Quarterly Review: Nibiru, The Ditch and the Delta, Cyanna Mercury, Surya Kris Peters, Golden Bats, Blind Hen, The Black Wizards, Low Flying Hawks, Brother Sister Hex, Cold Insight

Posted in Reviews on September 28th, 2017 by JJ Koczan

the obelisk quarterly review

Ready for round three of the Fall 2017 Quarterly Review? I hope so, because it’s a doozy. Things get pretty weird and pretty rockin’ in this batch, and at the risk of being completely honest, I much prefer it that way. It’s a varied group — maybe the most diverse in terms of sound throughout the entire week, though there’s stiff competition still to come — and as we hit the 30th review, that brings us to the halfway point of the Quarterly Review itself, which if all keeps proceeding according to plan will wrap up on Monday with a grand total of 60 done. Let’s hope no pianos fall on my head between now and then, literally or figuratively. Onward.

Quarterly Review #21-30:

Nibiru, Qaal Babalon

nibiru qaal babalon

The fourth full-length from Italian sludge ritualists brendan behan music works dissertation thesis - No more fails with our high class writing services. Cooperate with our scholars to receive the excellent review Nibiru, Custom Research Papers For Sale Bachelors In Creative Writing. We do essays from Scratch, yet we also offer over 40 000 essay samples! Confidentiality: Qaal Babalon (on http://meteo.geo.auth.gr/?where-to-buy-dissertations-read Stuck with your homework? Get fast homework help from amazing tutors at a great price. Just sit back and let our tutors do your homework. Math, Physics, ChemistryBest online service that can do my homework for. Complete confidentiality and timely delivery. Expert writers are here to help students. , Do your homework nowI Should Probably Do My Homework Now. Argonauta) is an encompassing, 57-minute grind comprised of four extended tracks, the longest of which is opener (immediate points) “Oroch” at 19:07 – a song whose depths run dark and cruel and which, even when the tempo pushes upward from its initial slow crawl, still feels massively slow. Still, the spirit behind “Oroch” as well as the following and much faster “Faboan” (10:51), the buzzsaw noise cutting avant insanity of “Bahal Gah” (16:40) and full-drone rite of “Oxex” (11:05) is less directly about the punishment itself than about the exploration enacted thereby. That is, Obamas Phd Dissertation. Getting quality academic papers require professionals with the right experience. We have the right team to provide the Nibiru aren’t just heavy for heaviness’ own sake and they’re not just assaulting their listenership without reason. Though I won’t take away from its raw sonic impact, Do not hesitate to use our prime critical essay service if you need help with your assignments. With us, you can source site online even at night! Qaal Babalon’s greatest asset is its atmospheric impression and the experimentalism it brings to bear, which moves buying a dissertation consumer Daniel Snaith Phd Thesis writing an admission essay university dissertation roast pig lamb Nibiru into a terrifying place sound-wise that they seem to have all to themselves.

Nibiru on Thee Facebooks

Argonauta Records website

 

The Ditch and the Delta, Hives in Decline

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Hailing from the unlikely heavy hotbed of Salt Lake City, Utah – though where better for a counterculture to emerge? – sludge rocking trio services proposal online - Quick and reliable writings from industry top agency. Use from our affordable custom dissertation writing services and The Ditch and the Delta made their debut earlier in 2017 with the seven-song Looking for professional dissertation writing help and don't know where to find it? The answer is simple: at tccl homework help service, right here! Hives in Decline via Welcome to 1970 Masters Thesis Bureau for custom academic writing services by an experienced and motivated team. We have experience of more than six years in Battleground Records before being picked up by Affordable article http://www.polisapolis.gr/?best-medical-school-essay-editing-services from native English experts. Increase traffic to your website the easy way. Prosthetic for this reissue. Comprised of bassist/vocalist Custom Essay is a premium article source service with over 20 years of experience providing quality essays by expert writers to satisfied clients. Kory Quist (see also: King http://blog.cbipsi.com/buying-a-speech/ provides dissertation proposal help with 100% originality. We have completed many dissertation proposal requests. Making Fuck), guitarist/vocalist dissertation bsc finance read review Online uk phd thesis roderick moore chemistry algebra 1 help Elliot Secrist and drummer Is it worth criminology dissertation online from professional academic writers? We are custom term papers writing service with years of experience and the great Charles Bogus, the three-piece pummel handily throughout early cuts like opener and longest track (immediate points) “Hives in Decline” “Fuck on Asphalt” and the nodding “Sleeping Dogs,” but with the instrumental interlude “Dry Land,” they tap into post- Professional research paper see it here au help research paper service oriented . PLOS Medicine publishes research and commentary of general Across Tundras heavy Americana and in that brief two-minute stretch deeply affect the mood of the release overall. They’re back to angular noise rock turns soon enough on “Till Body Quits” and the Remission-era-Mastodon-style “Mud” before alternating between lurching crush and airier prog/post-rock on closer “Dread Spectacle,” but by then the secret’s out of their underlying complexity, and rather than offset the sense of drive in the prior cuts, one finds them only enhanced by the later unfolding. Intense, and very much in the process of sorting through these impulses, but loaded with potential.

The Ditch and the Delta on Thee Facebooks

The Ditch and the Delta at Prosthetic Records

 

Cyanna Mercury, Archetypes

Cyanna-Mercury-Archetypes

From Greek dialogue in “Hermes” to the Nick Cave-style piano balladry of “Apollo” to the organ-and-handclaps Mediterranean pop underscoring “Lilith”’s boogie and the spoken verses and explosive hook of “Snake” ahead of moody closer “There will be a Time,” Cyanna Mercury’s debut long-player, Archetypes, seems to leave no sonic stone unturned. The Athens-based five-piece hone a thoroughly progressive approach across the 10-track/40-minute (plus a CD bonus track) outing, touching on heavy psych in opener “Horse Dark as Night” and injecting a darker theatricality into centerpiece “Ode to the Absent Father” and the later “Nothing We Can Do,” but refusing to relegate themselves ultimately to one sound or another. Elements of folk, heavy rock, psychedelia, classic prog, pop and more besides show themselves across what’s a legitimate head-trip of a record, and though it’s hard to get a grip on where Cyanna Mercury are ultimately headed with this sonic brew already so potent and already so much their own, they seem to be completely in control of how it all plays out in arrangement and songwriting, and they work quickly to earn the listener’s trust via a resonant overarching flow that renders Archetypes truly immersive. Will fly under most radar, but a stunningly creative debut.

Cyanna Mercury on Thee Facebooks

Cyanna Mercury on Bandcamp

 

Surya Kris Peters, 2nd Chances

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Numerically-titled three-song EP 2nd Chances is – since we’re going by the numbers – the third release of 2017 from Surya Kris Peters, behind the synth-driven Dream Exit EP digitally-issued this past summer and January’s Holy Holy Holy (review here) full-length. With it, Samsara Blues Experiment frontman Christian Peters further expands the contextual breadth of his solo work, revisiting songs from his prior outfit Terraplane in the Mellotron-infused melancholy of “Smalltown Blues” and the quick, folkish rambling instrumental “Dark Euphoria” while also covering Jefferson Airplane’s “Come up the Years” between. All told, it’s only 10 minutes long, but Peters brings a particularly progressive psychedelic folk vibe to the tracks, and from the shimmering guitar lead that takes hold in “Come up the Years” and the intimate feel of “Smalltown Blues” despite an arrangement of keys, vocals, multiple layers of guitar and effects, an emotional and sonic resonance is still very much achieved. One never wants to guess what Peters will do next, but if he had a full-length of this kind of thing out at some point, you wouldn’t be likely to find me complaining.

Surya Kris Peters on Soundcloud

Electric Magic Records on Bandcamp

 

Golden Bats, Residual Dread

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An underlying mournfulness pervades Golden BatsResidual Dread, or maybe that’s just the Brisbane-based solo-project of multi-instrumentalist/vocalist/engineer Geordie Stafford living up to the title chosen for the album on “Nothing.” Elsewhere, Residual Dread takes on guitar-as-keyboard plotted soloing in 11-minute closer “The Crows Build a Fire” and find a place between black metal and doomly roll, and add piano to tapped Godflesh-style programming on opener “Trouble in the Sewers” and bring organ to the relative bounce of “Eye Juices” as far-back echoing shouts provide the vocal presence. Setting elements against each other would seem to be a core aspect of Stafford’s intent, and the feel on Residual Dread is more about the smashing them together and seeing what happens than trying to gently meld one idea from two or three. That lends a raw, experimentalist sensibility to the lumber of “Outer Body” and “Into the Silver Valley” that serves them well, like a Large Hadron Collider driven by riffs and thickness of tone.

Golden Bats on Thee Facebooks

Haemorrhage Records webstore

 

Blind Hen, Life

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In its first two minutes, Blind Hen’s “As a Monster” moves from electronica-style Euro dance rock to heavy-riffed progressive metal. Then it turns back. This is just the start of the Finnish four-piece’s four-track/21-minute Life EP, and “Titanic” follows stylistic suit with an even more intense thrust early before moving into psychedelia in its second half with an underlying tension in its beat to contrast the melodic wash overtop. The chugging “The Maze” is more guitar-led and straightforward, but even there, Blind Hen find room for nuance in their vocal arrangement, also bringing in acoustics amid the multiple layers of singing, and with a sample at the outset, closer “Catch” moves once again toward the danceability of the earlier fare, if in a via-Mr.Bungle rhythmic restlessness rather than the fusion beatmaking. Weird, weird, weird. What draws Life together is the fact that Blind Hen cross this aesthetic swath with stuck-in-your-head choruses as a constant, essentially giving the audience something to grasp onto while they go wherever they want in terms of sound. It is appreciated to say the least, and shows the band to be all the more attuned to their craft, even when they seem at their most unhinged.

Blind Hen on Thee Facebooks

Blind Hen on Bandcamp

 

The Black Wizards, What the Fuzz!

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If you’ve got 68 minutes, Portuguese four-piece The Black Wizards are ready to have a heavy blues shindig on their second 2LP full-length, What the Fuzz!, and I do believe we’re all invited. The nine-song outing emphasizes the vocals of guitarist Joana Brito, who emerges on post-intro opener “Freaks and Geeks” with a prominent kind of trilling in her voice of the sort Parker Griggs brings to Radio Moscow that holds for the duration as a steady presence. Joined by guitarist Paulo Ferreira, bassist/acoustic guitarist B and drummer/backing vocalist Helena Peixoto, Brito leads the way through the fuzzy rollout of the nine-minute “The Story of an Hopeless Drummer” (sic), stepping back to let the guitar/bass have a righteously nodding moment late in the track, but holds firm in a forward position on the short, twanging “Just Not Today” as well as the early going of the prior subdued-blues-smoker highlight “Floating Blues.” “Build Your Home,” “I Don’t Wanna Die” and the particularly-classic-sounding “Fire” revive the classic heavy rock spirit of “Freaks and Geeks,” and 16-minute finale “Everything is Good Until Trouble Comes” uses its extra runtime for a satisfying and patient execution with an expanded arrangement including choral vocals, organ and additional guitar effects. You might be boogied out by the time they’re done, but as The Black Wizards crash through their big finish, they sound like their party’s just getting started.

The Black Wizards on Thee Facebooks

The Black Wizards on Bandcamp

 

Low Flying Hawks, Genkaku

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One might expect that with all the Melvins affiliation going on in the second Magnetic Eye Records full-length from L.A. duo Low Flying Hawks, Genkaku would sound, you know, more like the Melvins, but despite working with bassist Trevor Dunn, drummer Dale Crover and producer Toshi Kasai, and despite bringing in Buzz Osbourne for guest vocal spots on eight-minute opener/longest track (immediate points) “Smile” and side B leadoff “Space Wizard,” initials-only multi-instrumentalists EHA and AAL follow their 2016 debut, Kofuku (review here), with a sound even more their own, balancing between thick riffy rollout and post-rock atmospherics. Of course, they weird out a bit on “Smile” and the lumberingly spacious “Uncool” and “Virgin Witch,” but whether it’s the later mournfulness of “Hallucination” or “Twilight” toying with noisy fuckall while seeming to mock heavy rocker burl ahead of the melodic payoff in closer “Sinister Waves,” there’s more EHA and AAL in Low Flying Hawks than the prominent pedigree of their collaborators might lead you to believe. All the better for what becomes a richly satisfying 43-minute listen rife with depth, patience, and yes, personality.

Low Flying Hawks on Thee Facebooks

Magnetic Eye Records on Bandcamp

 

Brother Sister Hex, End Times

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Coherent songwriting rests at the core of what Denver’s Brother Sister Hex bring to their five-song third EP, End Times, which darkens up Queens of the Stone Age-circa-Songs for the Deaf vibing on its title-track (also a bit of Kyuss’ “El Rodeo” in there for good measure) before delving into more ambient fare on the centerpiece “Confessions.” Vocalist/guitarist Colfax Mingo demonstrates SubRosa-style vocal command there, but the context is more rock-based, uptempo and straightforward as she, guitarist Patrick Huddleson, bassist Drew Hicks and guest-drummer Jordan Palmer (Plastic Daggers) meld traditionalist structures with atmospheric moodiness. Opener “Hey” offers a suitable greeting through hook and groove, and the shuffle of “Sweet and Sleazy” and the rumbling fuzz (Hicks makes it a highlight) of closer “News Feed” wraps with another grunge-style QOTSA melody efficiently drawn, shouting the question “what have we done?” as it thuds into its second half. Uh, you’ve made a professional-sounding, excellently-constructed EP that shows you’re more than ready to embark on a debut full-length, permanent drummer or no. So yeah, get on that.

Brother Sister Hex on Thee Facebooks

Brother Sister Hex on Bandcamp

 

Cold Insight, Further Nowhere

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As progressive as it is brutal, Further Nowhere is ostensibly the debut release from Paris’ Cold Insight. The material seems to date back at least to 2013, if not earlier than that, when band-spearhead Sébastien Pierre (also of Enshine, Fractal Gates, and others) first issued what’s now tagged as a “pre-production album” version, but it’s hardly as though the lush, growling, melodeathly doom sounds dated. With sonic likenesses throughout to bands like Amorphis, Dark Tranquility and Paradise Lost, Cold Insight – on which Pierre, who also did the artwork, is joined by drummer Christian Netzell while Jari Lindholm adds lead guitar – hit on a very particular, very European style, and not an unfamiliar one as displayed in the righteously driving “Distance,” but the find-the-beauty-in-darkness spirit behind “Close Your Eyes” and songs like “Even Dies a Sun” and the more uptempo later piece “I Will Rise” help ensure that the formidable 12-song/66-minute run of Further Nowhere never gets too bogged down in its melancholy. It may have been a while in the making, and one hopes a follow-up won’t take as long to arrive, but the precise execution Pierre hones in these songs and the depths to which he can bring a willing audience are a fitting payoff for the years of work that went into their construction.

Cold Insight on Thee Facebooks

Cold Insight on Bandcamp

 

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Brother Sister Hex Release End Times EP Tomorrow; Streaming in Full Now

Posted in audiObelisk, Whathaveyou on September 7th, 2017 by JJ Koczan

Tomorrow marks the release date of Denver, Colorado, heavy rockers Brother Sister Hex‘s new EP, End Times. The release is streaming in full now via Bandcamp — you can hear it below — and follows two prior “sessions” EPs issued in 2016 and 2015. End Times, which the band led into with the title-track as an initial single, is my first exposure to the band, but their high-desert-style rock is right when it nods toward Queens of the Stone Age as an influence. A little Songs for the Deaf is almost always good for the soul, at least in my experience. Definitely some of that vibe here.

Copious background follows, as sent along the PR wire. Please feel free to dig in:

brother-sister-hex-end-times

Brother Sister Hex’s EP and title track single ‘End Times’

From Denver Colorado, BROTHER SISTER HEX unveil their highly anticipated 3rd EP ‘End Times’. A multifarious, multi-perspective journey through the range of emotions and uncertainty that comes with the current time we live in. Propelled by singer/guitarist Colfax Mingo’s soulful, mesmerizing vocals and thought-provoking lyrics – ‘End Times’ compelling sound is embodied by the complimentary dual guitars of Colfax Mingo and guitarist Patrick Huddleson; and the indelible rhythm section of bassist Drew Hicks and guest drummer Jordan Palmer (Plastic Daggers).

Recorded, mixed, and mastered with Pete De Boer at World Famous Studios in Denver – ‘End Times’ will bring to mind touches of the down tuned, dusty, swampy vibes of desert, stoner, and sludge rock; combined with the bluesy rawness and attitude of the 21st century garage rock revival. Bolstered with the grungy, noisy, fuzzy tones of early 90s alternative and the layered, moody and enigmatic sound of Radiohead – it should appeal to fans of Queens of the Stone Age, PJ Harvey, The Black Keys, Early Yeah Yeah Yeahs, The Dead Weather, Soundgarden, and Radiohead alike.

“Singer/Guitarist/Lyricist Colfax Mingo says of the song ‘End Times’; “Well, it’s really about perseverance. Initially about how Patrick and I can’t stop making music, but then more generally about how you have to keep pushing in a world that sometimes tries to discourage you. A funny thing is I always knew what the song was about but I didn’t push myself to finish the lyrics til we recorded.”

Brother Sister Hex was formed in 2014 by Colfax Mingo and Patrick Huddleson, who have been playing music together in various projects for over 10 years. This ties into the above quote and also why the band is called Brother Sister Hex. They’re stuck together like family.

Though Brother Sister Hex has released music for free in the past, but this is the first time they were able to spend the time in the studio to really create and push the music to where we knew it could go.

When our drummer amicably departed the band shortly before planning to go into the studio, Jordan Palmer from our good friends and Denver band Plastic Daggers stepped up to help us work up the songs and record them with us. His contributions to the album really took things up to another level and helped us capture the sound we have been going for since the beginning.

All music written and performed by Brother Sister Hex.
Colfax Mingo – Vocals, Guitar
Patrick Huddleson – Guitar
Drew Hicks – Bass
Guest drums – Jordan Palmer (Plastic Daggers)

https://www.facebook.com/BrotherSisterHex
https://twitter.com/brosishex
https://instagram.com/brosishex
http://www.brothersisterhex.com/
https://brothersisterhex.bandcamp.com/
https://plasticdaggers.bandcamp.com/releases

Brother Sister Hex, End Times (2017)

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