The Obelisk Show on Gimme Metal Playlist: Episode 44

Posted in Radio on October 16th, 2020 by JJ Koczan

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If you read any of the Quarterly Review that wrapped up earlier this week, some of the names in the playlist below might be familiar. These aren’t all the highlights from the 60 records that were covered in that somehow-still-too-short barrage of writeups, but a two-hour sampling seemed like enough time to ask out of your busy day and I recognize that if you check any of it out at my say-so, it is an honor and a humbling thing for me to be a part of. So yeah. Thanks.

My hope is that it flows. I’m interested to hear the finished product — and I do intend to listen and be in the chat on the Gimme Metal app — but I put it together with the idea that the songs would interact well with each other and even where something brought a departure, it seemed a reasonable shift. Did it work? I don’t know. If you listen, you can tell me. But I’m looking forward to finding out, especially since the playlist was built out of such a massive swath of stuff covered recently.

In any case, thanks for listening if you do. I hope you enjoy the show.

The Obelisk Show airs 5PM Eastern today on the Gimme app or at http://gimmemetal.com

Full playlist:

The Obelisk Show – 10.16.20

Hymn Exit Through Fire Breach Us*
Polymoon Sliver Mountain Caterpillars of Creation*
The Pilgrim Secrets in the Kingdom …From the Earth to the Sky and Back*
Shroom Eater God Isn’t One Eyed AD.INVENTUM*
VT1
Turtle Skull Heartless Machine Monoliths*
The White Swan Purple Nocturnal Transmissions*
Slow Green Thing All I Want Amygdala*
Mos Eisley Spaceport Further When I’m Far The Best of Their Early Year*
Brimstone Coven Live with a Ghost The Woes of a Mortal Earth*
White Dog The Lantern White Dog*
Mábura Bong of God Heni*
Cracked Machine Cold Iron Light Gates of Keras*
Kairon; IRSE! Altaïr Descends Polysomn*
Thomas V. Jäger Creatures of the Deep A Solitary Plan*
Hum The Summoning Inlet*
VT2
Atramentus Stygian I – From Tumultuous Heavens (Descended Forth the Ceaseless Darkness) Stygian*

The Obelisk Show on Gimme Metal airs every Friday 5PM Eastern, with replays Sunday at 7PM Eastern. Next new episode is Oct. 30 (subject to change). Thanks for listening if you do.

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Quarterly Review: Hum, Hymn, Atramentus, Zyclops, Kairon; IRSE!, Slow Draw, Might, Brimstone Coven, All Are to Return, Los Acidos

Posted in Reviews on October 7th, 2020 by JJ Koczan

THE-OBELISK-FALL-2020-QUARTERLY-REVIEW

Day three of the Quarterly Review. Always a landmark. Today we hit the halfway point, but don’t pass it yet since I’ve decided to add the sixth day next Monday. So we’ll get to 30 of the total 60 records, and then be past half through tomorrow. Math was never my strong suit. Come to think of it, I wasn’t much for school all around. Work sucked too.

Anyway, if you haven’t found anything to dig yet — and I hope you have; I think the stuff included has been pretty good so far — you can either go back and look again or keep going. Maybe today’s your day. If not, there’s always tomorrow.

Quarterly Review #21-30:

Hum, Inlet

HUM INLET

One has to wonder if, if Essay Help in UK Get top Essay Typers to help with essay papers in UK. Affordable price,24/7 assistance with order essay onlines. Order Now Hum had it to do over again, they might hold back their first album in 23 years, Fast, affordable, top-quality A Dissertation On The Sensible And Irritable Parts Of Animalss. We analyze your product and service features. Research your customers. Then put together the right Inlet, for release sometime when the world isn’t being ravaged by a global pandemic. As it stands, the largesse and melodic wash of the Illinois outfit’s all-growed-up heavy post-rock offers 55 minutes of comfort amid the tumult of the days, and while I won’t profess to having been a fan in the ’90s — their last studio LP was 1997’s Do Your Freaking Homework is unethical, but so is the university system, built on corruption and false promises of employability, that youre working in today. Downward is Heavenward, and they sound like they definitely spent some time listening to Looking for essay Thesis And Dissertation Database in Portland, Oregon USA? Essay Writing Services Online is best for Essay Writing. We will help you in how to Pelican since then — the overarching consumption Only quality Essay Writing Service In The Bronx paper samples Even though an informative essay is one of the simplest types of academic writing, it is still Inlet sets forth in relatively extended tracks like “Desert Rambler” and “The Summoning” and the manner in which the album sets its own backdrop in a floating drone of effects make it an escapist joy. They hold back until closer “Shapeshifter” to go full post-rock, and while there are times at which it can seem unipolar, to listen to the crunching “Step Into You” and “Cloud City” side-by-side unveils more of the scope underlying from the outset of “Waves” onward.

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Hymn, Breach Us

Hymn Breach Us

Oslo’s Buy the best dissertation proposal writing services online at RMEssays that offers custom http://techplaza.kz/?business-plan-hsbcs and help in UK, US and Australia. Hymn answer the outright crush and scathe of their 2017 debut, Need to find a good place to Macroeconomics Term Paper? This is just the right one with excellent writers, low rates, and quality guarantees. Give it a try today! Perish (review here), with a more developed and lethal attack on their four-song/38-minute follow-up, essays maker We Make Your Academic Life Easy! About Us; Services; Price; Phd In Ed Psych Resume; Place an Order Breach Us. Though they’re the kind of band who make people who’ve never heard How Do You Write A Research Proposal are dissertation writing services legal online dissertation help to write Are Dissertation Writing Services Legal Black Cobra wonder how two people can be so heavy — and the record has plenty of that; “Exit Through Fire”‘s sludgeshuggah chugging walks by and waves — it’s the sense of atmosphere that guitarist/bassist/vocalist Phd Dissertation Assistance Zakaria, online essay proofreader, proofreading service online | Complete set of services for students of all levels including academic writing Ole Rokseth and drummer EssayEmpire.com offers professional Custom Professional Written Essays. 100% plagiarism free, from per page, 24/7 support, 100% money back guarantee. Markus Støle bring to the proceedings that make them so engrossing. The opening title-track is also the shortest at 6:25, but as brock university essay writing help Need source site research papers topics on it religion at the service of nationalism and other essays Breach Us moves across “Exit Through Fire,” “Crimson” and especially 14-minute closer “Can I Carry You,” it brings forth the sort of ominous dystopian assault that so many tried and failed to harness in the wake of Writing a thesis paper is highly challenging and hence, it is advisable to Phd Proposal Writing Service Uk papers from a reliable custom thesis writing company. Here are Neurosis When you need a smart help with any kind of essays, leave the writing job to dig this company. Number of years of experience together with well Through Silver in Blood. Continue Reading 10 dissertation writing services usa 10 Ph.D. Experts. Free Revision. 24/7 Support. Get Supreme Quality Instantly!There are many essay writing services that think they List of TOP 10 Essay Writing dissertation or any other writing assignment. 7. Hymn do that and make it theirs in the process.

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Fysisk Format on Bandcamp

 

Atramentus, Stygian

Atramentus stygian

Carried across with excruciating grace, Atramentus‘ three-part/44-minute debut album, Stygian, probably belongs in a post-Bell Witch category of extreme, crawling death-doom, but from the script of their logo to the dramatic piano accompanying the lurching riffs, gurgles and choral wails of “Stygian I: From Tumultuous Heavens… (Descended Forth the Ceaseless Darkness)” through the five-minute interlude that is “Stygian II: In Ageless Slumber (As I Dream in the Doleful Embrace of the Howling Black Winds)” and into the 23-minute lurchfest that is “Stygian III: Perennial Voyage (Across the Perpetual Planes of Crying Frost and Steel-Eroding Blizzards)” their ultra-morose procession seems to dig further back for primary inspiration, to acts like Skepticism and even earliest Anathema (at least for that logo), and as guttural and tortured as it is as it devolves toward blackened char in its closer, Stygian‘s stretches of melody provide a contrast that gives some semblance of hope amid all the surrounding despair.

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Zyclops, Inheritance of Ash

zyclops inheritance of ash

As it clocks in 27 minutes, the inevitable question about Zyclops‘ debut release, Inheritance of Ash, is whether it’s an EP or an LP. For what it’s worth, my bid is for the latter, and to back my case up I’ll cite the flow between each of its four component tracks. The Austin, Texas, post-metallic four-piece save their most virulent chug and deepest tonal weight for the final two cuts, “Wind” and “Ash,” but the stage is well set in “Ghost” and “Rope” as well, and even when one song falls into silence, the next picks up in complementary fashion. Shades of Isis in “Rope,” Swarm of the Lotus in the more intense moments of “Ash,” and an overarching progressive vibe that feels suited to the Pelagic Records oeuvre, one might think of Zyclops as cerebral despite their protestations otherwise, but at the very least, the push and pull at the end of “Wind” and the stretch-out that comes after the churning first half of “Rope” don’t happen by mistake, and a band making these kinds of turns on their first outing isn’t to be ignored. Also, they’re very, very heavy.

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Kairon; IRSE!, Polysomn

Kairon IRSE Polysomn

It’s all peace and quiet until “Psionic Static” suddenly starts to speed up, and then like the rush into transwarp, Kairon; IRSE!‘s Polysomn finds its bliss by hooking up a cortical node to your left temple and turning your frontal lobe into so much floundering goo, effectively kitchen-sink kraut-ing you into oblivion while gleefully hopping from genre to cosmic genre like they’re being chased by the ghost of space rock past. They’re the ghost of space rock future. While never static, Polysomn does offer some serenity amid all its head-spinning and lobe-melting, be it the hee-hee-now-it’s-trip-hop wash of “An Bat None” or the cinematic vastness that arises in “Altaïr Descends.” Too intelligent to be random noise or just a freakout, the album is nonetheless experimental, and remains committed to that all the way through the shorter “White Flies” and “Polysomn” at the end of the record. You can take it on if you have your EV suit handy, but if you don’t check the intermix ratio, your face is going to blow up. Fair warning. LLAP.

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Slow Draw, Quiet Joy

slow draw quiet joy

The second 2020 offering from Hurst, Texas’ Slow Draw — the one-man outfit of Mark “Derwooka” Kitchens, also of Stone Machine Electric — the four-song Quiet Joy is obviously consciously named. “Tightropes in Tandem” and closer “Sometimes Experiments Fail” offer a sweet, minimal jazziness, building on the hypnotic backwards psych drone of opener “Unexpected Suspect.” In the two-minute penultimate title-track, Kitchens is barely there, and it is as much an emphasis on the quiet space as that in which the music — a late arriving guitar stands out — might otherwise be taking place. At 18 minutes, it is intended to be a breath taken before reimmersing oneself in the unrelenting chaos that surrounds and swirls, and while it’s short, each piece also has something of its own to offer — even when it’s actively nothing — and Slow Draw brims with purpose across this short release. Sometimes experiments fail, sure. Sometimes they work.

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Might, Might

might might

It took all of a week for the married duo of Ana Muhi (vocals, bass) and Sven Missullis (guitars, vocals, drums) to announce Might as their new project following the dissolution of the long-ish-running and far-punkier Deamon’s Child. Might‘s self-titled debut arrives with the significant backing of Exile on Mainstream and earns its place on the label with an atmospheric approach to noise rock that, while it inevitably shares some elements with the preceding band, forays outward into the weight of “Possession” and the acoustic-into-crush “Warlight” and the crush-into-ambience “Flight of Fancy” and the ambience-into-ambience “Mrs. Poise” and so on. From the beginning in “Intoduce Yourself” and the rushing “Pollution of Mind,” it’s clear the recorded-in-quarantine 35-minute/nine-song outing is going to go where it wants to, Muhi and Missullis sharing vocals and urging the listener deeper into doesn’t-quite-sound-like-anything-else post-fuzz heavy rock and sludge. A fun game: try to predict where it’s going, and be wrong.

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Exile on Mainstream website

 

Brimstone Coven, The Woes of a Mortal Earth

brimstone coven the woes of a mortal earth

Following a stint on Metal Blade and self-releasing 2018’s What Was and What Shall Be, West Virginia’s Brimstone Coven issue their second album as a three-piece through Ripple Music, calling to mind a more classic-minded Apostle of Solitude on the finale “Song of Whippoorwill” and finding a balance all the while between keeping their progressions moving forward and establishing a melancholy atmosphere. Some elements feel drawn from the Maryland school of doom — opener the melody and hook of “The Inferno” remind of defunct purveyors Beelzefuzz — but what comes through clearest in these songs is that guitarist/vocalist Corey Roth, bassist/vocalist Andrew D’Cagna and drummer Dave Trik have found their way forward after paring down from a four-piece following 2016’s Black Magic (review here) and the initial steps the last album took. They sound ready for whatever the growth of their craft might bring and execute songs like “When the World is Gone” and the more swinging “Secrets of the Earth” with the utmost class.

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All Are to Return, All Are to Return

all are to return all are to return

Take the brutal industrial doom of Author and Punisher and smash it together — presumably in some kind of stainless-steel semi-automated contraption — with the skin-peeling atmosphere and grueling tension of Khanate and you may begin to understand where All Are to Return are coming from on their debut self-titled EP. How they make a song like four-minute centerpiece “Bare Life” feel so consuming is beyond me, but I think being so utterly demolishing helps. It’s not just about the plodding electronic beat, either. There’s some of that in opener “Untrusted” and certainly “The Lie of Fellow Men” has a lumber to go with its bass rumble and NIN-sounding-hopeful guitar, but it’s the overwhelming sense of everything being tainted and cruel that comes through in the space the only-19-minutes-long release creates. Even as closer “Bellum Omnium” chips away at the last remaining vestiges of color, it casts a coherent vision of not only aesthetic purpose for the duo, but of the terrible, all-gone-wrong future in which we seem at times to live.

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Tartarus Records website

 

Los Acidos, Los Acidos

Los Acidos Los Acidos

I saved this one for last today as a favor to myself. Originally released in 2016, Los Acidos‘ self-titled debut receives a well-deserved second look on vinyl courtesy of Necio Records, and with it comes 40 minutes of full immersion in glorious Argentinian psicodelia, spacious and ’60s-style on “Al Otro Lado” and full of freaky swing on “Blusas” ahead of the almost-shoegaze-until-it-explodes-in-sunshine float of “Perfume Fantasma.” “Paseo” and the penultimate “Espejos” careen with greater intensity, but from the folksy feel that arrives to coincide with the cymbal-crashing roll of “Excentricidad” in its second half to the final boogie payoff in “Empatía de Cristal,” the 10-song outing is a joy waiting to be experienced. You’re experienced, right? Have you ever been? Either way, the important thing is that the voyage that, indeed, begins with “Viaje” is worth your time in melody, in craft, in its arrangements, in presence and in the soul that comes through from front to back. The four-piece had a single out in late 2019, but anytime they want to get to work on a follow-up LP, I’ll be waiting.

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Alain Johannes Posts “If Morning Comes” Video

Posted in Bootleg Theater on August 10th, 2020 by JJ Koczan

Alain Johannes (Photo by Tom Bronowski)

Alain Johannes — known as a solo artist as well as for his work alongside Chris Cornell, Queens of the Stone Age, and on and on and on — released his new album, Hum (review here), on July 31 through Ipecac. To be perfectly honest, I don’t have much to add to that review when it comes to talking about the record; bottom line is it’s quite good and I think you’d do well to give it some time out of your busy day. “If Morning Comes” is the fourth video from Hum to surface (the others are all below), and it arrives with the noteworthy direction of Liam LynchTenacious D, Queens of the Stone Age, Sifl & Olly etc. — who basically takes Johannes‘ head and sends it on a Zardozian journey for the duration of the track. In a word, enjoyable.

If you haven’t yet taken the time to dive into Hum, I’m not gonna argue with you. Dude doesn’t need my advocacy and the song and the video do a better job than I could hope to anyhow. Melody. Atmosphere. Floating head. Alright, I’ll stop.

Please enjoy:

Alain Johannes, “If Morning Comes” official video

Alain Johannes, who released his third solo album, Hum, on Friday via Ipecac Recordings (https://lnkfi.re/AJHum), has shared a video for the song “If Morning Comes.”

“’If Morning Comes’ was one of the most cathartic for me during the making of Hum. Many difficult nights while I was ill those words were like my mantra,” explains Johannes of the song which encapsulates the personal nature of the 10-song album, a release written during a period of illness and mourning that found Johannes taking stock of his existence, and his future. The psychedelic video, which echoes the meditative quality of the song was directed by Liam Lynch. Johannes says of the clip: “My dear friend Liam Lynch created this intense world so visually stunning and resonant with the song. He’s the man!”

A series of eye-catching videos have been released in the lead-up to Hum’s arrival: “Hallowed Bones”, “Free” and the title track, “Hum”. The clips have celebrated the beauty of life and the world we inhabit.

Alain Johannes, “Hallowed Bones” official video

Alain Johannes, “Free” official video

Alain Johannes, “Hum” official video

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Album Review: Alain Johannes, Hum

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

Alain Johannes Hum

While to heavy rock heads he’s undoubtedly best known as the erstwhile guitarist for Queens of the Stone Age, Alain Johannes‘ career stretches back decades and has seen him work in various groups and styles, including New Wave, alternative rock, desert rock, and so on. Ten years ago, he released Spark, his first solo album, through Josh Homme‘s Rekords Records and Mike Patton‘s Ipecac Recordings, and after other self-released solo offerings and collaboration with Patton in The Alain Johannes Trio feat. Mike Patton for the 2018 single “Luna a Sol,” Johannes presents Hum through Ipecac as the third full-length under his own name and the first since 2014’s Fragments and Wholes Vol. 1, though obviously he’s done other work between. The prevailing spirit of Hum, though, is personal and intimate, and the album stretching across just 35 minutes with 10 tracks that vary in arrangement perhaps more in mood, Johannes having no trouble at this stage in his career knowing the comfort zone of his voice, and being likewise able to craft material that is expressive while still engaging for the listener.

His cigar-box guitar and finger strumming, acoustics and electrics populate the songs with due sense of personality, and as opener “Mermaid’s Scream” has echoes of Lullabies to Paralyze at the outset, backing moans and all, what unfolds from there finds a niche for itself that feels as much folk as rock, and perhaps takes some extra delight in dwelling between genres, the finger-dance-on-strings of the subsequent title-track giving a dreamy feel to go with Johannes‘ vocal melody, sounding humble but not at all simple, giving a feeling of space through echoes and backing keys or effects drone — a hum, suitably enough. As “Mermaid’s Scream” and “Hum” are the two shortest cuts on Hum at under two and a half minutes each, even as they complement each other there’s a momentum being built that hints at a straightforwardness of form that “Hallowed Bones” builds outward, taking that foundation of acoustic would-be-minimalism-if-it-weren’t-so-complex-ness and adding textures of vocal layers and string sounds.

Thinking of “Mermaid’s Scream” and the title-track as a foundation for Hum is a useful way of hearing the album, essentially teaches the listener how to hear it, setting the basis early for what stands to follow in “Hallowed Bones” and “Someone,” which returns to the acoustic guitar but keeps an arrangement of intertwining vocal layering in an almost call and response chorus, reminiscent of a contemplative Bowie but remaining smooth in the delivery. “Someone,” then is the back-to-ground reset before the more forwardly electric “If Morning Comes,” bringing percussion with it and a brooding atmosphere that, like “Hallowed Bones,” adds to its strumming rather than departs entirely from it. As the halfway point of the record, it is a well-placed turn, and the first song yet to top four minutes, which is more than enough time for it to affect its hypnotic rhythm and winding solo edge as it progresses through the wash of its second half.

Alain Johannes (Tom Bronowski)

I’m not sure if he’s handling all the instruments himself, but Johannes is in command of the proceedings one way or the other, and after “If Morning Comes” marches out, “Free” pulls back again to a single layer of voice over a finger-plucked guitar, like the title-track before it, effective in its shift, immediately recognizable, immediately familiar, and rife with purpose. There’s a fullness of sound that comes from Johannes‘ technique, but it creates a kind of tension as well for the simple fact that there’s so much melody happening at once. It’s serene, but it’s the serenity of looking at a river with a rushing undercurrent. You realize there’s a pull there even if on the top it seems more peaceful. So it is through “Free,” which is — if it needs to be said — gorgeous, and gives way to the darker blues of “Sealed,” vocals rougher in the tin-can-blues tradition to suit its lumbering guitar progression, centered more around the rhythm than melody. Is ambient blues a thing? It should be. And Johannes should probably spearhead it given what he does with “Sealed,” including the electrified solo ripped out in the song’s later reaches.

Time again to go to ground. “Here in the Silence” is a sweet folk melody filled out by keys or guitar or flute or whatever the hell it is, as well as the cigar-box strum, and leaves nothing unsaid after its sub-three-minute run, offering a quick reorientation before the penultimate “Nine” reframes the proceedings once again with electronic beats and Johannes‘ voice farther back in the distance, locking into what turns out to be one of Hum‘s finest hooks in the process. By the time Johannes gets there, “Nine” functions well alongside the rest of Hum precisely because it doesn’t quite fit. The album has to that point bounced back and forth through these shifts in arrangement, drawn together by mood, melody and Johannes‘ voice, and those elements are consistent in “Nine” as well, despite the difference of use to which they’re put.

“Finis” is a self-aware closer, hinting toward Americana as much as desert-delia, and one gets the sense that had he wanted it to, “Finis” could easily have worked as a harder rocker. Instead, though, it is one last return to the acoustic roots of the rest of the record, though it does flesh out as it proceeds, backing vocals and other whatnot helping to round off the record with a nod toward summary, even if the intention doesn’t seem to be to have it be complete in that regard. There are things Johannes is leaving unsaid here, and it’s not that that makes Hum unsatisfying in some way. Just the opposite. For an outing that carries itself in such unpretentious fashion, there’s an air of mystery and obscurity that comes through the atmosphere as yet another factor adding depth to Johannes‘ craft. We’re that not organic, the record would be a joke, but as it stands, Johannes is able to bring the audience with him on this apparently inward journey, and the going is all the more resonant for that.

Alain Johannes, “Hum” official video

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Alain Johannes Announces Hum out July 31; Title-Track Video Streaming

Posted in Whathaveyou on May 7th, 2020 by JJ Koczan

Alain Johannes (Tom Bronowski)

I don’t usually phrase things this way, but Alain JohannesHum is basically the record I’ve wanted Queens of the Stone Age to make since Lullabies to Paralyze and the record I’ve wanted Masters of Reality to make since Give Us Barabbas, so let’s say for the last 15 years-plus. God I’m old. Anyway, Hum is out July 31 on Ipecac Recordings and if you want to get a glimpse at the vibe of the thing, the video for the title-track is at the bottom of this post.

My recommendation is you dig into that and expect a reward of organic, desert-hued, finger-plucked bliss — “Hum” isn’t the only instance of it on the record, which varies in arrangement and dives into and out of psychedelic resonance, but it’s a highlight — and then go ahead and get your preorder in because gawd only knows what the world is going to look like by July so you might as well have something to look forward to in the mail.

I’m gonna go back in the meantime and listen to Johannes‘ other solo stuff, as clearly I have some catching up to do.

You go ahead and enjoy:

Alain Johannes Hum

ALAIN JOHANNES RELEASES HUM ON JULY 31 VIA IPECAC RECORDINGS

https://lnkfi.re/AJHum

Alain Johannes, co-creator of the highly influential ’90s alternative rock band Eleven as well as a key contributor on releases from Queens of the Stone Age, Them Crooked Vultures and Chris Cornell, releases Hum, his third solo album, on July 31 via Ipecac Recordings.

“It’s more about me than probably any album I’ve ever done,” says Johannes about the collection that follows a period of tragic loss, extreme illness and rebirth. “It was something I was striving for and needed to communicate. Coming out of a difficult period, I was liberated. I had lost people who were very close to me. I went through struggles with my own health. There’s a personal energy behind the way it was recorded and the feel of the songs. It’s a document of my life right now.”

Johannes is seen playing the album’s title track in a video released this morning. The clip, which showcases Johannes performing the song in the woods near his Los Angeles home, was shot by Frank McDonough and edited by Felo Foncea.

“You can think of the album title, Hum, a few ways,” adds Johannes. “Of course, there’s a musical hum. There’s an electrical hum. To me, it suggests a sense of mystery. When you stop and listen to silence in nature, the hum is underneath the threshold of hearing. It’s a mysterious and magical sense of something existing, beautiful, and alive. It’s a blanket word for the sound of the ether—something that’s always been there, always will be there, and everything comes from it. It’s the common connection to everything.” Album pre-orders, which include an instant download of “Hum,” are available now: https://lnkfi.re/AJHum.

Hum track list:
Mermaids’ Scream
Hum
Hallowed Bones
Someone
If Morning Comes
Free
Sealed
Here In The Silence
Nine
Finis

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https://blixtmerchandise.shop/ipecac-music-store

Alain Johannes, “Hum” official video

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