wormrigg) and drummer Jason Jouver (ex-Don Caballero) are down with far more sinister punk and noise on their self-titled, self-released debut full-length, riding, shooting straight and speaking truth on cuts like “Wipe Down” and the catchy “Pretty on a Girl” after the tense sampling of “A Certain Cordial Exhilaration” turns over the power-push to “Cruisin’ for a Bruisin’.” “Ralphie” is probably an inside-joke if not a Christmas Story reference, but point is these guys are way less about-to-sing-about-muscle-cars than the name implies and their tight, crisp rhythmic turns come accompanied by vicious tonal force and an utter lack of bullshit, which is a scenario far preferable to that which one might otherwise expect.

T-Tops on Thee Facebooks

T-Tops on Bandcamp

The Space Merchants, The Space Merchants

the space merchants the space merchants

Issued by Aqulamb in the imprint’s standard 100-page art book/download format, the self-titled debut from fellow Brooklynites The Space Merchants seeks to draw a line between psychedelic rock and country. And not pretend country like people with a Johnny Cash fetish because he covered that Nine Inch Nails song one time – actual, bright, pastoral, classic country. Call the results psychtwang and applaud the effort, which works oddly well in a thoroughly vintage context to come across on “Mainline the Sun” like something from a lost ‘60s variety show. Parts of “One Cut Like the Moon” and the later fuzz of “One Thousand Years of Boredom” give away their modernity, but The Space Merchants’ push toward a stylistic niche suits them well, and the intertwined vocal arrangements from guitarist Michael Guggino, bassist Aileen Brophy and keyboardist Ani MonteleoneCarter Logan drums to round out the four-piece – add to the rich, welcoming feel that remains prevalent even as the eight-minute “Where’s the Rest of Life” slips into wah-soaked noise to finish out.

The Space Merchants on Thee Facebooks

Aqualamb on Bandcamp

Etiolated, Grey Limbs, Grey Skies

etoliated grey limbs grey skies

The undercurrent of black metal coursing beneath the surface of Etiolated’s debut full-length, Grey Limbs, Grey Skies, eventually comes to the surface in 10-minute opener “Internal Abyss” and 16-minute eponymous closer, which bookends, but in part it’s the tension of waiting for those rampaging surges that keeps one hooked to the Armus Productions release. Guttural death growls echo up from dense tonal reaches, and tempo shifts, whether in those longer tracks or three-minute lumbering slice “Futility” are fluid, the North Carolina five-piece executing a slow-grinding chug in centerpiece “Exsanguinate,” which seems like a murk without end until the 1:47 “For Your Hell” kicks into a speedier, more blackened rush, guest vocalist Ryan McCarthy joining guitarist/vocalists James Storelli and Walls, bassist Cody Rogers and drummer Elliot Thompson in furthering the already prevalent sense of extremism before “Etiolated,” after a surprisingly peaceful if brooding midsection, plods the album to a close. To say “not for the faint of heart” would be putting it lightly, but if I had a vest and if Etiolated had patches, the two parties would definitely meet up at some point in the near future.

Etiolated on Thee Facebooks

Armus Productions on Bandcamp

Blown Out, Planetary Engineering

blown out planetary engineering

It has not taken long for the discography of UK psych jammers Blown Out to become a populated murky cosmos of its own. Planetary Engineering is released on Oaken Palace Records and finds the three-piece of guitarist Mike Vest (also Bong, etc.), bassist John-Michael Hedley (also Pigs Pigs Pigs Pigs Pigs Pigs Pigs) and drummer Matt Baty (also the head of Box Records) exploring two mesmeric and sprawling instrumentals – one per side – that bend and flourish and hypnotize in organically-concocted swirl. Side A’s “Transcending Deep Infinity” tops 20 minutes and shifts from its spacey build to a low key groove at about 7:30 in, pulsing forward once more amid head-turning repetition, deep echoes and longform nod, culminating in a two-minute fadeout that brings forward “Thousand Years in the Sunshine,” an immediate bass groove and interstellar swirl no less trance-inducing than its predecessor. Cyclical drum fills morph over time behind the guitar and bass, and Planetary Engineering seems to push continually further out until, of course, it disintegrates, presumably as it crosses the galactic barrier.

Blown Out on Thee Facebooks

Oaken Palace Records on Bandcamp

Les Discrets, Live at Roadburn

les discrets live at roadburn

I was fortunate enough to have been in attendance at Het Patronaat in Tilburg when French post-black metallers Les Discrets took the stage at Roadburn 2013. As such, it’s with some trepidation I approach their Live at Roadburn recording on Prophecy Productions – the impression they made live wasn’t something I’d want potentially spoiled or brought to earth by a document proving it was just another set. With Neige of Alcest on bass with guitarist/vocalist Fursy Teyssier, Les Discrets proved to be something really special to those who, like me, were there to catch them, and the eight-track Live at Roadburn – fortunately – captures both the majestic lushness they brought with them and the underlying weight that seemed to add impact to the material. What might sound like post-production mixing on “L’Echappée” or the wash of “Chanson D’Automne” isn’t – it really was that beautiful and that perfectly balanced coming from the stage. A vastly underrated act and a document that reminds of how stellar they were without sullying the memory in the slightest.

Les Discrets on Thee Facebooks

Prophecy Productions

Beast Modulus, Beast Modulus

beast-modulus-beast-modulus

Brooklynite foursome Beast Modulus seem to care less about meshing with ideas of genre than sticking them in a meatgrinder and seeing what comes out. To wit the riotous chugging of “Cowboy Caligula,” and the blackened thrust of “WaSaBi!” on their self-released, self-titled outing, which leads to dueling growls and screams on the tonally weighted post-hardcore “Fabulous,” and the appropriately mathy turns of the thrashing “Tyranny of Numbers.” Inventive in their stylizations and in where the six songs included on the release actually go – hint: they go to “heavy” – the lineup of vocalist Kurt Applegate, guitarist Owen Burley, bassist Jesse Adelson and drummer Jody Smith have some post-Dillinger Escape Plan vibe in the calculated chaos of “Kalashnikov,” but closer “Killing Champion” is too impatient to even be held by that, the prevailing manic angularity of Beast Modulus ultimately crafting its own identity from the physical assault the music seems intent on perpetrating upon the listener.

Beast Modulus on Thee Facebooks

Beast Modulus on Bandcamp

 

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Blown Out Release Jet Black Hallucinations on Golden Mantra

Posted in Whathaveyou on June 8th, 2015 by JJ Koczan

So, on my desktop right now, along with about 50 other records and my standard-issue Hubble backdrop, there sits a two-track album by UK trio Blown Out called Planetary Engineering, that’s supposed to have a late May/early June issue on Oaken Palace Records. Then I see the news release below about a Blown Out album called Jet Black Hallucinations that’s out now on Golden Mantra after some delays, and things start to make even less sense. I suppose its possible that Blown Out, with the plant backed up, could have had two releases bump into each other, but the thing is that while Jet Black Hallucinations is up and streaming on their Bandcamp, Planetary Engineering is not, whereas that album is all over their Thee Facebooks page.

The upshot? I’m not sure which record is more current than the other. Either way, these guys jam the living crap out of space itself, and that matters more. To catch your eye, members of BONG, 11Paranoias, Pigs Pigs Pigs Pigs Pigs Pigs Pigs and so on, but the sprawl is really the star.

Here’s the info off the PR wire:

blown out jet black hallucinations

Blown Out – Jet Black Hallucinations (GOMA001) finally released.

Blown Out – Jet Black Hallucinations
GOMA001
Vinyl LP and Download
Released 4th June 2015 on Golden Mantra

Having faced post RSD plant delays and 3 sleeve misprints, Jet Black Hallucinations has finally landed.

The premiere release from Newcastle, UK label Golden Mantra sees Psych-rock power trio, Blown Out offer Jet Black Hallucinations; 40+ minutes of blissed out jams informed by the endlessness of space and Hendrix bootlegs.

Made up of Mike Vest, John-Michael Hedley and Matt Baty, the band utilise the modulated wailing of waster guitars over a constant flow of liquid basslines and hard landing drums. Hypnotic grooves layed on thick over 3 tracks recorded in Newcastle Upon Tyne in December 2014.

Featuring members of BONG, Haikai No Ku, 11Paranoias, Drunk in Hell, Pigs Pigs Pigs Pigs Pigs Pigs Pigs and Khunnt, Blown Out’s Jet Black Hallucinations follows their sold out LP on Riot Season.

Available to purchase via www.goldenmantra.co.uk
https://www.facebook.com/blownoutnoise/
https://blownout.bandcamp.com/album/jet-black-hallucinations

Blown Out, Jet Black Hallucinations (2015)

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audiObelisk Transmission 048

Posted in Podcasts on May 26th, 2015 by JJ Koczan

Click Here to Download

 

Here is the Music Player. You need to installl flash player to show this cool thing!

The second hour starts a little early this time around, and what I mean by that is when you’re like five minutes into hour two and trying to figure out on the tracklisting below what improv-sounding brilliant cut you’re hearing, pay careful attention to when hour one ended. Just 11 seconds from the start of the second half of the podcast. So yeah, that 18-minute wonder gets filed under hour one instead, but it comes with a wink and a nod. I just couldn’t bring myself to file something under hour two without a one at the front of the time stamp, which shows you how sad and compulsive I am because I’ve only been time-stamping these podcasts for two months now. What a dork.

It’s good stuff this. Always is, I suppose, but starting out with Goatsnake into The Machine and then on from there, it builds a flow that makes some sense one into the next in a way that, listening back to it after I put it together, was especially satisfying. Hopefully you agree as you make your way though.

As always, hope you enjoy:

First Hour:
0:00:00 Goatsnake, “Grandpa Jones” from Black Age Blues
0:04:36 The Machine, “Coda Sun” from Offblast!
0:09:55 Galley Beggar, “Pay My Body Home” from Silence and Tears
0:18:51 Steve Von Till, “Night of the Moon” from A Life Unto Itself
0:25:48 Venomous Maximus, “Through the Black” from Firewalker
0:29:42 Black Pyramid, “Open the Gates” from Dead Star 7”
0:34:59 Ape Skull, “A is for Ape” from Fly Camel Fly
0:39:54 Sunder, “Deadly Flower” from Demo
0:43:53 Eternal Fuzz, “Sea Change” from Nostalgia
0:47:37 Geezer, “Long Dull Knife” from Long Dull Knife
0:53:31 Fogg, “Joy of Home” from High Testament
0:59:49 Shiggajon, “Sela” from Sela

Second Hour:
1:18:07 Blown Out, “Thousand Years in the Sunshine” from Planetary Engineering
1:34:01 Les Lekin, “Loom” from All Black Rainbow Moon
1:47:14 Undersmile, “Knucklesucker” from Anhedonia

Total running time: 1:59:00

 

Thank you for listening.

Download audiObelisk Transmission 048

 

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