Quarterly Review: Mrs. Piss, Ulcerate, Shroom Eater, Astralist, Daily Thompson, The White Swan, Dungeon Weed, Thomas V. Jäger, Cavern, Droneroom

Posted in Reviews on October 9th, 2020 by JJ Koczan

THE-OBELISK-FALL-2020-QUARTERLY-REVIEW

Today is what would be the last day of the Fall 2020 Quarterly Review, except, you know, it’s not. Monday is. I know it’s been a messed up time for everybody and everything, but there’s a lot of music coming out, so if you’re craving some sense of normalcy — and hey, fair enough — it’s right there. Today’s an all-over-the-place day but there’s some killer stuff in here right from the start, so jump in and good luck.

And don’t forget — back on Monday with the last 10 records. Thanks for reading.

Quarterly Review #41-50:

Mrs. Piss, Self-Surgery

mrs piss self surgery

If “Nobody Wants to Party with Us” as the alternately ambient/industrial-punk fuckall of that song posits, most likely that’s because they’re way too intimidated to even drop a text to invite Mrs. Piss over. The duo comprised of vocalist/guitarist Chelsea Wolfe and guitarist/bassist/drummer/programmer Jess Gowrie issue Self-Surgery as an act of sheer confrontation. The screams of “You Took Everything.” The chugging self-loathing largesse of “Knelt.” The fuzzed mania of ‘M.B.O.T.W.O.,” which, yes, stands for “Mega Babes of the Wild Order.” The unmitigated punk of “Downer Surrounded by Uppers” and the twisted careen-and-crash of the title-track. The declaration of purpose in the lines, “In the shit/I’m sacrosanct/I’m Mrs. Piss” in the eponymous closer. Rage against self, rage against other, rage and righteousness. Among the great many injustices this year has wrought, that Wolfe and Gowrie aren’t touring this material, playing 20-something-minute sets and destroying every stage they hit has to be right up there. It’s like rock and roll to disintegrate every tired dude cliché the genre has. Yes. Fuck. Do it.

Mrs. Piss on Instagram

Sargent House website

 

Ulcerate, Stare into Death and Be Still

Ulcerate Stare into Death and Be Still

As progressive/technical death metal enjoys a stylistic renaissance, New Zealand’s Ulcerate put out their sixth full-length, Stare into Death and Be Still and seem right in line with the moment despite having been around for nearly 20 years. So be it. What distinguishes Stare into Death and Be Still amid the speed-demon wizardry of a swath of other death metallers is the sense of atmosphere across the release and the fact that, while every note, every guitar squibbly, every sharpened turn the 58-minute album’s eight tracks make is important and serves a purpose, the band don’t simply rely on dry delivery to make an impression. To hear the cavernous echoes of the title-track or “Inversion” later on, Ulcerate seem willing to let some of the clarity go in favor of establishing a mood beyond extremity. In the penultimate “Drawn into the Next Void,” their doing so results in a triumphant build and consuming fade in a way that much of their genre simply couldn’t accomplish. There’s still plenty of blast to be found, but also a depth that would seem to evoke the central intention of the album. Don’t stare too long.

Ulcerate on Thee Facebooks

Debemur Morti Productions on Bandcamp

 

Shroom Eater, Ad.Inventum

shroom eater ad inventum

Nine songs running an utterly digestible 38 minutes of fuzz-riffed groove with samples, smooth tempos and an unabashed love for ’90s-style stoner rock, Shroom Eater‘s debut album, Ad.Inventum feels ripe for pickup by this or that heavy rock label for a physical release. LP, CD and tape. I know it’s tough economic times, but none of this vinyl-only stuff. The Indonesian five-piece not only have their riffs and tones and methods so well in place — that is, they’re schooled in the style they’re creating; the genre-converted preaching to the genre-converted, and nothing wrong with that — but there are flashes of burgeoning cultural point of view in the lead guitar of “God Isn’t One Eyed” or the lyrics of “Arogant” (sic) and the right-on riffed “Traffic Hunter” that fit well right alongside the skateboarding ode “Ride” or flourish of psychedelia in the rolling “Perspective” earlier on. Closing with “Dragon and Tiger” and “Friend in the High Places,” Ad.Inventum feels like the work of a band actively engaged in finding their sound and developing their take on fuzz, and the potential they show alongside their already memorable songwriting is significant.

Shroom Eater on Instagram

Shroom Eater on Bandcamp

 

Astralist, 2020 (Demo)

astralist 2020 demo

I’m not usually one to think bands should be aggrandizing their initial releases. It can be a disservice to call a demo a “debut EP” or album if it’s not, since you only get one shot at having an actual first record and sometimes a demo doesn’t represent a band’s sound as much as the actual, subsequent album does, leading to later regret. In the case of Cork, Ireland’s Astralist, it’s the opposite. 2020 (Demo) is no toss-off, recorded-in-the-rehearsal-space-to-put-something-on-Bandcamp outing. Or if it is, it doesn’t sound like it. Comprised of three massive slabs of atmospheric and sometimes-extreme doom, plus an intro, in scope and production value both, the 36-minute release carries the feel and the weight of a full-length album, earning its themes of cosmic destruction and shifting back and forth between melodic progressivism and death-doom or blackened onslaught. In “The Outlier,” “Entheogen” and “Zuhal, Rise” they establish a breadth and an immediate control thereof, and their will to cross genre lines gives their work a fervently individualized feel. Album or demo doesn’t ultimately matter, but what they say about Astralist‘s intentions does.

Astralist on Thee Facebooks

Astralist on Bandcamp

 

Daily Thompson, Oumuamua

daily thompson oumuamua

Lost in the narrative of initial singles released ahead of its actual arrival is the psychedelic reach Dortmund trio Daily Thompson bring to their fourth album, Oumuamua. Yes, “She’s So Cold” turns in its second half to a more straightforward heavy-blues-fuzz push, but the mellow unfurling that takes place at the outset continues to inform the proceedings from there, and even through “Sad Frank” (video posted here) and “On My Mind” (video posted here), and album-centerpiece “Slow Me Down,” the vibe remains affect by it. Side B has its own stretch in the 12-minute “Cosmic Cigar (Oumuamua),” and sandwiched between the three-minute stomper “Half Thompson” and the acoustic, harmonized grunge-blues closer “River of a Ghost,” it seems that what Daily Thompson held back about the LP is no less powerful than what they revealed. It’s still a party, it’s just a party where every room has something different happening.

Daily Thompson on Thee Facebooks

Noisolution website

 

The White Swan, Nocturnal Transmission

The White Swan Nocturnal Transmission

Following up 2018’s Touch Taste Destroy (review here), Ontario’s The White Swan present their fourth EP in Nocturnal Transmission. That’s four EPs, in a row, from 2016-2020. If the trio — which, yes, includes Kittie‘s Mercedes Lander on vocals, drums, guitar and keys — were waiting to figure out their sound before putting out a first full-length, they were there two years ago, if not before. One is left to assume that the focus on short releases is — at least for now — an aesthetic choice. Like its predecessor, Nocturnal Transmission offers three circa-five-minute big-riffers topped with Lander‘s floating melodic vocals. The highlight here is “Purple,” and unlike any of the other The White Swan EPs, this one includes a fourth track in a cover of Tracy Bonham‘s “Tell it to the Sky,” given likewise heft and largesse. I don’t know what’s stopping this band from putting out an album, but I’ll take another EP in the meantime, sure.

The White Swan on Thee Facebooks

The White Swan on Bandcamp

 

Dungeon Weed, Mind Palace of the Mushroom God

Dungeon Weed Mind Palace of the Mushroom God

A quarantine project of Dmitri Mavra from Skunk and Slow Phase, Dungeon Weed is dug-in stoner idolatry, pure and simple. Mavra, joined by drummer Chris McGrew and backing vocalist Thia Moonbrook, metes out riff after feedback-soaked, march-ready, nod-ready, dirt-toned riff, and it doesn’t matter if it’s the doomier tolling bell of “Sorcerer with the Skull Face” or the tongue-in-cheek hook of “Beholder Gonna Fuck You Up” or the brash sludge that ensues across the aptly-named “Lumbering Hell,” all layered solos and whatnot, the important thing is that by the time “Mind Palace” comes around, you’re either out or you’re in, and once you make that choice there’s no going back on it. Opener “Orcus Immortalis/Vox Mysterium” tells the tale (or part of it, as regards the overarching narrative), and if ever there was a band that could and would make a song called “Black Pudding” sound heavy, well, there’s Dungeon Weed for you. Dungeon Weed, man. Don’t overthink it.

Dungeon Weed on Thee Facebooks

Forbidden Place Records website

 

Thomas V. Jäger, A Solitary Plan

thomas v jager a solitary plan

The challenge of rendering songcraft in the nude can be a daunting one for someone in a heavy band doing a solo/acoustic release, but it’s a challenge Thomas V. Jäger of Monolord meets with ease on the home-recorded A Solitary Plan, his solo debut. Those familiar with his work in Monolord will recognize some of the effects used on his vocals, but in the much, much quieter context of the seven-song/29-minute solo release — Jäger plays everything except the Mellotron on the leadoff title-track — they lend not only a spaciousness but a feeling of acid folk serenity to “Creature of the Deep” and “It’s Alright,” which follows. Mixed/mastered by Kalle Lilja of Långfinger, A Solitary Plan is ultimately an exploration on Jäger‘s part of working in this form, but it succeeds in both its most minimal stretches and in the electric-inclusive “The Drone” and “Goodbye” ahead of the buzzing synth-laced closer “The Bitter End.” It would be a surprise if this is the only solo release Jäger ever does, since so much of what takes place throughout feels like a foundation for future work.

Thomas V. Jäger on Bandcamp

RidingEasy Records website

 

Cavern, Powdered

CAVERN POWDERED

Change has been the modus operandi of Cavern for a while now. They still show some semblance of their post-hardcore roots on their new full-length, Powdered, but having brought in bassist/vocalist Rose Heater in 2018 and sometime between then and now let out of Baltimore for Morgantown, West Virginia, their sonic allegiance to a heavier-ended post-rock comes through more than ever before. Guitarist/synthesist Zach Harkins winds lead lines around Heater‘s bass on “Grey,” and Stephen Schrock‘s drums emphasize tension to coincide, but the fluidity across the 24-minute LP is of a kind that’s genuinely new to the band, and the soul in Heater‘s vocals carries the material to someplace else entirely. A song like “Dove” presents a tonal fullness that the title-track seems just to hint at, but the emphasis here is on dynamic, not on doing one thing only or locking their approach into a single mindset. As Heater‘s debut with them, Powdered finds them refreshed and renewed of purpose.

Cavern on Thee Facebooks

Cavern on Bandcamp

 

Droneroom, …The Other Doesn’t

droneroom the other doesnt

Droneroom is the solo vehicle of guitarist Blake Edward Conley and with …The Other Doesn’t, experiments of varying length and degree of severity are brought to bear. The abiding feel is spacious, lonely and cinematic as one might expect for such guitar-based soundscaping, but “Casual-Lethal Narcissism” and “The Last Time Someone Speaks Your Name” do have some measure of peace to go with their foreboding and troubling atmospherics. An obvious focal point is the 15-minute dronefest “This Circle of Ribs,” which feels more forward and striking than someone of Droneroom‘s surrounding material, but it’s all on a relative scale, and across the board Conley remains a safe social distance away from structural traditionalist. Recorded during Summer 2020, it is an album that conveys the anxiety and paranoia of this year, and while that can be a daunting thing to face in such a way or to let oneself really engage with as a listener — shit, it’s hard enough just living through — one of the functions of good art is to challenge perceptions of what it can be. Worth keeping in mind for “Home Can Be a Frightening Place.”

Droneroom on Thee Facebooks

Humanhood Recordings on Bandcamp

 

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Quarterly Review: Lucifer, Heilung, Amarok, T.G. Olson, Sun Dial, Lucid Grave, Domadora, Klandestin, Poor Little Things, Motorowl

Posted in Reviews on July 19th, 2018 by JJ Koczan

quarterly-review-CALIFORNIA-LANDSCAPE-Julian-Rix-1851-1903

You know what’s disheartening? When someone goes ‘thanks dudes.’ You know, I share a review or something, the band reposts and goes ‘thanks to the crew at The Obelisk blah blah.’ What fucking crew? If I had a crew, I’d put up 10 reviews every single day of the year. “Crew.” Shit. I am the crew. In the description of this site, the very first thing it says is “One-man operation.” It’s a fucking solo-project. That’s the whole point of it. It’s like me looking at your bass and going, “Sweet guitar, thanks for the solos brah.” I’m happy people want to share links and this and that, but really? It’s been nine years. Give me a break.

Oh yeah, that’s right. Nobody gives a shit. Now I remember. Thanks for reading.

And while we’re here, please remember the numbers for these posts don’t mean anything. This isn’t a countdown. Or a countup. It’s just me keeping track of how much shit I’m reviewing. The answer is “a lot.”

Grump grump grump.

Quarterly Review #31-40:

Lucifer, Lucifer II

lucifer lucifer ii

Recorded as the trio of vocalist Johanna Sardonis (ex-The Oath), guitarist Robin Tidebrink (Saturn) and guitarist/drummer Nicke Andersson (Death Breath, ex-Entombed, ex-The Hellacopters), Lucifer’s second album, Lucifer II (on Rise Above), follows three years after its numerical predecessor, Lucifer I (review here), and marks its personnel changes with a remarkable consistency of mission. Like Mercyful Fate gone disco, the formerly-Berlin/London-now-Stockholm group bring stage-ready atmospheres to songs like “Phoenix” and the riff-led “Before the Sun,” while unleashing a largesse of hooks in “Dreamer” and the boogie-pushing “Eyes in the Sky.” “Dancing with Mr. D” brings nod to a Rolling Stones cover, and “Before the Sun” reaffirms a heavy ‘70s root in their sound. I can’t help but wonder if the doomier “Faux Pharaoh” is a sequel to “Purple Pyramid,” but either way, its thicker, darker tonality is welcome ahead of the bonus track Scorpions cover “Evening Wind,” which again demonstrates the ease with which Lucifer make established sounds their own. That’s pretty much the message of the whole album. Lucifer are a big band. Lucifer II makes the case for their being a household name.

Lucifer on Thee Facebooks

Rise Above Records webstore

 

Heilung, Lifa

heilung lifa

Lifa is the audio taken from the live video that brought Denmark’s Heilung to prominence. Captured at Castlefest in The Netherlands in last year, the impression the expansive Viking folk group made was all the more powerful with elaborate costuming, bone percussive instruments, antlers, animal-skin drums, and so on. Their debut studio album, Ofnir, came out in 2015 and like LIFA has been issued by Season of Mist, but the attention to detail and A/V experience only adds to the hypnotic tension and experimentalist edge in the material. Does it work with just the audio? Yes. The 12-minute “In Maijan” and somehow-black-metal “Krigsgaldr” maintain their trance-out-of-history aspect, and the 75-minute set blends multi-tiered melodies and goblin-voiced declarations for an impression unlike even that which Wardruna bring to bear. Whether it’s the drones of “Fylgija Futhorck” or the chants and thuds of “Hakkerskaldyr,” LIFA is striking from front to back and a cohesive, visionary work that should be heard as well as seen. But definitely seen.

Heilung on Thee Facebooks

Season of Mist website

 

Amarok, Devoured

amarok devoured

Eight years after their founding, an EP and several splits, Chico, California, atmosludge extremists Amarok make their full-length debut with Devoured on Translation Loss. If it’s been a while in the making, it’s easy enough to understand why. The album is rife with brutalist and grueling sensibilities. Comprised of just four tracks, it runs upwards of 70 minutes and brings a visceral churn to each cut, not forgetting the importance of atmosphere along the way, but definitely focused on the aural bludgeoning they’re dealing out. Tempos, duh, are excruciating, and between the screams and growls of bassist Brandon Squyres (also Cold Blue Mountain) and guitarist Kenny Ruggles – the band completed by guitarist Nathan Collins and drummer Colby ByrneAmarok make their bid for Buried at Sea levels of heft and rumble their way across a desolate landscape of their own making. Eight years to conjure this kind of punishment? Yeah, that seems about right. See you in 2026.

Amarok on Thee Facebooks

Translation Loss Records webstore

 

T.G. Olson, Ode to Lieutenant Henry

tg olson ode to lieutenant henry

Here’s a curious case: T.G. Olson, founding guitarist and vocalist of Across Tundras, is a prolific experimental singer-songwriter. His material ranges from psychedelic country to fuller-toned weirdo Americana and well beyond. He’s wildly prolific, and everything goes up on Bandcamp for a name-your-price download, mostly unannounced. It’s not there, then it is. Olson’s latest singe, Ode to Lieutenant Henry, was there, and now it’s gone. With the march of its title-track and a complementary cover of Townes van Zandt’s “Silver Ships of Andilar,” I can’t help but be curious as to where the tracks went and if they’ll be back, perhaps in some other form or as part of a different release. Both are plugged-in and coated in fuzzy tones, with Olson’s echoing vocals providing a human presence in the wide soundscape of his own making. The original is shorter than the cover, but both songs boast a signature sense of ramble that, frankly, is worth being out there. Hopefully they’re reposted at some point, either on their own as they initially were or otherwise.

Across Tundras on Thee Facebooks

T.G. Olson/Across Tundras on Bandcamp

 

Sun Dial, Science Fiction

sun dial sci fi

If space is the place, Sun Dial feel right at home in it. The long-running UK psychedelic adventurers collect two decades’ worth of soundtrack material on Science Fiction, their new release for Sulatron Records. Made with interwoven keyboard lines and a propensity to periodically boogie on “Mind Machine,” “Airlock,” “Infra Red,” etc., the experimentalist aspect of Science Fiction is all the more remarkable considering the album is compiled from different sources. One supposes the overarching cosmos is probably what brings it together, but with the samples and synth of “Saturn Return” and the lower end space-bass of pre-bonus-track closer “Starwatchers” – that bonus track, by the way, is a 15-minute version of opener “Hangar 13” – and though the vast majority of the Science Fiction relies on synth and keys to make its impression, it’s still only fair to call the proceedings natural, as the root of each one seems to be exploration. It’s okay to experiment. Nobody’s getting hurt.

Sun Dial on Thee Facebooks

Sun Dial at Sulatron Records webstore

 

Lucid Grave, Demo 2018

lucid grave demo 2018

There are three songs on Lucid Grave’s first outing, the aptly-titled Demo 2018, and the first of them is also the longest (immediate points), “Star.” It presents a curious and hard to place interpretation of psychedelic sludge rock. It is raw as a demo worthy of its name should be, and finds vocalist Malene Pedersen (also Lewd Flesh) echoing out to near-indecipherable reaches atop the feedback-addled riffing. Quite an introduction, to say the least. The subsequent “Desert Boys” is more subdued at the start but gets furious at the end, vocals spanning channels in an apparent call and response atop increasingly intense instrumental thrust. And as for “Ride the Hyena?” If I didn’t know better – and rest assured, I don’t – I’d call it doom. I’m not sure what the hell the København five-piece are shooting for in terms of style, but I damn sure want to hear what they come up with next so I can find out. Consider me enticed. And accordingly, one can’t really accuse Demo 2018 of anything other than doing precisely what it’s supposed to do.

Lucid Grave on Thee Facebooks

Lucid Grace on Bandcamp

 

Domadora, Lacuna

domadora lacuna

Comprised of four-tracks of heavy psychedelic vibes led by the scorch-prone guitar of Belwil, Domadora’s third album, Lacuna, follows behind 2016’s The Violent Mystical Sukuma (discussed here) and taps quickly into a post-Earthless league of instrumentalism on opener “Lacuna Jam.” That should be taken as a compliment, especially as regards the bass and drums of Gui Omm and Karim Bouazza, respectively, who hold down uptempo grooves there and roll along with the more structured 14-minute cut “Genghis Khan” that follows. Each of the album’s two sides is comprised of a shorter track and a longer one, and there’s plenty of reach throughout, but more than expanse, even side B’s “Vacuum Density” and “Tierra Last Homage” are more about the chemistry between the band members – Angel Hidalgo Paterna rounds out on organ – than about crafting a landscape. Fortunately for anyone who’d take it on, the Parisian unit have plenty to offer when it comes to that chemistry.

Domadora on Thee Facebooks

Domadora on Bandcamp

 

Klandestin, Green Acid of Last Century

klandestin green acid of last century

That’s a big “fuck yes, thank you very much” for the debut album from Indonesian stoner metallers Klandestin. Green Acid of the Last Century arrives courtesy of Hellas Records and is THC-heavy enough that if they wanted to, they could probably add “Bong” to the band’s name and it would be well earned. Eight tracks, prime riffs, watery vocals, dense fuzz, stomp, plod, lumber, shuffle – it’s all right there in homegrown dosage, and for the converted, Green Acid of the Last Century is nothing short of a worship ceremony, for the band itself as well as for anyone taking it on. With the march of “Doomsday,” the unmitigated rollout of “Black Smoke,” and the swirling green aurora of “The Green Aurora,” Klandestin wear their holding-back-a-cough riffage as a badge of honor, and couldn’t be any less pretentious about it if they tried. From the hooded weedian on the cover art to the Sleepy nod of closer “Last Century,” Green Acid of Last Century telegraphs its intent front-to-back, and is all the more right on for it.

Klandestin on Thee Facebooks

Hellas Records on Bandcamp

 

Poor Little Things, Poor Little Things

poor little things poor little things

You get what you pay for with “Rock’n’Roller,” which leads off the self-titled debut EP from Bern, Switzerland-based Poor Little Things. Around the core duo of vocalist Tina Jackson and multi-instrumentalist Dave “Talon” Jackson (also of Australia’s Rollerball) on guitar, bass, synth and percussion is Talon’s The Marlboro Men bandmate Fernando Marlboro on drums, and together the band presents five tracks of remember-when-rock-rocked-style groove. Fueled by ‘70s accessibility and a mentality that seems to be saying it’s okay to play big rooms, like arenas, cuts like “Drive” seem prime for audience participation, and “Break Another Heart” gives a highlight performance from Tina while “About Love” showcases a more laid back take. They close with the 6:37 “Street Cheetah,” which struts appropriately, and end with a percussive finish on a fadeout repeating the title line. As a showcase of their style and songwriting chops, Poor Little Things shows significant promise, sure, but it’s also pretty much already got everything it needs for a full-length album.

Poor Little Things on Thee Facebooks

Poor Little Things on Bandcamp

 

Motorowl, Atlas

motorowl atlas

Every now and then you put on a record and it’s way better than you expect. Hello, Motorowl’s Atlas. The German troupe’s second for Century Media, it takes the classic stylizations of their 2016 debut, Om Generator, and pushes them outward into a vast sea of organ-laced progressive heavy, soaring in vocal melodies and still modern despite drawing from an array of decades past. The chug in “The Man Who Rules the World” would be metal for most bands, but on Atlas, it becomes part of a broader milieu, and sits easily next to the expansive title-track, as given to post-rocking airiness in the guitar as to synth-laden prog. That mixture of influences and aesthetics would be enough to give the five-piece an identity of their own, but Atlas is further characterized by Motorowl’s ambitious songwriting and benefits greatly from the melodic arrangements and the clear intention toward creative development at work here. Those who take on its seven-track/45-minute journey will find it dynamic, spacious and heavy in kind.

Motorowl on Thee Facebooks

Motorowl at Century Media website

 

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Outer Battery Records to Release Shark Move & Mooner LPs Dec. 8; Preorders up Now

Posted in Whathaveyou on October 30th, 2017 by JJ Koczan

Something old and something new from Indonesian heavy psych via Outer Battery Records this December. The label has opened preorders now for Tabiat, the latest LP from Mooner originally released via Bhang Records, and Ghede Chokra’s, a 1970 private press recording by Shark Move. The intention is obviously to connect modern and classic heavy psych from Indonesia’s scene, and I think if you take a listen to the streaming tracks below — “Lancang” by Mooner and “Evil War” by Shark Move — you can hear that it’s progressive elements in both doing the bulk of that work. Also dig that classic fuzz in Shark Move. Cool finds for those who might dig.

The PR wire brings all the info and preorder links. Check it:

Outer Battery confirm double whammy of Indonesian psych; MOONER and SHARK MOVE albums released this December

Outer Battery Records have confirmed details of the upcoming album, Tabiat, by Indonesian psychedelic rock band, MOONER. Alongside this, the label will also release cult classic, Ghede Chokra’s by SHARK MOVE. The two releases go perfectly hand in hand, representing the roots of Indonesian psych and a new-school offering at the same time. Both albums will be released on December 8, 2017.

MOONER – TABIAT

Although they’re relatively unknown outside of their native Indonesia, MOONER are something of a supergroup on home soil. The band feature members of The Slave, The SIGIT, Sigmun, and Sarasvati – all well established acts, commanding huge audiences. These four musicians have carried some of that winsome magic over onto this MOONER release.

Recorded at Red Studio, Bandung, mixed at Rebuilt Studio and then mastered by James Plotkin, Tabiat was originally released in Indonesia earlier this year via Bhang Records. The record is pure heavy psych with strong influences of Indian Raga and Middle Eastern touches thrown into a stoner rock stew. Tabiat is an update to the sounds found in early 70’s Indonesia while staying true to the roots of the original scene.

1) Buruh
2) Fana
3) Takana 1
4) Hei
5) Ingkar
6) Lancang
7) Takana 2
8) Serikat
9) Gelar
10) Seruh
11) Takana 3
12) Ternganga

MOONER is:
M. Absar Lebeh (The Slave) – Guitar, Vocal
Rekti Yoewono (The S.I.G.I.T) – Bass
Pratama Kusuma (Sigmun) – Drums, Vocal
Marshella Safira (Sarasvati) – Vocal

Tabiat will be released on ivory coloured vinyl via Outer Battery on December 8. It is available to pre-order HERE.

SHARK MOVE – GHEDE CHOKRA’S

When the Suharto regime seized power in the late 60’s in Indonesia they immediately began to crack down on the alternative culture, with only a brave few willing to rebel, and the leaders of this musical rebellion were SHARK MOVE.

Recording Ghede Chokra’s (translated from the Sanskrit as The Great Session) in 1970, Shark Move unleashed their psych masterpiece on the world on their own tiny label. From these small beginnings the SHARK MOVE legacy grew exponentially, first within the Indonesian scene, and then around the world with the classic Evil War featured on Now Again’s seminal Those Shocking Shaking Days compilation. Recognizing a killer riff when he hears one, hip hop producer, Madlib, lifted the track wholesale for his City single in 2013. With original copies of Ghede Chokra’s now trading hands for obscene money, and even the extremely limited Indonesian repress from a few years ago impossible to find, Outer Battery decided it was time to step in and reissue this monster!

Pressed on blue vinyl with white splatter, and housed in a deluxe gatefold sleeve, this special release will finally be more readily available to eager listeners.

1) My Life
2) Butterfly
3) Harga
4) Evil War
5) Bingung
6) Insan
7) Madat

SHARK MOVE was:
Benny Soebardja
Bhagu Ramchand
Sammy Zakaria
Janto Diablo
Soman Loebis

Ghede Chokra’s will be released via Outer Battery on December 8. It is available to pre-order HERE.

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