Good show. Starts heavy, stays heavy. Gets a little rocking by the end, but even the Acidemia jam that caps has a good sense of heft behind it. I noticed last episode had a pretty fair amount of drift — and this one isn’t entirely without, as you’ll notice — but I guess sometimes those aggro tendencies surface. Plus I’ve been very much enjoying the new LLNN album, and you can’t really start with that and not keep going with more extreme fare. Or I can’t, anyway. Or at least I didn’t. So there.
The Pecan joined in on the voice tracks, which was fun. I tried to get him to say his letters but he was like “up yours,” as ever. He knows them, and I guess that’ll have to do for now. But he got such a kick out of hearing himself on the playback that he started sprinting back and forth across the sectional in our living room, so I’m glad to know he at least enjoys taking part, even if having your toddler on is about as un-metal a thing I can think of. I’ve always maintained I have no business being on Gimme, even before they renamed it. It’s nice to be right every once in a while, even if it’s gonna feel bad when they eventually shitcan me.
Either way, thanks for listening and/or reading. I hope you enjoy.
The Obelisk Show airs 5PM Eastern today on the Gimme app or at: http://gimmemetal.com
Full playlist:
The Obelisk Show – 08.20.21
LLNN
Obsidian
Unmaker
Yanomamo
Dig 2 Graves
Yanomamo/Slomatics Split
Churchburn
Scarred
Genocidal Rite
VT
Sky Pig
The Strain
Hell is Inside You
Guhts
Eyes Open
Blood Feather
Year of No Light
Réalgar
Consolamentum
Blackwater Holylight
Around You
Silence/Motion
Deep Tomb
Endless Power Through Breathless Sleep
Deep Tomb
Starless
Pendulum
Hope is Leaving You
VT
Craneium
Shine Again
Unknown Heights
Kal-El
Mica
Dark Majesty
Crystal Spiders
Morieris
Morieris
Solemn Lament
Celeste
Solemn Lament
VT
Acidemia
Caximbo
Podridão
The Obelisk Show on Gimme Metal airs every Friday 5PM Eastern, with replays Sunday at 7PM Eastern. Next new episode is Sept. 3 (subject to change). Thanks for listening if you do.
Finland’s Craneium release their third album, Unknown Heights, on Oct. 15 as their label debut on The Sign Records. The Turku-based four-piece were last heard from with late-2018’s The Narrow Line (review here) on Ripple Music, and they’ve quite clearly learned a few lessons from one to the next. With a consistent lineup of guitarist/vocalists Andreas Kaján and Martin Ahlö, bassist Jonas Ridberg and drummer Joel Kronqvist — somebody’s also playing keys, or something that sounds like them on “Somber Aeons,” and the Mellotron contributed by Axel Brink to “Weight to Carry,” also elsewhere — the band present a sharpened take on their particular sonic meld that is able to be both heavy and fluid as it will. Among their three LPs to-date, the confidence with which they execute their melodies and the tightness of their songcraft across the six tracks of Unknown Heights is striking, and to call it anything other than their finest hour is underselling it.
Each side of the album opens with a big hook, with “A Secret Garden” putting to immediate use the Kaján and Ahlö arrangement dynamic — this will come up again on the closing title-track — and side B’s “Shine Again” (premiering below) offering a six-minute summation of many of the album’s strengths in its volume shifts, overarching patience of delivery, exceptional pacing, depth of mix, flowing progression and, when it’s ready, outright heft. “A Secret Garden” is very much the traditional rocking opener transposed to suit Craneium‘s purposes, running a focused four and a half minutes that establishes the tones, melodic reach and underlying psychedelic drift of the proceedings to follow.
“Somber Aeons” and “Weight to Carry” are both longer at six and seven minutes, respectively, but effectively hold onto the clarity of structure that “A Secret Garden” lays forth, the former surging with fuzz in rolling fashion after a more subdued opening, making the most of Ridberg‘s bassline for the ensuing thickness that will seem to swallow the song even as a spoken-word sample about darkness cuts through at the finish, shifting easily into “Weight to Carry,” with a more forward guitar solo later, the aforementioned Mellotron flourish and its own structural presence highlighted by the chorus.
In launching the second half of Unknown Heights, “Shine Again” pulls together many of the strengths of the first, taking the directness of “A Secret Garden,” the volume trades of “Somber Aeons” and the instrumental gracefulness and ending build-up of “Weight to Carry” and putting them to a single purpose. This is offset by the righteously bassy and brazenly hooky “The Devil Drives,” which follows and is the shortest inclusion on the album at 4:22. It wouldn’t be appropriate to call anything Craneium present here stripped-down — the sound remains lush and the melodies, rhythms and structures thoughtful — but “The Devil Drives” is as straightforward as they get in the offering, with verses and choruses going back and forth setting up dual-leads in the back end of the song that should, must and inevitably do make their way back to a final run through the chorus to finish out.
Needs to happen, has to happen, happens, and like the best of heavy rock songcraft, it’s no less satisfying because you know what’s coming. Momentum carries into “Unknown Heights” itself, making the opening hits feel somewhat impatient, but the chill that comes with the first verse sets its own atmosphere and allows the track to unfold in its own manner.
Is that slide guitar just past the midpoint drifting over the quieter stretch? I don’t know, but it works as a proggy nuance, hypnotic and wistful in kind, and helps the transition to an even more subdued stop before the shove that will consume the last minute and a half of the song takes hold, eventually fading out in such a way that underscores the vague ’80s metal underpinnings of “The Devil Drives” — someone in this band likes NWOBHM — and that feels quick given the flow they’re leaving behind, but ultimately makes sense considering the overall efficiency they’ve wrought throughout. They’re simply not willing to waste the time, and at a crisp 36 minutes, Unknown Heights is that much more able to offer spaciousness without indulgence for the decisions the band have made.
This album is a realization for which Craneium have worked hard over the last half-decade-plus — and a mention for Joona Hassinen (MaidaVale, Domkraft, Skraeckoedlan, many others) at Studio Underjord in Norrköping, Sweden, is only appropriate as well — and the payoff is in the songs waiting to be heard.
“Shine Again” premiere follows, with PR wire info after.
Please enjoy:
Craneium, “Shine Again” lyric video premiere
Craneium on “Shine Again”:
This is the third time we collaborate on a video with our friend Oliver Webb from the awesome band Sunniva. This time we talked a lot about that we wanted to bring the artwork to life. About what it would look like if you were to step through the keyhole and into the world of the artwork to the single. We think Oliver did an amazing job and he really has an eye for weird symbolism and trippy storytelling. We think it suits this song, an ode to freedom and solitude, perfectly.
Lyric video for “Shine Again”, the second single from Craneium’s 2021 album “Unknown Heights”. Video by Oliver Webb.
Finnish fuzz-rock outfit Craneium have released their new single ”Shine Again”. Shifting from massive, distorted passages to blissful, psychedelic soundscapes, ”Shine Again” highlights the dynamic and experimental nature of Craneium, while presenting a new musical dimension of the band. The group explains:
”No friends but the mountains…With ‘Shine Again’, it really feels like we’ve taken our songwriting to the next step. This is the direction we want to take Craneium in from now on. We are quite happy with the vocal harmonies and lyrics, as it turned out to be both a love song and an ode to freedom. In the studio our producer and engineer Joona Hassinen from Studio Underjord got us to perform at a level we feel we haven’t reached before. The mellotron strings added by Axel Brink (our former bass player and forming member) really gave it that little extra kick.”
Craneium is: Andreas Kaján – Guitar & Vocals Martin Ahlö – Guitar & Vocals Jonas Ridberg – Bass Joel Kronqvist – Drums, Percussion
Posted in Whathaveyou on May 21st, 2021 by JJ Koczan
This year marks a decade since Craneium first came together in the underground hotbed that is Turku, Finland. In 2016, they made their full-length debut through Ripple Music with Explore the Void, and they’d follow it with The Narrow Line (review here) through the same imprint in 2018. Their 2019 single, “Sweet Relief,” was tracked at the same time as the second outing and posted first to Ripple subscribers on Bandcamp before being made available to the wider public, which it still is, in name-your-price fashion, no less.
The four-piece have newly signed to Swedish imprint The Sign Records, and will release their third album later this year. They recorded with Joona Hassinen of Studio Underjord fame, who’s also mixed, and I’m left wondering if what they’ve listed as ‘V.R. Studio’ just means they did the whole thing remotely. There isn’t much info about the LP as of yet — including the title — so put that down as maybe, with more info to come presumably as we get closer to the release, slated for before the end of 2021.
To mark the occasion of the signing, the new album and all that good stuff, Craneium have a new single out today called “A Secret Garden” that you can hear at the bottom of this post, along with the stream of The Narrow Line for a refresher.
Dig:
Craneium signs to The Sign Records – launch first single “A Secret Garden” from upcoming third album
Finnish fuzz-rock outfit Craneium has signed to The Sign Records for the release of their third studio album, set for release in autumn 2021. The first single leading up to the new album is called “A Secret Garden” and is out now on all streaming platforms.
Blending dreamy, psychedelic soundscapes with crushingly heavy riffs and thick layers of fuzz, Craneium offers a varied and dynamic take on desert rock. Hailing from Turku, Finland, the band entered the scene in 2011 and have since shared stages with bands such as Mars Red Sky and Skraeckoedlan, toured Europe on a frequent basis, and released 2 studio albums on US-based Ripple Music.
Now, Craneium announces their third studio full-length. Set for release in autumn 2021, the new album showcases Craneium’s experimental and colorful characteristics, more than ever before. The band comments:
“We’ve been working towards this for the last 2-3 years or so, we finally feel that we have captured the music in a way that we haven’t before. Our songwriting is better, the recording is better and we’ve had more time than before to really make this one our best so far! We should also say that we are so excited to work with The Sign Records, which in our books is a mark of approval for any band our there.”
The first single leading up to Craneium’s third studio album is called “A Secret Garden”. Perfectly capturing the essence of the band’s sound, the single blends massive, fuzzed-out riffs with calmer, psychedelic sections. “A Secret Garden” is out on all streaming platforms May 21.
Posted in Whathaveyou on October 11th, 2019 by JJ Koczan
Desert Hel is a new heavy fest marking its debut in Finland next April. It’s ‘Hel’ as in -sinki, and the two-dayer is set to take place April 24-25 at On the Rocks in the Finnish capitol. It’s not affiliated with Desertfest in any way so far as I know, but they’ve pulled together a solid lineup nonetheless, with multinational acts Lucifer (UK/Sweden) and Lonely Kamel (Norway) headlining and the likes of natives Craneium and Kaleidobolt and Russia’s The Re-Stoned offering their support of the endeavor. Also noteworthy is the cleverly named One Inch Band, who’ll play not just a set of Kyuss covers, but specifically the setlist that the desert rock legends played at the much-bootlegged Bizarre Festival in 1995. If that doesn’t sound like fun to you, I don’t know what might.
The info below has been run through a major tech company’s translation matrix, but should still be enough for you to get the idea. Spring in Europe is always a busy time, but Desert Hel 2020 promises to bring something to the northern part of the continent that seems well due.
Word follows:
Desert Hel is a new stoner & doom music festival in Helsinki. The first event will take place at On the Rocks on 24th-25th of April, 2020! Ticket sale starts on Thursday 10.10.2019
The new Desert Hel Festival, focused on stoner and doom music, will take place 24-25 April 2020 at the Helsinki On the Rocks Club. In addition to foreign and domestic bands, it is also possible to enjoy craft beers and food served during the festival. Tickets for the event will go on sale at Tiketti on Thursday, October 10, 2009 at 9:00 am.
On Friday, the festival’s main performer will be the Swedish heavy rock band Lucifer, who is preparing for the new album. Nicke Andersson, a multifunctional artist known for Hellacopters and Emtombed. Friday’s program will be complemented by Re-Stoned, the Moscow-based messenger of psychedelic Instrumental stoner, Craneium playing heavy-duty riffs, and Jupiter, a psych-rock band.
On Saturday, the show features Norwegian heavy blues and stoner Lonely Kamel, Helsinki-based power trio Kaleidobolt, Thermate from the 70’s heavy and 90’s stoner rock, and Kaiser playing the majestic cruel desert fuzz. In addition, Desert Hel’s backing party picks up a tribute band, One Inch Band plays Kyuss, for Saturday night, which plays Kyuss’s 1995 Bizarre Festival set list.
LINE UP FRIDAY: LUCIFER (SWE) The Re-Stoned (RUS) Craneium Jupiter
SATURDAY: Lonely Kamel (NOR) KALEIDOBOLT Thermate Kaiser One Inch Band plays Kyuss
Posted in Whathaveyou on June 4th, 2019 by JJ Koczan
Not to contradict Craneium or anything, but if Europe could possibly have been killed by fuzz, presumably from some manner of overdose thereof, wouldn’t it have happened already? Rather, the continent seems — at least from my position across an ocean from it — insatiable when it comes to saturated tonality and heavy groove. Still, you gotta call the tour something, right, so if they’re setting goals for themselves, it would seem only admirable they’d reach for the stars, as it were, even if those stars were, you know, devastating the populace all around.
Whatever the survival rate will ultimately be, I dug Craneium‘s 2018 third album, The Narrow Line (review here) — which you can stream below — and I’m glad enough to have an excuse to revisit it by posting these tour dates. They kick off in the Netherlands and wrap in Germany and kick around for over a week between.
Have at it:
We just added a show in Czech Republic 22.6! Just a few more weeks now and we will kill Europe with fuzz.
15.6 MFC Festival Coevorden (NL) 16.6 MTs /Oldenburg (Ger) 17.6 Club Kinky Star /Ghent (Bel) w/ Fire Down Below 18.6 STELPLAATS /Leuven (Bel) 19.6 Mandril Culture & Political Center /Maastrich (NL) w/Lacertilia 21.6 Zille/Göppingen (Ger) 22.6 Magic place /Louny (CZ) 23.6 Toast Hawaii /Berlin (Ger) w/The Trikes, HEAVY HEAVY
Bio:
Craneium is a stoner/desert/fuzz rock band formed in Turku late 2011 and has sweated themselves through an intense live schedule since then!
Craneium released their first album “the Slowerdrive Tapes” on green cassette 2013, a split 12″ record with 3rd Trip 2014 and a their full-lenght “Explore The Void” in through Ripple Music december 2016.
Tune Down, Turn Up and Fuzz Out with Craneium. Worshippers of amplifiers, weird tales, fuzzboxes and mindexpanding rock can have a taste of the band here:https://craneiumband.bandcamp.com/
Craneium is: Andreas Kaján – Vocals & Guitars Martin Ahlö – Vocals & Guitars Joel Kronqvist – Drums Jonas Ridberg – Bass
Posted in Reviews on December 4th, 2018 by JJ Koczan
Day Two of the Quarterly-Review-Mega-Super-Ultra-Year-End-Wrap-Up-Spectacular-Gnarly-Edition — name in progress — begins now. First day? Smooth. Wrote it over the weekend to get a jump on the week, cruised through a morning and into baby-naps, finished with time left over to still go and read the Star Trek novel I’m currently making my way through. Easy. Also peasy.
Today? Well, apparently I turned off my alarm in my sleep because I rolled over 40 minutes later and certainly didn’t remember it going off. Whoops. Not a great start, but there is a lot of cool stuff in this batch, so we’ll get through it, even if it’s awfully early in the week to be sleeping in. Ha.
Have a great day everybody. Here are 10 more records for the QRMSUYEWUSGE. Rolls right off the tongue.
Quarterly Review #11-20:
A Storm of Light, Anthroscene
“America the sick and crumbling/Liberty she’s weeping/The tired and poor are huddled and dying/As the wretched ones are touched aside.” The lines, from A Storm of Light‘s “Blackout” — the second cut from their fifth LP, Anthroscene (on Translation Loss) — lead to the inevitable question: “What the fuck is wrong with us?,” and thereby summarize the central sociopolitical framework of the record. A dystopian thematic suits the band’s aesthetic, and there’s certainly no shortage of material to work from between current events and future outlook. Guitarist/vocalist/keyboardist/graphic artist Josh Graham, bassist Domenic Seita and guitarist/keyboardist Dan Hawkins are five years removed from the band’s last outing, however, so their post-apocalyptic post-metal is welcome either way, and Anthroscene taps a Killing Joke influence and turns it to its dark and churning purposes over the course of its eight tracks/51 minutes, delving into harsh shouts on “Short Term Feedback” and capping with the resistance-filled “Rosebud,” which surges forth from ambience like the anti-facist/anti-capitalist critique that it is, ending with the lyric, “When you die, we will spit on your grave,” which could hardly be more appropriate.
Massachusetts’ Z28 — also stylized as Z/28 and Z-28; I don’t think they care so long as you get the point they’re named after the Camaro — make their full-length debut with Nobody Rides for Free on Fuzzdoom Records, and with the occasional bit of organ on songs like “Touch of Evil” and “Angst III (I Don’t Want to Die),” they nonetheless give a raw take on heavy rock laced with that particularly Northeastern aggression. Guitarist Jeff Hayward (also organ), bassist/acoustic guitarist/engineer Jason Negro and drummer Breaux Silcio all contribute vocals to the outing, and yet the minute-long instrumental intro tells much of the story of what it’s about in terms of the chemistry between them. Impressive guitar solos are rampant throughout, and the rhythm section carries over a weighted groove through cuts like “Wandering” that’s fluid in tempo but still able to create an overarching flow between the tracks. I’ll give bonus points for the Black Sabbath nods in the multi-layered lead work toward the end of “Spirit Elk (Lord of the Hunt)” as well as the title “Keep on Rockin’ (In the Invisible World),” and Z28 have something to build on here in terms of songwriting and that chemistry. It’s raw-sounding, but that doesn’t necessarily hurt it.
Granted, Forrest telegraph some measure of quirk by naming their debut EP Kickball with Russians, but the four-piece from Lexington, Kentucky, still seem to be rolling along in a straightforward-enough manner on six-minute instrumental opener and longest track (immediate points) “(I Dream of) Kickball with Russians,” until the keyboards start in. That turn gives their EP an edge of the unexpected that continues to inform “DAN,” “Deew” and the closing “My Son Looks Just Like Me,” and “DAN” continues the thread with gang shouts popping up over its chugging progression and receding again after about two words to let the track get quiet and build back up. And is that a velociraptor at the start of “Deew?” Either way, that song’s Mr. Bungle-style angularity, a return of the keys and intermittent heavy nod work to underscore the willful weirdness that’s very much at play in the four-piece’s work, and the closer adds Ween-style effects work into the mix while still keeping a heavy presence in tone and lumber. They’ll get weirder with time, but this is a good start toward that goal.
Coastal melancholy and a pervasive sense of atmosphere seem to unite the varied tracks on 1476‘s 2017 Prophecy release, Our Season Draws Near, which otherwise draw across their span from goth rock, punk, doom and extreme metal, able to blur the line especially between punk and black metal on songs like “Ettins” while acoustics pervade “Solitude (Exterior)” en route to the Anathema-gone-char rasps of “Solitude (Interior)” a short time later. I know I’m late to the party on the Salem, MA, duo, and likewise late on this record, but from opener “Our Silver Age” to closer “Our Ice Age” to the “Solitude” pairing to “Winter of Winds” — finally: David Bowie fronts Joy Division — and “Winter of Wolves,” there’s so much of Our Season Draws Near that has a bigger-picture thought process behind its construction that its impact is multi-tiered. And it’s not just that they pit genres against each other in their sound, it’s that their sound brings them together toward something new and malleable to the purposes of their songwriting. Not to be missed, so this is me, not missing it. Even though I kind of missed it.
Joined on Nights in Distortion by bassist René Marquis as well as longtime drummer Patrick Schroeder, guitarist/vocalist/synthesist Christian Kolf (also Valborg) greatly expands his former solo-ish-project Owl with their second release of 2018 behind March’s Orion Fenix EP (review here), bringing together elements of post-metal churn with deeply atmospheric sensibilities, cuts like “Transparent Moment” churning as much as they are surprising with their underlying melody. A Type O Negative influence continues to be worked into their sometimes grueling context, but it’s hard to listen to the keyboard-laced “Inanna in Isolation” and hear Owl being anything other than who they’ve become, and their third album is the most distinct statement of that yet, airy lead guitars floating over a still-fervent, industrial-style chug amid vocals veering from barking shouts to quiet, low-register semi-spoken fare and cleaner singing. Nights in Distortion is the evolving work of a mastermind, captured in progress.
Synth-laden heavy horror garage dance rock could probably use a more succinct genre name, but while those in charge of such things sit and scratch their butts, Boston’s Brass Hearse carve out a niche unto themselves with their second EP, Hollow on the Surface. The five-track offering is in and out in 14 minutes but wants nothing for either a show of craft or arrangement, tapping into psych-folk in the strummy interlude “Dwellers in the Static Valley” after the hook-led “Death by Candlelight” and before the John Carpenter-style pulsations that underscore “The Thing from Another World.” Opener “Fading” is the only song to top four minutes and has a distinctly progressive take, but while it and the organ-ic closer “Headaches & Heartbreaks” has a theatricality to it, Brass Hearse are too cohesive to charge with being weird for weirdness’ sake, and their experimentation is presented in complete, engaging songs, rather than self-indulgent collections of parts mashed together. Would love to hear what they do over the course of a full-length.
Different missions from Finland’s Craneium and Switzerland’s Black Willows on their BloodRock Records split. Craneium nod through “Your Law” and mark their second inclusion, “Try, Fail, Repeat,” with a Sabbathian swing that only kicks up in tempo as it moves through its five minutes. Black Willows, on the other hand, present a single track in the 19-minute, noise-soaked post-everything “Bliss,” which trades back and forth between minimalism and crushing riffs en route to a consuming wash and long, long, long fadeout. Released in March, the outing showcases both bands well, but one is left wondering where the connection is between the two of them that they’d come together for a joint vinyl release. Either way, I won’t detract from what they do individually, whether it’s the catchiness of “Your Law” and the jam in its second half or “Bliss” with its frost-covered expanse of tonality, it’s just a marked leap from side A to side B. Maybe that was the idea all along, and if that’s the case, then one can only say they succeeded.
Following a 2015 self-titled debut EP, Oslo trio Magmakammer align with Kozmik Artifactz for their first long-player, Mindtripper, and so effect a garage doom sound that’s quickly relatable to Uncle Acid on songs like “Fat Saturn” and the chug-shuffling “Along the Crooked Roads.” Where they distinguish themselves from this core influence, though, is in the density of their tones, as opener “Druggernaut” and the rolling “Acid Times” prove thicker in their charge. Still, there’s no mistaking that swing and the blown-out sound of the vocals. Closer “Cosmic Dancers,” which is one of two tracks over seven minutes long, shows more dynamic in its loud/quiet tradeoffs, and resolves itself in a righteous nodder of a riff. It’s essentially in the same vein, but still displaying some emerging personality of Magmakammer‘s own that one hopes they continue to develop. And in the meantime, the foundation of craft and stylistic awareness they hone is still welcome, familiar or not.
Mystique isn’t easy to come by in this Age of Access, but the anonymous London-dwelling duo Falun Gong have succeeded in piquing interest with their two-to-date singles, “Figure 1” (review here), and the eight-minute “Figure 2,” which like its predecessor is raw in the recording, sounds like it was performed live, and follows a trance-inducing course of riffing. The central groove is a slow march that makes its way through obscure voices delivered in buried fashion — the whole thing may or may not be mastered; somehow I’m thinking not, but I’ve been wrong before — through a self-aware drift that rounds out following a soulful culmination fitting the song’s lyrical theme, which would seem to be tied to the cover art about baptism in a river’s waters. There’s just something off-kilter about Falun Gong to this point, and while it’s still early going for them, they bring an eerie persona to their work that feels less performative than it so often does.
Though he’s had a slew of live outings out with the Max Tovstyi Blues Band and the Max Tovstyi Blues Association, Mesmerize (LP on Nasoni) is the Ukrainian heavy blues rocker’s first solo studio outing since 2014. He’s credited with all the instruments on the 10- or 12-track offering save for a couple arrangement-flourish guest appearances, and he pulls in a classic spirit and full-band sound without any trouble on a moody piece like “World of Sin” or the bonus track “Show Me the Way,” which isn’t a Peter Frampton cover so far as I can tell but still has plenty of guitar scorch to go around. “From the Blues to the Funk” jams its way along its stated trajectory, and “Feel Like Dying Now” brings together organ and keys in a fashion far less dramatized than one might initially think. With a clean production, Tovstyi — also known for his work in The Heavy Crawls, Lucifer Rising, and others — carries through his sentimentality for blues rock’s past and finds himself well at home leading the pack of guest vocalists on “Make Up Your Mind,” which closes the album proper with a semi-country twang and sweet melody.
Posted in Whathaveyou on November 23rd, 2018 by JJ Koczan
This digital release for Craneium‘s second long-player, The Narrow Line (review here), will be followed in a couple weeks by the physical version of the album. The band premiered the rocker “I’m Your Demon” here and tap into more stretched-out vibes on other songs, but the occasion is worth making either way, and so here we are. They talk a little bit about the recording process — six months in the making — and the work that went into getting the songs ready through preproduction and so on, and I think the finished product is pretty emblematic of the effort that went into building it from the ground up.
That finished product, by the way, is streaming at the bottom of this post.
Happy release date to Craneium, and enjoy:
Craneium – The Narrow Line
We are really happy to finally share our second album “The Narrow Line” with all of you. It has been a long time coming since our first one in 2015. We found ourselves without a bass player two times since then, so finding a band member, rehearsing, getting to know each other, write new material and move on to the stage when we finally had everything in place and ready to hit REC took a while. But we’re back and we’re stoked about the new album, and we’re really hoping you all will dig it too!
We recorded it with the same guy who worked with us on the last record, and we did it here in our hometown of Turku. Took about 6 months from start to finish. This time we put more effort into the pre-production and tested ideas. The main different being that we’ve learnt how to do things better and how to do things right. Recording it was a blast and many ideas came about in the studio, like the intro solo on “I’m Your Demon”. For this record we had it mastered at Studio Underjord in Sweden and we think the overall sound is so much better this time with more low-end and punch in the songs. The artwork was done by the Talented Dominic Sohor from Bolton, UK.
The album consists of 7 tracks exploring various styles within the genre of fuzzy-rock. From fuzz rock, stoner and desert influences via doom, space, psychedelia and heavy music in general. We’d like to think this is the sound of the band, not really able to stick it in one category, but instead a mishmash of everything we like which in turn makes us into the band we are. Metal Temple put it quite well in their review: What CRANEIUM present here is not so much an album but an adventure, escapism for the listener, there is enough talent and invention throughout the recording to keep you hooked, however, their greatest achievement is in how they seemed to throw off the shackles of staying within the perimeter of conventional stoner, desert rock and still appeal to that genre.
We don’t like to be conventional, we like being Craneium!
Craneium is: Andreas Kaján – Vocals & Guitars Martin Ahlö – Vocals & Guitars Joel Kronqvist – Drums Jonas Ridberg – Bass
Posted in audiObelisk on October 30th, 2018 by JJ Koczan
Finland’s Craneium will release their second album, The Narrow Line, Dec. 7 via Ripple Music. The Turku four-piece were picked up by the label in 2016 ahead of the release of their debut, Explore the Void, and with the seven tracks of their sophomore outing, they bring together psychedelic adventurousness with clarity of songwriting and a healthy dose of fuzz. Their songs work to find a niche in heavy rock that’s neither overly weighted so as to lose sight of its focus on melody nor so tripped out that the existence of any kind of focus at all is a contradiction. While seemingly based on jams, songs like “The Goat” and “The Soothsayer” have been carved into structured pieces, and with the rolling fuzz of opener “Manifest” as a forward first impression, the dual vocals of guitarists Andreas Kaján and Martin Ahlö complement as an immediate distinguishing factor that the subsequent, heavier chorus of “I’m Your Demon” only reaffirms. With Jonas Ridberg on bass and Joel Kronqvist on drums, “I’m Your Demon” is able to evoke boogie rock without losing itself into retroist cliche, and as with so much of the album surrounding, a pace is maintained that keeps the feel laid back when it wants to be but still able to push ahead when it wants to.
You can listen to the premiere of “I’m Your Demon” on the player below, and while it’s the shortest song on The Narrow Line at four and a half minutes, it nonetheless stands as an example of Craneium working in the space they’re making their own throughout the album, culling influence from desert rock and heavy psych, doom and a full swath of other whatnots in order to strike the balance between wall-o’-fuzz and the solo that cuts through in the second half. Dig that mix. Then the vocal harmonies return. There’s some underlying grunge thrown into the stylistic palette as well — it’s the brown you’ll hear in the guitar tone — but Craneium emerge clean from “I’m Your Demon” and continue to build momentum in “Beyond the Pale” while bringing to bear a more patient delivery as led by the guitars, moving into a dynamic interplay between lead guitar and Ridberg‘s bass in the second half that only feeds into the electric surge happening as they make ready to close out side A with the aforementioned “The Soothsayer,” the groove no less paramount there than it has been all along.
I’ll admit I keep wanting closer “Man’s Ruin” to be about the defunct record label headed by Frank Kozik that did so much to break ground for heavy rock in the late ’90s, but I don’t think it is. I think it’s about space and hubris, which is fair enough. The finale reinforces the fuzz of earlier cuts “Manifest” and “I’m Your Demon” while answering a bit of the funk that shows itself early in “The Soothsayer” and following Side B slabs “Redemption” — the longest inclusion at 6:44 and a highlight of Kronqvist‘s drumming in meter, cymbal splash and tom work — and “The Goat,” which is as languid as Craneium get, with a dreamy meandering at about four minutes in that offsets the more weighted shove that accompanies. “Man’s Ruin,” as it should, brings the various sides together in a last display of all of it as the band’s own pastiche and the expanding ground on which they’re continuing to work to coalesce their approach — so much as they want it to coalesce; some aspects here are definitely intended to remain liquefied — and to refine the balance of structure and space in their craft. They strike that balance well throughout The Narrow Line — one doubts they titled the album thinking of the thin borders between heavy subgenres, but it applies nonetheless — and emerge from the other end of “Man’s Ruin” having not at all succumbed to tragedy as a result of their ambitions.
“I’m Your Demon” is on the player below, and Kajántook some time to talk about The Narrow Line and the song itself, so you can read what he had to say beneath that. The album is out Dec. 7 on Ripple.
Enjoy:
Andreas Kaján on “I’m Your Demon”:
Our second album has been a long time coming. After releasing “Explore The Void” back in 2015 digitally we got signed by Ripple Music and the physical album was out in 2016. Since then we’ve had some bass players come and go which have made it difficult to move forward and write new material. We finally found a guy and got around to writing new material and by summer of 2017 we had 8 new tracks. We recorded the album during the spring of 2018 and it will be released by Ripple Music December 7th this year. This time around I think we learned a little something from recording our first album and applied that while recording “The Narrow Line”. I think we have listened to the critics and tried to put more time and effort into the production this time. Lets hope you think so too!
The new songs highlight the Craneium sound like the last album, but we’d like to think it has evolved since and that we have refined it. A lot of clean and mellow parts rounded off with heavy grooves and hooks.
A few words about this second single release: “I’m Your Demon” was actually the last song that we wrote for the new album. Most of the other songs we had been working on a couple of months before this one came along. It’s a bit of an oddball for us since it’s the first song that isn’t in a 4/4 time signature, so we’re calling it our prog-song — justified, right? The guitar solo in the beginning of the song came about in the studio while recording it. We decided to play the clean part a little longer before the vocals come in, so we went ahead and threw a solo in there. Really fun to play with a cool breakdown part that culminates in a guitar solo and then on to a modulation of the last chorus. If it weren’t for all the fuzz we might even make the European Song Contest!
The album is called “The Narrow Line” and will be out on Ripple Music worldwide December 7th 2018.
Craneium is: Andreas Kaján – Vocals & Guitars Martin Ahlö – Vocals & Guitars Joel Kronqvist – Drums Jonas Ridberg – Bass
