Quarterly Review: Sumac, Dunsmuir, Monkey3, Oak, Lightsabres, Helen Money, Dali’s Llama, Suns of Thyme, Fungal Abyss, Wicked Gypsy
Posted in Reviews on October 3rd, 2016 by JJ KoczanThis is always a kind of nervewracking moment, sitting here in my chair as I do every couple months and introducing the next Quarterly Review. Between now and Friday, somehow, some way, I’ll post 50 reviews in batches of 10 per day. It will cover more ground than, frankly, I yet know, and by the time it’s done it’s going to feel (at least to me) like way more than a week has passed, but hell, at this point I’ve done this enough times to be reasonably confident I can get through it without suffering a major collapse either of heart or brain. I’ve taken steps beforehand to make it easier on myself and listened to a lot, a lot, a lot of music in preparation, so there’s nothing left to do but dive in and actually kick this this thing off. So let’s do that.
Quarterly Review #1-10:
Sumac, What One Becomes
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Dunsmuir, Dunsmuir
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Monkey3, Astra Symmetry
Across a span of 12 tracks and 72 minutes, Swiss heavy progressives Monkey3 unfurl the massive scope of Astra Symmetry, their fifth album and the follow-up to 2013âs The 5th Sun. It is an immediately immersive listening experience and does not become any less so as it plays out, the generally-instrumental four-piece frontloading early songs like âAbyss,â âMoonâ and the nodding, synthed-out âThe Water Bearerâ with vocals and backing that with âDead Planetâs Eyesâ on the second LP for good measure. Delving into Eastern-style melodicism gives Astra Symmetry a contemplative air, but Monkey3âs heavy psychedelia has always provided a free-flowing vibe, and as âAstrea,â âArch,â âThe Guardianâ and âRealms of Lightsâ roll through ambient drones toward the albumâs smoothly delivered apex, that remains very much the case. Taken as a whole, Astra Symmetry is a significant journey, but satisfying in that traveling atmosphere and in the hypnosis it elicits along the way.
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Oak, Oak II
Big progressive step from London four-piece Oak on their second self-released EP, Oak II. They follow last yearâs self-titled (review here) with four more tracks that build on the burl established last time out but immediately show more stylistic command, vocalist Andy âValiantâ Wisbey emerging as a significant frontman presence and the band behind him â guitarist/engineer Kevin Germain, bassist Scott Masson and drummer Clinton Ritchie â finding more breadth, be it in a nod to djent riffing in âMirageâ or more melodic post-Steak desert rock in âAgainst the Rain.â In addition, âA Bridge too Farâ showcases a patience of approach that the first EP simply didnât have, and that makes its build even more satisfying as it hits its peak and goes quiet into the stonerly swing of âSmoke,â which ends Oak II with due fuzz and some social commentary to go with. Sounds like more than a yearâs growth at work, but Iâll take it.
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Lightsabres, Hibernation
One word for Swedish one-man outfit Lightsabres? How about âunderrated?â Since the 2013 Demons EP (review here), it has been nearly impossible to keep a handle on where John Strömshed (also Tunga Moln) might go on any given song, and his latest offering, the full-length Hibernation (on HeviSike with a tape out on Medusa Crush) works much the same, rolling out a melodic mellowness on the opening title-track before topping off-time chug with garage vocals on the subsequent âEndless Summer.â Elsewhere, âThrow it all Awayâ marries swallow-you-in-tone riffing with a surprisingly emotionally resonant lead, and âBlood on the Snowâ offers a downtrodden vision of grunge-blues like what mightâve happened if Danzig had never gone commercial. Itâs all over the place, as was 2014âs Spitting Blood (review here) and 2015âs Beheaded, but tied together through a wintry theme, and anyway, variety is the norm for Lightsabres, whose reach seems only to grow broader with each passing year.
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Helen Money, Become Zero
Knowing the context of Helen Moneyâs Become Zero having been written by cellist Alison Chesley following losing both her parents, and knowing that songs like the 10-minute âRadiateâ and the effects-less âBlood and Boneâ (which features pianist Rachel Grimes) deal directly with that loss, only makes it more powerful, but even without that information, the sense of melancholy and loneliness is right there to be heard. Chesley, who released the last Helen Money album, Arriving Angels (review here), in 2013, once again brings in drummer Jason Roeder (Sleep, Neurosis) to contribute, and his work on the title-track and the later churn of âLeviathanâ make both standouts, but whether itâs the empty spaces of âVanished Starâ or the ambient wash of âRadiateâ â I donât even know how a cello makes that sound â the emotional force driving the music is ultimately what ties it together as a single work of poignant, deeply resonant beauty.
Helen Money at Thrill Jockey Records
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Dali’s Llama, Dying in the Sun
It has been nearly three years since desert-dwelling rockers Daliâs Llama celebrated their two-decade run with the Twenty Years Underground vinyl (review here) and almost four since their last proper full-length, Autumn Woods (review here), was issued. For them, thatâs an exceedingly long time. One canât help but wonder if the band â now a five-piece, led as ever by guitarist/vocalist Zach Huskey and recorded as ever by Scott Reeder â went through a period of introspection in that span. After some stylistic experimentation with darker and more doomed influences, the seven tracks of Dying in the Sun would seem to reaffirm who Daliâs Llama are as they approach the quarter-century mark, bringing some of the gloom of Autumn Woods to extended centerpiece âSamurai Eyesâ as easily as âBruja-haâ seems to play off the goth-punk whimsy of 2010âs Howl do You Do? (review here). The fact is Daliâs Llama are all these things, not just one or the other, and so in bringing that together, Dying in the Sun is perhaps the truest to themselves theyâve yet been on record.
Dali’s Llama on Thee Facebooks
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Suns of Thyme, Cascades
Making their debut on Napalm Records, Berlin five-piece Suns of Thyme exhibit immediate sonic adventurousness on their second album, Cascades, melding krautrock and heavy psych keys and effects with a distinctly human presence in the rhythm section, engaging in songcraft in the new wave-ish âIntuition Unboundâ while topping shoegaze wash with organ on âAphelion.â Itâs a vast reach, and with 14 tracks and a 55-minute runtime, Suns of Thyme have plenty of chance to get where theyâre going, but the dynamic between the psych-folk of âVal Verdeâ and the drift of closing duo âKirwaniâ and âKirwani IIâ and the push of the earlier âDeep Purple Rainâ impresses both in theory and practice alike. The task ahead of them would seem to be to meld these influences together further as they move forward, but thereâs something satisfying about having no idea whatâs coming next after the proggy sway of âSchweben,â and thatâs worth appreciating as it is.
Suns of Thyme on Thee Facebooks
Suns of Thyme at Napalm Records
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Fungal Abyss, Karma Suture
Two huge, side-consuming slabs of primordial improvised heavy psychedelia making up a 45-minute LP with a pun title and enough wash throughout that I donât even feel dirty looking at it? Yeah, there really isnât a time when I donât feel ready to sign on for weirdo exploratory stuff like that which Seattleâs Fungal Abyss elicit on Karma Suture. Available as a 12â on Adansonia Records, the album brings together âPerfumed Gardenâ (22:12) and âVirile Memberâ (23:22), both sprawling, massive jams that launch almost immediately and are gone for the duration. Way gone. I wonât discount the consumption that takes place on side A, but I think my absolute favorite part of Karma Suture might be the guitar lead on âVirile Member,â which about eight minutes in starts to lose its way and you can actually hear the band come around and pick it back up to an exciting swing. Itâs moments like that one that make a group like Fungal Abyss exciting. Not only are they able to right their direction when they need to, but theyâre brave enough to put the whole thing on record: as raw and genuine as it gets.
Fungal Abyss on Thee Facebooks
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Wicked Gypsy, Wicked Gypsy
Itâs an encouraging and unpretentious start that Malaysian four-piece Wicked Gypsy make on their self-titled, self-released three-song EP. In the 22-minute span of âWicked Gypsy,â âHeavy Eyesâ and âGypsy Woman,â the band â vocalist/guitarist Mahmood Ahmad, bassist Mohd Azam, keyboardist Azyan Idayu and drummer Ahmad Afiq â bring together influences from modern doom and classic heavy rock, Idayuâs keys providing a distinct â70s flair to the opener while Azamâs wah bass and of course a liberal dose of rifffing from Ahmad lead a proto-metallic charge in âHeavy Eyes,â topped with gritty vocals reciting lyrics about smoking weed, black magic, the devil, etc. What one really hears in these tracks is Wicked Gypsyâs initial exploration of dark-themed doom rock, and while the going is rough in its sound, that adds to the appeal, and the drum solo/progressive flourish worked into âGypsy Womanâ speaks well of where theyâre headed as they walk the Sabbathian path.
Wicked Gypsy on Thee Facebooks
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