Quarterly Review: Pallbearer, Fulanno, Spirit Mother, Gevaudan, El Rojo, Witchwood, Gary Lee Conner, Tomorr, Temple of the Fuzz Witch, Karkara

Posted in Reviews on December 24th, 2020 by JJ Koczan

THE-OBELISK-FALL-2020-QUARTERLY-REVIEW

There isn’t enough caffeine in the universe to properly sustain a Quarterly Review, and yet here we are. I’ve been doing this for six years now, and once started I’ve always managed to get through it. This seven-day spectacular hits its halfway point today, which is okay by me. I decided to do this because there was a bunch of stuff I still wanted to consider for my year-end list, which I’d normally post this week. And sure enough, a few more have managed to make the cut from each day. I’ll hope to put the list together in the coming days and get it all posted next week, before the poll results at least. I’m not sure why that matters, but yeah.

Thanks for following along if you have been. Hope you’ve found something worth digging into.

Quarterly Review #31-40:

Pallbearer, Forgotten Days

pallbearer forgotten days

Their best record. I don’t want to hear anymore about their demo, or about 2012’s Sorrow and Extinction (review here) or anything else. This is the album Pallbearer have been driving toward since their outset. It is an amalgam of emotive melody and tonal weight that makes epics of both the 12-minute “Silver Wings” and the four-minute “The Quicksand of Existing” that immediately follows, that hits a morose exploration of self in opener “Forgotten Days” and “Stasis” while engaging in metallic storytelling on “Vengeance and Ruination” and “Rite of Passage,” the latter incorporating classic metal melody in perhaps the broadest reach the band has ever had in that regard. So yeah. Pallbearer don’t have a ‘bad’ record. 2017’s Heartless (review here) was a step forward, to be sure. But Forgotten Days, ironically enough, is the kind of offering on which legacies are built and a touchstone for whatever Pallbearer do from here on out.

Pallbearer on Thee Facebooks

Nuclear Blast website

 

Fulanno, Nadie Está a Salvo del Mal

fulanno Nadie está a salvo del mal

The fog rolls in thick on Argentinian doomers Fulanno‘s second full-length, Nadie Está a Salvo del Mal. The seven-track/42-minute outing launches in post-Electric Wizard fashion, and indeed, the drawling lumber of the Dorset legends is an influence throughout, but by no means the only one the trio of guitarist/vocalist Fila Frutos, bassist Mauro Carosela and drummer Jose A. are under. They cast a doom-for-doomers vibe almost immediately, but as “Fuego en la Cruz” gives way to “Los Elegidos” and “Hombre Muerto,” the sense of going deeper is palpable. Crunching, raw tonality comes across as the clean vocals cut through, and the abiding rawness becomes a part of the aesthetic on “Los Colmillos de Satan,” a turning point ahead of the interlude “Señores de la Necrópolis,” the eight-minute “El Desierto de los Caídos” and the surprisingly resonant closing instrumental “El Libro de los Muertos.” Fulanno are plenty atmospheric when they want to be, and one wonders if that won’t come further forward as their progression continues. Either way, they’ve staked their claim in doom and sound ready to die for the cause.

Fulanno on Thee Facebooks

Forbidden Place Records on Bandcamp

Interstellar Smoke Records on Bandcamp

 

Spirit Mother, Cadets

spirit mother cadets

Preceded by a series of singles over the last couple years, Cadets is the full-length debut from Los Angeles four-piece Spirit Mother, and it packs expanse into deceptively efficient songs, seeming to loll this way and that even as it keeps an underlying forward push. The near-shoegaze vocals do a lot of the work in affecting a mellow-psych vibe, but there’s weight to Spirit Mother‘s “Ether” as well, violin, woven vocal layers, and periodic tempo kicks making songs standout from each other even as “Go Getter” keeps an experimentalist feel and “Premonitions” aces its cosmic-garage driver’s test with absolutely perfect pacing. The ultra-spacey “Shape Shifter I” and more boogie-fied “Shape Shifter II” are clear focal points, but Cadets as a whole is a marked accomplishment, particularly for a first LP, and in style, substance and atmosphere, it brings together rich textures with a laissez-faire spontaneity. The closing instrumental “Bajorek” is only one example among the 10 included tracks of Spirit Mother‘s potential, which is writ large throughout.

Spirit Mother on Thee Facebooks

Spirit Mother on Bandcamp

 

Gévaudan, Iter

gevaudan iter

UK four-piece Gévaudan made their debut in 2019 with Iter, and though I’m late to the party as ever, the five-song/53-minute offering is of marked scope and dynamic. Its soft stretches are barely there, melancholic and searching, and its surges of volume in opener “Dawntreader” are expressive without being overwrought. Not without modern influence from Pallbearer or YOB, etc., Gévaudan‘s honing in on atmospherics helps stand out Iter as the band plod-marches with “The Great Heathen Army” — the most active of inclusions and the centerpiece — en route to “Saints of Blood” (11:54) and closer “Duskwalker” (15:16), the patient dip into extremity of the latter sealing the record’s triumph; those screams feel not like a trick the band kept up their collective sleeve, but a transition earned through the grueling plunge of all the material prior. It’s one for which I’d much rather be late than never.

Gévaudan on Thee Facebooks

Gévaudan website

 

El Rojo, El Diablo Rojo

el rojo el diablo rojo

The burly heavy rock of “South” at the outset of Italian heavy rockers El Rojo‘s El Diablo Rojo doesn’t quite tell the whole tale of the band’s style, but it gives essential clues to their songwriting and abiding burl. Later pieces like the slower-rolling “Ascension” (initially, anyhow) and acoustic-inclusive “Cactus Bloom” effectively build on the foundation of bruiser riffs and vocals, branching out desert-influenced melody and spaciousness instrumentalism even as the not-at-all-slowed-down “When I Slow Down” keeps affairs grounded in their purpose and structure. Riffs are thick and lead the charge on the more straightforward pieces and the seven-minute “Colors” alike as El Rojo attempt not to reinvent heavy or stoner rocks but to find room for themselves within the established tenets of genre. They’ve been around a few years at this point, and there’s still growing to be done, but El Diablo Rojo sounds like the starting point of an engaging progression.

El Rojo on Thee Facebooks

Karma Conspiracy Records website

 

Witchwood, Before the Winter

witchwood before the winter

Deep Purple, Uriah Heep, Jethro Tull, some Led Zeppelin in “Crazy Little Lover” and a touch of opera on “Nasrid” for good measure, Witchwood‘s 62-minute Before the Winter 2LP may be well on the other side of unmanageable in terms of length, but at least it’s not wasting anyone’s time. Instead, early rockers like “Anthem for a Child” and “A Taste of Winter” and the wah-funked “Feelin'” introduce the elements that will serve as the band’s colorful palette across the whole of the album. And a piece like “No Reason to Cry” becomes a straight-ahead complement to airier material like the not-coincidentally-named “A Crimson Moon” and the winding and woodsy “Hesperus,” which caps the first LP as the 10-minute epic “Slow Colours of Shade” does likewise for the record as a whole, followed by a bonus Marc Bolan cover on the vinyl edition, to really hammer home the band’s love of the heavy ’70s, which is already readily on display in their originals.

Witchwood on Thee Facebooks

Jolly Roger Records website

 

Gary Lee Conner, Revelations in Fuzz

gary lee conner revelations in fuzz

If nothing else, Gary Lee Conner sounds like he probably has an enviable collection of 45s. The delightfully weird former Screaming Trees guitarist offers up 10 fresh delights of ’60s-style garage-psych solo works on the follow-up to 2018’s Unicorn Curry, as Revelations in Fuzz lives up to its title in tone even as cascades of organ and electric piano, sitar and acoustic guitar weave in and out of the proceedings. How no one has paired Conner with Baby Woodrose frontman Uffe Lorenzen for a collaboration is a mystery I can’t hope to solve, but in the swirling and stops of “Cheshire Cat Claws” and the descent of six-minute closer “Colonel Tangerine’s Sapphire Sunshine Dreams,” Conner reaffirms his love of that which is hypnotic and lysergic while hewing to a traditionalism of songwriting that makes cuts like “Vicious and Pretty” as catchy as they are far out. And trust me, they’re plenty far out. Conner is a master of acid rock, pure and simple. And he’s already got a follow-up to this one released, so there.

Gary Lee Conner on Thee Facebooks

Vincebus Eruptum Recordings website

 

Tomorr, Tomorr

tomorr tomorr

Formed in Italy with Albanian roots, Tomorr position themselves as rural doom, which to an American reader will sound like ‘country,’ but that’s not what’s happening here. Instead, three-piece are attempting to capture a raw, village-minded sound, with purposeful homage to the places outside the cities of Europe made into sludge riffing and the significant, angular lumber of “Grazing Land.” I’m not sure it works all the time — the riff in the second half of “Varr” calls to mind “Dopesmoker” more than anti-urbane sensibilities, and wants nothing for crush — but as it’s their debut, Tomorr deserve credit for approaching doom from an individualized mindset, and the bulk of the six-song/48-minute offering does boast a sound that is on the way to being the band’s own, if not already there. There’s room for incorporating folk progressions and instrumentation if Tomorr want to go that route, but something about the raw approach they have on their self-titled is satisfying on its own level — a meeting of impulses creative and destructive at some lost dirt crossroads.

Tomorr on Thee Facebooks

Acid Cosmonaut Records on Bandcamp

 

Temple of the Fuzz Witch, Red Tide

temple of the fuzz witch red tide

Well what the hell do you think Temple of the Fuzz Witch sounds like? They’re heavy as shit. Of course they are. The Detroiters heralded doomly procession on their 2019 self-titled demo/EP (review here), and the subsequent debut full-length Red Tide, is righteously plodding riffery, Sabbathian without just being the riff to “Electric Funeral” and oblivion-bound nod that’s so filled with smoke it’s practically coughing. What goes on behind the doors of the Temple? Volume, kid. Give me the chug of “The Others” any and every day of the week, I don’t give a fuck if Temple of the Fuzz Witch are reinventing the wheel or not. All I wanna do is put on “Ungoliant” and nod out to the riff that sounds like “The Chosen Few” and be left in peace. Fuck you man. I ain’t bothering anyone. You’re the one with the problem, not me. This guy knows what I’m talking about. Side B of this record will eat your fucking soul, but only after side A has tenderized the meat. Hyperbole? Fuck you.

Temple of the Fuzz Witch on Thee Facebooks

Interstellar Smoke Records webstore

 

Karkara, Nowhere Land

karkara nowhere land

Rife with adventurous and Middle Eastern-inflected heavy psychedelia, Nowhere Land is the follow-up to Toulouse, France-based Karkara‘s 2019 debut, Crystal Gazer (review here), and it finds the three-piece pushing accordingly into broader spaces of guitar-led freakery. Would you imagine a song called “Space Caravan” has an open vibe? You’d be correct. Same goes for “People of Nowhere Land,” which even unto its drum beat feels like some kind of folk dance turned fuzz-drenched lysergic excursion. The closing pair of “Cards” and “Witch” feel purposefully teamed up to round out the 36-minute outing, but maybe that’s just the overarching ethereal nature of the release as a whole coming through as Karkara manage to transport their listener from this place to somewhere far more liquid, languid, and encompassing, full of winding motion in “Falling Gods” and graceful post-grunge drift in “Setting Sun.”

Karkara on Thee Facebooks

Stolen Body Records website

 

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Quarterly Review: The Necromancers, The Asound & Intercourse, Bohr, Strobe, Astrosaur, Sun Q, Holy Mount, Sum of R, IIVII, Faces of the Bog

Posted in Reviews on September 25th, 2017 by JJ Koczan

the obelisk quarterly review

The season is changing here in the Northeastern part of the US. Leaves have just barely started to change, and the summertime haze that settles over the region for for the better parts of June, July and August has largely dissipated. It’s getting to be hoodie weather after the sun goes down. This past weekend was the equinox. All of this can only mean it’s time for another Quarterly Review — this one spanning a full Monday-to-Monday week’s worth of writeups. That’s right. 60 albums between now and a week from today. It’s going to be a genuine challenge to get through it all, but I’m (reasonably) confident we’ll get there and that when we’re on the other side, it will have been completely worth the lengthy trip to get there. Hell, you know the drill by now. Let’s not waste any time and get to it, shall we?

Quarterly Review #1-10:

The Necromancers, Servants of the Salem Girl

the-necromancers-servants-of-the-salem-girl

A noteworthy debut from the Poitier, France-based four-piece The Necromancers, whose coming has been much heralded owing in no small part to a release through Ripple Music, the six-track/41-minute Servants of the Salem Girl lumbers through doom and cultish heavy rock with likewise ease, shifting itself fluidly between the two sides on extended early cuts like opener “Salem Girl Part I” and the nine-minute “Lucifer’s Kin,” which gets especially Sabbathian in its roll later on. The album’s midsection, with the shorter cuts “Black Marble House” (video premiere here) and “Necromancers,” continues the flow with a general uptick of pace and ties together with the opening salvo via the burly vocals of guitarist Tom, the solo work of Rob on lead guitar, and the adaptable groove from bassist Simon and drummer Ben, and as the penultimate “Grand Orbiter” engages moody spaciousness, it does so with a refusal to commit to one side or the other that makes it a highlight of the album as a whole. The Necromancers finish contrasting rhythmic tension and payoff nod on “Salem Girl Part II,” having long since thoroughly earned their hype through songwriting and immediately distinct sonic persona. There’s growth to do in melodicism, but for being “servants,” The Necromancers show an awful lot of command in structure and style.

The Necromancers on Thee Facebooks

Ripple Music website

 

The Asound & Intercourse, Split 7″

the asound intercourse split

Noise is the order of things on the Tsuguri Records split 7” between New Haven, Connecticut’s good-luck-Googling aggressives Intercourse and North Carolinian sludge rockers The Asound. Each band offers a two-song showcase of their wares, with Intercourse blasting short jabs of post-hardcore/noise rock angularity on “Too Fucked to Yiff” and “Corricidin is a Helluva Drug” and The Asound bringing a more melodic heavy rock swing to “Slave to the Saints” while saving a more galloping charge for “Human for Human.” It’s a quick sampling, of course, and “Slave to the Saints” is the relative epic inclusion as the only one over three minutes long – it goes to 4:20, naturally – but boasts a surprisingly professional production from The Asound and an unhinged vibe from Intercourse that meets them head on in a way both competitive and complementary to the aggression of “Human for Human.” Fodder for the bands’ merch tables in its limited-to-300, one-time-only pressing, but there’s hardly anything wrong with that. All the more worth grabbing it if you can, while you can.

The Asound on Thee Facebooks

Intercourse on Thee Facebooks

Tsuguri Records on Thee Facebooks

 

Bohr, Bohr

bohr bohr

Officially called Self-Title, this two-song outing released by Tandang Records and BTNKcllctv serves as the first release from Malaysia’s Bohr, and with shouts and growls duking it out over massive plodding tones on opener “Voyager,” they seem to take position right away in the post-Conan verve of megadoom. Peppered-in lead work showcases some welcome nuance of personality, but it’s the second track “Suria” that trips into more surprising terrain, with a faster tempo and something of a letup in thickness, allowing for a more rocking feel, still met with shouted vocals but hinting at more of a melodic reach nonetheless. The shift might be awkward in the context of a full-length, but on a debut single/EP, it works just fine to demonstrate what may or may not be a nascent breadth in Bohr’s approach. They finish “Suria” with hints of more to come in a plotted guitar lead and are done in about 10 minutes, having piqued interest with two disparate tracks that leave one to wonder what other tricks might be up their collective sleeve.

Bohr on Thee Facebooks

Tandang Records on Bandcamp

BTNKcllctv on Bandcamp

 

Strobe, Bunker Sessions

strobe bunker sessions

It’s worth noting outright that Strobe’s Bunker Sessions was recorded in 1994. Not because it sounds dated, but just the opposite. The Sulatron Records release from the under-exposed UK psychedelic rockers finds them jamming out in live-in-studio fashion, and if you’d told me with no other context that the resultant six-track/40-minute long-player was put to tape two months ago, I’d absolutely have believed it. This would’ve been the era of their 1994 third album, The Circle Never Ends, and while some can hear some relation between that and Bunker Sessions in the shimmering lead and warm underscoring basslines of 10-minute opener and longest track (immediate points) “Sun Birth,” the drift in “Chameleon Earth,” synth-laden space rock meandering of “Opium Dreams” and cymbal-wash-into-distortion-wash of closer “Sun Death” are on a wavelength of their own. It’s something of a curio release – a “lost album” – but it’s also bound to turn some heads onto how ahead of their time Stobe were in the ‘90s, and maybe we’ll get lucky and Sulatron will use it to kick off a full series of convenient LP reissues.

Sulatron Records on Thee Facebooks

Sulatron Records webstore

 

Astrosaur, Fade In / Space Out

astrosaur-fade-in-space-out

While their moniker brings to mind pure stoner idolatry, Oslo instrumentalists Astrosaur acquit themselves toward more progressive fare with Fade In // Space Out, their Bad Vibes Records debut album, finding open spaces in bookending extended opener “Necronauts” and the dramatic shift between droning experimentalism and weighted lumber of the closing title-track even as middle cuts “Space Mountain,” “Yugen” and “Fishing for Kraken” balance with fits of driving progressive metallurgy. Comprised of Eirik Kråkenes, Steinar Glas and Jonatan Eikum, Astrosaur do get fuzzy for a bit on “Yugen,” but by the time they’re there, they’ve already space-doom-jazzed their way through such a vast aesthetic swath that it becomes one more stylistic element in fair-enough play. Open in its structure and building to an affecting cacophony in its ending, Fade In // Space Out is defined in no small part by its stylistic ambition, but whether it’s in the head-spinning initial turns of “Fishing for Kraken” or the stretch of peaceful, wistful guitar after the seven-minute mark in “Necronauts,” that ambition is admirable multifaceted and wide-reaching.

Astrosaur on Thee Facebooks

Bad Vibes Records website

 

Sun Q, Charms

sun q charms

There’s an encouraging and decidedly pro-shop fullness of sound being proffered on Sun Q’s debut full-length, Charms, to match an immediate sense of songcraft and stylization that puts them somewhere between heavy psych and more driving fuzz rock. Vocalist Elena Tiron takes a forward position in opener “Petals and Thorns” over the briskly-captured tones from guitarist Ivan Shalimov and bassist Denis Baranov while drummer Pavel Poseluev pushes the proceedings along, and whether they’re bringing in Seva Timofeev’s Hammond for the subsequent bluesy vibing of “After This,” toying with pop playfulness on “Plankton,” giving Andrey Tanzu percussive room on “Dancing Souls” or going full-expanse on keyboard-laden centerpiece and aptly-titled longest cut “Space,” there’s purpose behind the variety on offer and Sun Q never seem to lose their sense of poise throughout. There are moments where the bite of the production hits a little deep – looking at you, “Plankton” – but especially as their debut, Charms lives up to the name it’s been given and establishes these Moscow natives as a presence with which to be reckoned as they move forward.

Sun Q on Thee Facebooks

Sun Q on Bandcamp

 

Holy Mount, The Drought

holy mount the drought

White Dwarf Records picked up what by my count is Holy Mount’s fourth full-length, The Drought, for a vinyl issue following the Toronto foursome’s self-release last year, and with the immersive, dense heavy psych nod of “Division,” it’s little wonder why. The seven-cut LP is the second to feature the lineup of Danijel Losic, Brandon McKenzie, Troy Legree and Clayton Churcher behind 2014’s VOL, and its moments of nuance like the synth at the outset of “Blackened Log” or the blend of tense riffing and post-The Heads shoegaze-style vocal chants on the markedly insistent highlight cut “Basalt” only further the reasoning. The penultimate “Blood Cove” returns some to of the ritual sense of “Division,” and The Drought’s titular finale pierces its own wash with a lead that makes its apex all the more resonant and dynamic. Not nearly as frenetic as its cover art would have you believe, the already-sold-out vinyl brims with a vibe of creative expansiveness, and Holy Mount feel right at home in its depths.

Holy Mount on Thee Facebooks

White Dwarf Records webstore

 

Sum of R, Orga

sum of r orga

Over the course of its near-hour runtime, Orga, the Czar of Crickets-issued third full-length from Bern, Switzerland, ambient outfit Sum of R deep-dives into droning atmospheric wash while effectively producing headphone-worthy depths and avoiding the trap of redundant minimalism. Chimes in a song like “Desmonema Annasethe” and ringing bells in “We Have to Mark this Entrance” give a feeling of lushness instead that serves the release well overall, and these details, nuances, take the place of what otherwise might be human voices coursing through the bleak mire of Orga’s progression. One might look to closing duo “Let us Begin with What We Do Not Want to Be” and “One After the Other” for some sense of hopefulness, and whether or not it’s actually there, it’s possible to read it into the overarching drone of the former and the percussive movement of the latter, but by then Sum of R have well set the mood in an abiding darkness, and that remains the prevailing vibe. Not quite dramatic or brooding in a human/emotional sense, Orga casts its drear in soundscapes of distant nighttime horizon.

Sum of R website

Czar of Crickets Productions website

 

IIVII, Invasion

iivii invasion

Noted graphic artist and post-metal songwriter Josh Graham – formerly visuals for Neurosis, but also art for Soundgarden and many others, as well as being known for his work with A Storm of Light and the woefully, vastly underrated Battle of Mice – makes his second ambient solo release in the form of IIVII’s Invasion on Belgian imprint Consouling Sounds. A soundtrack-ready feel pervades the nine tracks/44 minutes almost instantly and holds sway with opener “We Came Here from a Dying World (I)” finding complement in the centerpiece “Tomorrow You’ll be One of Us (II)” and a thematic capstone in closer “Sanctuary,” only furthering the sense of a narrative unfolding throughout. There are elements drawn in “Unclouded by Conscience” from the atmospheric and score work of Trent Reznor and/or Junkie XL, but Graham doesn’t necessarily part with the post-metallic sense of brooding that has defined much of his work even as the pairing of “We Live” and “You Die” late in the record loops its way to and through its dramatic apex. Obviously not going to be for everyone, but it does make a solid argument for Graham as a composer whose breadth is still revealing itself even after a career filled with landmarks across multiple media.

IIVII on Thee Facebooks

Consouling Sounds website

 

Faces of the Bog, Ego Death

faces-of-the-bog-ego-death

In some of their shifts between atmospheric patience and churning intensity – not to mention in the production of Sanford ParkerFaces of the Bog remind a bit of fellow Windy City residents Minsk on their DHU Records debut album, Ego Death, but prove ultimately more aggressive in the thrust of “Drifter in the Abyss” and the later stretch of “The Serpent and the Dagger,” on which the guitars of Mark Stephen Gizewski and Trey Wedgeworth (both also vocals) delve into Mastodonic leads near the finish to set up the transition into the 10:33 title-track, which begins with a wash of static noise before Paul Bradfield’s bass sets up the slow nod that holds sway and only grows bigger as it presses forward. That cut is one of two over the 10-minute mark, and the other, closer “Blue Lotus,” unfolds even more gradually and ventures into cleaner vocals presaged on “The Weaver” and elsewhere as it makes its way toward an album-payoff crescendo marked by drummer Danny Garcia’s thudding toms and a low end rumble that’s as much a presence unto itself as a harbinger of progression to come.

Faces of the Bog on Thee Facebooks

DHU Records webstore

 

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