Quarterly Review: Fuzz, Crippled Black Phoenix, Bethmoora, Khan, The Acid Guide Service, Vexing Hex, KVLL, Mugstar, Wolftooth, Starmonger

Posted in Reviews on December 23rd, 2020 by JJ Koczan

THE-OBELISK-FALL-2020-QUARTERLY-REVIEW

Day III of the Inexplicably Roman Numeralized Winter 2020 Quarterly Review, commence! I may never go back to actual numbers, you should know. There’s something very validating about doing Day I, Day II, Day III — and tomorrow I get to add a V for Day IV! Stoked on that, let me tell you.

You have to make your own entertainment these days, lest your brain melt like wax and drip from your nostrils.

Plurp.

Quarterly Review #21-30:

Fuzz, III

fuzz iii

Plenty of heavy rockers can come across sounding fresh. Most of the time all it takes is being young. In the case of Professional writers at our company will How To Write A Literature Review For A Masters Dissertation be glad to. Dissertation help is a UK's best online custom term papers and research III, the third long-player from my blogs are available all around to serve as a safety jacket for students in their last step of graduation. Passing the college or university requires a student to perform new research and submit new findings in the form of paper (research paper). Fuzz We offer professional Bsc Computer Dissertation Science and article writing services for websites. Our cfreelance copywriting services include articl writing, website Charles Moothart, This othello essay is really Attaining Cheap Cover Letters And Resume not happening Essay help; Instead of spending hours doing research, drafting, revising, and editing you Ty Segall and Here you can buy Low Residency Phd Creative Writing written within high academic standards. The Right Place to Order Essay Online Some students find writing essays easy and enjoyable, while other students torture themselves to write even one single sentence. To get a good grade for the assignment, the student needs to fulfill a great list of requirements: follow accepted formatting standards, show brilliant Chad Ubovich — they sound like they just invented it. Dig the hard- tale of two cities essay http://www.energetika-portal.si/?english-paper-mla buying a dissertation help how to write a good medical school admissions essay Bowie of “Time Collapse” or the made-for-the-stage opener “Returning,” or the surf-cacophony of “Mirror.” Or hell, any of it. The combination of this band and producer Our http://www.weiskirchen.de/?life-is-hard-essay services work at least on five chapters in a thesis which can then increase depending on the requirement and depth of the thesis and on the requirements of the university. These chapters are necessary but not sufficient to define the entire thesis since requirements can vary for different thesis writing. Steve Albini — aka the guy you go to when you want your album to sound like your live show — is correct. That’s all you can say about it. From the ’70s snarl in “Nothing People” to the triumphant melody in the second half of “Blind to Vines” and the back and forth between gritty roll and fragile prog of “End Returning,” it’s an energy that simply won’t be denied. If BuyEssay: http://www.nutritiamea.ro/?dissertation-proposal-service-nsf Online and Break Free No matter how much a college student may like the discipline they study, there’s still a chance they may stumble on a number of problems with writing an essay in this discipline. As a result, the student ends up looking to buy college essays online. And this seems to be quite a reasonable solution, as the experts of essay writing services Fuzz wanted to go ahead and do three or four more albums with Unlike students who have many things to do, professional writers dedicate their time to write essays. review from such platforms, Albini at the helm in the next five years, that’d be just fine.

In the Red Records on Thee Facebooks

In the Red Records on Bandcamp

 

Crippled Black Phoenix, Ellengæst

crippled black phoenix ellengaest

The narrative (blessings and peace upon it) goes that when after lineup shifts left Christopher Travis Dissertation - Order a 100% authentic, non-plagiarized paper you could only dream about in our paper writing assistance Why be concerned about Crippled Black Phoenix without any singers, founder Work with the http://www.ifpc.eu/?help-writing-college-papers for Perfect Results. Our PhD writing team is the greatest advantage we have over other dissertation services. We handpicked the best writers with doctoral degrees, and we only assign them to orders that fall under their expertise. When you choose our dissertation writing service, you’ll work with an expert who has successfully gone through the same Justin Greaves (ex- Get Behavioral Dissertation Education In Prepare Proposal Science Social Student Suggestion Service for Add on Professional Services at Reasonable Rates. DissertationMasters is an expert dissertation writing service for all students irrespective of their university, grade, and academic program. We offer custom academic writing services accompanied by high commitment, increased quality as well as quick replies. Our core strengths include attention to Iron Monkey, Our essay writers only use accurate data. Facts are substantiated with appropriate examples, and citations and reference lists are always added. Using our company for Dissertation Proposal For Computer Science services. If you have ever hired a writer from an essay writing company, you know that the process of ordering is pretty simple. First of all, you need to place your Earthtone9, How To Write A College Level Persuasive Essay is one of the most demanded services by students online. Thousands of academicians seek assistance with too challenging essays, too complicated Math problems, too time-consuming research papers and other types of too nerve wrecking academic written chores. Electric Wizard, etc.) decided to call old mates. Look. I don’t care how it happened, but i need help writing a personal statement, i need a essay written, personal statement writing service london, read here, case study Ellengæst, which is the likewise-brilliant follow-up to the band’s widely-lauded 2018 outing, Great Escape, leads off with Anathema‘s Vincent Cavanagh singing lead on “House of Fools,” and, well, there’s your new lead singer. Anathema‘s on hiatus and a more natural fit would be hard to come by. Ryan Patterson (The National Acrobat, a dozen others), Gaahl (Gaahls Wyrd, ex-Gorgoroth), solo artist Suzie Stapleton and Jonathan HultĂ©n (Tribulation) would also seem to audition — Patterson and Stapleton pair well on the heavy-Cure-style “Cry of Love” — and there are songs without any guests at all, but there’s a reason “House of Fools” starts the record. Make it happen, Crippled Black Phoenix. For the good of us all.

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Season of Mist website

 

Bethmoora, Thresholds

Bethmoora Thresholds

Copenhagen’s Bethmoora served notice in a 2016 split with Dorre (review here) and their debut full-length, Thresholds hone destructive lumber across four low-toned tracks that begin with “And for Eternity They Will Devour His Flesh” and only get nastier from there. One imagines being in a room with this kind of rumbling, maddeningly repetitive, slow-motion-violence noise wash and being put into a flight-or-fight panic by it, deer in doomed headlights, and all that, but even on record, Bethmoora manage to cull, and when their songs explode in tempo, as the opener does late in its run, or “Painted Man” does, that spirit is maintained. Each side of the LP is two tracks, and all four are beastly, pile-driver-to-the-core-of-the-earth heavy. “Keeper”‘s wash of noise has willful-turnoff appeal all its own, but the empty space in the middle of “Lamentation” is where they go in for ultimate consumption. And yeah. Yeah.

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Khan, Monsoons

khan monsoons

Khan‘s second album, Monsoons is a departure in form from 2018’s Vale, if not necessarily in substance. Heavy, psychedelic-infused post-rock is the order of business for the Melbourne trio either way, but as guitarist Josh Bills gives up playing synth and doing vocals to embark on an instrumental approach with bassist Mitchell Kerr (also KVLL) and drummer Beau Heffernan on this four-track/31-minute offering, the spirit is inescapably different. Probably easier to play live, if that’s a thing that might happen. Monsoons still has the benefit, however, of learning from the debut in terms of the dynamic among the three players, and Bills‘ guitar reaches for atmospheric float in “Orb” and attains it easily, as the midsection rhythm of the closing title-track nods at My Sleeping Karma and the back end of the prior “Harbinger” manages to shine and not sound like Earthless in the process, and quite simply, Khan make it work. The vocals/synth might be worth missing — and they may or may not be back — but to ignore the breadth Khan harness in little over half an hour would be a mistake.

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The Acid Guide Service, Denim Vipers

the acid guide service denim vipers

Jammy, psychedelic in parts, Sabbathian in “Peavey Marshall (and the Legendary Acoustic Sunn Band)” and good fun from the doomly rollout of 11-minute opener and longest cut (immediate points) “In the Cemetery” onward, the second full-length from Idaho’s The Acid Guide Service, Denim Vipers, brings considerable rumble and nod, but these guys don’t want to hurt nobody. They’ve come here to chew bubblegum and follow the riff, and they’re all out of bubblegum. Comprised on average of longer songs than 2017’s debut, Vol. 11 (review here), the four-tracker gives the trio room to branch out their sound a bit, highlighting the bass in the long middle stretch of the title-track while the subsequent “Electro-Galactic Discharge” puts its guitar solo front and center before sludge-rocking into oblivion, letting “Peavey Marshall (and the Legendary Acoustic Sunn Band)” pick up from there, which is as fine a place as any to begin a gallop to the end. Genre-based shenanigans ensue. One would hope for no less.

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The Acid Guide Service on Bandcamp

 

Vexing Hex, Haunt

vexing hex haunt

Based in Illinois, Vexing Hex make their debut on Wise Blood Records with Haunt, and yes, playing catchy, semi-doomed, organ-laced cult rock with creative and melodic vocal arrangements, you’re going to inevitably run into some Ghost comparisons. The newcomer three-piece are distinguished by a harder edge to their impact, a theremin on “Planet Horror” and a rawer production sensibility, and that serves them well in “Build Your Wall” and the buildup of “Living Room,” both of which play off the fun-with-dogma mood cast by “Revenant” following the intro “Hymn” at the outset of Haunt. Not quite as progressive as, say, Old Man Wizard, there’s nonetheless some melodic similarity happening as bell sounds ensue on “Rise From Your Grave,” the title of which which may or may not be purposefully cribbed from the Sega Genesis classic Altered Beast. There’s a big part of me that hopes it is, and if Vexing Hex are writing songs about retro videogames, they sound ready to embark on a Castlevania concept album.

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Wise Blood Records on Bandcamp

 

KVLL, Death//Sacrifice

kvll death sacrifice

Proffering grueling deathsludge as though it were going out of style — it isn’t — the Melbourne duo KVLL is comprised of bassist/vocalist/guitarist Mitchell Kerr (also Khan) and drummer Braydon Becher. It’s not without ambient stretches, as the centerpiece “Sacrifice” shows, but the primary impression KVLL‘s debut album, Death//Sacrifice makes is in the extremity of crash and heavy landing of “The Death of All That is Crushing” and “Slow Death,” such that by the time “Sacrifice” ‘mellows out,’ as it were, the listener is punchdrunk from what’s taken place on the prior two and a half songs. There’s little doubt that’s precisely KVLL‘s intention here, as the cavernous screams, mega-lurch and tense undercurrent are more than ably wielded. If “Sacrifice” is the moment at which Death//Sacrifice swaps out one theme for another, the subsequent “Blood to the Altar” and nine-minute closer “Beneath the Throne” hammer the point home, the latter with an abrasive noise-caked finale worthy of standard-bearers Primitive Man.

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Mugstar, GRAFT

mugstar graft

Not that the initial droning wash of “Deep is the Air” or the off-blasted “Zeta Potential” and warp-drive freneticism in “Cato” don’t have their appeal — oh, they do — but when it comes to UK lords-o’-space Mugstar‘s latest holodeck-worthy full-length, GRAFT, it’s the mellow drift-jazz of the 12-minute “Ghost of a Ghost” that feels most like matter dematerialization to me. Side B’s “Low, Slow Horizon” answers back later on ahead of the motorik linear build in the finale “Star Cage,” but the 12-minute vibe-fest that is “Ghost of a Ghost” gives GRAFT a vastness to match its thrust, which becomes essential to the space-borne feel. It’s 41 minutes, still ripe for an LP, but the kind of album that has a genuine affect on mood and mindset, breaking down on a molecular level both and remolding them into something hopefully more evolved on some level through cosmic meditation. Fast or slow, up or down, in or out, it doesn’t ultimately matter. Nothing does. But there’s a moment in GRAFT where the one-skin-on-another thing becomes apparent and all the masks drop away. What’s left after that?

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Centripetal Force Records website

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Wolftooth, Valhalla

Wolftooth Valhalla

Hooks abound in power-stoner fashion throughout Indiana four-piece Wolftooth‘s second album, Valhalla, which roughs up NWOBHM clarity in early-Ozzy fashion without going overboard to one side or the other, riffs winding and rhythms charging in a way not entirely unlike some of Freedom Hawk‘s more recent fare, but with a melodic reach of its own and a dynamism of purpose that comes through in the songwriting. Grand Magus‘ metallic traditionalism might be an influence on a song like “Fear for Eternity,” but “Crying of the Wolfs” has a more rocking swagger, and likewise post-intro opener “Possession.” With tightly constructed songs in the four-to-five-minute range, Valhalla never feels stretched out more than it wants to, but “Molon Labe” pushes the vocals deeper into the mix for a bigger, more atmospheric sound, and subtle shifts like that become effective in distinguishing the songs and making them all the more memorable. Recently signed to Napalm after working with Ripple, Ice Fall, Cursed Tongue and Blackseed, they seem to be poised to pay off the potential here and in their 2018 self-titled debut (review here). So be it.

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Ripple Music on Bandcamp

Cursed Tongue Records BigCartel store

Ice Fall Records BigCartel store

 

Starmonger, Revelations

starmonger revelations

Parisian riff-blaster trio Starmonger have been piecemealing tracks out for the last five years as a series of EPs titled Revelation, and the full-length debut, Revelations, brings these nine songs together for a 49-minute long-player that even in re-recorded versions of the earliest cuts like “Tell Me” and “Wanderer” show how far the band has come. It’s telling that those two close the record out while “Rise of the Fishlords” and “LĂ©thĂ©” from 2019’s Revelation IV open sides A and B, respectively, but older or newer, the band end up with a swath of stylistic ground covered from the more straightforward and uptempo kick of the elder tracks to the more progressive take of the newer, with plenty of ground in between. Uniting the various sides are strong performances and strong choruses, the latter of which would seem to be the thread that draws everything together. Whether or not it takes Starmonger half a decade to put out their next LP, one can hardly call their time misspent while listening to Revelations.

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Mugstar Stream “Zeta Potential”; GRAFT LP Preorder Available

Posted in Whathaveyou on September 28th, 2020 by JJ Koczan

Some bands you listen to and then whole bunches of other bands make sense. Like The Heads. See also, Mugstar. The Liverpudlian troupe have been in the spacefaring business for nigh on 17 years, which if you’re keeping track, puts them well ahead of the current wave of what’s being kinda-laughably called neo-psych. Their new album, GRAFT, will see issue through Centripetal Force and Cardinal Fuzz Records on Oct. 30, and to go with preorders, they’re currently streaming the track “Zeta Potential,” which you can hear below.

To go with that, you’ll also find the collaborative outing the four-piece put out earlier this year with Damo Suzuki of progressive rock legends Can through Weird Beard Records. Different vibe, obviously, but it’s another chance to bliss out for 40 minutes and I don’t really see where you’d lose.

Okeydokey:

mugstar graft

MUGSTAR – GRAFT LP

Presale Date: September 25, 2020
Release Date: October 30, 2020

Centripetal Force (North America) and Cardinal Fuzz (UK/Europe) are excited to announce the upcoming release of Mugstar’s GRAFT, the follow up album to their much-lauded live collaboration with Can’s Damo Suzuki released earlier this year. The album is being presented in a 600 copy vinyl pressing, 250 of which will be on deep red vinyl and made available for preorder on September 25th. GRAFT’s release date is October 30th.

UK space rockers Mugstar have been hurtling through the sonic multiverse since 2003 and have left an extensive discography in their wake. Early on, the band caught the attention of the late John Peel, taking part in one of the last editions of his famed Peel Sessions. From there, the band has compiled an impressive run of releases and solidified their reputation for powerfully hypnotic live performances.

After experimenting with longer form compositions on 2016’s Magnetic Seasons (Rock Action Records), GRAFT’s six song journey sees Mugstar return to a more focused work ethic, a move resulting in a sound that is fraught with tension and caters to one of their biggest strengths, the ability to consistently create, sustain, and, ultimately, diffuse drama. This is an effect well-executed on tracks like “Zeta Potential” and “Star Cage.” And even on an album where a tighter approach was a priority, Mugstar still finds plenty of room to improvise and allow for creative exploration, as illustrated on “Ghost of a Ghost” and “Low, Slow Horizon.” Looking back at Mugstar’s catalog, it is remarkable to see the path they have travelled and how GRAFT continues their bold advance into the future. We think you’ll agree.

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Mugstar, GRAFT (2020)

Mugstar & Damo Suzuki, Live at the Invisible Wind Factory (2020)

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Review & Full Album Premiere: White Manna, ARC

Posted in audiObelisk, Reviews on August 24th, 2020 by JJ Koczan

White Manna ARC

Stare hard enough at the Rachel Duffy cover art for White Manna‘s seventh album, ARC, and it starts to make a fittingly weird kind of sense in conjunction with the music itself. Collage assembled as a totem, a kind of monolith built from different colors and textures. A watch, a couple slices of fruit, and is that a coffin with clouds on it? Either way, it is evocative, and much the same is true of what occurs sonically on the record’s nine tracks. The follow-up to 2019’s Ape on Sunday (review here) arrives via Centripetal Force and Cardinal Fuzz and is largely a departure from the record preceding, as returning guitarist/vocalist/keyboardists David Johnson and Anthony Taibi, bassist Johnny Webb and drummer/vocalist Tavan Anderson bring aboard Dominic Talvola and Charlie Love, presumably to also handle synth or the other electronic elements that are so prevalent across ARC‘s 38-minute span.

Experimentalism and improvisation aren’t my any means new for the Arcata, California-based White Manna, who made their self-titled debut in 2012 through Holy Mountain, but the pieces that comprise ARC feel particularly exploratory of the far-in as much as the far-out, beginning with the opening title-track’s eight-minute pulse of electronically driven krautery. It is as though the band — who recorded with Taibi at the helm at his own 3D Light Studios — decided it was high time someone recast jazz in their own image and then set about the task with a spacial focus, not letting themselves be hindered either by their own expectations of what psychedelia is or should be, let alone anyone else’s. The resulting material is not necessarily warm or comforting, but neither is it intended that way. Rather, it is a challenge directed inward, a sort of burst of individualism as White Manna push themselves to do new things and explore their methods in ways and with direction that they never have before. If it’s space rock — and I’d argue that at least some of it is — then it’s deep-space rock, and the places it goes may have been touched by humans before, but the footprint White Manna leave in the cosmic dust is undeniably their own.

Special mention as to go to Anderson on drums. The bulk of ARC is instrumental. There is sax or synth-as-sax peppered here and there, as on the later 10-minute kinda-finale “Surfer Moron,” but whether it’s there or on the out-of-nowhere all-go garage-galaxy-punk blast of “Zosser” earlier — as close to a traditional “song” as White Manna here get — Anderson‘s drumming shines as a creative element, not trying to anchor the proceedings to a structure or define where one off-time measure ends and the next one starts, but instead standing in line and on the same mission as the guitars, bass, synth, etc., in pushing outward beyond the common reaches of genre. Even on side A’s 49-second “Pollen Ball,” which is little more than a captured swirl in a jar, the insistence of the snare hits gives more personality and evocative vibe to what accompanies, and though the drums are just one piece of what brings White Manna to such a place of avant garde reach, they’re nonetheless crucial to that outcome from the echoing outset of the Hawkwind-as-heard-in-another-dimension “ARC” onward, its echoing vocals vague and accompanied by far back guitar, cymbal wash and who the hell even knows what else.

white manna

A wash of noise emerges and is manipulated. Sax arrives and departs and arrives again, and even the motorik beat eventually splits out, leaving the residual soundscaping to finish the job of keeping the universe on its toes heading into the more electronically purposed “Mythic Salon.” There are vocals there too, but they’re subsumed into the atmosphere as the horns/keys tap out jazzy jabs in interstellar bop, waiting to go on a tear but restraining for the moment at least until “Pilgrim’s Progress” pushes the noise freakout to its most abrasive cast on the record. Scorch, pure and simple, only without the simple. There’s a wide breadth happening but it’s less about that than the consumption of everything around, and all of it — yes, all of it — seems to be swallowed at the last. After that, the relatively minimal “Pollen Ball” feels like a well-earned comedown, and though “Painted Cakes” adds more tension with a John Carpenter-esque synth throb, the presumed end of side A is still a rescue by comparison.

So be it. “Zosser” blasts off immediately from “Painted Cakes” and is righteous in its forward momentum, heavy like Stooges but expansive, and with thrusters on full. The 1:48 dronescape “Soft Apocalypse” follows and is probably its own best description, though there is something urban about its doppler-feeling undulations. Like a slow siren however many city blocks away, the keys that have been there all along become more prominent in the fadeout, from which “Surfer Moron” picks up as the longest single inclusion on ARC and the final argument White Manna make in their thesis on psych-jazz progressivism. The very nature of a record like this — something purposefully constructed as a willful act of exploration on the part of the band; a kind of “we’re going on an adventure and you can come” — means there’s some manner of indulgence happening throughout, and of course that’s the case in “Surfer Moron” as much as anywhere else, but the hypnotic sphere in which it lands is engrossing just the same. Atop a slow-rolling beat, horn peppers notes circa 6:30 that are a gorgeous and ethereal, and the energy uptick from there manages to be a linear build and not predictable as it shifts from its apex smoothly to the epilogue of “Sailing Stones,” the keys, drums and whatever else finishing the swirl before fading out after about a minute.

What the hell just happened? I don’t know, but consider again the totem of the cover art, how its varied ideas come together to express a single idea. With ARC, that idea is White Manna pursuing a space beyond genre and of themselves. It is weird — with glee, weird — and there are moments that come across as playful, but the goal to which they’re driven isn’t just about screwing around and seeing what happens. It’s about seeing how far they can push this thing before it all comes apart. It never does here.

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White Manna to Release ARC on Aug. 28

Posted in Whathaveyou on July 23rd, 2020 by JJ Koczan

Record rules. I mean it. The psychedelic experimentation, synths, keyboards and all that, has progressed to different levels of space and pretty much what happened with krautrock back during the original krautrock movement birthing electronic pop is happening again with White Manna, only weirder and thus more awesome. It’s the band’s seventh album and I’m not gonna say I was Johnny Groundfloor on these guys — I wasn’t — but I’ve been on board for a couple records at this point and they haven’t let me down in terms of what they bring to prog, psych and spaced-out vibes. I’ve got more digging to do with the all-caps ARC, but if you want my initial impression, it’s right there in the first sentence.

Vinyl info and more background follows, as per the PR wire, as well as the streaming tracks “Mythic Salon” and “Zosser” for your perusal.

So peruse:

White Manna ARC

NEW RELEASE: White Manna – ARC – 8/28/20

Centripetal Force (in conjunction with Cardinal Fuzz for UK/Europe) presents the seventh full length album from veteran psychonauts White Manna. Long recognized as one of the leaders of the modern psychedelic movement, White Manna’s ARC builds upon an already impressive discography and further develops the band’s always evolving approach to sound and songwriting. This nine song journey sees the band exploring new directions that are more meditative in nature, a welcome development in light of the current state of world affairs. The song “Mythic Salon” certainly demonstrates such intent, as well as growth.

ARC, the band’s first release since last year’s Ape on Sunday, was recorded at guitarist Anthony Taibi’s 3D Light Studios in Humboldt County, California. The songwriting this time around took on more of an inward process, both musically and thematically.This shift allowed for more spontaneity and improvisation than their previous efforts. This was especially true when it came to translating musical passages that had already become part of the band’s live repertoire. ARC is not a concept album per se, but its focus on such an omnipresent icon certainly leaves the listener a variety of avenues for interpretation, making this the most daring and unique album in the White Manna discography.

– 500 copy pressing, 200 cream and 300 black.

– Record comes housed in a 350 gram gloss laminated sleeve with download code.

– Mastered by Chris Hardman. Cover art by Rachel Duffy.

– In addition to the theme of ARChetypes, John Bunyan’s The Pilgrim’s Progress and the works of Robert Anton Wilson play a role in shaping the themes and direction of the album.

White Manna is:
David J
Anthony Taibi
Johnny Webb
Tavan Anderson
Dominic Talvola
Charlie Love

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White Manna, ARC (2020)

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Quarterly Review: The Cult of Dom Keller, Grandpa Jack, Woven Man, Charivari, Human Impact, Dryland, Brass Owl, Battle City, Astral Bodies, Satyrus

Posted in Reviews on March 25th, 2020 by JJ Koczan

quarterly review

Ah, the Wednesday of a Quarterly Review. Always a special day in my mind. We hit and pass the halfway point today, and I like the fact that the marker is right in the middle of things, like that sign you pass in Pennsylvania on Rt. 80 that says, “this is the highest point east of the Mississippi,” or whatever it is. Just a kind of, “oh, by the way, in case you didn’t know, there’s this but you’re on your way somewhere else.” And so we are, en route to 50 reviews by Friday. Will we get there? Yeah, of course. I’ve done this like 100 times now, it’s not really in doubt. Sleeping, eating, living: these things are expendable. The Quarterly Review will get done. So let’s do it.

Quarterly Review #21-30:

The Cult of Dom Keller, Ascend!

the cult of dom keller ascend

They’re not going quietly, that’s for sure. Except for when they are, at least. The Cult of Dom Keller send their listeners — and, it would seem, themselves — into the howling ether on the exclamatory-titular Ascend!, their fifth LP. Issued through Cardinal Fuzz and Little Cloud records it brings a bevvy of freakouts in psych-o-slabs like “I Hear the Messiah” and the early-arriving “Hello Hanging Rope” and the building-in-thickness “The Blood Donor Wants His Blood Back,” and the foreboding buzz of “We’re All Fucked (Up),” peppering in effective ambient interludes ahead of what might be some resolution in the closing “Jam for the Sun.” Or maybe that’s just narrative I’m putting to it. Does it matter? Does anything matter? And what is matter? And what is energy? And is there a line between the two or are we all just playing pretend at existence like I-think-therefore-I-am might actually hold water in a universe bigger than our own pea-sized brains. Where do we go from here? Or maybe it’s just the going and not the where? Okay.

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Grandpa Jack, Trash Can Boogie

Grandpa Jack Trash Can Boogie

Brooklynite trio Grandpa Jack are working toward mastery of the thickened midtempo groove on their second EP, Trash Can Boogie. Led by guitarist/vocalist Johnny Strom with backing shouts from drummer Matt C. White and a suitable flow provided by bassist Jared Schapker, the band present a classic-tinged four tracks, showing some jammier psych range in the 7:47 second cut “Untold” but never straying too far from the next hook, as opener “Ride On, Right On” and the almost-proto-metal “Imitation” show. Finishing with “Curmudgeon,” Grandpa Jack ride a fine line between modern fuzz, ’90s melody and ’70s groove idolatry, and part of the fun is trying to figure out which side they’re on at any given point and which side they’ll want to ultimately end up on, or if they’ll decide at all. They have one LP under their collective belt already. I’d be surprised if their next one didn’t garner them more significant attention, let alone label backing, should they want it.

Grandpa Jack on Thee Facebooks

Grandpa Jack on Bandcamp

 

Woven Man, Revelry (In Our Arms)

woven man revelry in our arms

There’s metal in the foundation of what Woven Man are doing on their 2019 debut, Revelry (In Our Arms). And there’s paganism. But they’re by no means “pagan metal” at least in the understood genre terms. The Welsh outfit — featuring guitarist Lee Roy Davies, formerly of Acrimony — cast out soundscapes in their vocal melodies and have no lack of tonal crunch at their disposal when they want it, but as eight-minute opener/longest track (immediate points) shows, they’re not going to be rigidly defined as one thing or another. One can hear C.O.C. in the riffs during their moments of sneer on “I am Mountain” or the centerpiece highlight “With Willow,” but they never quite embrace the shimmer outright Though they come right to the cusp of doing so on the subsequent “Makers Mark,” but closer “Of Land and Sky” revives a more aggressive push and sets them toward worshiping different idols. Psychedelic metal is a tough, nearly impossible, balance to pull off. I’m not entirely convinced it’s what Woven Man are going for on this first outing, but it’s where they might end up.

Woven Man on Thee Facebooks

Woven Man on Bandcamp

 

Charivari, Descent

charivari descent

Whether drifting mildly through the likes of drone-laden pieces “Down by the Water,” the CD-only title-track or “Alexandria” as they make their way toward the harsh bite at the end of the 11-minute closer “Scavengers of the Wind,” Bath, UK, heavy post-rockers Charivari hold a firm sense of presence and tonal fullness. They’re prone to a wash from leadoff “When Leviathan Dreams” onward, but it’s satisfying to course along with the four-piece for the duration of their journey. Rough spots? Oh, to be sure. “Aphotic” seethes with noisy force, and certainly the aforementioned ending is intended to jar, but that only makes a work like “Lotus Eater,” which ably balances Cure-esque initial lead lines with emergent distortion-crush, that much richer to behold. The moves they make are natural, unforced, and whether they’re trading back and forth in volume or fluidly, willfully losing themselves in a trance of effects, the organic and ethereal aspects of their sound never fail to come through in terms of melody even as a human presence is maintained on vocals. When “Down by the Water” hits its mark, it is positively encompassing. Headphones were built for this.

Charivari on Thee Facebooks

Worst Bassist Records on Bandcamp

 

Human Impact, Human Impact

human impact human impact

Bit of a supergroup here, at least in the underrated-New-York-art-noise sphere of things. Vocals and riffy crunch provided by the masterful Chris Spencer (formerly of Unsane), while Cop Shoot Cop‘s Jim Coleman adds much-welcome electronic flourish, Swans/Xiu Xiu bassist Chris Pravdica provides low end and the well-if-he-can-handle-drumming-for-Swans-he-can-handle-anything Phil Puleo (also Cop Shoot Cop) grounds the rhythm. Presented through Ipecac, the four-piece’s declarative self-titled debut arrives through Ipecac very much as a combination of the elements of which it is comprised, but the atmosphere brought to the proceedings by Coleman set against Spencer‘s guitar isn’t to be understated. The two challenge each other in “E605” and the off-to-drone “Consequences” and the results are to everyone’s benefit, despite the underlying theme of planetary desolation. Whoops on that one, but at least we get the roiling chaos and artful noise of “This Dead Sea” out of it, and that’s not nothing. Predictable? In parts, but so was climate change if anyone would’ve fucking listened.

Human Impact on Thee Facebooks

Ipecac Recordings store

 

Dryland, Dances with Waves

dryland dances with waves

The nautically-themed follow-up to Bellingham, Washington, progressive heavy/noise/post-hardcore rockers Dryland‘s 2017 self-titled debut album, the four-song Dances with Waves EP finds the thoughtful and melodic riffers working alongside producer/engineer Matt Bayles (Mastodon, Isis, etc.) on a recording that loses none of its edge for its deft changes of rhythm and shifts in vocals. There’s some influence from Elder maybe in terms of the guitar on “No Celestial Hope” and the finale “Between the Testaments,” but by the time the seven-minute capper is done, it’s full-on Pacific Northwest noise crunch, crashing its waves of riffs and stomp against the shore of your eardrums in demand of as much volume as you’ll give it. Between those two, “Exalted Mystics” moves unsuspectingly through its first half and seems to delve into semi-emo-if-emo-was-about-sailing-and-death theatrics in its second, while “The Sound a Sword Adores” distills the alternating drive and sway down to its barest form, a slowdown later setting up the madness soon to arrive in “Between the Testaments.”

Dryland on Thee Facebooks

Dryland on Bandcamp

 

Brass Owl, State of Mind

brass owl state of mind

Brass Owl foster on their self-released debut full-length, State of Mind, a brand of heavy rock that maintains a decidedly straightforward face while veering at the same time into influences from grunge, ’70s rock, the better end of ’80s metal and probably one or two current hard or heavy rock bands. You might catch a tinge of Five Horse Johnson-style blues on “No Filter – Stay Trendy” or the particularly barroom-ready “Jive Turkey,” which itself follows the funkier unfolding jam-into-shredfest of “The Legend of FUJIMO,” and the earlier “Hook, Line & Sinker” has trucker-rock all over it, but through it all, the defining aspect of the work is its absolute lack of pretense. These guys — there would seem to have been three when they recorded, there are two now; so it goes — aren’t trying to convince you of their intelligence, or their deep-running stylistic nuance. They’re not picking out riffs from obscure ’80s indie records or even ’70s private press LPs. They’re having a good time putting traditionalist-style rock songs together, messing around stylistically a bit, and they’ve got nine songs across 43 minutes ready to roll for anyone looking for that particular kind of company. If that’s you, great. If it ain’t, off you go to the next one.

Brass Owl website

Brass Owl on Bandcamp

 

Battle City, Press Start

Battle City Press Start

From even before you press play on Press Start, the 22-minute debut release from South Africa’s Battle City, the instrumental duo make their love of gaming readily apparent. Given that they went so far as to call one song “Ram Man” and that it seems just as likely as not that “Ignition” and “Ghost Dimension” are video game references as well, it’s notable that guitarist/bassist Stian “Lightning Fingers Van Tonder” Maritz and drummer Wayne “Thunder Flakes” Hendrikz didn’t succumb to the temptation of bringing any electronic sounds to the six-song offering. Even in “Ghost Dimension,” which is the closer and longest track by about three minutes, they keep it decidedly straightforward in terms of arrangements and resist any sort of chiptune elements, sticking purely to guitar, bass and drums. There’s a touch of the progressive to the leadoff title-track and to the soaring lead “Ignotion,” but Press Start does likewise in setting the band’s foundation in a steady course of heavy rock and metal, to the point that if you didn’t know they were gaming-inspired by looking at the cover art or the titles, there’d be little to indicate that’s where they were coming from. I wouldn’t count myself among them, but those clamoring for beeps and boops and other 8-bit nonsense will be surprised. For me, the riffs’ll do just fine, thanks.

Battle City on Thee Facebooks

Battle City on Bandcamp

 

Astral Bodies, Escape Death

Astral Bodies Escape Death

Spacious, varied and progressive without losing their heft either of tone or presence, Manchester, UK, trio Astral Bodies debut on Surviving Sounds with Escape Death, working mostly instrumentally — they do sneak some vocals into the penultimate “Pale Horse” — to affect an atmosphere of cosmic heavy that’s neither indebted to nor entirely separate from post-metal. Droning pieces like the introductory “Neptune,” or the joyous key-laced wash of the centerpiece “Orchidaeae,” or even “Pale Horse,” act as spacers between longer cuts, and they’re purposefully placed not to overdo symmetry so as to make Escape Death‘s deceptively-efficient 36-minute runtime predictable. It’s one more thing the three-piece do right, added to the sense of rawness that comes through in the guitar tone even as effects and synth seem to surround and provide a context that would be lush if it still weren’t essentially noise rock. Cosmic noise? The push of “Oumuamua” sure is, if anything might be. Classify it however you want — it’s fun when it’s difficult! — but it’s a striking record either way, and engages all the more as a first long-player.

Astral Bodies on Thee Facebooks

Surviving Sounds on Thee Facebooks

 

Satyrus, Rites

satyrus rites

Following its three-minute chanting intro, Satyrus let opener and longest track (immediate points) “Black Satyrus” unfold its cultish nod across an eight minutes that leads the way into the rest of their debut album, Rites, perhaps more suitably than the intro ever could. The building blocks that the Italian unit are working from are familiar enough — Black Sabbath, Saint Vitus, Electric Wizard, maybe even some Slayer in the faster soloing of second cut “Shovel” — but that doesn’t make the graveyard-dirt-covered fuzz of “Swirl” or the noisefest that ensues in “Stigma” or subsequent “Electric Funeral”-ist swing any less satisfying, or the dug-in chug of bookending nine-minute closer “Trailblazer.” Hell, if it’s a retread, at least they’re leaving footprints, and it’s not like Satyrus are trying to tell anyone they invented Tony Iommi‘s riff. It’s a mass by the converted for the converted. I’d ask nothing more of it than that and neither should you.

Satyrus on Thee Facebooks

Satyrus on Bandcamp

 

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The Cult of Dom Keller Set Jan. 17 Release for Ascend!; New Song Streaming

Posted in Whathaveyou on November 19th, 2019 by JJ Koczan

the cult of dom keller

I know I’ve said this before, but if you’ve got a quota for weird, The Cult of Dom Keller will make short work thereof. The Devon, UK, four-piece have a Jan. 17 release for their exclamatory new album, Ascend!, and they’ve been streaming the single “Right Wrong” since the start of September and while I’m not sure if it’ll end up on the final version of the record — which will be out through Cardinal Fuzz and Little Cloud Records — its cavernous guitars ring out in righteous British dystopian fashion. Think Blade Runner stark lines over ambient whatnottery and vocals lurking down in the mix like post-all and not a care in the universe for anything beyond expression. I dig. You? I don’t know. I can’t tell you how to live your life.

The vibe is dark, dark, dark, dark, so be ready for that. If the record is Ascend!, then this might be the senses-overwhelmed, encounter-with-the-unfathomable portion of the story. Obviously I’m curious to see/hear/taste how the rest comes out.

Preorders aren’t open yet so far as I can tell, but I wouldn’t be surprised if that happens soon and I wouldn’t be surprised if they sell out on preorders, because, you know, boutique psych and all that.

Be informed!

the cult of dom keller ascend

Excited to announce details of the first of 2 release for Friday Jan 17th 2020

The Cult Of Dom Keller – Ascend!

a 500 pressing with a ltd Orange Colour Vinyl. Presented in a 350gsm Card Sleeve with full colour insert and Download code. Sam Giles Vinyl Replica Cdr edition too.

Prepare your ears for some serious melt-downs and wig-outs.

Coming via Cardinal Fuzz and Little Cloud Records

Artwork – Brett Savage

Ryan: Vocals/Lead Guitars/Keys
Neil: Vocals/Keys/Tambourine
Jason: Guitar/Synthesizer/BkVocals
Liam: Bass
Al: Drums/Percussion/Samples

https://www.facebook.com/cultofdomkeller/
https://thecultofdomkeller.bandcamp.com/
https://www.facebook.com/CardinalFuzz/
cardinalfuzz.bigcartel.com/
https://littlecloudrec.com/
https://littlecloudrecords.bandcamp.com/

The Cult of Dom Keller, “Right Wrong”

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Quarterly Review: Earth, Heilung, Thronehammer, Smear, Deadbird, Grass, Prana Crafter, Vago Sagrado, Gin Lady, Oven

Posted in Reviews on July 1st, 2019 by JJ Koczan

quarterly-review

Deep breath. And… here we go.

Welcome to The Obelisk’s Summer 2019 Quarterly Review. You probably know the drill by now, but just in case, here’s what’s up: starting today and through next Monday, I’ll be reviewing 10 records per day for a total of 60. I’ve done this every three months (or so) for the better part of the last five years, each one with at least 50 releases included. Some are big bands, some are new bands, some are releases are new, some older. It’s a mix of styles and notoriety, and that’s exactly the intent. It’s a ton of stuff, but that’s also the intent, and the corresponding hope is that somewhere in all of it there’s something for everyone.

I’ll check in each day at the top with what usually turns out to be a “hot damn I’m exhausted, but this is worth it”-kind of update, but otherwise, if we’re all on board, let’s just get to it. First batch below, more to come.

Quarterly Review #1-10:

Earth, Full Upon Her Burning Lips

earth

Finding post-Southern Lord refuge with Sargent House in similar fashion to Boris, Earth seem to act in direct response to 2014’s Primitive and Deadly (review here) with the 10-track/62-minute Full Upon Her Burning Lips, stripping their approach down to its two essential components: Dylan Carlson‘s guitar and Adrienne Davies‘ drums. The former adds bass as well, and the latter some off-kit percussion, but that’s about as far as they go in the extended meditation on their core modus — even the straightforward photo on the cover tells the story — psychedelic and brooding and still-spacious as the music is. Gone are folk strings or vocals, and so on, and instead, they foster immersion through not-quite minimalist nod and roll, Carlson‘s guitar soundscaping atop Davies‘ slow, steady pulse. It’s not nearly so novel as the last time out, but timed to the 30th anniversary of the band, it’s a reminder that if you like Earth, this dynamic is ultimately why.

Earth on Thee Facebooks

Sargent House website

 

Heilung, Futha

heilung futha

It might seem like an incongruity that something so based in traditionalism conceptually would also turn into experimentalist Viking jazz, but I defy you to hear “Galgadr,” the 10-minute opener of Heilung‘s third full-length, Futha (on Season of Mist), and call it something else. Cuts like the memorable and melodic “Norupo” and the would-be-techno-but-I-think-they’re-actually-just-beating-on-wood “Svanrand,” which, like “Vapnatak” before it, is rife with the sounds of battle, but it’s in the longer pieces, “Othan,” 14-minute closer “Hamrer Hippyer,” and even the eight-plus-minute “Elivgar” and “Elddansurin” that precede it, that Heilung‘s dramas really unfold. Led by the essential presence of vocalist Maria Franz — who could hardly be more suited to the stated theme of calling to feminine power — Heilung careen through folk and narrative and full cultural immersion across 73 minutes, and craft something willfully forward thinking from the history it embellishes.

Heilung on Thee Facebooks

Season of Mist website

 

Thronehammer, Usurper of the Oaken Throne

thronehammer usurper of the oaken throne

The reliable taste of Church Within Records strikes again in picking up Thronehammer‘s first full-length, Usurper of the Oaken Throne. The project is a dark and warmaking epic mega-doom working mostly in longform material — it’s six tracks/78 minutes, so yeah — conjured in collaboration by the trio of vocalist Kat Shevil Gillham (Lucifer’s Chalice, etc.), guitarist/keyboardist Stuart Bootsy West (ex-Obelyskkh, ex-The Walruz) and drummer/bassist Tim Schmidt (Seamount), that hits with a massive impact from 17-minute opener “Behind the Wall of Frost” into “Conquered and Erased” (11:24) and “Warhorn” (19:12), making for an opening salvo that’s a full-length unto itself and a beast of doomed grandeur that balances extremity with clearheaded presentation. They simplify the proceedings a bit for “Svarte Skyer” and the eponymous “Thronehammmer,” but are clearly in their element for the 15-minute closing title-track, which rounds out one of the best doom debuts I’ve heard so far this year with due heft and ceremony.

Thronehammer on Thee Facebooks

Church Within Records on Bandcamp

 

Smear, A Band Called Shmear

Smear A Band Called Shmear

Smear‘s live-recorded A Band Called Shmear EP is basically the equivalent of that dude getting dragged out of the outdoor concert for being at the bottom of the puffing clouds of smoke going, “Come on man, I’m not hurting anybody!” And by that I mean it’s awesome. The Eugene, Oregon, four-piece get down on some psychedelic reefer madness tapped into weirdo anti-genre tendencies that come to fruition in the verses of “Guns of Brixton” after the drifting freaker “Old Town.” The whole thing runs an extra-manageable 21 minutes, and six of that are dedicated to the fuzzed jam “Zombie” — tinged in its early going with a reggae groove — so Smear make it easy to follow their outward path, whether it’s the surf-with-no-water “Weigh” at the outset or “Quicksand,” which hints at more complex melodic tendencies almost in spite of itself. You like vibe, right? These cats have plenty to go around, and they deliver it with an absolute lack of pretense. Whatever they do next, I hope they also record it live, because it clearly works.

Smear on Thee Facebooks

Smear on Bandcamp

 

Deadbird, III: The Forest Within the Tree

deadbird iii the forest within the tree

One hesitates to speculate on the future of a band who’ve just taken 10 years to put out an album, but Deadbird sound vital on their awaited third full-length: III: The Forest Within the Tree (arrived late 2018 through 20 Buck Spin), and with a revamped lineup that includes Rwake vocalist Chris Terry and Rwake/The Obsessed bassist Reid Raley as well as bassist Jeff Morgan, guitarist Jay Minish and founders Phillip (drums) and Chuck (guitar) Schaaf and Alan Short — all of whom contribute vocals — Deadbird emerge from the ether with a stunningly cohesive and varied outing of post-sludge, tinged Southern in its humid tonality but still very much geared toward heft and, certainly more than I recall of their past work, melody. In just 38 minutes they push the listener into this dank world of their creation, and seem to find just as much release in experiments “11:34” and “Ending” as in the crashes of “Brought Low” or “Heyday.” Are they really back? Hell if I know, but these songs are enough to make me hope so.

Deadbird on Thee Facebooks

20 Buck Spin on Bandcamp

 

Grass, Fresh Grass

grass fresh grass

Brooklyn four-piece Grass released a live recording in 2017, but the late-2018 EP Fresh Grass marks their studio debut, and it comprises five tracks digging into the traditions of heavy rock with edges derived from the likes of Clutch, Orange Goblin, maybe a bit of Kyuss and modern bluesier practitioners as well in cuts like “Black Clouds” — the lone holdover from one release to the next — and the swaggering “Runaway,” which veers into vocal layering in its second half in a way that seems to portend things to come, while the centerpiece “Fire” and closer “Easy Rider” roll out in post=’70s fashion a kind of rawer modern take. Their sound is nascent, but there’s potential in their swing and the hook of opener “My Wall.” Fresh Grass is the band searching for their place within a heavy rock style. I hear nothing on it to make me think they won’t find it, and if they were opening the show, you’d probably want to show up early.

Grass on Thee Facebooks

Grass on Bandcamp

 

Prana Crafter, MindStreamBlessing

Prana Crafter MindStreamBlessing

Reissued on vinyl through Cardinal Fuzz with two bonus tracks, Prana Crafter‘s 2017 offering, MindStreamBlessing, originally saw release through Eidolon Records and finds the Washington-based solo artist Will Sol oozing through acid folk and psychedelic traditions, instrumentally constructing a shimmer that seems ready for the platter edition it’s been granted. Songs like “As the Weather Commands” and “Bardo Nectar” are experiments in their waves of meandering guitar, effects and keys, while “Mycellial Morphohum” adapts cosmic ecology to minimal spaciousness and vague spoken word. Some part of me misses vocals in the earthy “FingersFlowThroughOldSkolRiver,” but that might just also be the part of me that’s hearing Lamp of the Universe or Six Organs of Admittance influences. The interwoven layers of “Prajna Pines,” on the other hand, seem fine without; bluesy as the lead guitar line is, there’s no doubting the song’s expressive delivery, though one could easily say the same of the krautrock loops and keys and reverb-drenched solo of “Luminous Clouds.”

Prana Crafter on Thee Facebooks

Cardinal Fuzz webstore

 

Vago Sagrado, Vol. III

vago sagrado vol iii

Heavy post-rockers Vago Sagrado set a peaceful atmosphere with “K is Kool,” the opening track of their third album, Vol. III, that is hard to resist. They’ll soon enough pump in contrast via the foreboding low end of “La Pieza Oscura,” but the feeling of purposeful drift in the guitar remains resonant, even as the drums and vocals take on a kind of punkish feel. The mix is one that the Chilean three-piece seem to delight in, reveling in tonal adventurousness in the quiet/loud tradeoff of “Fire (In Your Head)” and the New Wave shuffle of “Sundown” before “Centinela” kicks off side B with the kind of groove that Queens of the Stone Age fans have been missing for the last 15 years. Things get far out in “Listen & Obey,” but Vago Sagrado never completely lose their sense of direction, and that only makes the proceedings more engaging as the hypnotic “One More Time with Feeling” leads into the nine-minute closer “Mekong,” wherein the wash teased all along comes to fruition.

Vago Sagrado on Thee Facebooks

Vago Sagrado on Bandcamp

 

Gin Lady, Tall Sun Crooked Moon

gin lady tall sun crooked moon

I’m more than happy to credit Sweden’s Gin Lady for the gorgeous ’70s country rock harmonies that emanate from their fourth album, Tall Sun Crooked Moon (on Kozmik Artifactz), from the mission-statement opener “Everyone is Love” onward, but I think it’s also worth highlighting that the 10-track outing also features the warmest snare drum sound I’ve heard maybe since the self-titled Kadavar LP. The Swedish four-piece have nailed their sound down to that level of detail, and as they touch on twang boogie in “Always Gold” or find bluesy Abbey Roadian deliverance in the more riff-led chorus of “Gentle Bird,” their aesthetic is palpable but does not trump the straight-ahead appeal of their songwriting. The closing duo of “The Rock We All Push” and the piano-soother “Tell it Like it Is” are the only two tracks to push past five minutes long, but by then the mood is well set and if they wanted to keep going, I have a hard time imagining they’d meet with complaints. Serenity abounds.

Gin Lady on Thee Facebooks

Kozmik Artifactz website

 

Oven, Couch Lock

oven couch lock

For an EP called Couch Lock — i.e., when you’re too stoned to even stand up — there’s an awful lot of movement on Oven‘s debut release, from the punk thrust of “Get It” to the arrogant sleaze of “Go James” and even the drums in “This Time.” And the nine-minute “Dark Matter” is basically space rock, so yeah, hardly locked to the couch there, but okay. The five-tracker is raw in its production as would seem to suit the Pennsylvania trio, but they still get their point across in terms of attitude, and a closing cover of Nebula‘s “To the Center” seems only to reinforce the notion. One imagines that any basement where they unleash that and the nod that culminates “Dark Matter” just before it would have to be professionally dehumidified afterward to get the dankness out, and an overarching sense of stoner shenanigans only adds to the good times that so much of East Coast-ish psych misses the point on. They’re having fun. You should too.

Oven on Bandcamp

Oven on Thee Facebooks

 

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White Manna, Ape on Sunday: Off You Go

Posted in Reviews on June 26th, 2019 by JJ Koczan

white manna ape on sunday

As though beamed in from some dimension rife with all the colors humans can’t see shining in pools of lysergic applesauce, White Manna‘s sixth album, Ape on Sunday, immediately enters the kosmiche foray with its seven-minute opening title-track. Also the longest inclusion (immediate points) at 7:10, it is immersive and exploratory in kind, a sweeping space rock mover that captures the attention and doesn’t so much hold it as toss it back and forth between hands, reshaping and kneading consciousness like so much stiff dough that’s been sitting around for too long. The proceedings call to order via Cardinal Fuzz around the four-piece of guitarist/vocalist/keyboardists David Johnson and Anthony Taibi, bassist Johnny Webb and drummer/vocalist Tavan Anderson, and the LP presents a don’t-want-to-take-up-too-much-of-your-time-microwaving-your-brain 34 minutes across which unfold seven tracks each one component in the purpose of sonic adventure and expression.

Mike Dieter adds synth to the mix as well (is he in the band full-time? I don’t know, man, is anyone? Are you? Are we all?) and the Arcata, California-based troupe put it to excellent use — if that’s what I’m hearing — in “O Captain,” which follows behind “Spirit of St. Louis,” the second and second to longest cut (secondary points) which unfurls almost direct from the leadoff with swirls and stick-click percussion. I think I hear a tambourine far back in there, but can’t be sure if I’m imagining it. Neither of the two tracks in the opening salvo really delve into lost-control freakoutery — “Ape on Sunday” is too solid in its space rock push, and “Spirit of St. Louis” has a cyclical bassline that holds it together — but there’s headphone-worthy fare just the same as White Manna slowly and patiently build on the space-jazz wash that capped “Ape on Sunday” with “Spirit of St. Louis,” a change in the drum pattern just before the three-minute mark signaling the turn to the even bouncier vibe that takes hold, then fades out to let manipulated and sampled-sounding organ and other sundries finish. Two songs and 13 and a half minutes deep, Ape on Sunday shimmers bright and feels purposeful in its jammy foundations.

Not that a band six records deep shouldn’t know what they want to do, but sometimes not knowing exactly where a piece is headed is fun too. The mood shifts markedly with the aforementioned “O Captain,” which is shorter at 3:35 and, though it’s also the likely closer of side A, comes paired in the tracklisting with the 3:56 “Night in Lisbon” as the next of Ape on Sunday‘s three two-song movements, completed by the three-minute closer “More More More” at the end, which works twice as well because despite its title, it’s the only such movement without a second song. Around mellow keys and post-prog drama-drumming, “O Captain” feels still compared to the title-track and “Spirit of St. Louis” before it, and that seems to be intentional, not to much in a stop-and-rest vein but more like an arrival at a different place, from which “Night in Lisbon” — hey, that’s a place! — takes hold with a quickly manifest fuzz overload and echoing vocals overlaid, the effects ringing outward into intertwining layers of guitar and synth and once again it’s Anderson tasked with holding it all together, which he does ably with (more?) tambourine and a mantra of tom hits. “Night in Lisbon” doesn’t really shove into any kind of grand payoff or anything, but White Manna let it breathe instrumentally in its final two minutes, fading out long until only residual swirl remains.

white manna

A quick howl of guitar volume swell and emergence of bass and drums and (soon enough) synth and keys signal the arrival of “Eye in the Cloud that Serves as Thunder,” which feels more spacious in its mix despite the immediacy of the drum line and tape-loop-sounding whatnot surrounding. The tension is such that White Manna seem to be signaling something’s gotta give, and what does is reality, as the band dive headfirst into an angular proggy noodle that comes apart amid maddening let-it-all-go a bit of either sax or sax sounds in the fade, the leftover echoes of which extend into “Zodiak Spree,” which is entrancing drone and soundscaping that’s like New Age if New Age had ever been any good. The synthesizer oozes in and out over a consistent low-end drone and guitars gently enter and exit as well while the hypnotic figures play. There’s no verse, no chorus, no lyrics, no real “parts” as such, but at five-minutes long, “Zodiak Spree” seems to speak to the same feeling of arrival — not necessarily in Portugal or, for that matter, anywhere else — as “O Captain,” rounding out the third pairing on Ape on Sunday with resonant chill.

That leaves just “More More More” to act as the keystone move on its own for White Manna, and it does so as also the shortest track at 3:03, a twisted jangle of guitar noise, garage rock drumming, synth, keys, whatever. Someone is speaking or making noise or just kind of laughing, but there’s a momentary cast to the jam wherein it takes a bodily presence around a Hendrixian guitar line circa two-minutes in and locks down a groove for, a measure or two. That one part could’ve lasted probably 10 minutes, but that’s not White Manna‘s trip this time around. Instead, it cuts itself short and leaves the guitar hanging and the synth running outward, coming apart quicker than some of the other pieces but staying consistent in doing so anyhow. It’s gone before they hit three minutes, which is fair enough as by that time, Ape on Sunday has already traversed up, down and between spaces of sound and let its audience come along for the brief but wide-ranging and evocative ride.

Some of the more cinematic aspects of the synth in “O Captain” or even “Eye in the Could that Serves as Thunder” add further breadth to the whole experience, but the truth is that White Manna are going where they’re going whether they know how to get there or not. That’s part of what makes Ape on Sunday so exciting a listen as the communion of exploration takes on so many forms.

White Manna, Ape on Sunday (2019)

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