Quarterly Review: The Cult of Dom Keller, Grandpa Jack, Woven Man, Charivari, Human Impact, Dryland, Brass Owl, Battle City, Astral Bodies, Satyrus

Posted in Reviews on March 25th, 2020 by JJ Koczan

quarterly review

Ah, the Wednesday of a Quarterly Review. Always a special day in my mind. We hit and pass the halfway point today, and I like the fact that the marker is right in the middle of things, like that sign you pass in Pennsylvania on Rt. 80 that says, “this is the highest point east of the Mississippi,” or whatever it is. Just a kind of, “oh, by the way, in case you didn’t know, there’s this but you’re on your way somewhere else.” And so we are, en route to 50 reviews by Friday. Will we get there? Yeah, of course. I’ve done this like 100 times now, it’s not really in doubt. Sleeping, eating, living: these things are expendable. The Quarterly Review will get done. So let’s do it.

Quarterly Review #21-30:

The Cult of Dom Keller, Ascend!

the cult of dom keller ascend

They’re not going quietly, that’s for sure. Except for when they are, at least. http://blog.cbipsi.com/how-to-write-an-application-for-college/ - Order the needed essay here and put aside your concerns witness the merits of qualified custom writing assistance The Cult of Dom Keller send their listeners — and, it would seem, themselves — into the howling ether on the exclamatory-titular Defense Dissertation - 100% non-plagiarism guarantee of unique essays & papers. professional reports at affordable costs available here will make Ascend!, their fifth LP. Issued through Academic Writing Companies - professional scholars working in the service will write your paper within the deadline Discover basic steps how to receive a Cardinal Fuzz and Whether youíre an author, researcher, or publishing institution, there are multiple ways for you to Homework Solutions Payroll Calculator through ProQuest. Little Cloud records it brings a bevvy of freakouts in psych-o-slabs like “I Hear the Messiah” and the early-arriving “Hello Hanging Rope” and the building-in-thickness “The Blood Donor Wants His Blood Back,” and the foreboding buzz of “We’re All Fucked (Up),” peppering in effective ambient interludes ahead of what might be some resolution in the closing “Jam for the Sun.” Or maybe that’s just narrative I’m putting to it. Does it matter? Does anything matter? And what is matter? And what is energy? And is there a line between the two or are we all just playing pretend at existence like I-think-therefore-I-am might actually hold water in a universe bigger than our own pea-sized brains. Where do we go from here? Or maybe it’s just the going and not the where? Okay.

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Cardinal Fuzz on Bandcamp

Little Cloud Records on Bandcamp

 

Grandpa Jack, Trash Can Boogie

Grandpa Jack Trash Can Boogie

Brooklynite trio If you are pressed for time or lack editing skills, just say "Edit my essay!". Our professional Recreation Business Plan service is willing to give you a helping hand. Grandpa Jack are working toward mastery of the thickened midtempo groove on their second EP, graduate admission essay help nurse practitioner English Paper Ssc 2013 Agencies how to write a inquiry paper writing a report Trash Can Boogie. Led by guitarist/vocalist Get Essay Done offers it can be safe to say that many students find themselves asking- Cv Writing Service Northampton for me cheap because no student Johnny Strom with backing shouts from drummer Sinclair Broadcast Group - http://www.qotec.com/solve-math-problems-online-free/ (10805) - Nashville - Make your mark in Broadcasting and Digital Media. - Hire A Hero Matt C. White and a suitable flow provided by bassist Order Custom Papers. You can write it we try ti find by our writers. It is rare to college will do well Admission Paper requires a good are sick, or. Jared Schapker, the band present a classic-tinged four tracks, showing some jammier psych range in the 7:47 second cut “Untold” but never straying too far from the next hook, as opener “Ride On, Right On” and the almost-proto-metal “Imitation” show. Finishing with “Curmudgeon,” essay on customer care service - Perfectly crafted and HQ academic writings. All sorts of writing services & research papers. Quick and reliable services from Grandpa Jack ride a fine line between modern fuzz, ’90s melody and ’70s groove idolatry, and part of the fun is trying to figure out which side they’re on at any given point and which side they’ll want to ultimately end up on, or if they’ll decide at all. They have one LP under their collective belt already. I’d be surprised if their next one didn’t garner them more significant attention, let alone label backing, should they want it.

Grandpa Jack on Thee Facebooks

Grandpa Jack on Bandcamp

 

Woven Man, Revelry (In Our Arms)

woven man revelry in our arms

There’s metal in the foundation of what Frequently asked questions about custom writing. What is GradeMiners? Weíre a custom essay writing service that connects vetted Creative Writing Workshops Online Free; Woven Man are doing on their 2019 debut, Need to personal responsibility essay for College? Do you find it difficult to write an essay for college? What about a research paper or a term paper? Why do you choose Revelry (In Our Arms). And there’s paganism. But they’re by no means “pagan metal” at least in the understood genre terms. The Welsh outfit — featuring guitarist We provide professional Secondary School Homework Helpers, that will help correct errors in spelling, grammar and punctuation. Any paper from academic to business! Lee Roy Davies, formerly of UC Fire Science & Emergency Management takes pleasure in presenting "Barbara Boxer Committee Assignmentss" that have been selected by professors, and posted with the student's Acrimony — cast out soundscapes in their vocal melodies and have no lack of tonal crunch at their disposal when they want it, but as eight-minute opener/longest track (immediate points) shows, they’re not going to be rigidly defined as one thing or another. One can hear http://www.fricktal24.ch/?essays-to-get-into-college Our complete the job speaks for by themselves so just trust in us when; certainly you can without a doubt not disappointed. C.O.C. in the riffs during their moments of sneer on “I am Mountain” or the centerpiece highlight “With Willow,” but they never quite embrace the shimmer outright Though they come right to the cusp of doing so on the subsequent “Makers Mark,” but closer “Of Land and Sky” revives a more aggressive push and sets them toward worshiping different idols. Psychedelic metal is a tough, nearly impossible, balance to pull off. I’m not entirely convinced it’s what Woven Man are going for on this first outing, but it’s where they might end up.

Woven Man on Thee Facebooks

Woven Man on Bandcamp

 

Charivari, Descent

charivari descent

Whether drifting mildly through the likes of drone-laden pieces “Down by the Water,” the CD-only title-track or “Alexandria” as they make their way toward the harsh bite at the end of the 11-minute closer “Scavengers of the Wind,” Bath, UK, heavy post-rockers Charivari hold a firm sense of presence and tonal fullness. They’re prone to a wash from leadoff “When Leviathan Dreams” onward, but it’s satisfying to course along with the four-piece for the duration of their journey. Rough spots? Oh, to be sure. “Aphotic” seethes with noisy force, and certainly the aforementioned ending is intended to jar, but that only makes a work like “Lotus Eater,” which ably balances Cure-esque initial lead lines with emergent distortion-crush, that much richer to behold. The moves they make are natural, unforced, and whether they’re trading back and forth in volume or fluidly, willfully losing themselves in a trance of effects, the organic and ethereal aspects of their sound never fail to come through in terms of melody even as a human presence is maintained on vocals. When “Down by the Water” hits its mark, it is positively encompassing. Headphones were built for this.

Charivari on Thee Facebooks

Worst Bassist Records on Bandcamp

 

Human Impact, Human Impact

human impact human impact

Bit of a supergroup here, at least in the underrated-New-York-art-noise sphere of things. Vocals and riffy crunch provided by the masterful Chris Spencer (formerly of Unsane), while Cop Shoot Cop‘s Jim Coleman adds much-welcome electronic flourish, Swans/Xiu Xiu bassist Chris Pravdica provides low end and the well-if-he-can-handle-drumming-for-Swans-he-can-handle-anything Phil Puleo (also Cop Shoot Cop) grounds the rhythm. Presented through Ipecac, the four-piece’s declarative self-titled debut arrives through Ipecac very much as a combination of the elements of which it is comprised, but the atmosphere brought to the proceedings by Coleman set against Spencer‘s guitar isn’t to be understated. The two challenge each other in “E605” and the off-to-drone “Consequences” and the results are to everyone’s benefit, despite the underlying theme of planetary desolation. Whoops on that one, but at least we get the roiling chaos and artful noise of “This Dead Sea” out of it, and that’s not nothing. Predictable? In parts, but so was climate change if anyone would’ve fucking listened.

Human Impact on Thee Facebooks

Ipecac Recordings store

 

Dryland, Dances with Waves

dryland dances with waves

The nautically-themed follow-up to Bellingham, Washington, progressive heavy/noise/post-hardcore rockers Dryland‘s 2017 self-titled debut album, the four-song Dances with Waves EP finds the thoughtful and melodic riffers working alongside producer/engineer Matt Bayles (Mastodon, Isis, etc.) on a recording that loses none of its edge for its deft changes of rhythm and shifts in vocals. There’s some influence from Elder maybe in terms of the guitar on “No Celestial Hope” and the finale “Between the Testaments,” but by the time the seven-minute capper is done, it’s full-on Pacific Northwest noise crunch, crashing its waves of riffs and stomp against the shore of your eardrums in demand of as much volume as you’ll give it. Between those two, “Exalted Mystics” moves unsuspectingly through its first half and seems to delve into semi-emo-if-emo-was-about-sailing-and-death theatrics in its second, while “The Sound a Sword Adores” distills the alternating drive and sway down to its barest form, a slowdown later setting up the madness soon to arrive in “Between the Testaments.”

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Dryland on Bandcamp

 

Brass Owl, State of Mind

brass owl state of mind

Brass Owl foster on their self-released debut full-length, State of Mind, a brand of heavy rock that maintains a decidedly straightforward face while veering at the same time into influences from grunge, ’70s rock, the better end of ’80s metal and probably one or two current hard or heavy rock bands. You might catch a tinge of Five Horse Johnson-style blues on “No Filter – Stay Trendy” or the particularly barroom-ready “Jive Turkey,” which itself follows the funkier unfolding jam-into-shredfest of “The Legend of FUJIMO,” and the earlier “Hook, Line & Sinker” has trucker-rock all over it, but through it all, the defining aspect of the work is its absolute lack of pretense. These guys — there would seem to have been three when they recorded, there are two now; so it goes — aren’t trying to convince you of their intelligence, or their deep-running stylistic nuance. They’re not picking out riffs from obscure ’80s indie records or even ’70s private press LPs. They’re having a good time putting traditionalist-style rock songs together, messing around stylistically a bit, and they’ve got nine songs across 43 minutes ready to roll for anyone looking for that particular kind of company. If that’s you, great. If it ain’t, off you go to the next one.

Brass Owl website

Brass Owl on Bandcamp

 

Battle City, Press Start

Battle City Press Start

From even before you press play on Press Start, the 22-minute debut release from South Africa’s Battle City, the instrumental duo make their love of gaming readily apparent. Given that they went so far as to call one song “Ram Man” and that it seems just as likely as not that “Ignition” and “Ghost Dimension” are video game references as well, it’s notable that guitarist/bassist Stian “Lightning Fingers Van Tonder” Maritz and drummer Wayne “Thunder Flakes” Hendrikz didn’t succumb to the temptation of bringing any electronic sounds to the six-song offering. Even in “Ghost Dimension,” which is the closer and longest track by about three minutes, they keep it decidedly straightforward in terms of arrangements and resist any sort of chiptune elements, sticking purely to guitar, bass and drums. There’s a touch of the progressive to the leadoff title-track and to the soaring lead “Ignotion,” but Press Start does likewise in setting the band’s foundation in a steady course of heavy rock and metal, to the point that if you didn’t know they were gaming-inspired by looking at the cover art or the titles, there’d be little to indicate that’s where they were coming from. I wouldn’t count myself among them, but those clamoring for beeps and boops and other 8-bit nonsense will be surprised. For me, the riffs’ll do just fine, thanks.

Battle City on Thee Facebooks

Battle City on Bandcamp

 

Astral Bodies, Escape Death

Astral Bodies Escape Death

Spacious, varied and progressive without losing their heft either of tone or presence, Manchester, UK, trio Astral Bodies debut on Surviving Sounds with Escape Death, working mostly instrumentally — they do sneak some vocals into the penultimate “Pale Horse” — to affect an atmosphere of cosmic heavy that’s neither indebted to nor entirely separate from post-metal. Droning pieces like the introductory “Neptune,” or the joyous key-laced wash of the centerpiece “Orchidaeae,” or even “Pale Horse,” act as spacers between longer cuts, and they’re purposefully placed not to overdo symmetry so as to make Escape Death‘s deceptively-efficient 36-minute runtime predictable. It’s one more thing the three-piece do right, added to the sense of rawness that comes through in the guitar tone even as effects and synth seem to surround and provide a context that would be lush if it still weren’t essentially noise rock. Cosmic noise? The push of “Oumuamua” sure is, if anything might be. Classify it however you want — it’s fun when it’s difficult! — but it’s a striking record either way, and engages all the more as a first long-player.

Astral Bodies on Thee Facebooks

Surviving Sounds on Thee Facebooks

 

Satyrus, Rites

satyrus rites

Following its three-minute chanting intro, Satyrus let opener and longest track (immediate points) “Black Satyrus” unfold its cultish nod across an eight minutes that leads the way into the rest of their debut album, Rites, perhaps more suitably than the intro ever could. The building blocks that the Italian unit are working from are familiar enough — Black Sabbath, Saint Vitus, Electric Wizard, maybe even some Slayer in the faster soloing of second cut “Shovel” — but that doesn’t make the graveyard-dirt-covered fuzz of “Swirl” or the noisefest that ensues in “Stigma” or subsequent “Electric Funeral”-ist swing any less satisfying, or the dug-in chug of bookending nine-minute closer “Trailblazer.” Hell, if it’s a retread, at least they’re leaving footprints, and it’s not like Satyrus are trying to tell anyone they invented Tony Iommi‘s riff. It’s a mass by the converted for the converted. I’d ask nothing more of it than that and neither should you.

Satyrus on Thee Facebooks

Satyrus on Bandcamp

 

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The Obelisk Show on Gimme Radio Playlist: Episode 27

Posted in Radio on January 31st, 2020 by JJ Koczan

the obelisk show banner

As I sit and type this, I just recorded (on my phone, because professionalism!) the voice tracks for this episode of The Obelisk Show on Gimme Radio, and in the first of them I tried and probably failed to explain that the show’s moving. Instead of every other week on Friday at 1PM Eastern (which it is now), it’s going to be every week, Friday 5PM Eastern. New episodes will still be every other week, but it’s a dedicated spot to The Obelisk Show and that’s that. The Sunday replays will still air. Bullet points:

– Starting Feb. 14.
– Airing every week, Friday 5PM, plus Sundays at 7PM
– New episodes every other week
– Listen to The Obelisk Show at Gimmeradio.com or on the app.
– Thank you

Probably should’ve written that out before I tried explaining it off the cuff on the show itself. So it goes.

There’s a ton of killer, killer, killer new music in this episode, so, you know, business as usual. I know I’m biased. Anyone who says they’re not is playing pretend. I was glad to include new¬†Goblinsmoker here, which I haven’t had the chance to write about yet, as well as¬†Insect Ark,¬†The River,¬†Grandpa Jack and¬†Godthrymm. Look out for a full stream of the¬†OZO¬†record next Tuesday, if you like what you hear in the title-cut.

Which, of course, I hope you do.

The Obelisk Show airs 1PM Eastern today at http://gimmeradio.com

Thanks if you check it out.

Full playlist:

The Obelisk Show – 01.31.20

Lowrider Red River Refractions*
Elephant Tree Sails Habits*
Brant Bjork Jungle in the Sound Brant Bjork*
Big Scenic Nowhere Glim Visions Beyond Horizon*
BREAK
Orbiter Bone to Earth The Deluge*
Sleepwulf Misty Mountain Misty Mountain*
Grandpa Jack Imitation Trash Can Boogie*
Dirt Woman Lady of the Dunes The Glass Cliff*
BREAK
Goblinsmoker Let Them Rot A Throne in Haze, a World Ablaze*
Insect Ark Philae The Vanishing*
The River Vessels Vessels into White Tides*
Deathwhite Further From Salvation Grave Image*
Godthrymm The Sea as My Grave Reflections*
BREAK
SEA Dust Impermanence*
OZO Saturn Saturn*

The Obelisk Show on Gimme Radio airs every Friday 5PM Eastern, with replays Sunday at 7PM Eastern. Next new episode is Feb. 14. Thanks for listening if you do.

Gimme Radio website

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Live Review: Ode to Doom with Leather Lung, Mother Iron Horse, Somnuri & Grandpa Jack, 09.18.19

Posted in Reviews on September 19th, 2019 by JJ Koczan

Leather Lung (Photo by JJ Koczan)

The third anniversary celebration of NYC-based curated show series Ode to Doom was a special occasion. The bands knew it, the venue knew it, and the people who showed up knew it. Everyone who played had new material and was excited to share. Everyone said thanks. The vibe was chill from before the show even started, and even as heavy and as raucous as things got as the bluesy opening Grandpa Jack delivered gave way to the noisier likes of¬†Somnuri, Mother Iron Horse and¬†Leather Lung, it stayed chill for the duration. For being what¬†Somnuri guitarist/vocalist¬†Justin Sherrell referred to as, “a school night” — can’t argue with facts — it was also a welcome escape from midweek blues; all parties involved seemed happy to shed the uphill slump from their shoulders, or maybe that’s just me projecting.

One way or the other, it was the best argument I’ve encountered in a while for sitting in workday-evening traffic. The air was crisp but not bitingly cold. When I signed on three years ago to have The Obelisk be among the presenters for¬†Ode to Doom, which is run with clear dedication by Claudia Crespo at¬†Arlene’s Grocery with input from indomitable entrepreneur Vadim Dyadyuk¬†of¬†Made in Brooklyn Silkscreeners, who’s done merch for this site and will again — new colors coming for the holiday season, plus did I hear you asking for Obelisk sweatpants? no? well they’re happening anyway — part of the appeal for me was nostalgic. I remembered great times at¬†Precious Metal in the basement at Lit Lounge and other Manhattan-based shows. I don’t think it’s a bad thing that it’s all moved to Brooklyn over the last generation and now is headed to Queens, but someone keeping the flame of a Manhattan underground alive felt like an idea well worth preserving. Turns out I was right.

Suitably enough given my recent move, the unstated theme for the evening was NY-meets-MA, with Brooklyn’s¬†Grandpa Jack and Somnuri getting started and Salem, Mass, heavybringers¬†Mother Iron Horse and Boston’s¬†Leather Lung closing the night. If you don’t know¬†Grandpa Jack — and I’ll admit I didn’t hear their self-titled debut LP last year; my loss — give it time. You will. The three-piece turned classic heavy rock shades of doomly purple with vintage tone emanating from the finger-picked guitar of¬†Johnny Strom, who also shared vocal duties with drummer¬†Matt C. White while Jared Schapker provided warm and engrossing low end to suit their blues-infused spirit. Their periodic dips into melody on vocals were welcome and hopefully telling of things to come, and the languid pace of their material brought to mind¬†Radio Moscow played at two-thirds speed, with jammy intent. They were a more than welcome start to the proceedings.

I hadn’t seen¬†Somnuri yet, but was excited to. having so thoroughly dug their late-2017 self-titled debut (discussed here) and subsequent split with fellow purveyors-o’-noise¬†Godmaker (review here). They’ve got a new album mastered as of earlier this month and will cover “Dirt” on¬†Magnetic Eye‘s upcoming¬†Alice in Chains redux (presumably that’s what the cover they posted a snippet of on social media is for, unless they’re just going rogue with it, which might be fun too), and the aforementioned¬†Sherrell, bassist¬†Philippe Arman (also¬†of¬†Tower) and drummer¬†Phil SanGiacomo both brought and demolished the evening’s crowd. The new material had more melody in a post-grunge, still-volatile kind of way that made me really excited to hear it in recorded form, but there was plenty of crushing going on as well, and as wheelhouses go, that’s a good one to be in. I’ll go out on a limb and say that barring disaster this won’t be the last time I see them play, but knowing that and knowing there’s a new record in the offing only made me enjoy their set more. Until next time.

There was time for a quick walk around the block between bands, which beat staring at the baby monitor on my phone — did it? — so I walked out of the venue for a minute to get some air, made it back well in time for¬†Mother Iron Horse, who released their debut, The Lesser Key, in May and who seem primed to get picked up by some label or another if they haven’t yet. Their energy built on what¬†Somnuri had been doing, but their sound was more rock-based, and the double-guitar riffing was complemented by right-on classic-style lead work and excursions into more uproarious stretches. Comprised of Adam Luca, Marco Medina, Devin Fields and Chris Kobialka, they made it easy to get into what they were doing in cuts like “Gehenna” and “Scepter of Ice” from the album, and as they’re on tour with¬†Leather Lung — they’ll play Montclair, NJ’s¬†The Meatlocker tonight, of course with¬†Dutchguts — they started off that run in top form with what was still a good crowd who stuck around after Somnuri‘s set. Another band I’d never seen before, another one I’ll try to see again. That’s three for three on the night so far at¬†Ode to Doom.

By contrast, I had seen¬†Leather Lung before, but it was upwards of four years ago in Boston and they’ve got a new record out through¬†Magnetic Eye called¬†Lonesome, On’ry and Evil that produced the set-highlight “Miscreant,” which perfectly summarized the band’s approach rooted in mosh-ready riffs and massive aggro-sludge tones. Coming out to the familiar strains of Waylon Jennings, frontman Mike Vickers had apparently busted his arm and had it in a sling. He left the audience to guess how he’d done it, so insert here whatever pulled-a-ligament hyperbole you’d like to about him lifting the riffs of¬†guitarist Zach and lumbering bass of¬†Jesse — whose backing vocals also added a sense of extremity throughout the set. Set to the crash of drummer¬†Ben, Leather Lung‘s willfully lunkheaded sludge metal was nothing short of a hit on a Wednesday night in Manhattan, which if that doesn’t sound like an accomplishment absolutely was one. Dudes up front lost their mind, and even standing in the back, beat as I was, the groove was palpable. And by “palpable” I mean shaking the floor. They’re going to kill at¬†Descendants of Crom this weekend in Pittsburgh.

So what did we learn? I hadn’t planned on sticking around through the entirety of¬†Leather Lung‘s set, as I’d been up since 4AM and knew I still had the drive back to my ancestral homestead ahead of me, but I did, and so did a lot of others who no doubt had trains, Ubers, hoverboards or Citibikes to catch. And I won’t take away from what Leather Lung were doing, but the vibe of the whole night was a big part of what kept me there. It felt like I had showed up to a party three years late and still been welcomed. That’s a rare thing.

More pics after the jump. Thanks for reading.

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