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Quarterly Review: AAWKS & Aiwass, Surya Kris Peters, Evert Snyman, Book of Wyrms, Burning Sister, Gévaudan, Oxblood Forge, High Brian, Búho Ermitaño, Octonaut

Posted in Reviews on October 6th, 2023 by JJ Koczan

the obelisk winter quarterly review

Last day, this one. And probably a good thing so that I can go back to doing just about anything else beyond (incredibly) basic motor function and feeling like I need to start the next day’s QR writeups. I’m already thinking of maybe a week in December and a week or two in January, just to try to keep up with stuff, but I’m of two minds about it.

Does the Quarterly Review actually help anyone find music? It helps me, I know, because it’s 50 records that I’m basically forcing myself to dig into, and that exposes me to more and more and more all the time, and gives me an outlet for stuff I wouldn’t otherwise have mental or temporal space to cover, so I know I get something out of it. Do you?

Honest answers are welcome in the comments. If it’s a no, that helps me as well.

Quarterly Review #41-50:

AAWKS & Aiwass, The Eastern Scrolls

AAWKS & Aiwass The Eastern Scrolls

Late on their 2022 self-titled debut (review here), Canadian upstart heavy fuzzers AAWKS took a decisive plunge into greater tonal densities, and “1831,” which is their side-consuming 14:30 contribution to the The Eastern Scrolls split LP with Arizona mostly-solo-project Aiwass, feels built directly off that impulse. It is, in other words, very heavy. Cosmically spaced with harsher vocals early that remind of stonerkings Sons of Otis and only more blowout from there as they roll forth into slog, noise, a stop, ambient guitar and string melodies and drum thud behind vocals, subdued psych atmosphere and backmasked sampling near the finish. Aiwass, led by multi-instrumentalist/vocalist Blake Carrera and now on the cusp of releasing a second full-length, The Falling (review here), give the 13:00 “The Unholy Books” a stately, post-metallic presence, as much about the existential affirmations and the melody applied to the lyrics as it moves into the drumless midsection as either the earlier Grayceon-esque pulled notes of guitar (thinking specifically “War’s End” from 2011’s All We Destroy, but there the melody is cello) into it or the engrossing heft that emerges late in the piece, though it does bookend with a guitar comedown. Reportedly based around the life of theosophy co-founder and cult figure Madame Helena Blavatsky, it can either be embraced on that level or taken on simply as a showcase of two up and coming bands, each with their own complementary sound. However you want to go, it’s easily among the best splits I’ve heard in 2023.

AAWKS on Facebook

Aiwass on Facebook

Black Throne Productions store

Surya Kris Peters, Strange New World

Surya Kris Peters Strange New World

The lines between projects are blurring for Surya Kris Peters, otherwise known as Chris Peters, currently based in Brazil where he has the solo-project Fuzz Sagrado following on from his time in the now-defunct German trio Samsara Blues Experiment. Strange New World is part of a busy 2023/busy last few years for Peters, who in 2023 alone has issued a live album from his former band (review here) and a second self-recorded studio LP from Fuzz Sagrado, titled Luz e Sombra (review here). And in Fuzz Sagrado, Peters has returned to the guitar as a central instrument after a few years of putting his focus on keys and synths with Surya Kris Peters as the appointed outlet for it. Well, the Fuzz Sagrado had some keys and the 11-song/52-minute Strange New World wants nothing for guitar either as Peters reveals a headbanger youth in the let-loose guitar of “False Prophet,” offers soothing and textured vibes of a synthesized beat in “Sleep Meditation in Times of War” (Europe still pretty clearly in mind) and the acoustic/electric blend that’s expanded upon in “Nada Brahma Nada.” Active runs of synth, bouncing from note to note with an almost zither-esque feel in “A Beautiful Exile (Pt. 1)” and the later “A Beautiful Exile (Part 2)” set a theme that parts of other pieces follow, but in the drones of “Past Interference” and the ’80s New Wave prog of the bonus track “Slightly Too Late,” Peters reminds that the heart of the project is in exploration, and so it is still very much its own thing.

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Electric Magic Records on Bandcamp

Evert Snyman, All Killer Filler

evert snyman all killer filler

A covers record can be a unique opportunity for an artist to convey something about themselves to fans, and while I consider Evert Snyman‘s 12-track/38-minute classic pop-rock excursion All Killer Filler to be worth it for his take on Smashing Pumpkins‘ “Zero” alone, there is no mistaking the show of persona in the choice to open with The Stooges‘ iconic “Search and Destroy” and back it cheekily with silly bounce of Paul McCartney‘s almost tragically catchy “Temporary Secretary.” That pairing alone is informative if you’re looking to learn something about the South African-based songwriter, multi-instrumentalist, vocalist and producer. See also “The Piña Colada Song.” The ’90s feature mightily, as they would, with tunes by Pixies, Blur, Frank Black, The Breeders and Mark Lanegan (also the aforementioned Smashing Pumpkins), but whether it’s the fuzz of The Breeders’ 1:45 “I Just Wanna Get Along,” the sincere acoustic take on The Beatles “I Will” — which might as well be a second McCartney solo cut, but whatever; you’ll note Frank Black and Pixies appearing separately as well — or the gospel edge brought to Tom Waits‘ “Jesus Gonna Be Here,” Snyman internalizes this material, almost builds it from the ground up, loyal in some ways and not in others, but resonant in its respect for the source material without trying to copy, say, Foo Fighters, note for note on “The Colour and the Shape.” If it’s filler en route to Snyman‘s next original collection, fine. Dude takes on Mark Lanegan without it sounding like a put on. Mark Lanegan himself could barely do that.

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Mongrel Records website

Book of Wyrms, Storm Warning

book of wyrms storm warning

Virginian heavy doom rockers Book of Wyrms have proved readily in the past that they don’t need all that long to set up a vibe, and the standalone single “Storm Warning” reinforces that position with four-plus minutes of solid delivery of craft. Vocalist/synthesist Sarah Moore Lindsey, bassist Jay “Jake” Lindsey and drummer Kyle Lewis and guitarist Bobby Hufnell (also Druglord) — the latter two would seem to have switched instruments since last year’s single “Sodapop Glacier” (premiered here) — but whatever is actually being played by whoever, the song is a structurally concise but atmospheric groover, with a riff twisting around the hook and the keyboard lending dimension to the mix as it rests beneath the guitar and bass. They released their third album, Occult New Age (review here), in 2021, so they’re by no means late on a follow-up, and I don’t know either when this song was recorded — before, after or during that process — but it’s a sharp-sounding track from a band whose style has grown only  more theirs with time. I have high expectations for Book of Wyrms‘ next record — I had high expectations for the last one, which were met — and especially taken together, “Storm Warning” and “Sodapop Glacier” show both the malleable nature of the band’s aesthetic, the range that has grown in their sound and the live performance that is at their collective core.

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Desert Records store

Burning Sister, Get Your Head Right

burning sister get your head right

Following on from their declarative 2022 debut, Mile High Downer Rock (review here), Denver trio Burning Sister — bassist/vocalist Steve Miller (also synth), guitarist Nathan Rorabaugh and drummer Alison Salutz — bring four originals and the Mudhoney cover “When Tomorrow Comes” (premiered here) together as Get Your Head Right, a 29-minute EP, beginning with the hypnotic nod groove and biting leads of “Fadeout” (also released as a single) and the slower, heavy psych F-U-Z-Z of “Barbiturate Lizard,” the keyboard-inclusive languid roll of which, even after the pace picks up, tells me how right I was to dig that album. The centerpiece title-track is faster and a little more forward tonally, more grounded, but carries over the vocal echo and finds itself in noisier crashes and chugs before giving over to the 7:58 “Looking Through Me,” which continues the relatively terrestrial vibe over until the wall falls off the spaceship in the middle of the track and everyone gets sucked into the vacuum — don’t worry, the synthesizer mourns us after — just before the noted cover quietly takes hold to close out with spacious heavygaze cavern echo that swells all the way up to become a blowout in the vein of the original. It’s a story that’s been told before, of a band actively growing, coming into their sound, figuring out who they are from one initial release to the next. Burning Sister haven’t finished that process yet, but I like where this seems to be headed. Namely into psych-fuzz oblivion and cosmic dust. So yeah, right on.

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Burning Sister on Bandcamp

Gévaudan, Umbra

Gévaudan UMBRA

Informed by Pallbearer, Warning, or perhaps others in the sphere of emotive doom, UK troupe Gévaudan scale up from 2019’s Iter (review here) with the single-song, 43:11 Umbra, their second album. Impressive enough for its sheer ambition, the execution on the extended titular piece is both complex and organic, parts flowing naturally from one to the other around lumbering rhythms for the first 13 minutes or so before a crashout to a quick fade brings the next movement of quiet and droning psychedelia. They dwell for a time in a subtle-then-not-subtle build before exploding back to full-bore tone at 18:50 and carrying through a succession of epic, dramatic ebbs and flows, such that when the keyboard surges to the forefront of the mix in seeming battle with the pulled notes of guitar, the ensuing roll/march is a realization. They do break to quiet again, this time piano and voice, and doom mournfully into a fade that, at the end of a 43-minute song tells you the band could’ve probably kept going had they so desired. So much the better. Between this and Iter, Gévaudan have made a for-real-life statement about who they are as a band and their progressive ambitions. Do not make the mistake of thinking they’re done evolving.

Gévaudan on Facebook

Meuse Music Records website

Oxblood Forge, Cult of Oblivion

Oxblood Forge Cult of Oblivion

In some of the harsher vocals and thrashy riffing of Cult of Oblivion‘s opening title-track, Massachusetts’ Oxblood Forge remind a bit of some of the earliest Shadows Fall‘s definitively New Englander take on hardcore-informed metal. The Boston-based double-guitar five-piece speed up the telltale chug of “Children of the Grave” on “Upon the Altar” and find raw sludge scathe on “Cleanse With Fire” ahead of finishing off the four-song/18-minute EP with the rush into “Mask of Satan,” which echoes the thrash of “Cult of Oblivion” itself and finds vocalist Ken McKay pushing his voice higher in clean register than one can recall on prior releases, their most recent LP being 2021’s Decimator (review here). But that record was produced for a different kind of impact than Cult of Oblivion, and the aggression driving the new material is enhanced by the roughness of its presentation. These guys have been at it a while now, and clearly they’re not in it for trends, or to be some huge band touring for seven months at a clip. But their love of heavy metal is evident in everything they do, and it comes through here in every blow to the head they mete out.

Oxblood Forge on Facebook

Oxblood Forge on Bandcamp

High Brian, Five, Six, Seven

High Brian Five Six Seven

The titular rhythmic counting in Austrian heavy-prog quirk rockers High Brian‘s Five, Six, Seven (on StoneFree Records, of course) doesn’t take long to arrive, finding its way into second cut “Is it True” after the mild careening of “All There Is” opens their third full-length, and that’s maybe eight minutes into the 40-minute record, but it doesn’t get less gleefully weird from there as the band take off into the bassy meditation of “The End” before tossing out angular headspinner riffs in succession and rolling through what feels like a history of krautrock’s willful anti-normality written into the apocalypse it would seemingly have to be. “The End” is the longest track at 8:50, and it presumably closes side A, which means side B is when it’s time to party as the triplet chug of “The Omni” reinforces the energetic start of “All There Is” with madcap fervor and “Stone Came Up” can’t decide whether it’s raw-toned biker rock or spaced out lysergic idolatry, so it decides to become an open jam complete people talking “in the crowd.” This leaves the penultimate “Our First Car” to deliver one last shove into the art-rock volatility of closer “Oil Into the Fire,” where High Brian play one more round of can-you-follow-where-this-is-going before ending with a gentle cymbal wash like nothing ever happened. Note, to the best of my knowledge, there are not bongos on every track, as the cover art heralds. But perhaps spiritually. Spiritual bongos.

High Brian on Facebook

StoneFree Records website

Búho Ermitaño, Implosiones

Búho Ermitaño Implosiones

Shimmering, gorgeous and richly informed in melody and rhythm by South American folk, Búho Ermitaño‘s Implosiones revels in pastoralia in opener “Herbie” before “Expolosiones” takes off past its midpoint into heavy post-rock float and progressive urgency that in itself is more dynamic than many bands even still is only a small fraction of the encompassing range of sounds at work throughout these seven songs. ’60s psych twists into the guitar solo in the back half of “Explosiones” before space rock key/synth wash finishes — yes, it’s like that — and only then does the serene guitar and, birdsong and synth-drone of “Preludio” announce the arrival of centerpiece “Ingravita,” which begins acoustic and even as it climbs all the way up to its crescendo maintains its peaceful undercurrent so that when it returns at the end it seems to be home again at the finish. The subsequent “Buarabino” is more about physical movement in its rhythm, cumbia roots perhaps showing through, but leaves the ground for its second half of multidirectional resonances offered like ’70s prog that tells you it’s from another planet. But no, cosmic as they get in the keys of “Entre los Cerros,” Búho Ermitaño are of and for the Earth — you can hear it in every groove and sun-on-water guitar melody — and when the bowl chimes to start finale “Renacer,” the procession that ensues en route to the final drone is an affirmation both of the course they’ve taken in sound and whatever it is in your life that’s led you to hear it. Records like this never get hype. They should. They are loved nonetheless.

Búho Ermitaño on Facebook

Buh Records on Bandcamp

Octonaut, Intergalactic Tales of a Wandering Cephalopod

Octonaut Intergalactic Tales of a Wandering Cephalopod

In concept or manifestation, one would not call Octonaut‘s 54-minute shenanigans-prone debut album Intergalactic Tales of a Wandering Cephalopod a minor undertaking. On any level one might want to approach it — taking on the two-minute feedbackscape of “…—…” (up on your morse code?) or the 11-minute tale-teller-complete-with-digression-about-black-holes “Octonaut” or any of their fun-with-fuzz-and-prog-metal-and-psychedelia points in between — it is a lot, and there is a lot going on, but it’s also wonderfully brazen. It’s completely over the top and knows it. It doesn’t want to behave. It doesn’t want to just be another stoner band. It’s throwing everything out in the open and seeing what works, and as Octonaut move forward, ideally, they’ll take the lessons of a song like the mellow linear builder “Hypnotic Jungle” or nine-minute capper “Rainbow Muffler Camel” (like they’re throwing darts at words) with its intermittent manic fits and the somehow inevitable finish of blown-out static noise. As much stoner as it is prog, it’s also not really either, but this is good news because there are few better places for an act so clearly bent on individualism as Octonaut are to begin than in between genres. One hopes they dwell there for the duration.

Octonaut on Facebook

Octonaut’s Linktr.ee

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The Obelisk Questionnaire: Evert Snyman

Posted in Questionnaire on August 1st, 2023 by JJ Koczan

evert snyman

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: Evert Snyman

How do you define what you do and how did you come to do it?

I’m a songwriter and singer at heart but I do a little bit of everything. Growing up I was always fascinated by musical instruments. My father played piano so I was exposed to music from a very young age. I’ve pretty much been singing in front of people since I was 4 years old. I did a bit of piano lessons when I was 8 but gave up after 2 years (something I regret to this day). I wanted to become a cartoonist when I was a kid but that all changed when I took up bass to play in a band.

From there I went on to guitar and then eventually drums. I had very little friends growing up so it was a great way to escape into my own world.

My first semi proper recordings were on an 8 track fostex tape recorder that my father organised for me when I was about 15 years old.

I became a sound engineer by default as I figured out very quickly that it would be the only way to get remotely close to the sound I was hearing in my head.

Describe your first musical memory.

That would probably be my dad playing piano. He used to play a lot of classical music as well as Beatles songs. I also remember my parents spinning a lot of ABBA, Creedence Clearwater Revival, Deep Purple, Led Zeppelin, Black Sabbath and my favourite songwriter of all time Billy Joel.

Describe your best musical memory to date.

Definitely seeing Pixies live. I’ve been a huge fan since I was a teenager so it was a mind blowing experience to be less than 4 meters away from Black Francis screaming “your mouth is a mile away”.

When was a time when a firmly held belief was tested?

Every time I start writing a new song. The more I write the more I realise I have no idea what I’m doing.

Where do you feel artistic progression leads?

If you’re lucky, recognition. However I think it’s more important to expect nothing from music. If you don’t love making music for the sake of making it you will always be disappointed.

How do you define success?

Getting paid for something you love because you’ll never work a day in your life again. That said I would say if you can live a happy stress free life you’re winning.

What is something you have seen that you wish you hadn’t?

When Nickleback did a Maroon 5 vibe song. It’s probably the worst thing anyone will ever hear (or see for that matter).

I like a lot of weird unlistenable music and I am a firm believer of “so bad it’s good”, but even I have limits.

Describe something you haven’t created yet that you’d like to create.

I mainly work with sound but I dabble in video editing and would love to make music videos for other artists. My approach is always a high concept with a low budget.

What do you believe is the most essential function of art?

To give purpose to the artist and to inspire people to make more art.

Something non-musical that you’re looking forward to?

Spending the rest of my life with my gorgeous wife.

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http://mongrelrecords.com
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Evert Snyman & The Aviary, All Killer Filler (2023)

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Evert Snyman Posts Paul McCartney Cover “Temporary Secretary”; All Killer Filler Out July 28

Posted in Whathaveyou on June 23rd, 2023 by JJ Koczan

evert snyman

Note that in addition to covering Paul McCartney‘s “Temporary Secretary,” Evert Snyman also takes on “I Will,” a McCartney-penned Beatles song from the White Album. See also Pixies and Frank Black. Clearly somebody appreciates songwriting. From The Stooges to Blur and Smashing Pumpkins to Foo Fighters to the Piña Colada song, that’s the underlying message of Snyman‘s upcoming covers record, All Killer Filler, and his original material bears out that influence, as one might’ve heard on last year’s Pruning in the Dark (review here). The new collection is out July 28 through Mongrel Records and Snyman has put up a video for “Temporary Secretary” as a lead single from the offering.

The clip wants nothing for persona — neither did the original — and Snyman makes it his own while staying true to the base structure. If that’s the method put to use throughout All Killer Filler, things will be just fine. Also a producer in addition to being a multi-instrumentalist and vocalist, Snyman has shown a willingness to dive deep on arrangements and different atmospheres within songs, and I’d expect the covers collection to be a fun excuse to play in that regard. In any case, here’s looking forward.

From the PR wire:

evert snyman all killer filler

South African Rock Musician and Multi-Instrumentalist Evert Snyman Unveils First Single from Highly Anticipated Covers Album All Killer Filler

Pre-save All Killer Filler: https://orcd.co/all-killer-filler

Buy / Stream Temporary Secretary: https://orcd.co/temporary_secretary

Renowned South African rock musician and multi-instrumentalist, Evert Snyman, is set to captivate audiences once again with the release of his first single from an upcoming covers album All Killer Filler. The album features an array of tracks carefully selected from some of Evert’s all-time favorite bands and musicians, offering a fresh and dynamic take on the songs.

As a respected figure in the South African music scene, Evert Snyman has consistently pushed the boundaries of rock music with his extraordinary talent and eclectic taste. With a diverse musical background, Snyman has established himself as a master of multiple instruments, seamlessly blending various genres and infusing his own unique style into every performance.

The forthcoming covers album showcases his ability to reimagine and breathe new life into beloved songs. Drawing inspiration from an impressive repertoire of influential musicians, the album promises to delight fans both old and new. Each track has been thoughtfully chosen to pay homage to the artists who have shaped Evert Snyman’s musical journey, while simultaneously showcasing his own creative evolution. Listeners can expect to be enthralled by his dynamic interpretations of iconic songs from artists such as Paul McCartney, Pixies, The Stooges, Mark Lanegan, Tom Waits and Smashing Pumpkins. With each cover, Evert injects his own distinctive style, seamlessly blending his technical prowess with raw emotion.

The debut single Temporary Secretary, originally done by Paul McCartney, is a testament to his creative vision and meticulous attention to detail. With its infectious energy and innovative reinterpretation, Temporary Secretary sets the stage for an album that promises to be a remarkable addition to Evert Snyman’s discography.

Track Listing
1. Search and Destroy (The Stooges)
2. Temporary Secretary (Paul McCartney)
3. I Just Wanna Get Along (The Breeders)
4. Zero (Smashing Pumpkins)
5. Beetlebum (Blur)
6. I Will (The Beatles)
7. Escape – The Piña Colada Song (Rupert Holmes)
8. Freedom Rock (Frank Black)
9. The Colour and The Shape (Foo Fighters)
10. Planet Of Sound (Pixies)
11. When Your Number Isn’t Up (Mark Lanegan)
12. Jesus Gonna Be Here (Tom Waits)

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http://mongrelrecords.com
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Evert Snyman, “Temporary Secretary” official video

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Evert Snyman & the Aviary Premiere “Thinking Too Hard” Video; Pruning in the Dark Coming April 1

Posted in Bootleg Theater, Reviews on February 18th, 2022 by JJ Koczan

Evert Snyman

Johannesburg, South Africa’s Evert Snyman & the Aviary will release Pruning in the Dark April 1 through Mongrel Records. Musically speaking, Snyman is a smartass with a heart of gold. Sitting down casually at his piano with a cigarette dangling from his mouth — that shit’ll kill you, man — in the video for “Thinking Too Hard” (premiering below) the impression is casual to the point of toss-off, but while the aesthetic says punker laissez-faire, the material itself speaks to a depth of craft derived from classic pop structures and desert-style heavy rock, broadened in sphere all the more for Snyman‘s guiding hand as a producer.

As with Snyman‘s 2021 solo offering, Hot Mess (review here), there’s a fair amount of snark here, and joined by members of The TazersCaution Boy and Them Dirty Shrikes, as well as guests from Ruff MajikAcid Magus and more, there’s something of an encapsulation effect for the South African heavy underground happening, even as Pruning in the Dark is identifiably Snyman‘s own in the cynicism of the spoken parts in “St. Elseway” or the swaggering crunch of “I Never Listen When You Speak,” Rarely is a song over four minutes long — only the presumed side A closer “Sir Richard Salt” (4:41) and its side B counterpart, “Pop Abortion” (9:55) are longer — and the tracks surrounding are deceptively efficient at framing the perspective of the record.Evert Snyman & The Aviary - Pruning In The Dark “Numerous Strides” bursts out with emphasis on its post-Songs for the Deaf tonality, also heard on “Thinking Too Hard,” which follows the more keyboard-led opener “Pruning in the Dark,” which moves into a payoff of guitar and finds Snyman vocally referencing Queens of the Stone Age‘s …Like Clockwork in some of the non-lyric vocals. Still, it should tell you plenty that one of the record’s catchiest hooks is the bouncing “Enough of This Ride,” with lines like, “One day I’ll get away and never ever come back,” standing out as they establish the lyrical point of view that unites much of the material.

That, of course, leaves Snyman and company — Stiaan du Preez on guitar, Andi Cappo on bass and Tim Edwards on drums/vocals; The Aviary take their name from Snyman‘s first solo record — room to branch out instrumentally. “Fluff” repurposes the guitar shine of CCR‘s “Fortunate Son” with seemingly intended irony, while “Sir Richard Salt” calls back to the beginning of the album with key and bass prominence, but sets it to a drum beat and funk-informed progression that reminds of what Beck‘s cooler-than-cool kitchen-sinkery might be if it let itself get heavy later on. Punker thrust in “Minor Hiccup” becomes melodically complex desert rock careening, while “More Over” is ready to tip into more abrasive noise from the keys and guitar in its second half, a squibbly solo thrown in for good measure as a change from the shimmy of “Numerous Strides” before that sets up the comedown of the mellower “I’m on a Cloud” after.

The latter is the penultimate cut on Pruning in the Dark, and takes ’70s singer-songerism over the edge of a cliff into the weirdo finale of “Pop Abortion,” which sounds like it was initially born out of an improv jam and built upward with layers of fuzz and samples, and so on, making it an immersive collage piece that feels sure enough like a kind of brain dump born of anxiety and being overwhelmed. To the credit of Evert Snyman & the Aviary, it grooves for all that, and despite being a step outside of Pruning in the Dark‘s established method of songwriting, it still manages to bring to mind the underlying thoughtfulness of the arrangements throughout and the balance of the mix that’s able to account for kicks of tempo and distortion when called for but still feels human and tied to Snyman‘s way of looking at the world.

And all the while, across these spaces of varied intensity and breadth, Snyman maintains the attitude that it’s just another day doing what he does. Listening to the record, which follows 15 months after the last one and runs 10 minutes longer with more songs — nothing like having something to say and/or a backlog of material to say it with — it might actually be that. If so, here’s to tomorrow as well.

Jacques Moolman of Shadowclub guests on “Thinking Too Hard,” and you’ll find the video below, accompanied by comment from Snyman and more from the PR wire:

Evert Snyman & The Aviary, “Thinking Too Hard (feat. Jacques Moolman)” video premiere

Evert Snyman on “Thinking Too Hard”:

“I had booked the session with Jacques Moolman (Shadowclub) who I’ve been wanting to collaborate with for years. I didn’t even know what we were going to record (or that it would be on the new album) and had written the lyrics and half of the music two days prior. On the day of the session I showed everyone the unfinished song and then we finished arranging it in less than an hour. Chris wrote the Latin-ish bit in the middle right before the heavy bit that Jacques came up. This song is a lot more representative of what we sound like live and it’s probably one of my favourites on the new album. I also love the fact that we tracked the basic track live in the studio without a click and that the song only has one chorus. It’s the first song that features every single member of my band The Aviary. With Andi Cappo’s thunderous bass complementing Tim’s insane drumming as well as Stiaan Du Preez’s tasteful lead guitar which stands out on the mellower piano part in the middle. Engineering on the day was my friend Kyle Leist. Who did a fantastic job capturing the performance. I’m very lucky to have the opportunity to collaborate with such talented musicians…”

DOWNLOAD / STREAM https://orcd.co/thinkingtoohard
PRE ORDER / ADD THE NEW ALBUM https://orcd.co/pruninginthedark

Recorded & produced at Evert Snyman’s own Pariah Studios, forthcoming album ‘Pruning In The Dark’ (which includes new single ‘Thinking Too Hard’) is also the first to feature his entire band, The Aviary including a host of guest musicians. These guests, of course, are also prominent members of various prestigious South African Stoner / Fuzz / Psych Rock bands (Shadowclub, Ruff Majik, Caution Boy). In lieu of COVID-19 confinements Snyman was hell bent to ensure that Pruning In The Dark was a completely collaborative effort (which presented a few pandemic safe face-to-face challenges). resulting approach is a much heavier offering than 2021’s debut ‘Hot Mess’, which saw Snyman steering not only the albums engineering, mixing and mastering alone, but also the album’s instrumentation and performances.

The Aviary:
Tim Edwards – Drums and Vocals (The Tazers)
Andi Cappo – Bass (Caution Boy)
Stiaan Du Preez – Guitar (Them Dirty Shrikes)

Features:
Jacques Moolman (Shadow club) – Guitar
Kenny Hughes – Guitar
Casey Bliss (Karaoke Machine of Death) – Bass
Brendon Bez (Ruff Majik) – Guitar
Chris Van Renen (Acid Magus, Ruff Majik) – Guitar and Keys
Johni Holiday (Ruff Majik) – Guitar

Evert Snyman on Facebook

Evert Snyman on Instagram

Mongrel Records website

Mongrel Records on Facebook

Mongrel Records on Instagram

Mongrel Records on Bandcamp

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Evert Snyman Premieres “Operation Human Shield” Video; Hot Mess Out Jan. 22

Posted in Bootleg Theater on November 13th, 2020 by JJ Koczan

Evert Snyman operation human shield

Evert Snyman will release his second solo album, Hot Mess, on Jan. 22 through Mongrel Records. The longtime producer recently made his debut as a full-time guitarist, keyboardist, vocalist of Ruff Majik on that band’s The Devil’s Cattle (review here) and has been involved in a range of other projects in and around Johannesburg, South Africa, including Mad God and Pollinator, in addition to having issued his own first LP, The Aviary, last year. With Hot Mess, he brings 11 tracks and 40 minutes of richly varied and organic-sounding rock and roll, some of it weighted in tone or fuzz, but most within the sphere of latter day Queens of the Stone Age, if somewhat meatier sounding on the whole and maintaining an adventurousness of its own when it comes to arrangements. Snyman is not shy with keyboards, as the title-track of Hot Mess shows.

I’ve been trying to bottom-line Hot Mess since it first came my way, to narrow down what’s the album’s ultimate appeal. It’s the groove, it’s the songwriting, it’s the performances, and so on. The truth is it’s all of it. One track here tops five minutes — “If Eyes Could Kill” at 5:03 — and the sense of craft is remarkably tight. Snyman self-harmonizes easily on vocals, even plays both the Oliveri and Homme roles on the shoutier “Dumb and Dead,” and as the video premiering below for “Operation Human Shield” demonstrates, is comfortable on across various instruments and able to record himself layering a song together one piece at a time. He carries a frontman’s charisma in these tracks, pulling off the Bernie Worrell-style watery weirdness at the end of “Maybe Never” as ably as the desert-hued hooks of opener “The End of Time” and the subsequent piano-meet-fuzz “Debilitate Me” — both of which feel like singles in waiting — and the sudden sweep of “Live the Lie” that takes off from the garage jangle hints toward Evert Snyman operation human shield coversounding unhinged but is too sharply executed to get there, even in its noisier final stretch.

Parts of Hot Mess will underscore some of what Snyman brought to the aforementioned 2020 offering from Ruff Majik, but even as Snyman builds a wall of fuzz backed by keys on “If Eyes Could Kill,” the song carries a melancholy of its own, which earlier keyboardy pieces like “Cleaner Than God” and the nighttime-dancer “Hot Mess” hinted toward, setting the table for the wake-up-call jangle and immediate hook of “Operation Human Shield,” which is nowhere near as speedy as the record gets but likewise far from at rest. To round out, Snyman plays like an impatient McCartney on the early piano of “Consummate” and carries a fuzzy build to a satisfying payoff, and closer “Burn” echoes the theme with a bouncing line that draws together that Beatles-y bounce with the post-QOTSA vibe, not quite summarizing everything Hot Mess has to offer, but certainly giving the album a melodically engaging sendoff as fitting as one could ask.

In addition to his own multi-instrumentalism and vocals, Snyman has a full band — Stiaan Du Preez on guitar, Christiaan Van Reenen on guitars, piano, vocals, Wessel Möller on synth and keys, Andi Cappo on bass and Timothy Edwards on drums and vocals — but it seems to vary who does what on each track, and as a tongue-in-cheek quick series of videos of the group introducing themselves and noting that none of them play “Operation Human Shield” demonstrates, sometimes it’s Snyman all on his own. One assumes that accounts for some of the varied personality throughout Hot Mess, but as much as the album may be titled as a goof on its catchall nature or diversity of influences, the fact is it’s anything but. It is united not only by Snyman‘s vocals and ready higher-register lines, but, again, the songwriting at the core of each of these tracks. They are bridged together through sheer quality of the work being done and thus the flow of Hot Mess, while clearly not intended to be smooth, is exciting to follow from front to back.

During this pandemic year, we’ve seen a number of quarantine-style videos with each member of a band filming their own part and then grouping together the bunch in one clip. It’s become kind of a genre of its own. Snyman plays off that in the clip for “Operation Human Shield,” except he shows himself recording all the instruments and vocals, so yes, very much a solo thing as noted.

PR wire info follows the video below.

Please enjoy:

Evert Snyman, “Operation Human Shield” official video premiere

One rarely encounters that unique sound that draws you in and alerts your senses…that rare quality in a musician that forces you to listen more closely and pay attention. South African musician and producer Evert Snyman is exactly that – a talented songwriter and performer who has enthralled many an audience with his galvanic melodies, poetic, yet straightforward lyrics and hypnotic rhythms. Based in Johannesburg, Evert has launched and collaborated on various projects, cementing himself as a versatile multi-instrumentalist, the most notorious of these being alternative rock bands, Pink Noise and Pollinator. Recording and producing all his own music at his studio in Auckland Park, he quickly become renowned on the local scene as the go to rock producer, working with bands like Caution Boy, Mad God and Ruff Majik, whose ranks he recently joined as a full time member.

What sets Evert apart from other musicians is the raw honesty of his music. Snyman is a fearless and unabated songwriter and lyricist, speaking to emotions we often keep hidden – even from ourselves. Evert’s powerful vocals range from angst-ridden screams to crystal clear melodies that cut through intense rock guitars, drums, and keys. “Operation Human Shield” is the first single taken from Snyman’s forthcoming solo album “Hot Mess” out 22nd January 2021 via Mongrel Records.

“Initially I just wanted to make a song in 6/8 timing with Jazzy drumbeat and piano. I don’t know what some my songs are about until long after I’ve written them, but I think it’s safe to say the lockdown had a fair bit of influence on this one” – Evert Snyman

Evert Snyman (band) is:
Evert Snyman – Vocals, Guitar and Keys
Timothy Edwards – Drums and Vocals
Andi Cappo – Bass
Christiaan Van Reenen – Guitar, Piano and Vocals
Stiaan Du Preez – Guitar
Wessel Möller – Keyboards and Synthesizer

Evert Snyman on Facebook

Mongrel Records website

Mongrel Records on Facebook

Mongrel Records on Instagram

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