The Obelisk Presents: The Top 20 Singles, EPs, Splits and Demos of 2014

Posted in Features on December 23rd, 2014 by JJ Koczan

top-20-short-releases-of-2014-Samuel-Palmer-1805-1881-Morning-of-Life-1861

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I did this last year mostly as a result of not having somewhere to put  ENotes Homework Help is a way for educators to help students understand their school work. Searching homework help expository writing for me? So, Will You Do My Elder‘s  news glasgow, creative writing essays on the beach, popular dissertation conclusion editor services ca, custom critical Spires Burn/Release EP in 2012, but it went pretty well, so I thought we’d do another round for 2014. The 2013 list covered demos, singles, EPs and splits — basically everything that’s not a full-length album — and the same rules apply here. It’s a pretty basic idea, but it makes sense to me to consider short releases apart from full-lengths because very often they’re trying to accomplish different things.

For example, if an album is trying to tell a story or describe a central theme, either blatantly in its lyrics or atmospherically through the music itself, a demo might just be the work of a band trying to feel their way into their sound. It doesn’t strike me as fair to judge the two on the same standard. Likewise, if a band releases a single, should that really be judged alongside an hour-long release? Granted, some bands’ singles actually are an hour long, but that’s another category entirely. “The ‘Dopesmoker’ Awards” will be handed out at another date.

No, not really. At least not this year.

If you didn’t see the full-albums Top 30 of 2014, please feel free to check it out and think of this and the year-end podcast as companion pieces, albeit both a little more casual. Let’s get to it:

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The Top 20 Short Releases of 2014

1. Sleep, The Clarity
2. Fatso Jetson/Herba Mate, Early Shapes
3. All Them Witches, Effervescent
4. Cortez/Borracho, Split 7″
5. Naam/White Hills/Black Rainbows/The Flying Eyes, 4-Way Split
6. Heavy Temple, Heavy Temple
7. Death Alley, Over Under/Dead Man’s Bones 7”
8. Geezer, Live! Full Tilt Boogie
9. The Sun, the Moon and the Witch’s Blues, The Sun, the Moon and the Witch’s Blues
10. Demon Head, Demo 2014
11. Gold & Silver, Azurite and Malachite
12. The Proselyte, Our Vessel’s in Need
13. Hull, Legend of the Swamp Goat
14. Lamp of the Universe/Krautzone, Split
15. The Ultra Electric Mega Galactic, Through the Dark Matter
16. The Heavy Co., Uno Dose
17. Wren, Wren
18. He Whose Ox is Gored, Rumors 7”
19. Lewis and the Strange Magics, Demo
20. Godhunter/Secrets of the Sky, Gh/0st:s
21. Lord, Alive in Golgotha

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A couple notes: The Sleep single was a given. I don’t think anything could’ve topped it one way or another, even if I hadn’t listened to it 100 times since its release in July as part of the Adult Swim Singles Series. In any case, there was no debate about where to place it. You might notice on the other end the list goes to 21. I thought that being the element of chaos suited Lord well, and since I’m not entirely sure their Alive in Golgotha EP has been officially released, they warranted inclusion just in case.

One thing that struck me in putting this list together was the amount of splits included. You’ll notice Fatso Jetson and Herba Mate‘s Early Shapes right in behind Sleep. That one was an utter joy, as far as I’m concerned, and made me wish both of them would get on putting out full-lengths as soon as possible. Not far behind is Cortez and Borracho‘s split single, which had killer tracks from both bands, and the Naam/White Hills/Black Rainbows/The Flying Eyes split from Heavy Psych Sounds that, even with four bands involved, managed to keep a flowing atmosphere front to back, which was impressive enough in and of itself, never mind the individual contributions of those four acts, which were also top quality. The Krautzone/Lamp of the Universe split also provided a considerable psych blissout, and Godhunter‘s split/collaboration with Secrets of the Sky earned extra points for its adventurous spirit and the payoff its risk-taking brought to bear.

Like their Lightning at the Door LP, All Them Witches‘ Effervescent 25-minute jam figured heavily in my 2014 listening habits, as did Heavy Temple‘s self-titled debut EP. Dutch garage/heavy punkers Death Alley earned spins with their debut 7″, a lack of pretense in melding proto-thrash and heavy rock impulses allowing them to quickly find a niche that one hopes they continue to develop. Their debut single, along with Demon Head‘s Demo 2014 (and, indeed, that band’s follow-up single) and the Lewis and the Strange Magics demo were an allay to concerns retro-minded rock might be stagnating.

Geezer featured on the Short Releases list last year as well. I wasn’t sure what to do with their Gage 12″, since it was released in 2013 as an EP and 2014 as an LP, but either way, their Live! Full Tilt Boogie tape effortlessly recalled classic blues rock performances and demonstrated the fluid chemistry at work in the New York trio, I hope it’s not the last live release they do. Along similar bluesy lines, The Heavy Co.‘s Uno Dose found the Hoosier three-piece dipping into heavy jams more than their last full-length, and if that’s the direction they’re headed, you won’t hear me argue. Hailing from Sweden and arriving as an offshoot of Asteroid, the single-song EP from The Sun, the Moon and the Witch’s Blues had more than a touch of heavy blues to it too, and made me look forward to that project’s development from here on out.

There’s little I’m going to complain about less than hearing Ed Mundell bust out Miles Davis-inspired solos, so yeah, The Ultra Electric Mega Galactic‘s Through the Dark Matter EP gets a nod. Impressive guitar work ran a current through Boston duo Gold & Silver‘s debut EP, Azurite and Malachite, but the proggy feel was what ultimately sold me on the two extended instrumentals included there, whereas with fellow Beantowners The Proselyte, it was the catchy songwriting and variety they showed in just four tracks. The He Whose Ox is Gored 7″ was likewise modern and satisfyingly weighted, though obviously shorter, and last but not at all least, the progressive sludge of Wren‘s self-titled EP seemed to fly under a lot of people’s radar but was a markedly individual take on a well established form that portended of good things to come.

As with everything, I’m sure there’s something in this mix that I forgot. If you’ve got a call you want to make on something, please let loose in the comments. Thanks for reading.

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Gold & Silver, Azurite and Malachite: Elemental

Posted in Reviews on December 17th, 2014 by JJ Koczan

gold and silver azurite and malachite

The copper minerals from which Gold & Silver‘s two-song debut EP takes its name, Azurite and Malachite, are blue and green, respectively. But for the shimmering tones present on the tracks themselves, I’d almost be tempted to say it’s a long way around to expressing the ideas of color while avoiding the Baroness trap of actually naming records after colors, but both “Azurite” and “Malachite” seem to take a feel as crystalline in their structure as the Andrea Santos cover hints toward, fleshing out progressively over two extended runtimes and creating a sometimes heavy but almost universally spacious and apparently more concerned with that feel that persists for the 26-minute duration. Even the name of the project, Gold & Silver, relates both to colors and to minerals. The Boston duo of guitarist/drummer/keyboardist Nick DiSalvo, also of Elder, and guitarist Mike Risberg have released Azurite and Malachite on limited vinyl (250 copies, tri-color platter, etc.) through Totem Cat Records, and apart from a prior rehearsal demo, it’s the first output from the band, and the feel throughout is suitably exploratory. But that’s the point. Gold & Silver began as Risberg and DiSalvo writing for acoustic guitar, and if “Azurite” (15:42) and “Malachite” (10:08) were constructed the same way, then they maintain that jam-based sensibility, despite being at least directionally plotted and recorded in layers (unless DiSalvo has concocted a way to play guitar and a full drum kit at the same time; live, Gold & Silver brings in Elder‘s Jack Donovan on bass and John DiSalvo on drums), while fostering clean tonality and a linear feel. They are two distinct pieces, each with its own movements, but consistent in mood and atmosphere and entirely instrumental, the breathy guitar notes and at-the-ready leads saying whatever it is that might ultimately need to be said.

Elder comparisons are inevitable — particularly so for Gold & Silver being DiSalvo‘s first public step outside that band since they got going — so I’ll resign myself to them. Around halfway though “Azurite,” there’s a stop, quick turn, and launch into a heavier push, and in the structure of that, Azurite and Malachite has some commonality with DiSalvo‘s main outfit. As heavy psych influences and some more weighted tones show up later into “Azurite” and “Malachite” gets started on a quieter feel before building into a memorable triumph of a movement, there’s some of that spirit as well, but Gold & Silver retain a personality of their own because of the contributions of Risberg‘s guitar — there’s bass as well, though I’m not sure which of them actually plays it — as well as the overarching progressive vibe throughout. “Azurite” mounts a tense second half on quick-turning rhythms, made jazzy by an overarching lead and some feedback cascading over, and even when it opens up, it does so to a jabbing kind of payoff, guitar and bass bouncing off the sides of the wall of whatever corridor the drums are leading them down toward their crashing finish. It’s not barraging one part after another in the vein of soulless modern prog technicality, but neither is “Azurite” — nor “Malachite,” for that matter — entirely a heavy psychedelic jam. Gold & Silver find a resonant space somewhere between the two sides, and while one gets the sense that should the project continue to move forward Azurite and Malachite could seem formative in comparison to subsequent outings, there’s also clearly a consciousness at work behind both the construction of the material and the style in which it’s presented. As a preliminary exploration, the EP satisfies, and for those familiar with what’s become a signature rhythmic patterning for DiSalvo‘s playing through Elder, it provides a different context in which to experience that as he continues to branch out and progress in his writing.

gold and silver azurite and malachite record

But there’s also a burgeoning individuality at work within Gold & Silver. The contemplative opening of “Malachite” demonstrates it well, with the wistful lead lines that emerge over an already intricate intro, playing into the subtle build already underway in the guitar, bass and drums. About three minutes in, the drums shift and the central guitar figure arrives that will mark out the song from its predecessor, a sweet sort of noodling that furthers Azurite and Malachite‘s bridge between psych and prog. They build around this riff until shortly before eight minutes in, when the track starts to blow out — think the ending of Neurosis‘ “Stones from the Sky” — and cuts to silence, a drone gradually fading in and swelling to audibility just before wisping out to end the release. That final section, in the two minutes between where the distorted apex of “Malachite” checks out and where the drone takes hold, belongs entirely to Gold & Silver, and if it’s a last minute show of experimentalism on the part of the duo, it’s one that bodes well for their growth as a band. While Azurite and Malachite represents just a first stage in that process, it also makes for an engaging listen both in its concept and execution, and winds up a heartening debut that speaks — without any words, mind you — of good things to come. And while much of DiSalvo‘s 2015 seems set to be consumed by the impending release of his main outfit’s third album and their ascending profile, the word he does here with Risberg isn’t to be ignored.

Gold & Silver, Azurite and Malachite (2014)

Gold & Silver on Thee Facebooks

Gold & Silver on Bandcamp

Azurite and Malachite at Totem Cat Records

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