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 Koczan

the-obelisk-fall-2016-quarterly-review

This 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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With their second album, What One Becomes (on Thrill Jockey), post-metal trio Sumac move forward from what their 2015 debut, The Deal (review here), established as their crushing and atmospheric modus. Starting with a wash of blown-out noise in “Image of Control,” the collective of guitarist/vocalist Aaron Turner (ex-Isis), bassist Brian Cook (Russian Circles) and Nick Yacyshyn (Baptists) eventually settle into a barrage of chug and inhuman lumber over the course of the five-track/58-minute progression, testing tolerance on the 17-minute march “Blackout” and tapping into a satisfying moment of melody in centerpiece “Clutch of Oblivion” that, by the time it arrives, feels a bit like a life raft. There are stretches that come across as part collections, but the whole seems to be geared toward overwhelming, consuming and devastating, and ultimately What One Becomes accomplishes all of those things and more besides, finishing closer “Will to Reach” with the sense they could easily keep going. I believe it.

Sumac on Thee Facebooks

Thrill Jockey Records

 

Dunsmuir, Dunsmuir

dunsmuir-dunsmuir

Prior to making their full-length debut, Dunsmuir issued a series of 7” singles, so if you picked up any of that, the straightforward pulse running through the 10-track self-titled will probably be familiar. Likewise if you’d previously caught wind of The Company Band, the supergroup in which vocalist Neil Fallon (also Clutch), guitarist Dave Bone and bassist Brad Davis (also Fu Manchu) previously joined forces. Here they’re joined by drummer Vinny Appice (Black Sabbath, etc.), and the material is suitably metallic in its aftertaste, but while Fallon’s presence is irrepressible and it’s the songwriting itself that shines through in cuts like “Our Only Master” and “…And Madness,” both barnburner riffs in classic metal fashion, where the later “Church of the Tooth” draws back the pace to add sway leading into the mid-paced closing duo “The Gate” and “Crawling Chaos.” Not many surprises, but with the ingredients given, knowing what you’re getting isn’t anything to complain about.

Dunsmuir on Thee Facebooks

Dunsmuir webstore

 

Monkey3, Astra Symmetry

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 2013’s 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 “Abyss,” “Moon” and the nodding, synthed-out “The Water Bearer” with vocals and backing that with “Dead Planet’s Eyes” on the second LP for good measure. Delving into Eastern-style melodicism gives Astra Symmetry a contemplative air, but Monkey3’s heavy psychedelia has always provided a free-flowing vibe, and as “Astrea,” “Arch,” “The Guardian” and “Realms of Lights” roll through ambient drones toward the album’s 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.

Monkey3 on Thee Facebooks

Napalm Records

 

Oak, Oak II

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Big progressive step from London four-piece Oak on their second self-released EP, Oak II. They follow last year’s 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 “Valiant” Wisbey emerging as a significant frontman presence and the band behind him – guitarist/engineer Kevin Germain, bassist Scott Masson and drummer Clinton Ritchie – finding more breadth, be it in a nod to djent riffing in “Mirage” or more melodic post-Steak desert rock in “Against the Rain.” In addition, “A Bridge too Far” showcases a patience of approach that the first EP simply didn’t have, and that makes its build even more satisfying as it hits its peak and goes quiet into the stonerly swing of “Smoke,” which ends Oak II with due fuzz and some social commentary to go with. Sounds like more than a year’s growth at work, but I’ll take it.

Oak on Thee Facebooks

Oak on Bandcamp

 

Lightsabres, Hibernation

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One word for Swedish one-man outfit Lightsabres? How about “underrated?” 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 “Endless Summer.” Elsewhere, “Throw it all Away” marries swallow-you-in-tone riffing with a surprisingly emotionally resonant lead, and “Blood on the Snow” offers a downtrodden vision of grunge-blues like what might’ve happened if Danzig had never gone commercial. It’s all over the place, as was 2014’s Spitting Blood (review here) and 2015’s 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.

Lightsabres on Thee Facebooks

HeviSike Records website

 

Helen Money, Become Zero

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Knowing the context of Helen Money’s Become Zero having been written by cellist Alison Chesley following losing both her parents, and knowing that songs like the 10-minute “Radiate” and the effects-less “Blood and Bone” (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 “Leviathan” make both standouts, but whether it’s the empty spaces of “Vanished Star” or the ambient wash of “Radiate” – I don’t even know how a cello makes that sound – the emotional force driving the music is ultimately what ties it together as a single work of poignant, deeply resonant beauty.

Helen Money on Thee Facebooks

Helen Money at Thrill Jockey Records

 

Dali’s Llama, Dying in the Sun

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It has been nearly three years since desert-dwelling rockers Dali’s 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, that’s an exceedingly long time. One can’t help but wonder if the band – now a five-piece, led as ever by guitarist/vocalist Zach Huskey and recorded as ever by Scott Reeder – 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 Dali’s Llama are as they approach the quarter-century mark, bringing some of the gloom of Autumn Woods to extended centerpiece “Samurai Eyes” as easily as “Bruja-ha” seems to play off the goth-punk whimsy of 2010’s Howl do You Do? (review here). The fact is Dali’s 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 they’ve yet been on record.

Dali’s Llama on Thee Facebooks

Dali’s Llama Records website

 

Suns of Thyme, Cascades

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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 “Intuition Unbound” while topping shoegaze wash with organ on “Aphelion.” It’s a vast reach, and with 14 tracks and a 55-minute runtime, Suns of Thyme have plenty of chance to get where they’re going, but the dynamic between the psych-folk of “Val Verde” and the drift of closing duo “Kirwani” and “Kirwani II” and the push of the earlier “Deep Purple Rain” 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 there’s something satisfying about having no idea what’s coming next after the proggy sway of “Schweben,” and that’s worth appreciating as it is.

Suns of Thyme on Thee Facebooks

Suns of Thyme at Napalm Records

 

Fungal Abyss, Karma Suture

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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 don’t even feel dirty looking at it? Yeah, there really isn’t a time when I don’t feel ready to sign on for weirdo exploratory stuff like that which Seattle’s Fungal Abyss elicit on Karma Suture. Available as a 12” on Adansonia Records, the album brings together “Perfumed Garden” (22:12) and “Virile Member” (23:22), both sprawling, massive jams that launch almost immediately and are gone for the duration. Way gone. I won’t 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 “Virile Member,” 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. It’s 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 they’re brave enough to put the whole thing on record: as raw and genuine as it gets.

Fungal Abyss on Thee Facebooks

Adansonia Records website

 

Wicked Gypsy, Wicked Gypsy

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It’s 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 “Wicked Gypsy,” “Heavy Eyes” and “Gypsy Woman,” the band – vocalist/guitarist Mahmood Ahmad, bassist Mohd Azam, keyboardist Azyan Idayu and drummer Ahmad Afiq – bring together influences from modern doom and classic heavy rock, Idayu’s keys providing a distinct ‘70s flair to the opener while Azam’s wah bass and of course a liberal dose of rifffing from Ahmad lead a proto-metallic charge in “Heavy Eyes,” topped with gritty vocals reciting lyrics about smoking weed, black magic, the devil, etc. What one really hears in these tracks is Wicked Gypsy’s 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 “Gypsy Woman” speaks well of where they’re headed as they walk the Sabbathian path.

Wicked Gypsy on Thee Facebooks

Wicked Gypsy on Soundcloud

 

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Dunsmuir Self-Titled Debut Due July 22; New 7″ out this Week

Posted in Whathaveyou on June 14th, 2016 by JJ Koczan

dunsmuir

Dunsmuir‘s pedigree reads like other bands’ lists of influences. With members drawn from the ranks of Black Sabbath, Clutch, Fu Manchu and The Company Band, the four-piece’s existence was announced back in January. Since then, they’ve gone on to release three limited 7″ singles, with a fourth and final one out this week ahead of a July 22 issue date through Hall of Records for the band’s self-titled full-length debut. They’re apparently pressing 1,000 copies, selling them with a signed poster and leaving it at that. No word on whether this is an ongoing, occasional project or what. Probably best to get through putting the album out first before thinking about future plans.

Noteworthy that guitarist Dave Bone, bassist Brad Davis and vocalist Neil Fallon all make some mention either directly or indirectly of working with a metallic influence. Drummer Vinny Appice calls it “heavy rock that rocks,” as well, but having not heard the full outing, it adds intrigue to how that plays out across the tracklisting.

From the PR wire:

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DUNSMUIR FEATURING MEMBERS OF CLUTCH, BLACK SABBATH, FU MANCHU AND THE COMPANY BAND TO RELEASE DEBUT ALBUM 7/22/16

Dunsmuir, the new project featuring CLUTCH singer Neil Fallon, former Black Sabbath drummer Vinny Appice, Fu Manchu bassist Brad Davis, and The Company Band guitarist Dave Bone are set to release their self-titled debut album July 22nd via Hall Of Records. Presales will begin July 8th and will be released digitally exclusively on iTunes. The LP will have a limited pressing of 1,000 copies and will include a signed lithograph poster of the album cover. The LP will be available exclusively at: http://www.indiemerch.com/Dunsmuir/. The first single at radio will be “Our Only Master”.

Dunsmuir has released three 7” vinyl singles to date. The fourth and final 7” is slated for release June 15th with a very limited run of only 500 pieces and WILL NOT be re-pressed. It will be available exclusively at http://www.indiemerch.com/Dunsmuir/.

When asked about the album, Appice explains “This album is pure simple heavy ROCK that ROCKS!”

“This record is an intense collaboration of four minds all set on “destroy”. says Bone. “It’s been a few years in the making and now ready to erupt. Raw and in your face, we hope you like it hot!”

“Dunsmuir has given us the opportunity to explore some of our favorite heavy metal influences” adds Davis. “We strove to create something I hope will inspire a lot of head banging all over the world.”

Fallon adds “We turned out some serious metal on this record and it shreds. The concept behind the lyrics is comprised of 10 tales from the survivors of a shipwreck. What had been intended as a scientific expedition, quickly deteriorates into a struggle to survive both the natural and supernatural world.”

Dunsmuir Track Listing
1. Hung On the Rocks
2. Our Only Master
3. The Bats (Are Hungry Tonight)
4. What Manner of Bliss?
5. Deceiver
6. …And Madness
7. Orb of Empire
8. Church of the Tooth
9. The Gate
10. Crawling Chaos!

DUNSMUIR
Brad Davis (Fu Manchu)
Vinny Appice (Dio / Black Sabbath / Heaven & Hell)
Dave Bone (The Company Band)
Neil Fallon (Clutch)

https://www.facebook.com/DunsmuirBand/
https://www.instagram.com/dunsmuirband/
https://twitter.com/DunsmuirBand
http://dunsmuirband.com/
http://www.indiemerch.com/Dunsmuir/

Dunsmuir, “Our Only Master”

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Dunsmuir: New Band Announced with Members of Fu Manchu, Clutch and Black Sabbath

Posted in Whathaveyou on January 18th, 2016 by JJ Koczan

As of right now, there isn’t much more to go on when it comes to Dunsmuir than a logo and a lineup, but it’s a considerable lineup to start with. Frontman Neil Fallon of Clutch brings a loyal following with him wherever he goes, and in Dunsmuir he’s joined by The Company Band guitarist Dave Bone, Fu Manchu bassist Brad Davis and Heaven and Hell/Black Sabbath drummer Vinny Appice. The band takes its name from the sleepy fishing getaway town in Northern California that, in 1991, was the site of the largest chemical spill ever to happen in the state — a train fell off a cliff into a river carrying toxic, ecosystem-destroying this-and-that — and while there’s no word yet as regards what they’ll actually sound like, for the rhythm section pairing of Davis and Appice alone, the safest bet seems to be that it’ll rock.

For those reading between the lines of the above, the roots of Dunsmuir would seem to be in The Company Band. Dave Bone played guitar in that band and was principal songwriter, but Fallon and Davis were also members along with CKY‘s Jess Margera and Jim Rota of Fireball Ministry. That group’s last outing was the 2012 Pros and Cons EP (review here), which followed behind their 2009 self-titled debut full-length (review here) and 2008’s debut EP, Sign Here, Here and Here. If Dunsmuir is a continuation on some level of what The Company Band were doing, perhaps without the underlying corporate thematic that the last EP seemed to push away from anyhow, then I doubt they’d meet with many complaints, but it’s really all speculation at this point until some audio begins to surface.

As to that, there’s nothing yet at least that I’ve been able to find. When and if something comes along, I’ll let you know, but here’s that logo and lineup in the meantime, as posted by Davis, along with website/social links in case you’d also like to keep an eye:

dunsmuir logo

DUNSMUIR

Brad Davis (Fu Manchu)
Vinny Appice (Dio / Black Sabbath / Heaven & Hell)
Dave Bone (The Company Band)
Neil Fallon (Clutch)

https://www.facebook.com/DunsmuirBand/
https://www.instagram.com/dunsmuirband/
https://twitter.com/DunsmuirBand
http://dunsmuirband.com/

The Company Band, “El Dorado”

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