Posted in Whathaveyou on October 23rd, 2024 by JJ Koczan
The last tour I have listed for make-you-believe Dallas heavy rock trio Mothership was a Fall 2022 stint that began Nov. 2, 2022, and included stops at Doomed and Stoned in Wisconsin and Snowblind Festival in Georgia. If you look at the band’s social media, there’s a jump between “Thanks Snowblind” and earlier this year, when it was announced that guitarist Kelley Juett would release his first solo album through Glory or Death Records. Not only were Mothership a flagship act for Ripple Music who helped define the course of American heavy rock in the 2010s, a staple of the live circuit able to turn any set into a gauntlet thrown down to other bands on the bill — a high standard of performance set, offered with plenty of flash but no pretense; in many ways an ideal — and a studio progression chartable across their three-to-date LPs. Last I saw them was Psycho Las Vegas in 2022 (review here), and they still ruled.
So their coming back for a two-thirds-Texan weekender is something I take as good news. Tickets are on sale now — I kind of pieced the below together from different posts with the ticket links — and whatever this leads to as I know brothers Kelley and Kyle Juett are both involved in other projects here and there, some of them involving touring, it’s good to know Mothership will get in a little more ass-kicking before 2024 is done. Note that the announcement of the three dates is before they cross that two-year mark, but the shows themselves, in December, will be past it. I wonder how long that is compared to the band’s experience of the pandemic shutdown? If I had more time, I could probably chase that down with tour posters and a bit of math. Alas.
Dates and info follow. They’ll be out with Crobot:
Stoked to announce our first shows in over two years!
We’re road trippin’ with Crobot to celebrate the 10 year anniversary of their debut album (Something Supernatural) in a few select cities!
Posted in Reviews on October 7th, 2024 by JJ Koczan
Oh hi, I didn’t see you there. Me? Oh, you know. Nothing much. Staring off a cliffside about to jump headfirst into a pool of 100 records. The usual.
I’m pretty sure this is the second time this year that a single Quarterly Review has needed to be two weeks long. It’s been a busy year, granted, but still. I keep waiting for the tide to ebb, but it hasn’t really at all. Older bands keep going, or a lot of them do, anyhow — or they come back — and new bands come up. But for all the war, famine, plague and strife and crisis and such, it’s a golden age.
But hey, don’t let me keep you. I’ve apparently been doing QRs since 2013, and I remember trying to find a way to squeeze together similar roundups before it. I have no insight to add about that, it’s just something I dug back to find out the other day and was surprised because 11 years of this kind of thing is a really long gosh darn time.
On that note, let’s go.
Quarterly Review #1-10:
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Agusa, Noir
The included bits of Swedish dialogue from the short film for which Agusa‘s Noir was written to serve as a soundtrack would probably ground the proceedings some if I spoke Swedish, admittedly. As it is, those voices become part of the dream world the Malmö-based otherwise-instrumentalist adventurers conjure across 15 at times wildly divergent pieces. In arrangement and resultant mood, from the ’70s piano sentimentality of “Ljusglimtar” to the darker church organ and flute workings of “Stad i mörker,” which is reprised as a dirge at the end, the tracks are evocative across a swath of atmospheres, and it’s not all drones or background noise. They get their rock in, and if you stick around for “Kalkbrottets hemlighet,” you get to have the extra pleasure of hearing the guitar eat the rest of the song. You could say that’s not a thing you care about hearing but I know it’d be a lie, so don’t bother. If you’ve hesitated to take on Agusa in the past because sometimes generally-longform instrumental progressive psychedelic heavy rock can be a lot when you’re trying to get to know it, consider Noir‘s shorter inclusions a decent entry point to the band. Each one is like a brief snippet serving as another demonstration of the kind of immersion they can bring to what they play.
With an assembled cast of singers that includes Mikko Kotamäki (Swallow the Sun), his Amorphis bandmates Tomi Koivusaari and Tomi Joutsen, Petri Eskelinen of Rapture, and Barren Earth bandmate Jón Aldará, and guests on lead guitar and a drummer from the underappreciated Mannhai, and Barren Earth‘s keyboardist sitting in for good measure, bassist Olli Pekka-Laine harnesses a spectacularly Finnish take on proggy death-psych metal for Octoploid‘s first long-player, Beyond the Aeons. The songs feel extrapolated from Amorphis circa Elegy, putting guttural vocals to folk inspired guitar twists and prog-rock grooves, but aren’t trying to be that at all, and as ferocious as it gets, there’s always some brighter element happening, something cosmic or folkish or on the title-track both, and Octoploid feels like an expression of creative freedom based on a vision of a kind of music Pekka-Laine wanted to hear. I want to hear it too.
The Obscure River Experiment, as a group collected together for the live performance from which The Ore has been culled, may or may not be a band. It is comprised of players from the sphere of Psychedelic Source Records, and so as members of River Flows Reverse, Obscure Supersession Collective, Los Tayos and others collaborate here in these four periodically scorching jams — looking at you, middle of “Soul’s Shiver Pt. 2” — it could be something that’ll happen again next week or next never. Not knowing is part of the fun, because as far out as something like The Obscure River Experiment might and in fact does go, there’s chemistry enough between all of these players to hold it together. “Soul Shiver Pt. 1” wakes up and introduces the band, “Pt. 2” blows it out for a while, “I See Horses” gets funky and then blows it out, and “The Moon in Flesh and Bone” feels immediately ceremonial with its sustained organ notes, but becomes a cosmic boogie ripper, complete with a welcome return of vocals. Was it all made up on the spot? Was it all a dream? Maybe both?
Way underhyped South Carolinian progressive heavy rockers Shun arrive at the sound of their second LP, Dismantle, able to conjure elements of The Cure and Katatonia alongside Cave In-style punk-born groove, but in Shun‘s case, the underlying foundation is noise rock, so when “Aviator” opens up to its hook or “NRNS” is suddenly careening pummel or “Drawing Names” half-times the drums to get bigger behind the forward/obvious-focal-point vocal melodies of Matt Whitehead (ex-Throttlerod), there’s reach and impact working in conjunction with a thoughtful songwriting process pushed forward from where on their 2021 self-titled debut (review here) but that still seems to be actively working to engage the listener. That’s not a complaint, mind you, especially since Dismantle succeeds to vividly in doing so, and continues to offer nuance and twists on the plot right up to the willful slog ending with (most of) “Interstellar.”
No Man’s Valley, Chrononaut Cocktail Bar/Flight of the Sloths
Whether it’s the brooding Nick Cave-style cabaret minimalism of “Creepoid Blues,” the ’60s psych of “Love” or the lush progressivism that emerges in “Seeing Things,” the hook of “Shapeshifter” or “Orange Juice” coming in with shaker at the end to keep things from finishing too melancholy, the first half of No Man’s Valley‘s Chrononaut Cocktail Bar/Flight of the Sloths still can only account for part of the scope as they set forth the pastoralist launch of the 18-minute “Flight of the Sloths” on side B, moving from acoustic strum and a repeating title line into a gradual build effective enough so that when Jasper Hesselink returns on vocals 13 minutes later in the spaced-out payoff — because yes, the sloths are flying between planets; was there any doubt? — it makes you want to believe the sloths are out there working hard to stay in the air. The real kicker? No Man’s Valley are no less considered in how they bring “Flight of the Sloths” up and down across its span than they are “Love” or “Shapeshifter” early on, both under three minutes long. And that’s what maturing as songwriters can do for you, though No Man’s Valley have always had a leg up in that regard.
Dallas’ Land Mammal defy expectation a few times over on their second full-length, with the songwriting of Will Weise and Kinsley August turning toward greater depth of arrangement and more meditative atmospheres across the nine songs/34 minutes of Emergence, which even in a rolling groove like “Divide” has room for flute and strings. Elsewhere, sitar and tanpura meet with lap steel and keyboard as Land Mammal search for an individual approach to modern progressive heavy. There’s some shades of Elder in August‘s approach on “I Am” or the earlier “Tear You Down,” but the instrumental contexts surrounding are wildly different, and Land Mammal thrive in the details, be it the hand-percussion and far-back fuzz colliding on “The Circle,” or the tabla and sitar, drums and keys as “Transcendence (Part I)” and “Transcendence (Part II)” finish, the latter with the sounds of getting out of the car and walking in the house for epilogue. Yeah, I guess after shifting the entire stylistic scope of your band you’d probably want to go inside and rest for a bit. Well earned.
Released through Majestic Mountain Records, the debut full-length from Forgotten King, The Seeker, would seem to have been composed and recorded entirely by Azul Josh Bisama, also guitarist in Kal-El, though a full lineup has since formed. That happens. Just means the second album will have a different dynamic than the first, and there are some parts as in the early cut “Lost” where that will be a benefit as Azul Josh refines the work laying out a largesse-minded, emotively-evocative approach on these six cuts, likewise weighted and soaring. The album is nothing if not aptly-named, though, as Forgotten King lumber through “Drag” and march across 10 minutes of stately atmospheric doom, eventually seeing the melodic vocals give way to harsher fare in the second half, what’s being sought seems to have been found at least on a conceptual level, and one might say the same of “Around the Corner” or “The Sun” taking familiar-leaning desert rock progressions and doing something decisively ‘else’ with them. Very much feels like the encouraging beginning of a longer exploration.
Branched off from drummer/synthesist Paul Williams‘ intermittent work over the decades with Quarkspace, the mostly-solo-project Church of Hed explores progressive, kraut and space rock in a way one expects far more from Denmark than Columbus, Ohio — to wit, Jonathan Segel (Øresund Space Collective, Camper Van Beethoven) guests on violin, bass and guitar at various points throughout the nine-tracker, which indeed is about an hour long at 57 minutes. Church of Hed‘s last outing, 2022’s The Father Road, was an audio travelogue crossing the United States from one coast to the other. The Fifth Hour is rarely so concerned with terrestrial impressionism, and especially in its longer-form pieces “Pleiades Waypoint” (13:50), “Son of a Silicon Rogue” (14:59) or “The Fifth Hour” (8:43), it digs into sci-fi prog impulses that even in the weird blips and robot twists of the interlude “Aniluminescence 2” or the misshapen techno in the closing semi-reprise “Bastard Son of The Fifth Hour” never quite feels as dystopian as some other futures in the multiverse, and that becomes a strength.
Like the Melvins on an AC/DC kick or what you might get if you took ’70s arena rock, put it in a can and shook it really, really hard, Italian duo Zolle are a burst of weirdo sensation on their fifth full-length, Rosa. The songs are ready for whatever football match stadium P.A. you might want to put them on — hugely, straight-ahead, uptempo, catchy, fun in pieces like “Pepe” and “Lana” at the outset, “Merda,” “Pompon,” “Confetto” and “Fiocco” later on, likewise huge and silly in “Pois” or closer “Maialini e Maialine,” and almost grounded on “Toffolette e Zuccherini” at the start but off and running again soon enough — if you can keep up with guitarist/vocalist Marcello and drummer Stefano, for sure they make it worth the effort, and capture some of the intensity of purpose they bring to the stage in the studio and at the same time highlighting the shenanigans writ large throughout in their riffs and the cheeky bit of pop grandiosity that’s such a toy in their hands. You would not call it light on persona.
Thicker in tone than much of modern black metal, and willing toward the organic in a way that feels born of Cascadia a little more to the northwest as they blast away in “Era of Ash,” Boise, Idaho’s Shadow and Claw nonetheless execute moody rippers across the five songs/41 minute of their debut, Whereabouts Unknown. Known for his work in Ealdor Bealu and the solo-project Sawtooth Monk, guitarist/vocalist Travis Abbott showcases a rasp worthy of Enslaved‘s Grutle Kjellson on the 10-minute “Wrath of Thunder,” so while there are wolves amid the trio’s better chairs, to be sure, Shadow and Claw aren’t necessarily working from any single influence in or out of char-prone extreme metals, and as the centerpiece gives over to the eponymous “Shadow and Claw,” those progressive aspirations are reaffirmed as Abbott, drummer/backing vocalist Aaron Bossart (also samples) and bassist/backing vocalist Geno Lopez find room for a running-water-backed acoustic epilogue to “Scouring the Plane of Existence” and the album as a whole. Easy to imagine them casting these songs into the sunset on the side of some pointy Rocky Mountain or other, shadows cast and claws raised.
Posted in Whathaveyou on September 5th, 2023 by JJ Koczan
Damn, Temptress. That’s quite a tour you’ve got there. The Dallas three-piece released their See album earlier this year, and I’ll tell you what I see, I see a band making a statement. I’ve written about them a few times over the last couple years but apparently whiffed on the record — there’s a good reason I never claim to be anything but terrible at this — but can’t help but think of the band in a different way after encountering a list of dates like this. And more, not only is this a month-plus on the road for the band, but it would seem to have been independently booked as well. It’s just a different scale of work put in than one usually sees, especially since the pandemic. Much, much respect, for what that’s worth.
They’ve got a teaser up for the run, and I’ve put the Bandcamp stream of See down there as well, not even for you — you’ve already heard it, I know — but for myself as a reminder. I’m sorry, but when somebody believes enough in what they do to put together a tour like this to support it, that’s probably something I want to hear. Never too late, whatever the internet’s two-week album hype cycles say.
From the PR wire:
Dallas Heavy Doom Trio TEMPTRESS Announces Fall 2023 Tour!
TEMPTRESS is a crew thunderously tempting fate to boom their way beyond Big Texas at sonic speed. They got together in early 2019, released an EP five months later, and haven’t stalled their velocity for even a moment since.
In less than five years, TEMPTRESS has drawn a loyal fan base and press support for their music, as well as an outstanding list of live performances supporting both legendary acts and current rising stars of the heavy music world (regardless of the recent chaotic fluctuations in the world of touring).
They continue to climb from underground with their first full-length album, SEE, released through Metal Assault Records on March 3, 2023. The trio is eager to resume their travels across the USA roadways and announces a new round of live shows to sustain the momentum for SEE.
Bassist/vocalist Christian Wright dispatches with tour particulars:
“We are excited to take our project through the upper midwest, west coast, and SW this Fall, in support of our latest effort ‘See’, which was released in March via Metal Assault. We can’t wait to catch up with friends, family, and peers both new and old along our journey. We have solid local support for the whole run and are thankful for those who helped in any way through the booking process. Community is key.
Our dear friends Dustlord (Tulsa, OK) will be joining us for the first six dates, and Grail (Phoenix, AZ) will be with us on the three Arizona dates. We extend a very special thanks to them. We are doing “An evening with” in Marfa, TX, which will likely include some heavy psych improv as well as new material. This will be a first for us and a glorious way to re-enter our home state of Texas. We look forward to seeing you out on the road.”
Temptress – Fall Tour 2023: Oct. 04 – Joplin, MO @ Blackthorn # Oct. 05 – Des Moines, IA @ Hull Ave Tavern # Oct. 06 – Madison, WI @ The Wisco # Oct. 07 – Minneapolis, MN @ Studio B # Oct. 08 – Iowa City, IA @ Gabe’s # Oct. 09 – Kansas City, MO @ Minibar # Oct. 11 – Denver, CO @ The Crypt Oct. 12 – SLC, UT @ Aces High Saloon Oct. 13 – Boise, ID @ Neurolux Oct. 14 – Moscow, ID @ Mikeys Oct. 15 – Seattle, WA @ Funhouse Oct. 17 – Olympia, WA @ Cryptatropa Bar Oct. 18 – Portland, OR @ High Water Mark Oct. 19 – Medford, OR @ Johnny B’s Oct. 20 – Oakland, CA @ The Golden Bull Oct. 21 – San Francisco, CA @ Kilowatt Bar Oct. 22 – Sacramento, CA @ Old Ironsides Oct. 25 – Las Vegas, NV @ Dive Bar Oct. 26 – Palmdale, CA @ Transplants Brewing Oct. 27 – Los Angeles, CA @ Permanent Records Oct. 28 – San Diego, CA @ Til-Two Club Oct. 29 – Tempe, AZ @ Yucca Tap Room ** Oct. 30 – Tucson, AZ @ House Of Bards ** Oct. 30 – Bisbee, AZ @ The Quarry ** Nov. 01 – ABQ, NM @ (TBA) Nov. 02 – Taos, NM @ Mercury House Nov. 04 – Marfa, TX @ Planet Marfa Nov. 05 – San Angelo, TX @ The Deadhorse
# w/ Dustlord / ** w/ Grail
Temptress: Kelsey Wilson – Guitar, Vocals Andi Cuda – Drums, Vocals Christian Wright – Bass, Vocals
Hey there and welcome back to the Spring 2023 Quarterly Review. Today I’ve got another 10-record batch for your perusal, and if you’ve never been to this particular party before, it’s part of an ongoing series this site does every couple months (you might say quarterly), and this week picks up from yesterday as well as a couple weeks ago, when another 70 records of various types were covered. If there’s a lesson to be learned from all of it, it’s that we live in a golden age of heavy music, be it metal, rock, doom, sludge, psych, prog, noise or whathaveyou. Especially for whathaveyou.
So here we are, you and I, exploring the explorations in these many works and across a range of styles. As always, I hope you find something that feels like it’s speaking directly to you. For what it’s worth, I didn’t even make it through the first 10 of the 50 releases to be covered this week yesterday without ordering a CD from Bandcamp, so I’m here in a spirit of learning too. We’ll go together and dive back in.
Quarterly Review #11-20:
Smokey Mirror, Smokey Mirror
Those in the know will tell you that the vintage-sound thing is over, everybody’s a goth now, blah blah heavygaze. That sounds just fine with Dallas, Texas, boogie rockers Smokey Mirror, who on their self-titled Rise Above Records first LP make their shuffle a party in “Invisible Hand” and the class-conscious “Pathless Forest” even before they dig into the broader jam of the eight-minute “Magick Circle,” panning the solos in call and response, drum solo, softshoe groove, full on whatnot. Meanwhile, “Alpha-State Dissociative Trance” would be glitch if it had a keyboard on it, a kind of math rock from 1972, and its sub-three-minute stretch is followed by the acoustic guitar/harmonica folk blues of “Fried Vanilla Super Trapeze” and the heavy fuzz resurgence of “Sacrificial Altar,” which is long like “Magick Circle” but with more jazz in its winding jam and more of a departure into it (four minutes into the total 7:30 if you’re wondering), while the Radio Moscow-style smooth bop and rip of “A Thousand Days in the Desert” and shred-your-politics of “Who’s to Say” act as touch-ground preface for the acoustic noodle and final hard strums of “Recurring Nightmare,” as side B ends in mirror to side A. An absolute scorcher of a debut and all the more admirable for wearing its politics on its sleeve where much heavy rock hides safe behind its “I’m not political” whiteness, Smokey Mirror‘s Smokey Mirror reminds that, every now and again, those in the know don’t know shit. Barnburner heavy rock and roll forever.
Jack Harlon & The Dead Crows, Hail to the Underground
The moral of the story is that the members of Melbourne’s Jack Harlon and the Dead Crows — may they someday be famous enough that I won’t feel compelled to point out that none of them is Jack; the lineup is comprised of vocalist/guitarist Tim Coutts-Smith, guitarist Jordan Richardson, bassist Liam Barry and drummer Josh McCombe — came up in the ’90s, or at least in the shadow thereof. Hail to the Underground collects eight covers in 35 minutes and is the Aussie rockers’ first outing for Blues Funeral, following two successful albums in 2018’s Hymns and 2021’s The Magnetic Ridge (review here), and while on paper it seems like maybe it’s the result of just-signed-gotta-get-something-out motivation, the takes on tunes by Aussie rockers God, the Melvins, Butthole Surfers, My Bloody Valentine and Joy Division (their “Day of Lords” is a nodding highlight) rest organically alongside the boogie blues of “Roll & Tumble” (originally by Hambone Willie Newbern), the electrified surge of Bauhaus‘ “Dark Entries” and the manic peaks of “Eye Shaking King” by Amon Düül II. It’s not the triumphant, moment-of-arrival third full-length one awaits — and it would be soon for it to be, but it’s how the timing worked with the signing — but Hail to the Underground adds complexity to the narrative of the band’s sound in communing with Texan acid noise, country blues from 1929 to emo and goth rock icons in a long-player’s span, and it’ll certainly keep the fire burning until the next record gets here.
Minimalist in social media presence (though on YouTube and Bandcamp, streaming services, etc.), Sardinian one-man outfit Noorag — also stylized all-lowercase: noorag — operates at the behest of multi-instrumentalist/producer Federico “WalkingFred” Paretta, and with drums by Daneiele Marcia, the project’s debut EP, Fossils, collects seven short pieces across 15 minutes that’s punk in urgency, sans-vocal in the execution, sludged in tone, metallic in production, and adventurous in some of its time changes. Pieces like the ambient opener “Hhon” and “Amanita Shot,” which follows headed on the quick into the suitably stomping “Brachiopod” move easily between each other since the songs themselves are tied together through their instrumental approach and relatively straightforward arrangements. “Cochlea Stone” is a centerpiece under two minutes long with emphasis rightfully on the bass, while “Ritual Electric” teases the stonershuggah nuance in the groove of “Acid Apricot”‘s second half, and the added “Digital Cave” roughs up the recording while maybe or maybe not actually being the demo it claims to be. Are those drums programmed? We may never know, but at a quarter of an hour long, it’s not like Noorag are about to overstay their welcome. Fitting for the EP format as a way to highlight its admirable intricacy, Fossils feels almost ironically fresh and sounds like the beginning point of a broader progression. Here’s hoping.
With the notable exceptions of six-minute opener “Era” and the 8:36 “Uhtceare” with the gradual build to its explosion into the “Stones From the Sky” moment that’s a requisite for seemingly all post-metal acts to utilize at least once (they turn it into a lead later, which is satisfying), Sweden’s KOLLAPS\E — oh your pesky backslash — pair their ambient stretches with stately, shout-topped declarations of riff that sound like early Isis with the clarity of production and intent of later Isis, which is a bigger difference than it reads. The layers of guttural vocals at the forefront of “Anaemia” add an edge of extremity offset by the post-rock float of the guitar, and “Bränt Barn Skyr Elden” (‘burnt child dreads the fire,’ presumably a Swedish aphorism) answers by building tension subtly in its first two minutes before going full-barrage atmosludge for the next as it, “Anaemia,” and the closing pair of “Radiant Static” and “Murrain” harness short-song momentum on either side of four minutes long — something the earlier “Beautiful Desolate” hinted at between “Era” and “Uhtceare” — to capture a distinct flow for side B and giving the ending of “Murrain” its due as a culmination for the entire release. Crushing or spacious or both when it wants to be, Phantom Centre is a strong, pandemic-born debut that looks forward while showing both that it’s schooled in its own genre and has begun to decide which rules it wants to break.
Healthyliving, Songs of Abundance, Psalms of Grief
A multinational conglomerate that would seem to be at least partially assembled in Edinburg, Scotland, Healthyliving — also all-lowercase: healthyliving — offer folkish melodicism atop heavy atmospheric rock for a kind of more-present-than-‘gaze-implies feel that is equal parts meditative, expansive and emotive on their debut full-length, Songs of Abundance, Psalms of Grief. With the vocals of Amaya López-Carromero (aka Maud the Moth) given a showcase they more than earn via performance, multi-instrumentalist Scott McLean (guitar, bass, synth) and drummer Stefan Pötzsch are able to conjure the scene-setting heft of “Until,” tap into grunge strum with a gentle feel on “Bloom” or meander into outright crush with ambient patience on “Galleries” (a highlight) or move through the intensity of “To the Gallows,” the unexpected surge in the bridge of “Back to Back” or the similarly structured but distinguished through the vocal layering and melancholic spirit of the penultimate “Ghost Limbs” with a long quiet stretch before closer “Obey” wraps like it’s raking leaves in rhythm early and soars on a strident groove that caps with impact and sprawl. They are not the only band operating in this sphere of folk-informed heavy post-rock by any means, but as their debut, this nine-song collection pays off the promise of their 2021 two-songer Until/Below (review here) and heralds things to come both beautiful and sad.
Even before Vermont freak-psych two-piece MV & EE — Matt Valentine and Erika Elder, both credited with a whole bunch of stuff including, respectively, ‘the real deal’ and ‘was’ — are nestled into the organic techno jam of 19-minute album opener “Free Range,” their Green Ark full-length has offered lush lysergic hypnosis via an extended introductory drone. Far more records claim to go anywhere than actually do, but the funky piano of “No Money” and percussion and wah dream-disco of “Dancin’,” with an extra-fun keyboard line late, set up the 20-minute “Livin’ it Up,” in a way that feels like surefooted experimentalism; Elder and Valentine exploring these aural spaces with the confidence of those who’ve been out wandering across more than two decades’ worth of prior occasions. That is to say, “Livin’ it Up” is comfortable as it engages with its own unknown self, built up around a bass line and noodly solo over a drum machine with hand percussion accompanying, willfully repetitive like the opener in a way that seems to dig in and then dig in again. The 10-minute “Love From Outer Space” and nine-minute mellow-psych-but-for-the-keyboard-beat-hitting-you-in-the-face-and-maybe-a-bit-of-play-around-that-near-the-end “Rebirth” underscore the message that the ‘out there’ is the starting point rather than the destination for MV & EE, but that those brave enough to go will be gladly taken along.
Israeli trio The Great Machine — brothers Aviran Haviv (bass/vocals) and Omer Haviv (guitar/vocals) as well as drummer/vocalist Michael Izaky — find a home on Noisolution for their fifth full-length in nine years, Funrider, trading vocal duties back and forth atop songs that pare down some of the jammier ideology of 2019’s less-than-ideally-titled Greatestits, still getting spacious in side-A ender “Pocketknife” and the penultimate “Some Things Are Bound to Fail,” which is also the longest inclusion at 6:05. But the core of Funrider is in the quirk and impact of rapid-fire cuts like “Zarathustra” and “Hell & Back” at the outset, the Havivs seeming to trade vocal duties throughout to add to the variety as the rumble before the garage-rock payoff of “Day of the Living Dead” gives over to the title-track or that fuzzier take moves into “Pocketknife.” Acoustic guitar starts “Fornication Under the Consent of the King” but it becomes sprinter Europunk bombast before its two minutes are done, and with the rolling “Notorious” and grungeminded “Mountain She” ripping behind, the most unifying factor throughout Funrider is its lack of predictability. That’s no minor achievement for a band on their fifth record making a shift in their approach after a decade together, but the desert rocking “The Die” that closes with a rager snuck in amid the chug is a fitting summary of the trio’s impressive creative reach.
Following-up their 2017 debut, Stoner Circus, Austrian trio Swanmay offer seven songs and 35 minutes of new material with the self-issued Frantic Feel, finding their foundation in the bass work of Chris Kaderle and Niklas Lueger‘s drumming such that Patrick Àlvaro‘s ultra-fuzzed guitar has as strong a platform to dance all over as possible. Vocals in “The Art of Death” are suitably drunk-sounding (which doesn’t actually hurt it), but “Mashara” and “Cats and Snails” make a rousing opening salvo of marked tonal depth and keep-it-casual stoner saunter, soon also to be highlighted in centerpiece “Blooze.” On side B, “Stone Cold” feels decidedly more like it has its life together, and “Old Trails” tightens the reins from there in terms of structure, but while closer “Dead End” stays fuzzy and driving like the two songs before, the noise quotient is upped significantly by the time it’s done, and that brings back some of the looser swing of “Mashara” or “The Art of Death.” But when Swanmay want to be — and that’s not all the time, to their credit — they are massively heavy, and they put that to raucous use with a production that is accordingly loud and vibrant. Seems simple reading a paragraph, maybe, but the balance they strike in these songs is a difficult one, and even if it’s just for the guitar and bass tones, Frantic Feel demands an audience.
“Death will come swiftly to those who are weak,” goes the crooning verse lyric from Garden of Ash‘s “Death Valley” at the outset of the young Edmonton, Alberta, trio’s self-titled, self-released debut full-length. Bassist Kristina Hunszinger delivers the line with due severity, but the Witch Mountain-esque slow nod and everybody-dies lyrics of “A Cautionary Tale” show more of the tongue-in-cheek point of view of the lyrics. The plot thickens — or at very least hits harder — when the self-recorded outing’s metallic production style is considered. In the drums of Levon Vokins — who also provides backing vocals as heard on “Roses” and elsewhere — the (re-amped) guitar of Zach Houle and even in the mostly-sans-effects presentation of Hunszinger‘s vocals as well as their placement at the forefront of the mix, it’s heavy metal more than heavy rock, but as Vokins takes lead vocals in “World on Fire” with Hunszinger joining for the chorus, the riff is pure boogie and the earlier “Amnesia” fosters doomly swing, so what may in the longer term be a question of perspective is yet unanswered in terms of are they making the sounds they want to and pushing into trad metal genre tenets, or is it just a matter of getting their feet under them as a new band? I don’t know, but songs and performance are both there, so this first full-length does its job in giving Garden of Ash something from which to move forward while serving notice to those with ears to hear them. Either way, the bonus track “Into the Void” is especially notable for not being a Black Sabbath cover, and by the time they get there, that’s not at all the first surprise to be had.
Checking in at one second less and 15 minutes flat, “The Bends” is the first release from Milwaukee-based three-piece Tidal, and it’s almost immediately expansive. With shades of El Paraiso-style jazz psych, manipulated samples and hypnotic drone at its outset, the first two minutes build into a wash with mellow keys/guitar effects (whatever, it sounds more like sax and they’re all credited with ‘noise,’ so I’m doing my best here) and it’s not until Sam Wallman‘s guitar steps forward out of the ambience surrounding at nearly four minutes deep that Alvin Vega‘s drums make their presence known. Completed by Max Muenchow‘s bass, which righteously holds the core while Wallman airs out, the roll is languid and more patient than one would expect for a first-release jam, but there’s a pickup and Tidal do get raucous as “The Bends” moves into its midsection, scorching for a bit until they quiet down again, only to reemerge at 11:10 from the ether of their own making with a clearheaded procession to carry them through the crescendo and to the letting-go-now drift of echo that caps. I hear tell they’ve got like an hour and a half of this stuff recorded and they’re going to release them one by one. They picked an intriguing one to start with as the layers of drone and noise help fill out the otherwise empty space in the instrumental jam without being overwrought or sacrificing the spontaneous nature of the track. Encouraging start. Will be ready when the next jam hits.
Posted in Questionnaire on May 1st, 2023 by JJ Koczan
The Obelisk Questionnaire is a series of open questions intended to give the answerer an opportunity to explore these ideas and stories from their life as deeply as they choose. Answers can be short or long, and that reveals something in itself, but the most important factor is honesty.
Based on the Proust Questionnaire, the goal over time is to show a diverse range of perspectives as those who take part bring their own points of view to answering the same questions. To see all The Obelisk Questionnaire posts, click here.
Thank you for reading and thanks to all who participate.
The Obelisk Questionnaire: Mario Rodriguez, Tyler Davis & Caleb Hollowed from Smokey Mirror
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How did you come to do what you do?
Tyler Davis: Years and years of the universe and myself always pushing me to where I am today.
Mario Rodriguez: I fell in love with music at a young age. As a child my mother exposed me to soul, my father exposed me to classic rock, and my sister exposed me to metal. At age 9 I began exploring music for myself and started actively seeking out sounds that excited me. At age 12 I started playing guitar and at age 13 I played my first club show. I played in bands on and off throughout high school and began pursuing music more seriously after graduation. By age 20 Tyler and I formed Smokey Mirror.
Caleb Hollowed: I started playing music with friends in middle school and by the time I was 18 I started looking for gigs. I grew up listening to bands like The Allman Brothers, Jimi Hendrix, and other classic groups. I knew in my heart that’s what I was meant to do, no question.
Describe your first musical memory.
Tyler: MTV in the 90s and Soul Train reruns were big for me as a kid. But listening to my grandfathers Bob Wills and Willie Nelson records, or learning about ZZ Top listening to Q102 at home in Dallas with my dad are some of my happiest early musical memories.
Mario: My earliest memories are hearing Luther Vandross and Teddy Pendergrass with my mom. I also have early memories of hearing Santana and The Beatles with my dad.
Caleb: My mother listening to “CSNY – Deja Vu” on an old tape. Still love that group so much! Also the sound of Patsy Cline’s voice is prevalent in my early memories. I remember my mom making me two step with her in our family kitchen to old country songs.
Describe your best musical memory to date.
Tyler: Witnessing George Clinton and Parliament Funkadelic perform in Dallas 2012, or performing with Smokey Mirror in Ciudad Juarez, Mexico on my 27th birthday.
Mario: My best musical memories are seeing Motörhead in 2009 and B.B. King in 2013. I’ll never forget how it felt to be in their presence.
Caleb: Seeing Dickie Betts with The Allman Brothers Band has to be my top musical memory.
When was a time when a firmly held belief was tested?
Tyler: Any time living a life creating and playing music gets tough or complicated, we’re forced to come to terms with why we do what we do, which is serving something higher than ourselves.
Mario: When I was in my teens and early twenties I accepted a lot of mistreatment from former bandmates for the sake of being involved in a project that I’d poured a lot of time, effort, and resources into. Eventually I realized that nothing was worth compromising my dignity, so I started over from square one and formed Smokey Mirror with bandmates who are both kind and mutually respectful. In the end I learned an invaluable lesson.
Where do you feel artistic progression leads?
Tyler: Hopefully towards true clarity and whole, honest expression of self while being considerate of but not controlled by external circumstances.
Mario: Ideally, artistic progression leads to a never-ending journey of self discovery. It’s a gift that keeps on giving, forever into eternity.
Caleb: To a true sense of self. It may never lead to anywhere, just a long journey that never ends. People change, so does artistic expression.
How do you define success?
Tyler: Feeling content with your legacy, when we depart we can’t take things only leave them.
Mario: I also define success as contentment with one’s legacy. I’d also add that success can be measured by the greatness one inspires in others.
Caleb: Being pleased with something you’ve created or been apart of.
What is something you have seen that you wish you hadn’t?
Tyler: Witnessing the realities of working in the US healthcare system was kind of a bummer, but anything we can learn from isn’t a total loss.
Mario: I’ve seen a lot of talented, promising musicians allow their pride and poor self control to stunt their musical growth.
Describe something you haven’t created yet that you’d like to create.
Tyler: Album #2 and 3!!!
Mario: Albums #2 and #3 for sure! Also maybe a catapult that can be used to launch all the world’s billionaires into the sun.
Caleb: There’s so much, but I guess I’d like to do more vocally driven songs with 3-4 part harmonies.
Something non-musical that you’re looking forward to?
Tyler: Traveling and experiencing the world outside of the US, whether touring with Smokey or on vacation with my dog and girlfriend
Mario: I’m looking forward to traveling Costa Rica with my girlfriend later this year.
Caleb: I love nature. Last year I was supposed to go to Yellowstone with my dad, but there was a lot of rain that caused the roads to wash away, BS you might remember from the news. I think we’ll try it again this year after Smokey is back from tour.
Posted in Whathaveyou on March 3rd, 2023 by JJ Koczan
If you’re a heavy boogie rock band getting signed to Rise Above Records, that’s some boogie I want to hear. Congrats to Smokey Mirror out of Dallas for signing to said ultra-respected purveyor to deliver their self-titled debut full-length on May 5. First single, “Magick Circle,” indeed is a burner shuffle, and if you want a preview of a couple of the other tunes, the band’s Bandcamp has “A Thousand Days in the Desert” as a standalone single and their 2017 self-titled first EP had “Invisible Hand” and “Magick Circle” too, so at least that should give some idea of where they’re coming from.
And the video below is kind of charming. Maybe that sounds smarmy and I don’t really mean it that way, but yeah, I went to shows in garages and shit when I was young and it was as much about being with the people you were with as it was about anything else and it was a party. I think that happened to me once. Or maybe it was a movie. I don’t know. Look, sometimes you get stoned in the afternoon.
The PR wire has details on Smokey Mirror‘s Smokey Mirror (LP), which is out, once again, on May 5, once again, on friggin’ Rise Above Records. Nice one:
Groovy Psych Rockers SMOKEY MIRROR Announce Self Titled Album to be Released May 5th on Rise Above Records!
Share Single “Magick Circle” & Music Video
There are times in the life of every temporal traveller when thunderous electric boogie rock is the only thing that makes any sense at all. Formed in Dallas, Texas, amid the dying embers of 2015, Smokey Mirror have dedicated themselves to spreading a gospel of scorched-earth riff worship and wild, psychedelic abandon. Led by vocalist/guitarist Mario Rodriguez, they have steadily nurtured their untameable sound, building toward the impending release of their self-titled debut album. Completed by bassist Tyler Davis, guitarist Caleb Hollowed and drummer Cam Martin, Smokey Mirror are only just beginning their trip…
“Our musical masterplan was to write songs that blend energetic heavy blues rock with elements of progressive and freeform styles of music,” says Mario, “We wanted to make music that is engaging to both casual listeners and the refined ears of musicians. We performed around Texas as a trio [with former drummer Josh Miller] for a few years and began collaborating with Cam in the spring of 2018, just before SXSW. A few months later, we met our guitarist Caleb at Charley’s Guitar Shop [in Dallas], where he works as a repairman. We started playing as a quartet and began finalizing material for our first full-length shortly thereafter.”
Capturing the fiery, hypnotic chaos of Smokey Mirror on tape was always going to require some expertise. Initial sessions took place at Palmyra Studios in the small town of Palmer, Texas, with Paul Middleton in the engineer’s chair, and a whole load of classic, vintage gear.
“Our engineer, Paul Middleton, was the bassist and singer for the late 70’s heavy rock band Blackhorse,” says Mario, “He also spent decades working as a touring sound engineer for the likes of Bonnie Raitt and Julio Iglesias, during the peaks of their careers! Palmyra uses all vintage, analogue recording equipment, including two-inch tape machines and a 1969 Neive console formerly owned by Abbey Road studios.”
Originally due to be recorded in early 2020, Smokey Mirror’s debut faced the same delays that scuppered everyone’s best laid plans back in that accursed year, along even more unforeseen obstacles to contend with. Nonetheless, rock ‘n’ roll simply refuses to be stopped.
‘Smokey Mirror’ Track List: 1. Invisible Hand 2. Pathless Forest 3. Magick Circle 4. Alpha-State Dissociative Trance 5. Fried Vanilla Spider Trapeze 6. Sacrificial Altar 7. A Thousand Days in the Desert 8. Who’s To Say 9. Recurring Nightmare
Album Art and Pre-Orders Will Be Available SOON!
Mario finishes, “Our shows are raw, loud, energetic, spontaneous! Amps screeching, cymbals crashing, bodies dancing, beer spilling, glass breaking, smoke filling the air, and people living in the moment. Our plan is to continue writing music that pushes and inspires us, and to produce more recorded works that expand upon the creative path we’ve set on our first album. We want to travel the world as much as possible and share our music with as many crowds as we can reach!”
In a world that makes no sense at all, only rock ‘n’ roll can still ring true. Smokey Mirror have tapped into some kind of new magic on their first full-length album, and the results rock with more power, passion and psychedelic fervour than any album, debut or otherwise, in recent memory.
Take a look in the Smokey Mirror and you will see kaleidoscopic multitudes grinning back at you. Embrace the electric boogie. It’s coming for us all.
Smokey Mirror: Mario Rodriguez – guitar/vocals Tyler Davis – bass Caleb Hollowed – guitar Cam Martin – drums
Posted in Whathaveyou on November 3rd, 2022 by JJ Koczan
Yeah, these dates were posted before, but that was in August, so you might be forgiven for having let go of the fact that the Dallas-and-then-some three-piece were headed out this week in the Midwest/Southeast. They’ll do Doomed & Stoned in Wisconsin and Snowblind Fest in Atlanta on what’s a pretty tidy run hitting good spots to hit. I bet Mothership pull people on a Friday night in Lincoln, Nebraska, and I mean that as a compliment to both them and the city.
You know what’s awesome about Mothership shows at this point? There’s so little to prove. Have these guys ever had a bad gig? Maybe like in 2012 even? I feel like the most oldschool thing about Mothership at this point, more than riffs and swing, groove and vibe, is how utterly reliable they are. Going to a Mothership show? Well, sweet. They’re gonna deliver or die trying. Guaranteed. Enjoy.
They’re simply not a band who half-ass it.
I guess the point ultimately is show up when they play if you can. 11 shows in 11 days, two fests. I think that’s pretty emblematic of who they are.
From social media:
It’s been a long ass time, but we are finally heading back out on the road this week!
Maybe I’ll see ya out there? #mothership
Thu 11/3 – Oklahoma City, OK – Blue Note Fri 11/4 – Lincoln, NE – 1867 Bar Sat 11/5 – Madison, WI – High Noon Saloon (Doomed & Stoned Festival) Sun 11/6 – Chicago, IL – Reggie’s Mon 11/7 – Hamtramck, MI – The Sanctuary Tue 11/8 – Youngstown, OH – Westside Bowl Wed 11/9 – Columbus, OH – Ace of Cups Thu 11/10 – Louisville, KY – Portal Fri 11/11 – Nashville, TN – The Basement Sat 11/12 – Atlanta, GA – The Masquerade (Snowblind Festival) Sun 11/13 – New Orleans, LA – Santos Bar
Mothership is: Kelley Juett – Guitars/Vox Kyle Juett – Bass/Vox Judge Smith – Drums
Posted in Whathaveyou on May 20th, 2022 by JJ Koczan
The May 6 release date for Wo Fat‘s new album, The Singularity (review here), has come and gone, and so it’s time for the band to head out to herald the cause. Recall that the Texan forerunners-o’-riff — and considering Texas, that’s saying something — announced in March that they’d revamped their lineup, bringing in Matt Watkins on second guitar (he’d previously played on their first record) and new bassist Patrick Smith alongside founding mainstays Michael Walter (drums) and Kent Stump (guitar/vocals; you remember him, he probably mastered your album). This will be the first tour undertaken by this incarnation of the group, already in a way moving forward from The Singularity toward some unknown future.
Booked by Sound of Liberation, who posted the following announcement, the run isn’t the longest we’ve seen of US bands returning to Euro shores, but with slots at Rock im Wald, Lake on Fire and a big old mystery spot between Denmark and the Netherlands on Aug. 1 — I’m sure there’s something happening that day — it’s nothing if not efficient in covering a good amount of ground. Note the Salzburg date with Samavayo supporting as well.
From socials:
WO FAT EUROPE 2022
Dear friends,
we’re happy to announce that Texas’ riff dealers Wo Fat return to Europe with a NEW ALBUM this summer!
A crushingly heavy stoner rock band from Dallas, Texas, Wo Fat are a power trio whose music harks back to the fuzzy punch of ’70s hard rock, with an added dash of prog rock adventure, a fistful of amped-up boogie, and some contemporary metal muscle for seasoning.
Sound of Liberation proudly presents: WO FAT EUROPEAN TOUR 2022
29.07. (DE) Michelau, Rock im Wald Festival 30.07. (DE) Hamburg, Lazy Bones @ Gruenspan 31.07. (DK) Copenhagen, Spillestedet Stengade 01.08. TBA 02.08. (NL) Rotterdam, Baroeg Rotterdam 03.08. (NL) Nijmegen, Merleyn 04.08. (DE) Cham, L.A. Cham * 05.08. (AT) Waldhausen, Lake on Fire 06.08. (IT) Osoppo, Pietrasonica Fest 07.08. (AT) Salzburg, Rockhouse Salzburg * 08.08. (AT) Vienna, ARENA WIEN 09.08. (DE) Berlin, Urban Spree 11.08. (CH) Bagnes, PALP festival 12.08. (BE) Kortrijk, ALCATRAZ MUSIC
* SUPPORT: Samavayo
Don’t miss out on the hottest swampadelic fuzz act out there!
Cheers, Your SOL Crew
WO FAT is: Kent Stump – guitar, vocals Matt Watkins – guitar Michael Walter – drums Patrick Smith – bass
