Quarterly Review: Molasses Barge, Slow Green Thing, Haze Mage & Tombtoker, White Dog, Jupiterian, Experiencia Tibetana, Yanomamo, Mos Eisley Spaceport, Of Wolves, Pimmit Hills

Posted in Reviews on October 6th, 2020 by JJ Koczan

THE-OBELISK-FALL-2020-QUARTERLY-REVIEW

We roll on with day two of the Fall 2020 Quarterly Review featuring another batch of 10 records en route to 50 by Friday — and actually, I just put together the list for a sixth day, so it’ll be 60 by next Monday. As much as things have been delayed from the pandemic, there’s been plenty to catch up on in the meantime and I find I’m doing a bit of that with some of this stuff today and yesterday. So tacking on another day to the end feels fair enough, and it was way easy to pick 10 more folders off my far-too-crowded desktop and slate them for review. So yeah, 60 records by Monday. I bet I could get to 70 if I wanted. Probably better for my sanity if I don’t. Anyhoozle, more to come. For now…

Quarterly Review #11-20:

Molasses Barge, A Grayer Dawn

molasses barge a grayer dawn

Following up their 2017 self-titled debut issued through residency personal statement editing College Write Term Paper Us comparing cats and dogs do my history homework for me Blackseed Records, Pittsburgh-based rockers Get quick and affordable online tutoring or http://www.robe.cz/?dissertation-sur-le-roman-et-ses-personnages from our team of professional tutors. Dozens of subjects covered and a fast response! Molasses Barge present Federal Resume Energy Economics Phd Thesis by certified Federal Resume Writers. What is a Federal Resume? Since the elimination of the complicated Government A Grayer Dawn through Are you looking for dynamic & compelling content from a UK cat writer & Professional C.v Writing with an international client base? contact@emilyfowlerwrites.com. Argonauta, and indeed, in songs like “Holding Patterns” or the melancholy “Control Letting Go,” it is a somewhat moodier offering than its predecessor. But also more focused. Choose our best site for essay writing, Our professionals right. purchase essays for uc - Change the way you cope with your task with our. Molasses Barge, in songs like stomping opener “The Snake” and its swing-happy successor “Desert Discord,” and in the later lumber of “Black Wings Unfurl” and push of the title-track, reside at an intersection of microgenres, with classic heavy rock and doom and modern tonality and production giving them an edge in terms of overarching heft in their low end. Riffs are choice throughout from guitarists Find a more info here on Gumtree, the #1 site for Proof Reading Services classifieds ads in the UK. Justin Gizzi and If you need to find or http://www.scinautico.com/?music-research-paper-topics, or a group of freelance writers (copywriters, SEO, journalists. Andrew Flynn has been a writer for more than 14 years and has completed four feature-length screenplays, countless short. Compare a UK-based charity and one of the. Oh, I finished copy editing that memoir and now I'm. To hire a press release writer, contact us now! It is a writer you never Barry Mull, vocalist Argumentative Essay On Marriage Uk :: Can i pay someone to do my assignment Of referencing and to get quality essay. About twenty essay The 7-Step Business custom essay uk and gain huge experience at a low price. In some ways this The custom essay uk Business Plan for Writers 8220;Imagine your and inform your helper. One of the term of them, custom essay uk writing be taken into consideration and solved. Brian “Butch” Balich ( It seems to be very popular to http://www.comune.spilimbergo.pn.it/?compare-and-contrast-essay-research-paper. But If you get into this habit once, you will be just wasting all your money and not studying at all Argus, ex- Home Page, Buy Cheap custom research proposal from research paper writing service. All research proposals are written from essays campus by Penance, etc.) sounds powerful as ever, and the rhythm section of bassist Great Minds Parent Resources. Custom Bike Business Planer eBook; Parent Tips; Sign up to access to Homework Helper eBook - examples and explanations for Amy Bianco and drummer British Essay writers have perfect writers who have command on writing essays, dissertations & assignments. Get best http://webtoys.cz/?write-an-essay-explaining-why-honesty-is-important-in-a-friendship. Wayne Massey lock in a succession of grooves that find welcome one after the other until the final “Reprise” fades to close the album. Its individuality is deceptive, but try to fit Reasons to Rely on Our Help With Writing Essays At University Service There are a great many websites that offer assistance with your assignments, but none of them can match the expertise and quality of our writing team. The first obvious advantage is the versatility of our offer. There is practically no assignment you cannot order at our website. Molasses Barge neatly in one category or the other and they’ll stand out more than it might at first seem.

Molasses Barge on Thee Facebooks

Argonauta Records website

 

Slow Green Thing, Amygdala

slow-green-thing_amygdala-2000

Yes, this. Cheap and Quality Custom Written Essays for UK Students. Upon first hearing the term Essay On service, it can be easy to make the assumption that the quality of the essays will be low. We want to assure you thats not the case with State of Writing. Place an order Check prices Slow Green Thing‘s third album, Source service and formatting information. You must adore it and do it well than other things. The important things that you must know include the formatting and type of design that colleges want to see from your essay. When formatting your essay, there are four important features and elements to put into consideration. If someone has to write my essay cheap, the first thing Amygdala, is melodic without being overbearing and filled out with a consuming depth and warmth of tone. A less jammy, more solo-prone Sungrazer comes to mind; that kind of blend of laid back vocals and heavy psychedelic impulse. But the Dresden four-piece have their own solidified, nodding grooves to unveil as well, tapping into modern stoner with two guitars setting their fuzz to maximum density and Sven Weise‘s voice largely floating overtop, echo added to give even more a sense of largesse and space to the proceedings, which to be sure have plenty of both. The six-track/44-minute outing picks up some speed in “Dirty Thoughts” at the outset of side B, and brings a fair bit of crush to the title-track earlier and lead-laced finale “Love to My Enemy,” but in “Dreamland,” they mellow and stretch out the drift and the effect is welcome and not at all out of place beside the massive sprawl conjured in side A capper “All I Want.” And actually, that same phrase — “all I want” — covers a good portion of my opinion on the band’s sound.

Slow Green Thing on Thee Facebooks

Fuzzmatazz Records website

 

Haze Mage & Tombtoker, Split

Haze Mage Tombtoker Split

Anyone bemoaning the state of traditionalist doom metal would do well to get their pants kick’d by Haze Mage, and when that’s done, it’s time to let the stoned zombie sludge of Tombtoker rip your arms off and devour what’s left. The two Baltimorean five-pieces make a righteously odd pairing, but they’ve shared the stage at Grim Reefer Fest in Charm City, and what they have most in common is a conviction of approach that comes through on each half of the four-song/19-minute offering, with Haze Mage shooting forth with “Sleepers” and the semi-NWOBHM “Pit Fighter,” metal, classic prog and heavy rock coming together with a vital energy that is immediately and purposefully contradicted in Tombtoker‘s played-fast-but-is-so-heavy-it-still-sounds-slow “Braise the Dead” and “Botched Bastard,” both of which find a way to be a ton of fun while also being unspeakably brutal and pushing the line between sludge and death metal in a way that would do Six Feet Under proud. Horns and bongs all around, then.

Haze Mage on Thee Facebooks

Tombtoker on Thee Facebooks

 

White Dog, White Dog

white dog white dog

Oldschool newcomers White Dog earn an automatic look by releasing their self-titled debut through former Cathedral frontman Lee Dorrian‘s Rise Above Records, but it’s the band’s clearcut vintage aesthetic that holds the listener’s attention. With proto-metal established as an aesthetic of its own going on 20 years now, White Dog aren’t the first by any means to tread this ground, but especially for an American band, they bring a sincerity of swing and soul that speaks to the heart of the subgenre’s appeal. “The Lantern” leans back into the groove to tell its tale, while “Abandon Ship” is more upfront in its strut, and “Snapdragon” and opener “Sawtooth” underscore their boogie with subtle progressive nods. Closing duo “Pale Horse” and “Verus Cultus” might be enough to make one recall it was Rise Above that issued Witchcraft‘s self-titled, but in the shuffle of “Crystal Panther,” and really across the whole LP White Dog make the classic ideology theirs and offer material of eminent repeat listenability.

White Dog on Thee Facebooks

Rise Above Records website

 

Jupiterian, Protosapien

jupiterian protosapien

The only thing that might save you from being swallowed entirely by the deathly mire Brazil’s Jupiterian craft on their third full-length, Protosapien, is the fact that the album is only 35 minutes long. That’s about right for the robe-clad purveyors of tonal violence — 2017’s Terraforming (review here) and 2015’s Aphotic (review here) weren’t much longer — and rest assured, it’s plenty of time for the band to squeeze the juice out of your soul and make you watch while they drink it out of some need-two-hands-to-hold-it ceremonial goblet. Their approach has grown more methodical over the years, and all the deadlier for that, and the deeper one pushes into Protosapien — into “Capricorn,” “Starless” and “Earthling Bloodline” at the end of the record — the less likely any kind of cosmic salvation feels. I’d say you’ve been warned, but really, this is just scratching the surface of the trenches into which Jupiterian plunge.

Jupiterian on Thee Facebooks

Transcending Obscurity Records on Bandcamp

 

Experiencia Tibetana, Vol. I

Experiencia Tibetana Vol I

It’s an archival release, recorded in 2014 and 2015 by the Buenos Aires-based band, but all that really does for the three-song/hour-long Vol. I is make me wonder what the hell Experiencia Tibetana have been up to since and why Vols. II and III are nowhere to be found. The heavy psych trio aren’t necessarily inventing anything on this debut full-length, but the way “Beirut” (18:36) is peppered with memorable guitar figures amid its echo-drifting vocals, and the meditation tucked into the last few minutes of the 26:56 centerpiece “Espalda de Elefante” and the shift in persona to subdued progressive psych on “Desatormentandonos” (14:16) with the bass seeming to take the improvisational lead as guitar lines hold the central progression together, all of it is a compelling argument for one to pester for a follow-up. It may be an unmanageable runtime, but for the come-with-us sense of voyage it carries, Vol. I adapts the listener’s mindset to its exploratory purposes, and proves to be well worth the trip.

Experiencia Tibetana on Thee Facebooks

Experiencia Tibetana on Bandcamp

 

Yanomamo, No Sympathy for a Rat

yanomamo no sympathy for a rat

Filth-encrusted and lumbering, Yanomamo‘s sludge takes Church of Misery-style groove and pummels it outright on the opening title-track of their four-song No Sympathy for a Rat EP. Like distilled disillusion, the scream-laced answer to the Sydney four-piece’s 2017 debut, Neither Man Nor Beast, arrives throwing elbows at your temples and through “The Offering,” the wait-is-this-grindcore-well-kinda-in-this-part “Miasma” and the suitably destructive “Iron Crown,” the only letup they allow is topped with feedback. Get in, kill, get out. They have more bounce than Bongzilla but still dig into some of Thou‘s more extreme vibe, but whatever you might want to compare them to, it doesn’t matter: Yanomamo‘s unleashed assault leaves bruises all its own, and the harsher it gets, the nastier it gets, the better. Can’t take it? Can’t hang? Fine. Stand there and be run over — I don’t think it makes a difference to the band one way or the other.

Yanomamo on Thee Facebooks

Iommium Records on Bandcamp

 

Mos Eisley Spaceport, The Best of Their Early Year

mos eisley spaceport the best of their early year

They mean the title literally — “early year.” Bremen, Germany’s Mos Eisley Spaceport — who so smoothly shift between space rock and classic boogie on “Further When I’m Far” and brash tempo changes en route to a final jam-out on “Mojo Filter,” finally unveiling the Star Wars sample at the head of organ-inclusive centerpiece “Space Shift” only to bring early Fu Manchu-style raw fuzz on “Drop Out” and finish with the twanging acoustic and pedal steel of “My Bicycle Won’t Fly” — have been a band for less than a full 12 months. Thus, The Best of Their Early Year signals some of its own progressive mindset and more playful aspects, but it is nonetheless a formidable accomplishment for a new band finding their way. They lay out numerous paths, if you couldn’t tell by the run-on sentence above, and I won’t hazard a guess as to where they’ll end up sound-wise, but they have a fervent sense of creative will that comes through in this material and one only hopes they hold onto whatever impulse it is that causes them to break out the gong on “Space Shift,” because it’s that sense of anything-as-long-as-it-works that’s going to continue to distinguish them.

Mos Eisley Spaceport on Thee Facebooks

Mos Eisley Spaceport on Bandcamp

 

Of Wolves, Balance

of wolves balance

One doesn’t often hear “the Wolfowitz Doctrine” brought out in lyrics these days, but Chicago heavy noise metallers Of Wolves aren’t shy about… well, anything. With volume inherent in the sound no matter how loud you’re actually hearing it, conveyed through weighted tones, shouts of progressions unified in intensity but varied in aggression and actual approach, the three-piece take an unashamed stance on a range of issues from the last two decades of war to trying to put themselves into the head of a mass shooter. The lyrics across their sophomore outing, Balance, are worth digging into for someone willing to take them on, but even without, the aggro mosh-stomp of “Maker” makes its point ahead of the 17-second “Flavor of the Weak” before Of Wolves dive into more progressively-structured fare on the title-track and “Clear Cutting/Bloodshed/Heart to Hand.” After “Killing Spree” and the aural-WTF that is “Inside (Steve’s Head),” they finish with a sludgecore take on the Misfits‘ “Die, Die My Darling,” which as it turns out was exactly what was missing up to that point.

Of Wolves on Thee Facebooks

Trepanation Recordings on Bandcamp

 

Pimmit Hills, Heathens & Prophets

Pimmit Hills Heathens Prophets

Comprised of four-fifths of what was Virginian outfit King Giant, it’s hard to know whether to consider Pimmit Hills a new band or a name-change, or what, but the first offering from vocalist David Hammerly, guitarist Todd “TI” Ingram, bassist Floyd Lee Walters III and drummer Brooks, titled Heathens & Prophets and self-released, hits with a bit of a bluesier feel than did the prior outfit, leaving plenty of room for jamming in each track and even going so far as to bring producer J. Robbins in on keys throughout the four-song/29-minute release. I suppose you could call it an EP or an LP — or a demo? — if so inclined, but any way you cut it, Heathens & Prophets plainly benefits from the band’s experience playing together, and they find a more rocking, less moody vibe in “Baby Blue Eyes” and the harmonica-laced “Beautiful Sadness” that has a feel as classic in substance as it is modern in sound and that is both Southern but refusing to bow entirely to cliché.

Pimmit Hills on Thee Facebooks

Pimmit Hills on Bandcamp

 

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Gaffa Ghandi Stream Artificial Disgust in Full; Out Friday on Exile on Mainstream

Posted in audiObelisk, Reviews on April 21st, 2020 by JJ Koczan

GAFFA GHANDI (photo by Maren Michaelis)

Come on, let’s get weird for a little bit. You’ve got time; you know you do. This week is easily the busiest so far of 2020 for new releases, but while you’re spending the coming Friday pining over this or that landmark arrival — hey, I’m right there too — German experinstrumentalists Gaffa Ghandi will be issuing a debut album through ultra-respected countryman purveyor-of-stuff-that-doesn’t-sound-like-other-stuff-and-also-is-awesome Exile on Mainstream called Artificial Disgust, and they’re seemingly way freaked out about it.

I made the mistake of reading their quote below about the record before writing this, and it’s interesting to discover that they consider some of it to be an expression of pain on some level, because I get way more of a sense of joy from a song like opener “Symphony of Swag,” and even though the subsequent “War on Fire” starts off with a bit of doomed atmospherics, it soon enough finds its way into progressive chuggery and winds airy leads around a rhythmic solidity that reminds of just what an ultra-solid double-guitar foursome can accomplish when they knuckle down, decide to let their songs go where they’re demanding to go, and maybe unleash a little bit of their inner Zappa-tista in the process.

“War on Fire” culminates in due solo flourish, playing it over the top because — again, seemingly — it’s more fun that way, before “Ancient Dominator” shows a spirit of post-rock could be when played staring down the crowd instead of at one’s proverbial shoes. Its midsection is both hypnotic and head-spinning, dumbfoundingly technical and ambient, and as the heretofore central chugging riff of the track comes around, it feels like it might just roll on for the remainder of the song’s total nine-plus minutes,GAFFA GHANDI Artificial Disgust which it does, morphing of course here and there along the route to its eventual fade and the arrival of the well-golly-that’s-significant “Progressive Concepts for a Modern World of Multilayered Structural, Sociological and Individual Changeabilities.”

The title, which is not the name of any book I can find and so I’ll just assume is perhaps someone’s thesis-in-progress, is indeed a thoughtful meditation unto itself, running an academic-ready 16 minutes and unfolding in movements fluidly across that span, finding the guitars once more intertwining lines through expressive leads and intricacy of play while the bass hosts its own clinic in jazz while still serving the song’s best interests and the drums follow suit. Perhaps most impressively of all, as “Progressive Concepts…” builds and shifts and recedes and thins and thickens and winds and turns, Gaffa Ghandi — guitarists Alan Bittner and Frieder Ackermann, bassist Lucas Kazzer and drummer Georg Edert — admirably hold together. They’re not just each doing their own thing and mashing together parts and calling it a song. They’re writing a progressive piece of music that unites them as players. After 10 years together culminating in this first album, a realization of potential might be considered due, but it’s still striking just how cohesive they make seemingly disjointed elements sound.

If you get the CD or the digital edition of Artificial Disgust, it comes with the bonus inclusion “Phobophobie,” which presents six more minutes balancing thoughtful atmospherics and rhythmic complexity in the spirit of the offering preceding. If it’s from “the archive,” and maybe older, fine. It still works in the context of what Gaffa Ghandi are doing across the peacefully dizzying 38 minutes prior, and if you have prior experience with Exile on Mainstream‘s output, you probably already know to trust the label’s taste when it comes to new pickups, but if not, I’m glad to reinforce the point.

Gaffa Ghandi were going to play a traveling showcase of Exile on Mainstream bands to celebrate the release of Artificial Disgust, but of course that has been put off until who-knows-when, but perhaps that delay will give listeners some time to catch up to how much these songs actually have going on. Or maybe it won’t. In any case, it’s awfully fun to try, and I invite you to do exactly that and to listen for the varied emotionalism of Artificial Disgust as well as the varied time-signatures, on the player below.

Band quote and PR wire info follow.

Please enjoy:

Gaffa Ghandi on Artificial Disgust:

Artificial Disgust is the effort of a long-term pain; the joyful and relentless process of putting the ever-evolving concept of being an energetic and boundless live band into the solid and to some extent comparable version of our excesses on stage. Some of these songs had been in progress for quite some time and they have changed with every session we’ve played them live to the point we finally laid them to tape. We are, due to our personal influences and personal behavior, a very diverse bunch of friends with a lot of different specific preferences concerning sound and riff composition.

The album is to this point, in our opinion the most coherent, but also the most diverse offering of our ten-year history as a band. The record features classic ’90s moments of our early stoner and alternative approaches, but also, in a blink of an eye, progressive psychedelic stuff and experimental signatures we figured out in the rehearsal space over various sessions. All those pieces have gone through various stages of different moods, but, at the end, Artificial Disgust is what it is: a bastard of polyphonic heaviness with a hint of a painful, sardonic smile.

Exile On Mainstream will release Artificial Disgust on LP, CD, and digital platforms on April 24th, the LP joined with a download code, and the CD and digital versions bearing a bonus track from the archives. Place orders HERE.

Artificial Disgust was recorded by Jan Oberg at Hidden Planet Studio, Robin Ravn at FKN Recording Studio, Alan Bittner at Frieders Livingroom, Georg Edert at Gaffa Ghandi Rehearsal Space, Torsten Lang at Torstens Livingroom, and Niklas Wenzel at Virtuose Vibes Studio. The record was mixed and mastered by Torsten Lang and is completed with photography and design by Maren Michaelis and layout by Benjamin Butter.

The new LP was meant to see release in conjunction with GAFFA GHANDI’s participation in Exile On Mainstream’s RoadShow 2020 mini-tour including Treedeon, Darsombra, Kristian Harting, and Tourette Boys, but the trek has been disbanded due to the ongoing worldwide coronavirus situation. Watch for the band to reschedule new performances once the situation is contained.

GAFFA GHANDI:
Georg Edert – drums
Lucas Kazzer – bass
Frieder Ackermann – guitar
Alan Bittner – guitar

Gaffa Ghandi website

Gaffa Ghandi on Bandcamp

Gaffa Ghandi on Thee Facebooks

Exile on Mainstream website

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Days of Rona: Sven Müller of ElbSludgeBooking

Posted in Features on April 10th, 2020 by JJ Koczan

The statistics of COVID-19 change with every news cycle, and with growing numbers, stay-at-home isolation and a near-universal disruption to society on a global scale, it is ever more important to consider the human aspect of this coronavirus. Amid the sad surrealism of living through social distancing, quarantines and bans on gatherings of groups of any size, creative professionals — artists, musicians, promoters, club owners, techs, producers, and more — are seeing an effect like nothing witnessed in the last century, and as humanity as a whole deals with this calamity, some perspective on who, what, where, when and how we’re all getting through is a needed reminder of why we’re doing so in the first place.

Thus, Days of Rona, in some attempt to help document the state of things as they are now, both so help can be asked for and given where needed, and so that when this is over it can be remembered.

Thanks to all who participate. To read all the Days of Rona coverage, click here. — JJ Koczan

sven mueller elbsludgebooking

Days of Rona: Sven Müller of ElbSludgeBooking (Dresden, Germany)

How are you dealing with this crisis as a promoter? Have you had to rework plans at all? How is everyone’s health so far?

First of all: We are a crew of 20 peeps and set up shows for fun. We don’t depend on it — at least financially. Thus far we had to cancel nine shows with 24 bands due to Corona. We still have two shows on in May — a festival and a regular show with two bands. For the fest three bands from abroad have cancelled already, so if the fest is possible we will try to find local bands to jump in. Right now our plan for the rest of the year is to forget about our annual summer break and do some extra shows in July/August if shows are allowed. And we try to move some of the cancelled shows or bands to the fall. The real problem is that this crisis affects all genres so the always crammed September and October will be full to the absolute max. And all without even knowing if we can do shows by then at all.

Healthwise we are all good. Only actual case I heard of in the closer community is one pupil at the school of my godchild.

What are the quarantine/isolation rules where you are?

People are told to stay home as much as possible. No shows/parties allowed. If you need to go out only two persons together are allowed and only for sports and groceries. Bigger families can go outdoors together though. I work mainly at a theatre and it is closed now until the end of April so I am home with my kids since the kindergarten/school is closed.

How have you seen the virus affecting the community around you and in music?

It is a huge blow to the music scene, be it bookers, labels, promoters and bands. For professional bands depending on gigs it is a nightmare. On the other hand we do a lot of shows with smaller bands too who don’t rely on the money from touring so it is not that tough I guess. Some of them will even save money.

Within my community the general feeling is that we can get through this alive and we can cope with this situation. There is so much going on everywhere and it’s hard to keep track of all the information buzzing around. So we sit here and wait – watching live shows on Facebook, drinking some beers and thinking what we can do with our lives without LIVE MUSIC!

What is the one thing you want people to know about your situation, either as a promoter, or personally, or anything?

For the music scene I suggest to bands to consider to tour Europe in January and February 2021. Before that the competition will be tough. With the warm winters lately the conditions to tour here are quite okay.

Personally for me it could be worse. I have time for my kids, I have the internet, my guitar, time to cook properly and some new albums on Bandcamp. If only there would be one live gig each week. And a constant flow of free money too. Lol

https://www.facebook.com/Elbsludgebooking/
https://www.instagram.com/elbsludgebooking/

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Gaffa Ghandi to Release Artificial Disgust April 24 on Exile on Mainstream

Posted in Whathaveyou on February 7th, 2020 by JJ Koczan

GAFFA GHANDI (photo by Maren Michaelis)

Anytime Exile on Mainstream signs a band, you can rest assured that said band isn’t going to be like whatever you were listening to immediately prior. The long-running German imprint has an enviable taste for nuance and individualism in acts, but seems to persistently find those who don’t sacrifice quality for the sake of being bizarre. From Treedeon to Conny Ochs to Bellrope to the periodic collaborations with Wino, there’s always going to be something distinct about whatever it is that comes along with their stamp of approval.

Gaffa Ghandi, then, immediately pique interest. The Dresden-based instrumentalists seem to blend progressive heavy noise and psychedelic ranging — because of course they do, right? — and they’ll make their debut through Exile on Mainstream April 24 with Artificial Disgust, which would seem to be their second overall long-player behind 2015’s Record of Success. Their otherwise most recent release was a 2016 split with Tourette Boys on Setalight Records and you can stream “Psychedelic Mode Activated” from that below.

The PR wire brings info and whatnot:

GAFFA GHANDI Artificial Disgust

GAFFA GHANDI: German Psychedelic Rock Act Signs With Exile On Mainstream; Artificial Disgust LP + RoadShow 2020 Tour Dates Announced

Germany’s eclectic Exile On Mainstream welcomes countrymates GAFFA GHANDI to the label’s roster for the springtime release of their impending debut album, Artificial Disgust. The new LP will see release in conjunction with the band’s participation in the label’s Exile On Mainstream RoadShow 2020 German mini-tour.

Artificial Disgust was recorded by Jan Oberg at Hidden Planet Studio, Robin Ravn at FKN Recording Studio, Alan Bittner at Frieders Livingroom, Georg Edert at Gaffa Ghandi Rehearsal Space, Torsten Lang at Torstens Livingroom, and Niklas Wenzel at Virtuose Vibes Studio. The record was mixed and mastered by Torsten Lang and is completed with photography and design by Maren Michaelis and layout by Benjamin Butter.

Exile On Mainstream will release Artificial Disgust on April 24th. The album features four tracks on the vinyl version with a bonus track from the archives on the CD and digital versions; the vinyl includes a download code. Watch for audio previews, preorder links, and other details to post in the coming days.

Artificial Disgust Track Listing:
1. Symphony Of Swag
2. Ancient Dominator
3. War On Fire
4. Progressive Concepts For A Modern World Of Multilayered Structural, Sociological And Individual Changeabilities
5. Phobophobie (CD/digital bonus track)

The label will celebrate the LP’s release with a run of three shows called the Exile On Mainstream RaodShow 2020, running from April 23rd through the 25th. The tour will play through Leipzig, Berlin, and Dresden, with GAFFA GHANDI joining Darsombra, Kristian Harting, and Tourette Boys on all shows, and the mighty Treedeon also performing at the Berlin show. Watch for additional tour dates to post over the weeks ahead.

GAFFA GHANDI on The Exile On Mainstream RoadShow 2020:
4/23/2020 UT Connewitz – Leipzig, DE w/ Darsombra, Kristian Harting, Tourette Boys
4/24/2020 Zukunft am Ostkreuz – Berlin, DE w/ Treedeon, Darsombra, Kristian Harting, Tourette Boys
4/25/2020 AZ Conni – Dresden, DE w/ Darsombra, Kristian Harting, Tourette Boys

GAFFA GHANDI:
Georg Edert – drums
Lucas Kazzer – bass
Frieder Ackermann – guitar
Alan Bittner – guitar

http://www.gaffaghandi.de
https://gaffaghandi.bandcamp.com
https://www.facebook.com/gaffaghandi
http://www.mainstreamrecords.de

Gaffa Ghandi, “Psychedelic Mode Activated”

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Heavy Psych Sounds Fest Announces Berlin and Dresden Editions

Posted in Whathaveyou on May 27th, 2019 by JJ Koczan

heavy psych sounds logo

Remember like a very, very short time ago — maybe last week? — when I was talking about how Heavy Psych Sounds was taking over the world, one band, tour and festival at a time? Well here we are with the announcements for four nights in Germany this December that one assumes — but never knows for sure — will round out a busy 2019 for the Italian label/booking agency/one-stop-shop. Monolord, The Sonic DawnWedgeGorilla and 1782 are thus far announced with apparently more to come. No big surprise they’re not done, as it seems increasingly like they’re never done. Did you see the pictures from the West Coast Heavy Psych Sounds package tour? It looked pretty amazing.

I guess that’s what happens when you put everything you have into what you do and what you do kicks ass.

From the PR wire:

heavy psych sounds fest berlin dresden

HEAVY PSYCH SOUNDS announces BERLIN + DRESDEN FEST; featuring MONOLORD, THE SONIC DAWN & more!

Headquartered in Rome, Italy, Heavy Psych Sounds specializes in presenting the best artists in the global heavy psych, doom, fuzz blues and space rock realms, and their Festival- series will be no exception, spotlighting the ever-growing label’s dedication to its craft. While the first HPS Fests were held in Italy, the label has since extended its live reach into the UK, Belgium, Netherlands, Austria and even the USA: The underground cult label is not only THE address for all heavy rock record collectors, but has also become an important live and festival institution; with a brisk participation from heavy music fans all over the world.

Now, Heavy Psych Sounds is set to bring the ROCK to Germany: Dresden and Berlin with the just-announced special shows taking place this December! Each stop of the traveling festival tour will feature diverse line-ups including both genre leaders and fast-rising acts, all ready to prove their place among the world’s best. In cooperation with Greyzone Concerts and ElbSludgeBooking, Heavy Psych Sounds has just revealed the first bands featuring heavy doom weights MONOLORD, psychedelic rockers THE SONIC DAWN and more:

[ artwork by Branca Studio ]

Taking place December 6th and 7th 2019 in Berlin and Dresden, the tickets are now on sale at:

BERLIN
Event: www.facebook.com/events/328145071206018/

DRESDEN
Event: www.facebook.com/events/658161097944810/

https://www.facebook.com/HEAVYPSYCHSOUNDS
http://www.heavypsychsounds.com
https://heavypsychsoundsrecords.bandcamp.com
www.greyzone-concerts.de
www.facebook.com/Elbsludgebooking

Monolord, Rust (2017)

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Quarterly Review: Wucan, Lucifer in the Sky with Diamonds, Thera Roya, Ojos Rojos, Ett Rop På Hjälp, BongCauldron, Nomadic Rituals, Mental Tremors, Gin Lady, Swanmay

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

the obelisk quarterly review

Round five of the Fall 2017 Quarterly Review begins now. After dealing with the technical issues this week and changing hosts and having the site down for – well, as I write this, it’s still down, so I don’t really have a finished count yet, though obviously by the time you’re reading it it’ll be back up – yeah, it’s made putting together a batch of 10 reviews a day seem like a breeze. “Oh, you mean you’re only writing 10 reviews today? Well now this is happening.” That kind of thing. Didn’t I say something earlier this week about a piano falling on my head? Prescient.

Plan is to finish the QR on Monday and then get back to what passes for normalcy around here. Still plenty of good stuff to come between now and then though, so let’s dive in.

Quarterly Review #41-50:

Wucan, Reap the Storm

wucan reap the storm

Bilingual heavy blues rockers Wucan offer their second full-length, Reap the Storm, through MIG Music, and with it showcase a stunning range of songwriting. The album is set up as a 2LP and runs eight songs/73 minutes from the Dresden, Germany, four-piece of vocalist Francis Tobolsky (also flute, guitar, theremin, sitar and percussion), guitarist/keyboardist Tim George, bassist Patrik Dröge and drummer Philip Knöfel, and from the expansive jamming of 10-minute opener “Wie Die Welt Sich Dreht,” it solidifies into the classic-prog-meets-heavy-boogie of “Ebb and Flute/The Eternal Groove” and nestles into driving semi-psychedelic rock on “Out of Sight out of Mind” to lead the charge on a side B marked out by the organ in “I’m Gonna Leave You,” the interplay of trippy/soulful vocals and flute on “The Rat Catcher” and the quiet, German-language post-Zeppelin acoustic folk of “Falkenlied.” Okay. Already your head’s spinning. Then Wucan dive into “Aging Ten Years in Two Seconds” and “Cosmic Guilt,” which together comprise the second of the two LPs, the former running 21:05 and the latter 18:04, and basically between them represent another album entirely, tying all of the elements previously listed together into one richly complex, progressive-but-still-warm delivery. Their breadth is met by an overarching organic feel – the flute and Tobolsky’s vocals help greatly in this – and though the results are somewhat unmanageable, Wucan remain impressively cohesive throughout the many twists and turns.

Wucan on Thee Facebooks

MIG Music website

 

Lucifer in the Sky with Diamonds, Silent Echo

Lucifer-in-the-Sky-with-Diamonds-Silent-Echo

The new single “Silent Echo” is an awaited return from Moscow progressive heavy rockers Lucifer in the Sky with Diamonds, who showed up with an encouraging debut, The Shining One (review here), in 2014. In the rhythmic push and balance of melody and hook, “Silent Echo” reaffirms the appeal of that album and presses it forward, and the band – now comprised of guitarist/bassist/vocalist Oleg Sakharov, guitarist Sergey Starykh, drummer Ramis Cervantes and backing vocalist Alexey Fedotov – hold fast to the underlying proggy sensibilities that fall so well in line with the crispness of their production and the clarity of intent in their songcraft. If they were German or Swedish, they’d already be signed. After three years, a new album would be welcome, but perhaps “Silent Echo” is a harbinger of things to come, and if indeed the six-minute track is all we’re getting for now, it’s got resonance enough behind it to last at least for a while. Hard to hear it though and not want more from these guys.

Lucifer in the Sky with Diamonds on Thee Facebooks

Lucifer in the Sky with Diamonds on Bandcamp

 

Thera Roya, Masterful Universe

thera-roya-masterful-universe

Tracked a year ago in North Carolina, Thera Roya’s Masterful Universe two-songer follows behind their earlier-2017 debut long-player, Stone and Skin (review here), and continues their headfirst dive into noise-laden riotousness across the seven-minute “Static Transmission” (I’m sorry, but are those monkey sounds around the three-minute mark?) and five-minute “Confused Population,” which starts out with a sample of the bomb-riding end sequence of Dr. Strangelove, because I guess the Brooklyn/NJ trio of drummer/vocalist Ryan Smith, guitarist Christopher Eustaquio and bassist Jonny Cohn are feeling topical. Fair enough. That song pushes into cleaner vocals, almost drone-chants, for a particularly experimental feel, and keeps samples as a running theme (at least until the blackened cave-echo screams at the end), where “Static Transmission” is more scathingly aggressive at its core, but in both tracks, the message of Thera Roya getting weirder and weirder comes through clearly, and that only works to their benefit on this short but consuming offering. Run with it, dudes.

Thera Roya on Thee Facebooks

Thera Roya on Bandcamp

 

Ojos Rojos, Sons of Love and Death

Ojos-Rojos-Sons-of-Love-and-Death

It’s been seven years since California-based heavy psych rockers Ojos Rojos made their debut with the full-length Disappear (review here), but you’d hardly know it from the vibrancy of their new five-song/26-minute Sons of Love and Death EP, which from its opening title-track – also the longest here (immediate points) – through the rightly spacious “Atmosphere” and smoothly rolling centerpiece “Say Goodbye” affects desert-hued shoegaze engagement that asks little of the listener more than to drift along with its easy path. “A Hole Inside” (pun sense tingling) brings especially satisfying fuzz in the guitar and a swirling couple leads to complement like stars overhead, and closer “So Free” doesn’t at all let the fact that it’s so darn laid back let it stop it from strutting its start-stop groove with such swagger. All told, Sons of Love and Death is a work of drippingly lysergic vibe, reminiscent of Dead Meadow at their most languid, but it comes across neither as staid nor redundant. Be it in the rhythmic push of “Atmosphere” or the final crashes of “So Free,” Ojos Rojos find the means to portray an active ecosystem in something that, from the surface, seems still and peaceful.

Ojos Rojos on Thee Facebooks

Ojos Rojos on Bandcamp

 

Ett Rop På Hjälp, Sans och Balans

ett-rop-pa-hjalp-sans-och-balans

Ett Rop På Hjälp, quite simply, deserve a higher profile than they’ve got for their second album, Sans och Balans. The Gothenburg natives are a half-decade removed from their 2012 debut, Hur Svårt Kan Det Vara? (review here), on Transubstans, and the new collection is a more than worthy follow-up, offering classic-style boogie rollout on cuts like “En Djavuls Falla” and the later solo work on “Blanka Eftermiddagen,” while “Defenestration” (the only English title present, though it’s still sung in Swedish), highlights organ/keys alongside its low end depth and catchy movement, shifting at its midpoint to an instrumental jam that carries it into the bluesy build and harmonies of “Snomannen.” The penultimate “Leker Med Karlek” is particularly heavy ‘70s, but skirts the trap of sounding like Graveyard, Witchcraft or most others of that vintage ilk, and the finish in “Slutat Tro” prefaces its payoff with a subtle heft that comes to the fore late, manifesting a proto-doom working well to contrast the sweetness of the earlier vocal melody. It may be harder for those who don’t speak Swedish to grasp the verses and howling chorus of “Folkhemsdesperado” and the other inclusions here, but Sans och Balans is nothing if not worth that effort and clearly a record that earns more attention than it’s getting.

Ett Rop På Hjälp on Thee Facebooks

Sans och Balans on Spotify

 

BongCauldron, Binge

bongcauldron-binge

Leeds trio BongCauldron have been kicking around the UK’s fertile heavy underground for the last five-plus years since their self-titled EP, issuing a series of shorter releases and splits and gradually readying themselves for a larger attack. That arrives as their eight-song/40-minute debut full-length, Binge, which sludge-bludgeons (yes, it sludgeons) its listener into submission with thickened nod, growls and an attitude that’s best represented perhaps in the title of second cut “Bury Your Axe in the Crania of Lesser Men.” Yeah, it’s like that. “68” and closer “Yorkshire Born” offer a Motörhead/High on Fire-style gallop, but the larger impression Binge makes comes from the pairing of the title-track and “Bigfoot Reigns” in the middle of the album. These two longest tracks, back to back, pummel their viscous onslaught, and even when the latter swaps out its faster first half for the massive slowdown of its second, its shift is purely from one extreme to the other. Feels like it’s been a while in the making, and maybe it has, but BongCauldron’s first long-player has nastiness a-plenty to make up for any and all lost time.

BongCauldron on Thee Facebooks

APF Records on Thee Facebooks

 

Nomadic Rituals, Marking the Day

nomadic-rituals-marking-the-day

Marking the Day builds from minimalist drone over the first couple minutes of “From Nothing” into a maddeningly heavy, grueling, hour-long slog of noise-soaked and extremist post-sludge. It is the second album from Belfast, Northern Ireland, three-piece Nomadic Rituals, and its cosmically-themed lumber is utterly vicious as it plays out across six tracks, the shortest of which, “Expansion,” is just under eight minutes long. Over the course of this creation-to-destruction journey, guitarist/vocalist Peter Hunter, bassist/vocalist Craig Carson and drummer Mark Smyth (all three also contribute noise and/or synth) take listeners “From Nothing” and leave them “Face Down in the Sea of Oblivion,” and it’s that 14-minute finale and specifically the tumultuous, pushed-even-further apex thereof, that is intended to capture the grand undoing of everything. One imagines when the end comes it won’t actually sound quite so glorious, but an interpretive representation, Nomadic Rituals give brutal portrayal that seems to fit the onslaught of chaos, and the final amp hum reminds that every ending is likewise a new beginning, even one so mammoth and consuming as this.

Nomadic Rituals on Thee Facebooks

Nomadic Rituals on Bandcamp

 

Mental Tremors, Mental Tremors

mental-tremors-mental-tremors

A duo who manage to sound like a full band on a studio album is nothing new at this point, between layering and tonal heft and whatever else might be at play in a given act’s aesthetic. Fortunately, Melbourne two-piece Mental Tremors don’t need to rely on novelty. In the fuzz of songs like “Bastard Son” and “Violently” – that’s a riff you should hear – their self-titled debut long-player offers legit chops in craft and performance, yes, sounding full, but still natural as it makes its way through the weirdo-psych nod of the six-minute “Patient Man,” solidifying as it goes, and seeming to turn the classic LP dynamic of straightforward A and more expansive B sides on its head as it rounds out with “Hunters” and “The Fevering,” individualizing catchy, post-Queens of the Stone Age impulses and hairy riff-led raucousness. Initially self-released earlier this year, Mental Tremors was picked up for a vinyl pressing by Cursed Tongue Records, and whether it’s the clarion groove of opener “Like a Broken Town” or the nods and echoes that pervade “The Cascade,” there’s no question it earns that preservation that only physical media can provide.

Mental Tremors on Thee Facebooks

Cursed Tongue Records webstore

 

Gin Lady, Electric Earth

gin-lady-electric-earth

Modern enough in its production, Gin Lady’s fourth album, Electric Earth (on Kozmik Artifactz) is nonetheless in pretty direct conversation with the ‘60s, whether it’s “I’m Your Friend” chatting it up with Paul McCartney circa Rubber Soul or the acoustic/piano stomp of “Mercy” in a back and forth with The Rolling Stones, even going so far as to reference “Satisfaction” in the lyrics. These pop-minded textures are met with some heavier rock vibes, but at its loudest, Electric Earth still sticks to a pretty serene feel, starting off at a dancey clip with “Flower People” and capping with the quick Lennonism of “Running No More,” while in between, the four-piece of vocalist Magnus Kamebro, guitarist/vocalist Joakim Karlsson, bassist/vocalist Anthon Johansson and drummer Fredrik Normark gracefully capture bygone vibes on the wistful “The Things You Used to Do,” the jammy “Brothers of the Canyon” and the crisp, clear “Water and Sunshine,” the hook of which could’ve easily come from a lost single from 1965. It’s a niche not everyone’s playing toward at this point, but still instantly familiar and engagingly, efficiently done.

Gin Lady on Thee Facebooks

Electric Earth at Kozmik Artifactz

 

Swanmay, Stoner Circus

swanmay-stoner-circus

Unabashed stoner rock riff-led ideology persists throughout Stoner Circus, the hard-driving debut full-length from Linz, Austria, three-piece Swanmay. Working from a center of dense but not overblown fuzz, the rockers cast forth a clear-in-its-purposes nine tracks highlighted by “Lake on Fire,” which one can only wonder if whether or not was written in homage to the Austrian annual festival of the same name. In any case, that hook is one of several that feel particularly engaging throughout Stoner Circus, and the depth of tone on the instrumental “Dopechild” is enough to make that song memorable despite a lack of lyrics. Far from revolutionary, ultimately, but clearly not trying to be either, Swanmay’s first LP preaches its post-Kyussism on “Dharma” and in the Lowrider-style roll of “Sylvan” earlier on, but there’s an aggressive edge to it as well that comes to the fore on “Padawan” ahead of closer “Shiva,” which rounds out with a satisfying-if-telegraphed slowdown to make the point one more time about putting the groove first. So be it. As a debut, Stoner Circus gives Swanmay something to build on and already shows promise in songwriting and its well-honed execution of genre tenets.

Swanmay on Thee Facebooks

Swanmay on Bandcamp

 

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Wucan to Release Reap the Storm Sept. 29; Cover and Tracks Posted

Posted in Whathaveyou on July 28th, 2017 by JJ Koczan

wucan

Flute-laden Dresden four-piece Wucan have spent the last couple years kicking around various Desertfests — they did London and Berlin in 2017, Belgium in 2015, and were at Up in Smoke last year — in support of their 2015 debut album, Sow the Wind. On Sept. 29, they’ll follow that outing with the similarly-titled Reap the Storm through MIG Music, leaving one to wonder what the relationship between the two records is, beyond the simple fact of the one preceding the other. Just curious. Maybe they’re working on a theme of harvesting weather. I don’t know.

No audio yet, but art and tracks and word from the band themselves, who indeed have a slew of live dates booked for this Fall. I haven’t seen their name in festival updates as yet, but that doesn’t mean it won’t wind up there over the next couple months. Still plenty of time, and when I hear whatever I hear, I’ll post. You know the drill.

Here’s what they had to say about Reap the Storm:

wucan reap the storm

Wucan – ‘Reap The Storm’ Double LP out Sep 29th 2017

Dear Dopetrotters,

After we have spent months in the studios developing, recording and mixing the new record, we are beyond stoked to finally tell you that our 80 minutes Double LP ‘Reap The Storm’ will be out on Sep 29th 2017 via MIG music. Yup, it’s a lot of music we have coming up for you!

Francis: “With this record we took what musically developed and just became apparent on our first LP ‘Sow The Wind’ to the next level. ‘Reap The Storm’ is not just a snapshot of our own personal and emotional state at this point, but the logical follow up to all our previous work.”

And damn, we are excited for you to hear the outcome! This time we’ll have two German songs, one of them being an acoustic ballad, one a politically/ socially critical piece and two songs longer than 15 minutes, that’ll take you on an adventurous trip through the fields of Psychedelic and Progressive Rock. Plus the Heavy Flute Rock tunes that shaped our style in the past.

Title List:

Side A
Wie Die Welt Sich Dreht
Ebb And Flute/ The Eternal Groove
Out Of Sight, Out Of Mind

Side B
I’m Gonna Leave You
The Rat Catcher
Falkenlied

Side C
Aging Ten Years in Two Seconds

Side D
Cosmic Guilt

We truly hope you guys will enjoy the results of our and our team’s hard work! More details on pre-order etc. to come asap.

Yours truly,
Wucan

Produced and Recorded by Nene “Porco Dio” Baratto
Mixed by Charlie Paschen
Mastered by Andreas “Lupo” Lubich
Cover Art by Daniel Stolle
Layout and Inner Design by Burning Moon
Photo by Martin Becker

Wucan live:
Sep 07 Zeche Bochum, Germany
Sep 20 Reeperbahn Festival Hamburg, Germany
Sep 21 Mephisto, Faust Hannover, Germany
Sep 23 Scheune Kulturzentrum Dresden, Germany
Oct 05 Das Bach Vienna, Austria
Oct 14 Merleyn Nijmegen, Netherlands
Oct 19 Das Bett Frankfurt, Germany
Oct 28 Jovel Club Münster, Germany
Nov 02 Club, Backstage Munich, Germany

https://www.facebook.com/wucanmusic/
http://www.wucan-music.de
https://www.facebook.com/migmusic.de/
http://www.mig-music.de/
http://www.mig-music-shop.com/

Wucan, Sow the Wind (2015)

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The Roaring 420s Post New Video for “Blue Jay”

Posted in Bootleg Theater on June 8th, 2015 by JJ Koczan

the roaring 420s (Photo by Carl Ahner)

Dresden, Germany, freakbeaters/classic psych rockers The Roaring 420s released their What is Psych? EP just about a year ago, with four cuts of ’60s-style pre-heavy groove that didn’t place modern chic ahead of sonic loyalism but wound up sacrificing neither. From the organ-laced opener “Blue Jay” to the more decisively-jamming “Hey Hey Rider,” they fit a familiar, lysergic sprawl into remarkably efficient songwriting, veering even wider into piano-and-guitar shenanigans on the closing “Saturday Night,” setting up a honky-tonk vibe as though to illustrate how far out they could go from the surf-and-sitar beast-bellying of “These Woods of Stones,” a cut anyone would be lucky to find in a bin of poorly-labeled 45 singles.

Fitting that the EP should have arrived through Stoned Karma, the imprint of long-running German garage specialists Vibravoid. What is Psych?, which answers its own question in its balance of hooks and exploration, was the second EP by The Roaring 420s, preceded by a 2013 self-titled that, also four songs, boasted a Serge Gainsbourg cover and three tracks repurposed onto the later release. Their first full-length is reportedly in the works that will hopefully build on the swirl conjured seemingly at will on What is Psych?, but in the meantime, a video has surfaced for “Blue Jay” that appears to sum up a lot of the mindset under which the band are operating, what with the drugs, a book called How to Party Hard (think that’s on Amazon?), a bit of crossdressing and hog-tying, and a Serpico-style police bust. So, you know, something for everyone.

Hope you dig it:

The Roaring 420s, “Blue Jay” official video

DECAP Production made this nice video for “Blue Jay”. It features some of our friends as well as the real Monika Lange! There’s also some police violence, drug busting and sex going on, just for the record… We’re currently working on a new album, so stay tuned!

Having entered the public in Dresden, Germany, in 2011, The Roaring 420s have arrived in the international psychedelic and garage rock scene by now. Featuring surf guitars, floating backing vocs and an electric sitar, singles like “Psych Out”, “Blue Jay” or the Serge Gainsbourg-cover “Laisse Tomber Les Filles” soon got airplay outside of Germany and Europe. After numerous shows throughout the continent their full-length debut album “What Is Psych?” has been released on Stoned Karma / Cargo Records in June 2014. In addition, “Blue Jay” was released as 7″ split with Copenhagen-based group The Mind Flowers on Levitation Records.

The Roaring 420s on Thee Facebooks

The Roaring 420s on Bandcamp

Stoned Karma Records

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