Posted in Questionnaire on March 9th, 2022 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: Anders Martinsgård of Black Solstice
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How do you define what you do and how did you come to do it?
Well, in this context I play guitar. I’m one of the guitarists and perhaps the main riff maker in Black Solstice and I also play lead guitar in Cobra Cult, which is perhaps a different matter. I started out learning playing the guitar rather late. It was just something that felt interesting to do when I was in my teens.
I didn’t do sports, I was thinking too much, reading to much, was too shy, but playing guitar got me another way to express myself. I didn’t realize that back then, but that got clearer later on in life. I’m more of a songwriter then a technical guitarist so I kind of talk through the riffs instead of my verbal voice. Nowadays after having releasing records in various band for the last 12 years, this is more of a musical environment where I want to maintain.
Describe your first musical memory.
A bit hard to say. I remember my mom playing Finnish tango records when I was a young kid. I remember when we bought our new LP player and my sister bought Simon and Garfunkel’s Live in Central Park. I guess I was around eight then. And Gullan Bornemark of course. And Pippi!
Describe your best musical memory to date.
There has been a quite few of them over the years. Some extraordinary shows, record deals, great reviews, surprisingly good riffs, etc. But I do remember an occasion at a party in high school when people realized that I could play guitar. And way better then most of them. That was a bit groundbreaking. And I do remember the first time I wrote something on the guitar that I knew that I liked. It was an astounding feeling and I always look for that feeling in my playing.
When was a time when a firmly held belief was tested?
In these times? I’m not an anti-vaxxer, that’s for sure!
Where do you feel artistic progression leads?
Hmm, I think it always leads you away from where you’re standing right now. I can’t write the same riffs or songs as I could 10-15 years ago. But at the same time the latest Black Solstice tracks where unthinkable earlier. Look at your favorite bands, none of those except for perhaps AC/DC and similar hasn’t evolved musically and artistically. I always used hate when my favorite bands changed their style or direction after a few records. But who wants to do the same thing over and over?
How do you define success?
Reaching break-even? It must be that. The moment when I actually don’t end up losing money. I’m not there yet and probably never will be. But that’s ok! On a personal level I guess it is a sign of some success to have to go to the post office to send a record to Australia!
What is something you have seen that you wish you hadn’t?
I’m turning 50 in a couple of years, so I have of course been through both rain and sunshine. And during some periods it’s has been raining a lot. That’s for sure. What an adult answer.
Describe something you haven’t created yet that you’d like to create.
Be a part of the perfect recording session? I still have plans and goals. I would want to be in a surf band or a blues band at some point. I would like to record an instrumental album. I want to release a split 7″! How hard can it be?!
What do you believe is the most essential function of art?
Making people think. And make them reach out to their own feelings. And I do think that people in general should be more open and subject themselves to different kinds of art forms. It’s not bad art just because you don’t understand it. There’s usually always an interesting idea of momentum behind that can be acknowledged if you just take your time. But always remember that good art takes time.
Something non-musical that you’re looking forward to?
Ah, the Christmas session is coming. I fucking love Christmas!
Posted in Reviews on December 16th, 2021 by JJ Koczan
Day four. Fancy pants. Yesterday was the most effective writing day I’ve had in recent memory, which makes today kind of a harrowing prospect since the only real way to go after that is down. I’ve done the try-to-get-a-jump-on-it stuff, but you never really know how things are going to turn out until your head’s in it and you’re dug into two or three records. We’ll see how it goes. There’s a lot to dig into today though, in a pretty wide range of sounds, so that helps. I’ll admit there are times when it’s like, “What’s another way to say ‘dudes like to riff?'”
As if I’d need another way.
Anyhoozle, hope you find something you dig, as always. If not, still one more day tomorrow. We’ll get there. Thanks for reading.
Quarterly Review #31-40:
Dang!!!, Sociopathfinder
It would take all the space I’ve allotted for this review to recount the full lineup involved in making DANG!!!‘s debut album, Sociopathfinder, but the powerhouse Norwegian seven-piece has former members of The Cosmic Dropouts, Gluecifer, Nashville Pussy, and Motorpsycho, among others, and Kvelertak drummer Håvard Takle Ohr, so maybe it shouldn’t be a surprise they get down to serious business on the record. With influences spanning decades from the ’60s-gone’90s organ-laced electro-rock of “Long Gone Misery” and the Halloween-y “Degenerate,” to the rampaging heavy rock hooks of “Manic Possessive” and “Good Intentions” and the “In the Hall of the Mountain King”-referencing closer “Eight Minutes Till Doomsday,” the 12-song/46-minute outing is a lockdown-defiant explosion of creative songwriting and collaboration, and though it features no fewer than six guitarists throughout (that includes guests), it all flows together thanks to the strength of craft, urgency of rhythm, and Geir Nilsen‘s stellar work on organ. It’s a lot to take on, but pays off any effort put in. Unless you’re a sociopath, I guess. Then you probably don’t feel it at all.
Following up their 2019 debut, People (review here), Swedish classic-heavy trio Stew offer an efficient nine-song/38-minute excursion into ’70s/’10s-inspired boogie rock and heavy blues with Taste, balancing modern production and its own yore-born aesthetic in sharp but not overly-clean fashion. The vocal layering in the back half of opener “Heavy Wings” is a clue to the clarity underlying the band’s organic sound, and while Taste sounds fuller than did People, the bounce of “All That I Need,” the blues hooks in “Keep on Praying” and “Still Got the Time,” subtle proto-metallurgy of “New Moon” (one almost hears barking at it) and the wistful closing duo of “When the Lights Go Out” and “You Don’t Need Me” aren’t so far removed from the preceding outing as to be unrecognizable. This was a band who knew what they wanted to sound like on their first album who’ve set about refining their processes. Taste checks in nicely on that progress and shows it well underway.
Are the crows I hear cawing on “Tyrant of the Unreal” actually in the song or outside my window? Does it matter? I don’t know anymore. Los Angeles-based psychological terror rock unit Nothing is Real reportedly conjured the root tracks for the 87-minute 2CD Transmissions of the Unearthly with guest drummer Jeremy Lauria over the course of two days and the subsequent Halloween release has been broken into two parts: ‘Chaos’ and ‘Order.’ Screaming blackened psychedelia haunts the former, while the latter creeps in dark, raw sludge realization, but one way or the other, the prevailing sensory onslaught is intentionally overwhelming. The slow march of “King of the Wastelands” might actually be enough to serve as proclamation, and where in another context “Sickened Samsara” would be hailed as arthouse black-metal-meets-filthy–psych-jazz, the delivery from Nothing is Real is so sincere and untamed that the horrors being explored do in fact feel real and are duly disconcerting and wickedly affecting. Bleak in a way almost entirely its own.
After immersing the listener with the keyboard-laced opening instrumental “Alektorophobia” (fear of chickens), the third album from UK outfit Jerky Dirt, Orse, unfolds the starts and stops of “Ygor’s Lament” with a sensibility like earlier Queens of the Stone Age gone prog before moving into the melodic highlight “Orse, Part 1” and the acoustic “Eh-Iss.” By the time the centerpiece shuffler “Ozma of Oz” begins, you’re either on board or you’re not, and I am. Despite a relatively spare production, Jerky Dirt convey tonal depth effectively between the fuzz of “Ygor’s Lament” and the more spacious parts of “In Mind” that give way to larger-sounding roll, and some vocal harmonies in “The Beast” add variety in the record’s second half before the aptly-named “Smoogie Boogie” — what else to call it, really? — and progressive melody of “Orse, Part 2” close out. A minimal online presence means info on the band is sparse, it may just be one person, but the work holds up across Orse on multiple listens, complex in craft but accessible in execution.
A scouring effort of weirdo horror heavy, the five-track Lunacy from South Carolina’s Space Coke isn’t short on accuracy, seemingly on any level. The swirl of nine-minute opener “Bride of Satan” is cosmic but laced with organ, underlying rumble, far-back vocals and sundry other elements that are somehow menacing. The subsequent “Alice Lilitu” is thicker-toned for at least stretches of its 13 minutes, and its organ feels goth-born as it moves past the midpoint, but the madness of a solo that ensues from there feels well cast off (or perhaps on, given the band’s moniker) the rails. Shit gets strange, people. “Frozen World” is positively reachable by comparison, though it too has its organ drama, and the ensuing “Lightmare” starts with an extended horror sample before fuzzing and humming out six minutes of obscure incantation and jamming itself into oblivion. Oh, and there’s a cover of Danzig‘s “Twist of Cain” at the end. Because obviously. Doom filtered through goth kitsch-horror VHS tape and somewhere behind you something is lurking and you don’t see it coming until it’s too late.
Broken into two halves each given its own intro in “Intervention” and “Celestial Convoy,” respectively, the debut full-length from Stockholm’s Black Solstice brings back some familiar faces in guitarist Anders Martinsgård and drummer Peter Eklund, both formerly of Ponamero Sundown. Ember, with flourish of percussion in “Signs of Wisdom,” grunge-style harmonies in “Burned by the Sun” and just a hint of winding thrashy threat in “Firespawn,” is deeply rooted in doom metal. They count Sabbath as primary, but the 10-track/42-minute offering is more metal than stonerized riff worship, and with vocalist “Mad Magnus” Lindmark and bassist Lelle B. Falheim completing the lineup, the four-piece boast an aggressive edge and hit harder than one might initially think going in. That is no complaint, mind you. Perhaps they’re not giving themselves enough credit for the depth of their sound, but as their first long-player (following a few demos), Ember finds a niche that hints toward the familiar without going overboard in tropes. I don’t know who, but someone in this band likes Megadeth.
Begun as Paleskin before a probably-for-the-best name change, Tampere, Finland’s Dome Runner offer a hard-industrial bridge between Godflesh at their angriest and earliest Fear Factory‘s mechanized chugging assault. Conflict State Design is the trio’s first full-length, and along with the stated influences, there’s some pull from sludge and noise as well, shades of Fudge Tunnel in “Unfollow” met with harsh screaming or the churning riff underscoring the explosions of synth in “The Undemonizing Process,” like roughed-up Souls at Zero-era Neurosis. With the seven-minute extreme wash of “Impure Utility of Authoritarian Power Structure” at its center, Conflict State Design harkens back to the dreary industrialism of two decades ago — it very pointedly doesn’t sound like Nine Inch Nails — but is given a forward-thinking heft and brutality to match. Amid something of an industrial revival in the heavy underground, Dome Runner‘s debut stands out. More to the point, it’s fucking awesome.
Varese, Italy, instrumentalist heavy post-rockers Moonlit almost can’t help but bring to mind Red Sparowes with their debut album, So Bless Us Now…, though the marching cymbals early in the 17-minute finale “And We Stood Still Until We Became, Invisible” seem to be in conversation with Om‘s meditative practice as well, and the violin on the earlier “Empty Sky/Cold Lights…” (11:25) is a distinguishing element. Still, it is a melding of heft and float across “For We Have Seen” (12:29) at the beginning of the record, more straight-ahead riffing met with a focus on atmospherics beyond conventional sense of aural weight. Each piece has its own persona, some linear, the penultimate “Shine in the Darkest Night” more experimentalist in structure and its use of samples, but the whole 55-minute listening experience is consuming, minimal in its droning finish only after creating a full wash of mindful, resonant psychedelic reach. With titles drawn from Nietzsche quotes from Thus Spake Zarathustra, there are suitably lonely stretches throughout, but even at its maddest, So Bless Us Now… holds to its stylistic purpose.
Not to be confused with New York outfit Spacelord, the now-decade-plus-runnin German instrumental kosmiche-harvesters The Spacelords present Unknown Species across three — and I’m just being honest here — wonderful extended works, arranged from shortest to longest as “F.K.B.D.F.” (8:10), “Unknown Species” (14:53) and the initially-unplugged “Time Tunnel” (20:26) unfurl a thoughtful outbound progression that finds beauty in dark times and jams with intent that’s progressive without pretense — and, when it wants to be, substantially heavy. That’s true more of the end in “Time Tunnel” than the initial synth-laced drift of “F.K.B.D.F.,” but the solo-topped punch of the title-track/centerpiece isn’t to be understated either. In 2020, the trio released their Spaceflowers (review here) LP, as well as a documentary about their recording/writing processes, and Unknown Species pushes even further into defining just how special a band they are, gorgeously constructed and impeccably mixed as it is. Can’t and wouldn’t ask for more.
A debut outing from Michigan-based newcomers Scrying Stone, the 29-minute Scrublands flows like an album so I’m going to consider it one until I hear otherwise. And as a first album, it sets melody and tonal density not so much against each other, but toward like purposes, and even in the instrumental “Ballad of the Hyena,” it finds cohesive ground for the two sides to exist together without contradiction and without sounding overly derivative of its modern influences. “At Our Heels” makes an engaging hello for first-time listeners, and the faster “The Marauder” later on adds a sense of dynamic at just the right moment before the fuzzy overload of “Desert Thirst” dives into deeper weedian idolatry. There’s some boogie underneath the title-track too, and as a companion to the willing-to-soar closer “Dromedary,” that unrushed rush feels purposeful, making Scrublands come across as formative in its reach — one can definitely hear where they might branch out — but righteously complete in its production and songwriting; a strong opening statement of potential for the band to make en route to what might come next.
Posted in Whathaveyou on September 29th, 2017 by JJ Koczan
Birmingham, Alabama, post-sludge doomers Ember will follow-up their 2016 261 EP (discussed here) by upping the stakes. By 10, apparently. The forthcoming release is titled 271 and it’s set to arrive on Nov. 12. Before they get there, Ember have a handful of dates booked in throughout October in Alabama and Georgia, including what I’m assuming is a video filming session in Tuscaloosa on Oct. 14 that will be for one of the tracks from the new EP. It’s listed with the shows, but seems to maybe be at a hospital?
Yeah, you might want to hit the band up to find out if that one’s actually open to the public, but I’ve included it here just in case. Maybe they want a crowd to show up. I don’t know. Either way, while I’m making rash assumptions, I’ll just go ahead and figure the gig on Nov. 12 — EP release date, if you forgot in the jump from one paragraph to the next — is a hometown release show. So if you can’t make it to the hospital, there’s always The Nick. Plenty of chances to have a good time.
They sent the following info down the PR wire:
EMBER announce release date for “271”
Birmingham, Alabama’s female fronted Doom/Rock outfit EMBER announce the official release of the 3 song EP “271”. The release is set for November 12th, 2017 and promises to be the band’s most focused and uncompromising material yet. Recorded, mixed and mastered by Matt Washburn at Ledbelly Sound (Mastodon, Royal Thunder, Norma Jean) this 3 song EP is a 25 minute musical journey through a dark myriad of peaks and valleys.
EMBER has imaginatively combined their vast influences to give us a hard-hitting and powerful follow-up. “271” is promising and incorporates new elements while staying true to the EMBER sound they established on their previous release “261”.
EMBER was established in 2015 and have crafted their own brand of doom/rock. Thick dynamic riffs, crushing guitar and bass tones, powerful hard-hitting drumming, all lay the framework for clean, intense and stunning vocals. From the first note, EMBER demand attention.
EMBER live: 11 Oct The Nick Birmingham, AL 14 Oct Bryce Hospital Video Shoot Tuscaloosa, AL 28 Oct The Oglethorpe Lounge Albany, GA 12 Nov The Nick Birmingham, AL
Ember is: Crystal Bigelow – Vocals Craig Shadix – Guitar Jeremy Allen – Bass Eric Bigelow – Drums
Posted in Whathaveyou on November 29th, 2016 by JJ Koczan
I’m not sure which numbers to follow, but Ember have either been a band for five years or for one year. 2011 or 2015. I can admit it when I don’t know something. For what it’s worth, the Birmingham, Alabama, dual-guitar five-piece are getting ready to release their debut three-song EP, given the mysterious numerical banner of 261 — which I’m sure is either an apartment number or of some cultish significance that an earthly rube like me could never truly comprehend — and that seems to be the first thing they’ve put together, period, so their having gotten started last year would make more sense. Deduction! I’m probably wrong. Every time I try to fucking think about anything, it’s wrong.
However long they’ve been together, the Crowbar-style crunch that underlies the melodic vocals and post-metallic flourish of the streaming track “Living Bones / Dying Flesh” is just about soul-wrenching enough to suit my spirits this afternoon. If you’re also dug into that special early-week blend of misanthropic and wistful, by all means have at the nine-minute cut under the info below, which comes from the PR wire:
Birmingham, Alabama based Doom / Heavy Rock outfit EMBER are set to release their debut EP, “261”, via Doomsayer Records on December 1st 2016.
261 was forged by Crystal Bigelow (Vocals), Eric Bigelow (Drums), Jeremy Allan (Bass), Justin Treece (Rhythm Guitar) and Jon Reid (Lead Guitars) – have combined their efforts into this explosive, hard hitting album. Recorded by Eric Watters (Beitthemeans & Stoned Cobra) and mastered by Matt Washburn at Ledbelly Sound (Mastodon, Norma Jean & GZA of Wu Tang).
EMBER perfectly blends heavily dynamic riffs with dual guitar textures, solid, no holds barred drumming and vocals that are beautifully haunting and unparalleled. Ember will be supporting this EP throughout the Southern USA in 2017.
The full track list of “261” 1. 7TH CIRCLE 2. NICHE 3. LIVING BONES / DYING FLESH
Artwork by: Eric Bigelow
EMBER is: Crystal – Vocals Justin – Guitar Eric – Drums Jon – Guitar Jeremy – Bass
