Stonus Premiere Séance EP in Full; Out Friday

Posted in audiObelisk on March 23rd, 2021 by JJ Koczan

stonus

Cyprus rockers  Stonus will release their new three-song EP, Séance, this Friday, March 26, on Electric Valley Records. Actually, I’m not about to commit 100 percent to that geography since they’re recording in Cyprus (maybe they went back? I don’t know), but wherever they are, Stonus follow-up their 2020 debut album, Aphasia, with this third EP release that takes a mere 18 minutes out of your day and rewards with vibrant heavy fuzz and spacey push. In “Evil Woman,” “Messianism” and “El Rata,” the five-piece’s sound is only suited to its live recording process, and there’s a palpable flow between the tracks that comes through despite the EP format. That is, cuts are individualized, they’d work on their own as singles, but there’s plenty of fluidity tying them together as well.

Channeling their inner mid-period Monster Magnet, they start with “Evil Woman” and shift easily into “Messianism” before the willfully chuggier and more aggressive “El Rata,” bringing Mediterranean folk elements along for the ride into the farther-out. “Evil Woman” brakes from its thrust in its midsection with Kyriakos Frangoulis‘ vocals no less a part of the swirl than the guitars of Pavlos Demetriou and Nicky Ray (the latter also bass), who bring the riff back around circa 4:20 and are joined by drummer Kotsios Demetriades for the renewed push that culminates, underscoring the songwritingstonus seance that lurks beneath the wash. “Messianism” pulls its riff early with some spoken word and drumroll for an intro. I haven’t seen a lyric sheet but there’s certainly plenty of subject matter around which they might explore the title’s theme, and they do so in a range shortly under seven minutes that’s engaging and adventurous in kind, whispers dug into the mix, room for rhythmic changes and a progressivism that, if nothing else, speaks to the obvious craft gone into putting these tracks together before they hit the studio to play them live. These are not half-baked pandemic-era tossoffs, and this is not a band without purpose.

Weightier thud and more spacious reach collide in the second half of “Messianism,” and it becomes no mystery why the band positioned it as the centerpiece of the outing. Is that a plugged-in tzouras (like a bouzouki, but smaller) I hear, or a guitar with effects? No clue, but that’s part of the fun as the second of three hits its peak and subsequently rumbles to its close. “El Rata” rounds out with Stonus‘ most effective heavy psychedelic elemental blend, bringing the heft of the prior cut and the wash of the opener together in succinct and deceptively efficient fashion until its long fade leads the way into whatever beyond the band are heading toward. In an uncool universe, these songs wear sunglasses at night, and for those who slept on the LP last year (like me), they represent a hand of outreach on the part of the band, bidding warm welcome as they chart their particular course through the void. It’s not too late to get on board.

So be it. If you think you’re up for what Stonus are delivering throughout Séance, to be honest, you’re probably right. There’s a bit of preaching to the converted, but that doesn’t make their communication with the ethereal any less switched on. They’re willing to leave the world behind for 18 minutes. Maybe you are too.

Séance is streaming in its entirety below, and under the player you’ll find preorder and bundle info.

Enjoy:

We are proud to announce that the Pre-orders of our new EP “Séance” are now Live! Pressed on a 140g Side A Black Vinyl/side B picture Disk including a poster, all designed by Petros Voulgaris / Design, Illustration & Screenprinting ??

Available for Pre-order on our official Bandcamp: https://stonusofficial.bandcamp.com/album/s-ance

‘Seance’ is the 3rd EP of the Cypriot Heavy Rock band Stonus, a fully analogue 18:24 minute EP recorded live at Hot Soap Studios in Larnaca, Cyprus under the supervision of Andreas Matteou and mastered by George Leodis. The delicate artwork, perfectly translating the visualisation of Seance was crafted by Petros Voulgaris.

In this trip, Stonus take a more experimental approach seeking into tradition, experiencing folk sounds, gypsy sceneries and expose themselves into the darkest side of nature. In some parts they are raw and heavy, while in others lost in a psychedelic trance, filled with roaring basslines, heavy riffs and dreamy melodies, always bloodthirsty for revolution and change. Whether you’re bound by the evil chains of pretentious love, feeling disconnected from your dreams or being chained to the system, Seance is a kind reminder that you are not alone…

-35 x “The Ritual Bundle”
Signed Vinyl, Séance T-shirt available in Red, Gray and White, poster, stickers and an ultra-limited edition Séance card oracle deck and a game board delicately hand-drawn by Rafael Marquetto with garments designed by the young talented designers Eleni Oronti and Apocahlipse

-35 x “Evil Woman Bundle”
Signed Vinyl & Evil Woman T-shirt Bundle. Includes poster and sticker

-10 x “Mystery Bundle”
Seance and Aphasia signed Vinyls, random T-shirt, poster and stickers

-70 x Signed Vinyl poster and sticker

Or directly through Electric Valley Records: https://www.electricvalleyrecords.com/

Pre-save & Pre-Order: https://distrokid.com/hyperfollow/stonus/sance
“Evil Woman” Pre-save: https://distrokid.com/hyperfollow/stonus/evil-woman

It was a hard year for all of us, away from gigs, bars, friends and family and we are hoping that our music helped you pass through some of those hard times the same way your warm support and love keeps us alive!

Stonus are:
Kyriakos Frangoulis (Lead Vocals)
Pavlos Demetriou (lead Guitar, tzouras)
Nicky Ray (Rythm guitar, tzouras, bass)
Kotsios Demetriades (Drums)

Stonus on Thee Facebooks

Stonus on Instagram

Stonus on Bandcamp

Electric Valley Records on Thee Facebooks

Electric Valley Records website

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Desertfest London 2021 Postponed to 2022

Posted in Whathaveyou on February 8th, 2021 by JJ Koczan

Well, yeah. I mean, who was really expecting Desertfest London to roll out this Spring like nothing happened? It’s a nice thought, and I wish we lived in that world, but I also wish we lived in the world where 2020 happened as scheduled too. We’re just not there yet.

So 2020 becomes 2021 becomes 2022. If you’re the type of person to hold this against those putting on the fest, or even the type to bitch about money or whatever, fuck off. Consider yourself lucky they’re talking about next year.

I want to be there when this happens. I don’t know anything they’ve got in store in terms of lineup, but I know that when Desertfest returns to Camden Town I want to see it. Don’t care if it’s out of my pocket. I want to go. I’ve marked my calendar for April 29-May 1, 2022, and I’ll hope to see you in London. I mean it.

From the Desertscene crew:

DESERTFEST LONDON 2021 2022

Desertfest London moves to 2022

Hello!

Thank you for bearing with us over the last few tricky months, we hope you are all keeping safe & sane! It’s with huge sadness, but probably no surprise, that we announce the 2021 edition of Desertfest London will be unable to take place in its full capacity this year, due to the on-going COVID-19 restrictions.

The next edition of Desertfest London will now take place April 29th – May 1st 2022 and we are thrilled to reveal will host a monumental TWO days at Roundhouse, alongside your most beloved venues Electric Ballroom, The Underworld, The Black Heart & The Dev. We might have a couple of additional surprises and stages to reveal over the coming year too…

This is going to be the biggest, loudest & most diverse Desertfest to date, we cannot wait to finally see you all and celebrate in style. The first acts for 2022 will be revealed on April 30th 2021, with general weekend tickets on sale at this time. We hope you understand the practical hurdles that we, and many other festivals, are facing with rolling over an entire line-up for two years in a row. There will be some changes (plus a tonne of amazing additions) for the 2022 line-up but trust us, you will not be disappointed with what’s to come.

All tickets and festival vouchers purchased in 2020 & 2021 remain valid, you don’t need to do anything but hold on to them! Our friends at DICE will handle the transfer to 2022 and no further action is required from you at this stage.
We hope you’ll stick with us, but if you’d prefer a refund please contact help@dice.fm by April 30th 2021. Those who purchased day tickets will be updated on their options via DICE in due course.

Thank you for your patience, understanding and phenomenal support of independent music over the past 11 months. We’re truly lucky to be part of such an amazing community of heavy music lovers & getting together in 2022 is going to feel utterly incredible.

See you soon!
– Sarika, Reece, Jake

http://www.desertscene.co.uk/support
https://www.facebook.com/DesertfestLondon
https://www.instagram.com/desertfest_london/
https://twitter.com/DesertFest
https://www.desertfest.co.uk/

Colour Haze, Live at Desertfest London 2019

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The Obelisk Presents: THE BEST OF 2020

Posted in Features on December 31st, 2020 by JJ Koczan

london-news-etching-1854-newcastle-upon-tyne

[PLEASE NOTE: These are not the results of the year-end poll, which is ongoing. If you haven’t contributed your list to the cause yet, please do so here.]

Invariably, the ultimate measure of 2020 will be in lives and livelihoods lost around the world. I have nothing to add to the discourse of the COVID-19 pandemic that others haven’t said in more articulate and precise language. Suffice it to note that 2020 was the year that the very concept of “unprecedented” itself became trite.

One does not have to look far to find positives amid the devastation. Creativity continues to flourish. Art cannot be killed. Even locked away from each other in quarantine, artists will continue to reach out, to collaborate, to fulfill the human need for expression that has driven the species since cave drawings and will no doubt be the ruins we leave behind us when we’re gone.

In underground music, it was simply overwhelming. And though I’ll admit it was hard at times to listen to music and divorce it from the larger context of what was happening in the world — it was there like a background buzz — this year reinforced how necessary music is, not only as an escape or a source of income for those who make/promote it, but as an integral component of life and community. Absences have been keenly felt.

I won’t try to sate you with platitudes, to say “things will get better.” Maybe they will, maybe they won’t. One year turning to the next does not fix broken systems and it does not cure raging plagues. It’s just a number. Arbitrary except as a convenient marker for things like this, births, deaths, and so on. Bookkeeping.

Before I turn you over to the lists: Please be kind in the comments if you choose to leave one. To me. To other people. To yourself. These lists are culled from my listening preference and what I consider of critical importance. But I’m one person. If there’s something you feel has been left out, say so. I ask you only to do so in a spirit of friendship rather than argument. Thank you in advance.

ukmedsnorx.com/zopiclone
ukmedsnorx.com/zolpidem

Okay:

The Top 50 Albums of 2020

#50-31

50. Sun Crow, Quest for Oblivion
49. Atramentus, Stygian
48. Arcadian Child, Protopsycho
47. Fuzz, III
46. Jointhugger, I Am No One
45. Dirt Woman, The Glass Cliff
44. Switchblade Jesus, Death Hymns
43. Foot, The Balance of Nature Shifted
42. Hymn, Breach Us
41. IAH, III
40. Lord Fowl, Glorious Babylon
39. Acid Mess, Sangre de Otros Mundos
38. 1000mods, Youth of Dissent
37. Deathwhite, Grave Image
36. Soldati, Doom Nacional
35. Cortez, Sell the Future
34. Kadavar, The Isolation Tapes
33. Black Rainbows, Cosmic Ritual Supertrip
32. Shadow Witch, Under the Shadow of a Witch
31. Insect Ark, The Vanishing

Notes: To say nothing of the honorable mentions that follow the rest of the list below, immediately we see the problem of so-many-albums-not-enough-space. People talk about a top 50 as ridiculous, like there’s no way you can like that much music. Bullshit. I agonized over how to fit Sun Crow on this list because their Quest for Oblivion felt like it deserved to be here. Ditto that for Arcadian Child. And the achievements of bands like Kadavar, 1000mods and Switchblade Jesus and Insect Ark in breaking the boundaries of their own aesthetics deserve every accolade they can get, and likewise those who progressed in their sound like Cortez, Shadow Witch, Lord Fowl, Hymn, Foot, Black Rainbows, Deathwhite and IAH. Add to that the debuts from Atramentus, Dirt Woman, Jointhugger, Acid Mess and Sergio Ch.’s Soldati, and you’ve got a batch of 20 records — some born of this year’s malaise, some working in spite of it — that vary in sound but are working to push their respective styles to new places one way or the other.

30. High Priestess, Casting the Circle

high priestess casting the circle

Released by Ripple Music. Reviewed May 5.

There was no shortage of anticipation for what L.A. cultists High Priestess would do to follow their 2018 self-titled debut (review here), and the three-piece did not disappoint, instead gave a ritual mass that included the 17-minute concept piece “Invocation” alongside infectious and ethereal melodies like “The Hourglass.” And now that the circle’s been cast? Seems like they can do anything.

29. Polymoon, Caterpillars of Creation

Polymoon Caterpillars of Creation

Released by Svart Records. Reviewed Oct. 12.

High-powered cosmic metal from Finland pulling apart heavy psychedelia on an atomic level with an urgency that speaks of youth, progress and an ingrained need for exploration? Sign me up. A lot of bands on this list put out their first album this year. There are few for whom my hopes are as high as they are for Polymoon. If you haven’t yet heard Caterpillars of Creation, do.

28. Sons of Otis, Isolation

Sons of Otis Isolation

Released by Totem Cat Records. Reviewed Sept. 30.

Of the sundry horrors 2020 wrought, a new album from long-running Toronto three-piece Sons of Otis was an unexpected positive, and their ultra-spaced, murky riffs on their first studio album since 2012’s Seismic (review here, also here) launched like a slow-motion escape pod of righteous doom (s)tonality. There will never be another Sons of Otis. Be thankful for everything you get from them.

27. Lamp of the Universe, Dead Shrine

Lamp of the Universe Dead Shrine

Released by Projection Records. Reviewed May 25.

Organ, Mellotron, sitar, acoustic and electric guitars, various percussion elements, and of course the inimitable fragility in Craig Williamson‘s voice itself — the ingredients for Lamp of the Universe‘s Dead Shrine were familiar enough for those familiar with the one-man outfit running more than two decades, but the lush acid folk created remains a standout the world over. Dead Shrine was a much-needed gift of peace and meditation.

26. BleakHeart, Dream Griever

bleakheart dream griever

Released by Sailor Records. Reviewed Nov. 18.

The debut album from Colorado’s BleakHeart collected pieces united by melody and overarching atmosphere, positioned stylistically somewhere around heavygaze or heavy post-rock, but feeling less limited to genre bounds than some others working in a similar sphere. As a first outing, it brought a promise of things to come even as the depths of its mix seemed to swallow the listener entirely, equal parts serving claustrophobia and escapism.

25. Pale Divine, Consequence of Time

Pale Divine Consequence of Time

Released by Cruz Del Sur Music. Reviewed June 3.

There is not enough space here to properly commend Pale Divine founding guitarist/vocalist Greg Diener on how much he opened up the band by bringing in his and drummer Darin McCloskey‘s former Beelzefuzz bandmate Dana Ortt on shared guitar, vocal and songwriting duties. Completed by Ron “Fezz” McGinnis on bass/vocals, Pale Divine are a refreshed and ready powerhouse of American traditional doom.

24. Uncle Woe, Phantomescence

uncle woe phantomescence

Released by Packard Black Productions. Reviewed Oct. 21.

One is going to have to get used to the idea of Uncle Woe residing in the places between, I think. An inward-looking cosmic doom that’s likewise morose and reaching, opaque and translucent, Phantomescence could be almost troubling in its feeling of off-kilter expression. Yet that’s exactly what multi-instrumentalist/vocalist Rain Fice was going for. Thriving on contradiction, exploratory, and individualized. Start from doom, move outward.

23. REZN, Chaotic Divine

rezn chaotic divine

Released by Off the Record Label. Reviewed Oct. 15.

I don’t feel like I’m cool enough to offer any substantive comment on what Chicago’s REZN do, but their sax-laced heavy psychedelia comes across warm and is invitingly languid while still delivered with a sense of energy and purpose. It rolls and you want to roll with it, so you do. They were clearly hurt by not being able to tour this year, as were audiences for not seeing them. Call them neo-stoner metal or whatever you want, these songs deserve to be played live.

22. Ruff Majik, The Devil’s Cattle

ruff majik the devils cattle

Released by Mongrel Records. Reviewed Oct. 29.

A revamped lineup for South African desert-ish heavy rockers Ruff Majik brought producer Evert Snyman in as co-conspirator with frontman/principal songwriter Johni Holiday, and found the former trio working as a five-piece with a broader sound underscored by an electric sense of purpose and willingness to push themselves to places they hadn’t gone before. Their third record, it seemed as well to be a new beginning, and they met the challenge head-on.

21. Curse the Son, Excruciation

Curse The Son Excruciation

Released by Ripple Music. Reviewed June 8.

The underheralded children of rolling fuzz riffage, Connecticut’s Curse the Son found new depths of emotion to bring to Excruciation — and I do mean “depths.” Dark times for dark times. Fueled by personal hardship, turmoil, motorcycle accidents and a pervasive sense of struggle, the LP was nonetheless a triumph of their songwriting and brought new melodic character to their established largesse of tone. Your loss if you missed it.

20. The Atomic Bitchwax, Scorpio

The Atomic Bitchwax Scorpio

Released by Tee Pee Records. Reviewed Aug. 26.

Business as usual in ferocious heavy/speed rock from The Atomic Bitchwax on Scorpio — and that was only reassuring since the band’s eighth full-length marked the first since the departure of guitarist/vocalist Finn Ryan and his replacing with Garrett Sweeny, a bandmate of founding bassist/vocalist Chris Kosnik and drummer Bob Pantella in Monster Magnet. They barely stopped to cool their heels and yet still managed to be catchy as hell. How do they do it? Jersey Magic.

19. Cinder Well, No Summer

cinder well no summer

Released by Free Dirt Records. Reviewed July 21.

Such pervasive melancholy could only be derived from Irish folk, and so it was on Cinder Well‘s No Summer, which managed to move between singer-songwriter minimalism from Amelia Baker and arrangements of deceptive and purposeful intricacy. Wherever it went, from traditional songs “Wandering Boy” and “The Cuckoo” to originals like “Fallen” and the nine-minute “Our Lady’s,” it was equal parts gorgeous and sad and resonant. It remains so, despite the fleeting season.

18. Pallbearer, Forgotten Days

pallbearer forgotten days

Released by Nuclear Blast Records. Reviewed Dec. 24.

Their fourth album and first since crossing the decade-mark since their inception, Pallbearer‘s Forgotten Days wasn’t just heavy, emotional or big-sounding; it was the most their-own of anything they’ve done. It felt exactly like the record they wanted it to be, and reconfirmed that the generation of listeners being introduced to doom by their music is going to be just fine if they follow the cues laid out for them here.

17. Slift, Ummon

slift ummon

Released by Stolen Body and Vicious Circle Records. Reviewed March 26.

Less a reinvention of space rock than a kick in its ass, Slift‘s Ummon pushed well past the line of manageability at 72 minutes and reveled in that. The French outfit were greeted as liberators when they released the album, and with the way the respect has been maintained in the months since they’ve given themselves a high standard to meet, but there’s only promise to be heard as you get lost in the nebular wash of this sprawling 2LP. They’ll have two more records out before this one’s fully digested.

16. My Dying Bride, The Ghost of Orion

my dying bride the ghost of orion

Released by Nuclear Blast Records. Reviewed Feb. 25.

The first album in half a decade from long-established UK death-doom forebears My Dying Bride found vocalist Aaron Stainthorpe coping with his daughter’s cancer diagnosis and translating that into the morose poetry for which the band is so well known and with which they’ve been so influential. My Dying Bride has never wanted for sincerity, but to call them affecting here would be underselling the quality of their craft and the heart they put into it. Follow-up EP is already out with extra non-album tracks.

15. Causa Sui, Szabodelico

causa sui Szabodelico

Released by El Paraiso Records. Reviewed Nov. 11.

Denmark’s Causa Sui may be on a mission to unite jazz and heavy psychedelia — and blessings on them for that — but the mellow jammy vibes they conjured on Szabodelico only emphasized how much it’s the character of what they do and the chemistry they’ve brought as bandmates that has allowed them to branch thusly in terms of aesthetic. It was the kind of album you wanted to put on again even before it was over, and its sweet instrumentals felt born to a greater timeline than a single year can encompass.

14. All Souls, Songs for the End of the World

All Souls Songs for the End of the World

Self-released. Reviewed Sept. 21.

I’m not a punk rocker, but All Souls make me wish I was. Their emotive and engaged heavy rock looks out as much as in on Songs for the End of the World — their second LP behind a 2018 self-titled debut (review here) — but it’s undeniably punk in its foundation, and what the four-piece of Antonio Aguilar and Meg Castellanos (both ex-Totimoshi), Erik Trammell (Black Elk) and Tony Tornay (Fatso Jetson) have put together builds on that in exciting, inventive and individualized ways, while staying nonetheless true to its roots.

13. Kind, Mental Nudge

kind mental nudge

Released by Ripple Music. Reviewed Oct. 20.

Five years after their debut album, Rocket Science (review here), Boston four-piece Kind return with Mental Nudge. And despite the different situations in which it finds the band’s members — bassist Tom Corino is now ex-Rozamov, drummer Matt Couto now ex-Elder — the group’s focus remains on carving memorable, mostly structured tracks out of ethereal heavy psychedelia, guitarist Darryl Shepard (Milligram, etc.) and vocalist Craig Riggs (RoadsawSasquatch, etc.) adding space and melody to the crunching, driving grooves.

12. Molassess, Through the Hollow

Molassess Through the Hollow

Released by Season of Mist. Featured Aug. 17.

Founded by vocalist Farida Lemouchi (ex-The Devil’s Blood) and guitarist Oeds Beydals (ex-Death Alley, also ex-The Devil’s Blood) and commissioned as a project for Roadburn Festival 2019 (review here), Molassess are inextricably tied to Lemouchi‘s groundbreaking former outfit and its tragic ending, but the musical branching out into darkened progressive textures on Through the Hollow isn’t to be understated. It was an album that pushed past the past, not overlooking it, but finding new ways of moving forward in life and sound.

11. Tony Reed, Funeral Suit

tony reed funeral suit

Released by Ripple Music. Reviewed Sept. 28.

While of course the Mos Generator frontman is no stranger to writing or recording on his own, Funeral Suit was Tony Reed‘s debut as a solo artist and it carried his progressive stamp in melody and arrangement. It was not just a guitarist playing acoustic instead of electric, and it was not a manifestation of self-indulgence. Whether it was reworking a Mos Generator song like “Lonely One Kenobi” or pursuing a new piece like the title-track or “Waterbirth,” Reed found balance between personal and audience, evoking traditional songsmithing even as he reminded listeners of his dual role as a producer.

10. Geezer, Groovy

Geezer Groovy

Released by Heavy Psych Sounds. Reviewed May 18.

Spectacular showing from Kingston kingpins Geezer with Groovy as their first offering for Heavy Psych Sounds. Led by guitarist/vocalist Pat Harrington, the three-piece brought material that flowed with the organic feel of jams despite being structured and catchy songs. In pieces like “Dead Soul Scroll” and “Drowning on Empty,” they melded stonerized groove with what felt like genuine emotional expression, and “Dig” and “Groovy” still managed to be a heavy fuzz-blues party. And they still had room at the end to jam out on “Slide Mountain” and “Black Owl.” It was nothing but a win, rising to the occasion on every level.

9. Big Scenic Nowhere, Vision Beyond Horizon

big scenic nowhere vision beyond horizon

Released by Heavy Psych Sounds. Reviewed Jan. 29.

So Bob Balch from Fu Manchu and Gary Arce from Yawning Man have a band. They get Tony Reed from Mos Generator on board. Mario Lalli from Yawning Man/Fatso Jetson comes and goes. Nick Oliveri comes and goes. Bill Stinson from Yawning Man plays drums. Alain Johannes sits in on vocals. Reed does a bunch of vocals; his kid does a track too. Per Wiberg from Spiritual Beggars, Opeth, Candlemass, etc., lends some keys. What do you call such a thing? Who cares? You call yourself lucky it exists. They called the record Vision Beyond Horizon. Can’t wait to find out what they call the next one.

8. Elder, Omens

elder omens

Released by Armageddon Shop and Stickman Records. Reviewed April 27.

Omens marked a new beginning for Elder as the band pushed deeper into the realm of progressive rock and beyond their weightier beginnings. The arrival of Georg Edert (also Gaffa Ghandi) on drums in place of Matt Couto shifted the band’s dynamic in a number of ways, providing not a swinging anchor for the rhythm section necessarily, but another avenue of prog fluidity. Bassist Jack Donovan brought a steady presence in the low end as guitarist/vocalist Nick DiSalvo and guitarist/keyboardist Mike Risberg embarked on new melodic explorations while staying loyal to the band’s established penchant for sweeping changes. Omens may live up to its name as a sign of things to come, but either way, it was a strong display of the band’s will to pursue new ideas and methods.

7. Forming the Void, Reverie

forming the void reverie

Released by Ripple Music. Reviewed April 15.

First words that come to mind here: “eminently listenable.” With seven tracks and 36 minutes, Reverie may not have taken up much of your afternoon… once. But by the time you gave it its proper respect and listened through three times in a row, the situation was somewhat different. The Lafayette, Louisiana, four-piece gracefully brought together structured songwriting with proggier leanings and were able to bring together rampaging hooks like “Trace the Omen” and “Manifest,” casting a sense of sonic hugeness without forgetting to add either melody or personality along with that. The band — who here welcomed bassist Thorn Letulle alongside guitarist/vocalist James Marshall, guitarist Shadi Omar Al-Khansa and drummer Thomas Colley — have worked quickly and evolved with a sense of urgency. Is Reverie the goal or another step on that path?

6. Grayceon, MOTHERS WEAVERS VULTURES

grayceon mothers weavers vultures

Released by Translation Loss Records. Reviewed Nov. 18.

Vocalist/cellist Jackie Perez Gratz (interview here), guitarist Max Doyle and drummer Zack Farwell comprise Grayceon, and with their fifth record, the band looks around thematically at environmental devastation through the lens of record-breaking California wildfires from their vantage point in the Bay Area. Even as the world shifted priorities (at least most of it did) to yet another global crisis in the COVID-19 pandemic, genre-melting-pot songs like “Diablo Wind,” “The Lucky Ones,” and “This Bed” reminded of the horrors humanity has wrought on its battered home, and still managed to find hope and serenity in “And Shine On” and “Rock Steady,” a closing duo that shifted to a more personal discussion of family and one’s hope for a better future for and by the next generation. 2020 had plenty of horror. At least we got a new Grayceon record out of it.

5. Brant Bjork, Brant Bjork

brant bjork brant bjork

Released by Heavy Psych Sounds. Reviewed April 28.

When Sho’Nuff asked Bruce Leroy “who’s the master?,” dude should’ve said Brant Bjork. It would’ve been a confusing end to Berry Gordy’s The Last Dragon, but ultimately more accurate, as Brant Bjork‘s homegrown kung fu was unfuckwithable as ever on the album that shares his name. After two decades of solo releases in one form or another, Bjork is not just a pivotal figurehead for desert rock, he’s a defining presence, as well as one of its most treasured practitioners. Brant Bjork, the album, brought initial waves of funk in “Jungle in the Sound,” explored weedy worship in “Mary (You’re Such a Lady)” and toyed with religious dogma in offsetting that with “Jesus Was a Bluesman” while still tossing primo hooks in “Duke of Dynamite” and “Shitkickin’ Now” ahead of the more open “Stardust and Diamond Eyes” and the acoustic closer “Been So Long.” With Bjork recording all the instruments himself, a due feeling of intimacy resulted, and yet he still found a way to make it rock. How could it be otherwise?

4. Enslaved, Utgard

enslaved utgard

Released by Nuclear Blast Records. Reviewed Sept. 29.

Why do I feel the immediate need to defend this pick? I’m not sure. Norway’s Enslaved are an institution, not just of black metal, but of bringing an ideology of creative growth to that style that often willfully resists it. They are iconoclastic even unto their own work. Utgard was released as the band stood on the precipice of 30 years together and yet it stood as their most forward-looking offering yet, as co-founders Grutle Kjellson (bass/vocals) and Ivar Bjørnson (guitar/sometimes vocals), as well as longtime lead guitarist Arve “Ice Dale” Isdal backed up the change from 2017’s E (review here) that brought in new keyboardist/vocalist Hakon Vinje with the incorporation of drummer Iver Sandøy, who doubles as a vocalist (and triples as a producer). The “new blood” made all the difference on Utgard, allowing Enslaved to piece together new ranges of melody in their work and offset instrumental shifts into and out of krautrock-derived progressions. Simply the work of a band outdoing itself from a band who does so at nearly every opportunity.

3a. Colour Haze, We Are

colour haze we are

Released by Elektrohasch Schallplatten and Ripple Music. Reviewed Dec. 3, 2019.

Every year I allow myself one addendum pick, and this is it. We Are was on last year’s list because it was digitally released, but the vinyl came out this year and it received its North American release this year as well, so it seemed only right to acknowledge that. So here it is in its proper place.

3. All Them Witches, Nothing as the Ideal

All-Them-Witches-Nothing-as-the-Ideal

Released by New West Records. Reviewed Sept. 3.

This is a band controlling their own narrative. Instead of Nothing as the Ideal being ‘the one they made as a three-piece,’ the Nashville outfit decided to make it ‘the one they recorded at Abbey Road.’ Were they thinking of it on those terms? Yeah, likely not, but it goes to demonstrate all the same just how much of themselves All Them Witches put into what they do musically, since not only are they continuing to refine and define and undefine their approach, but they’re setting the terms on which they do it. Each of their records has been a response to the one prior, but that conversation has never been so direct as to make them predictable. So what are they chasing? Apparently nothing. I’m not entirely sure I buy that as a complete answer, but I am sure I love these songs and the experiments with tape loops and other sounds that fill these spaces. Whatever they do next — or even if nothing — their run has been incredible and exciting and one only hopes their influence continues to spread over the next however many years.

2. Elephant Tree, Habits

elephant tree habits

Released by Deathwish Inc.. Reviewed April 13.

There was a high standard set by Elephant Tree‘s 2016 self-titled debut (review here), but their second LP, Habits, surpassed even the loftiest of expectations. With vocals centered around harmonies from guitarist Jack Townley and bassist Peter Holland, the former trio completed by drummer Sam Hart brought in guitarist/keyboardist John Slattery (also sometimes vocals), and the resultant breadth gave the material on Habits spaciousness beyond even what the first album promised. Drifting, rolling, unflinchingly melodic and somehow present even in its own escapism, Habits was not just an early highlight for a rough 2020, but a comforting presence throughout, and the further one dug into tracks like “Sails,” “Exit the Soul,” “Faceless,” “Wasted” and the acoustic “The Fall Chorus,” the more there was to find — let alone “Bird,” which I’ll happily put against anything else one might propose for song of the year. As their former UK label crumbled, Habits emerged unscathed and Elephant Tree‘s future continues to shine with ever more hope for things to come. Being able to say that about anything feels like a relief.

2020 Album of the Year

1. Lowrider, Refractions

Lowrider Refractions

Released by Blues Funeral Recordings. Reviewed Jan. 24.

Twenty years ago, Sweden’s Lowrider put out what would become a heavy rock landmark in their 2000 debut, Ode to Io (reissue review here). A follow-up years in the making even after the band got back together to play Desertfest in London (review here) and Berlin in 2013, Refractions first saw limited release in 2019 as part of Blues Funeral‘s PostWax series (discussed here), but its proper arrival was in early 2020, and there was really no looking back after that. It wasn’t just the novelty of a new Lowrider album that made Refractions such a joy, but the manner in which the band went about its work. There was no pretending that 20 years didn’t happen. There was no attempt to recapture the bottled lightning that was the first record, and Lowrider did not sound like a band “making a comeback” rife with expectations and fan-service. Refractions acknowledged the legacy of Ode to Io, sure enough, but as a step toward adding to it in meaningful and engaging ways. The songs — “Red River,” “Ode to Ganymede,” “Sernanders Krog,” “Ol’ Mule Pepe,” “Sun Devil/M87” and the 11-minute finale “Pipe Rider” — were fashioned without pretense and came across as the organic output of a band with nothing to prove to anyone but themselves. They made it their own. In a wretched year, Lowrider shined.

The Top 50 Albums of 2020: Honorable Mention

Yeah, okay. There are a lot of these, so buckle in. Last year I just threw out a list of bands. This year I’m a little more organized, so here are bands and records alphabetically.

Across Tundras, LOESS ~ LÖSS
Across Tundras, The Last Days of a Silver Rush
Alain Johannes, Hum
Arboretum, Let it All In
Bell Witch & Aerial Ruin, Stygian Bough Vol. 1
Black Helium, The Wholly Other
Boris, No
Brimstone Coven, The Woes of a Mortal Earth
CB3, Aeons
Celestial Season, The Secret Teachings
Crippled Black Phoenix, Ellengæst
Cruthu, Athrú Crutha
Domo, Domonautas Vol. 2
DOOL, Summerland
Dopelord, Sign of the Devil
Dwaal, Gospel of the Vile
Elder Druid, Golgotha
Ellis Munk Ensemble, San Diego Sessions
Emma Ruth Rundle & Thou, May Our Chambers Be Full
EMBR, 1823
Familiars, All in Good Time
Forlesen, Hierophant Violent
Galactic Cross, Galactic Cross
The Heavy Eyes, Love Like Machines
Hum, Inlet
Human Impact, Human Impact
Humulus, The Deep
Jupiterian, Protosapien
Kariti, Covered Mirrors
Khan, Monsoons
Kingnomad, Sagan Om Ryden
King Witch, Body of Light
Kryptograf, Kryptograf
Light Pillars, Light Pillars
Lord Buffalo, Tohu Wa Bohu
Lord Loud, Timid Beast
Lotus Thief, Oresteia
Malsten, The Haunting of Silvåkra Mill
Mindcrawler, Lost Orbiter
Motorpsycho, The All is One
Mountain Tamer, Psychosis Ritual
Mr. Bison, Seaward
Mrs. Piss, Self-Surgery
Mugstar, GRAFT
Murcielago, Casualties
Oranssi Pazuzu, Mestarin Kynsi
Paradise Lost, Obsidian
Parahelio, Surge Evelia Surge
The Pilgrim, …From the Earth to the Sky and Back
Pretty Lightning, Jangle Bowls
Psychlona, Venus Skytrip
Puta Volcano, AMMA
Ritual King, Ritual King
River Cult, Chilling Effect
Rrrags, High Protein
Shores of Null, Beyond the Shores (On Death and Dying)
Sigiriya, Maiden – Mother – Crone
Six Organs of Admittance, Companion Rises
16, Dream Squasher
Slomosa, Slomosa
Somnus Throne, Somnus Throne
Steve Von Till, No Wilderness Deep Enough
Stone Machine Electric, The Inexplicable Vibrations of Frequencies Within the Cosmic Netherworld
Sumac, May You Be Held
Temple of the Fuzz Witch, Red Tide
Temple of Void, The World That Was
The Kings of Frog Island, VI
Tia Carrera, Tried and True
Turtle Skull, Monoliths
Uffe Lorenzen, Magisk Realisme
Ulcerate, Stare Into Death and Be Still
Vessel of Light, Last Ride
Vestal Claret, Vestal Claret
Vinnum Sabbathi, Of Dimensions and Theories
Wight, Spank the World
Wino, Forever Gone
Yatra, All is Lost
Yuri Gagarin, The Outskirts of Reality

By no means is that list exhaustive. And to look at stuff like Psychlona, Oranssi Pazuzu, Wight, Wino, Puta Volcano, Kingnomad, Ellis Munk Ensemble, Paradise Lost, Alain Johannes, Arbouretum, Uffe Lorenzen, Tia Carrera — on and on and on — I can definitely see where arguments are to be made for records that should’ve been in the list proper. I can only go with what feels right to me at the time.

Together with the top 50, this makes over 110 albums in the best of 2020. If you find yourself needing something to hang your hat on, be glad you’re alive to witness this much excellent music coming out.

Debut Album of the Year

Molassess, Through the Hollow

Molassess Through the Hollow

Other notable debuts (alphabetically):

Atramentus, Stygian
Bethmoora, Thresholds
BleakHeart, Dream Griever
Crystal Spiders, Molt
Dirt Woman, The Glass Cliff
Dwaal, Gospel of the Vile
Electric Feat, Electric Feat
Familiars, All in Good Time
Galactic Cross, Galactic Cross
Human Impact, Human Impact
Jointhugger, I Am No One
Light Pillars, Light Pillars
Love Gang, Dead Man’s Game
Malsten, The Haunting of Silvåkra Mill
Might, Might
Mindcrawler, Lost Orbiter
Mrs. Piss, Self-Surgery
Parahelio, Surge Evelia Surge
Polymoon, Caterpillars of Creation
Ritual King, Ritual King
SEA, Impermanence
Slomosa, Slomosa
Soldati, Doom Nacional
Somnus Throne, Somnus Throne
SpellBook, Magick & Mischief
Spirit Mother, Cadets
Temple of the Fuzz Witch, Red Tide
The Crooked Whispers, Satanic Melodies
White Dog, White Dog

Notes: I sparred with myself every step of the way here. The last couple years I’ve tried to give the top-debut spot to not just a new band, but a new presence. Green Lung, King Buffalo, etc. Molassess, with members from The Devil’s Blood, Death Alley and Astrosoniq, isn’t exactly that. So what do I do? Do I go with something newer like Polymoon, Dirt Woman, BleakHeart, SEA, White Dog or The Crooked Whispers, or something with more established players like Molassess, Soldati, or even Light Pillars?

In the end, what made the difference was not just how brilliant the songs on Molassess’ Through the Hollow, but how honestly the band confronted the legacy they were up against. The songs had a familiar haunting presence, but they were also moving ahead to somewhere new. It was that blend of old and new ideas, and the resonant feeling of emotional catharsis — as well as the sheer immersion that took place while listening — that ultimately made the decision. Turns out I just couldn’t escape it.

And why not a list? Because this feels woefully inadequate as it is. I reviewed over 250 records this year one way or another — and that’s a conservative estimate — but a lot gets lost in the shuffle and somehow it just seemed wrong this time around to call something the 13th best first record of the year. I wanted to highlight the special achievement that was the Molassess album, but really, all of these records kicked my ass one way or the other.

Short Release of the Year 2020

King Buffalo, Dead Star

King Buffalo Dead Star

Other notable EPs, Splits, Demos, etc.:

Big Scenic Nowhere, Lavender Blues
Coma Wall, Ursa Minor
Conan/Deadsmoke, Doom Sessions Vol. 1
Fu Manchu, Fu30 Pt. 1
Grandpa Jack, Trash Can Boogie
Howling Giant/Sergeant Thunderhoof, Masamune/Muramasa (split)
Oginalii, Pendulum
Kings Destroy, Floods
Lament Cityscape, The Old Wet
Limousine Beach, Stealin’ Wine +2
Merlock, That Which Speaks
Monte Luna, Mind Control Broadcast
Mos Generator/Di’Aul, Split
Pimmit Hills, Heathens & Prophets
Rito Verdugo, Post-Primatus
Rocky Mtn Roller, Rocky Mtn Roller
Spaceslug, Leftovers
10,000 Years, 10,000 Years
The White Swan, Nocturnal Transmission
Thunderbird Divine, The Hand of Man
Witchcraft, Black Metal

Notes: If you were wondering why King Buffalo’s Dead Star (review here) wasn’t on the big list, this is why. It was pitched to me as an EP and that’s how I’m classifying it. I’m taking the out. Is it an EP? Not really, but neither is it a full-length album, given its experimental nature and focus around its extended two-part title-track. Whatever it was, it was the best that-thing, and this is the category where such things go.

Again, tough choices after King Buffalo. Thunderbird Divine’s EP was wonderfully funk-blasted and woefully short (new album, please). The newly-issued Spaceslug EP branches out their sound in fascinating ways as a result of the lockdown. Witchcraft’s acoustic EP, Coma Wall’s EP and Big Scenic Nowhere’s EP all signaled good things to come, and Howling Giant’s split with Sergeant Thunderhoof was a highlight of the most recent Quarterly Review. There really isn’t a bummer on the list there, from the bitter psych of Oginalii to the industrial metal of Lament Cityscape, the unadulterated riffery of Merlock to the live-captured rawness of Monte Luna.

So again, why no list? Same answer. I want to highlight the progression King Buffalo made in their sound and leave room open elsewhere for things I missed. Please let me know what in the comments. Cordially.

Live Album of the Year 2020

Yawning Man, Live at Giant Rock

yawning man live at giant rock

Other notable live releases:

Ahab, Live Prey
Amenra, Mass VI Live
Arcadian Child, From Far, for the Wild (Live in Linz)
Author and Punisher, Live 2020 B.C.
Cherry Choke, Raising Salzburg Rockhouse
Dead Meadow, Live at Roadburn 2011
Dirty Streets, Rough and Tumble
Electric Moon, Live at Freak Valley Festival 2019
Kadavar, Studio Live Session Vol. 1
King Buffalo, Live at Freak Valley
Monte Luna, Mind Control Broadcast
Orange Goblin, Rough & Ready: Live and Loud
Øresund Space Collective, Sonic Rock Solstice 2019
Pelican, Live at the Grog Shop
SEA, Live at ONCE
Sumac, St Vitus 09/07/2018
Sun Blood Stories, (a)Live and Alone at Visual Arts Collective
Temple Fang, Live at Merleyn
YOB, Pickathon 2019 – Live From the Galaxy Barn

Notes: In this wretched year (mostly) void of live music, marked by canceled tours and festivals, the live album arguably played a more central role than it ever has, whether it was a band trying to keep momentum up following or leading into a studio release, taking advantage of the emergence of the Bandcamp Friday phenomenon or just trying to maintain some connection to their fans and the process of taking a stage. Or even playing in a room together. Or not a room. Anything. What was once a tossoff, maybe an afterthought companion piece became an essential worker of the listening experience.

You might accuse desert rock progenitors Yawning Man of playing to their base with Live at Giant Rock (featured here), and if so, fine. At no point in the last 50 years has that base more needed playing-to. And in the absence of shows, being able to hear (and watch, in the case of the accompanying video) Yawning Man go out to the landscape that spawned them and engage with their music was a beautiful moment of reconciliation. An exhale for the converted that didn’t fill one with empty promises of better tomorrows or tours to come, but served to remind what’s so worth preserving about the spirit of live music in the first place. The fact that anything can happen. A replaced note here, a tuning change there — these things can make not just an evening, but memories that go beyond shows, tours, to touch our lives.

There were a ton of live records this year. Some were benefits for worthy causes between saving venues, Black Lives Matter, voting rights organizations, and so on. And whether these were new performances from captured livestreams (Monte Luna, Kadavar) or older gigs that had been sitting around waiting for release at some point (Sumac, Dead Meadow), this, very much, was that point, and these live offerings kept burning a fire that felt at times very much in danger of being extinguished.

Looking Ahead to 2021

A list of bands. Some confirmed releases, some not. Here goes:

Dread Sovereign, Sasquatch, Year of Taurus, Apostle of Solitude, Weedpecker, Borracho, Love Gang, Jointhugger, Demon Head, Iron Man, Greenleaf, Samsara Blues Experiment, The Mammathus, Evert Snyman, Wo Fat, Conclave, Here Lies Man, Kabbalah, Komatsu, Hour of 13, Wedge, Amenra, La Chinga, Spidergawd, Wolves in the Throne Room, Vokonis, Freedom Hawk, Masters of Reality, ZOM, Eyehategod, Sanhedrin, Green Lung, The Mountain King, Albatross Overdrive, Elder, King Buffalo, Sunnata, Howling Giant, SAVER, Conan, Slomatics, Ruff Majik, Kind, Mos Generator, Yawning Sons, Lantlôs, Brant Bjork, Spiral Grave, Crystal Spiders, Lightning Born, Samavayo, Wovenhand, Merlock, Comet Control, The Age of Truth, Eight Bells, BlackWater Holylight, DVNE, Monte Luna.

Thank You

You’ve read enough, so I will do my best to keep this mercifully short. Thank you so much for reading — whether you still are or not — and thank you for being a part of the ongoing project that is The Obelisk. I cannot tell you how much it means to me to have such incredible support throughout not just this year, but all the years of the site’s existence. Thank you. Thank you. Thank you.

Thank you most of all to The Patient Mrs. for her indulgence in letting me get this done. I’m am amazed forever.

More to come.

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Quarterly Review: Across Tundras, Motorpsycho, Dark Buddha Rising, Vine Weevil, King Chiefs, Battle Hag, Hyde, Faith in Jane, American Dharma, Hypernaut

Posted in Reviews on December 29th, 2020 by JJ Koczan

THE-OBELISK-FALL-2020-QUARTERLY-REVIEW

Just to reiterate, I decided to do this Quarterly Review before making my year-end list because I felt like there was stuff I needed to hear that I hadn’t dug into. Here we are, 70 records later, and that’s still the case. My desktop is somewhat less cluttered than it was when I started out, but there’s still plenty of other albums, EPs, and so on I could and probably should be covering. It’s frustrating and encouraging at the same time, I guess. Fruscouraging. Life’s too short for the international boom of underground creativity.

Anyway, thanks for taking this ride if you did. It is always appreciated.

Quarterly Review #61-70:

Across Tundras, The Last Days of a Silver Rush

Across Tundras The Last Days of a Silver Rush

Issued as part of a late-2020 splurge by Tanner Olson and Across Tundras that has also resulted in the full-length LOESS – LÖSS (review here), as well as three lost-tracks compilations called Selected Sonic Rituals, an experimental Western drone record issued under the banner of Edward Outlander, and an EP and three singles (two collaborative) from Olson solo, The Last Days of a Silver Rush offers subdued complement to the more band-oriented LOESS – LÖSS, with an acoustic-folk foundation much more reminiscent of Olson‘s solo outings than the twang-infused progressive heavy rock for which Across Tundras are known. Indeed, though arrangements are fleshed out with samples and the electrified spaciousness of “The Prodigal Children of the God of War,” the only other contributor here is Ben Schriever on vocals and there are no drums to be found tying down the sweet strums and far-off melodies present. Could well be Olson bridging the gap between one modus (the band) and another (solo), and if so, fine. One way or the other it’s a strong batch of songs in the drifting western aesthetic he’s established. There’s nothing to say the next record will be the same or will be different. That’s why it’s fun.

Across Tundras on Bandcamp

Eagle Stone Collective on Bandcamp

 

Motorpsycho, The All is One

motorpsycho the all is one

What could possibly be left to say about the brilliance of Trondheim, Norway’s Motorpsycho? One only wishes that The All is One could be blasted into place on a pressed gold vinyl so that any aliens who might encounter it could know that humanity isn’t just all cruelty, plagues and indifference. The prolific heavy prog kingpins’ latest is 84 willfully-unmanageable minutes of graceful and gracious, hyperbole-ready sprawl, tapping into dynamic changes and arrangement depth that is both classic in character and still decidedly forward-thinking. An early rocker “The Same Old Rock (One Must Imagine Sisyphus Happy)” and the shuffling “The Magpie” give way after the opener to the quiet “Delusion (The Reign of Humbug)” and the multi-stage “N.O.X.,” which unfolds in five parts, could easily have been an album on its own, and caps with a frenetic mania that is only off-putting because of how controlled it ultimately is. Then they throw in a couple experimental pieces after that between the nine-minute “Dreams of Fancy” and the mellow-vibing “Like Chrome.” Someday archaeologists will dig up the fossils of this civilization and wonder what gods this sect worshipped. Do they have three more records out yet? Probably.

Motorpsycho website

Stickman Records website

 

Dark Buddha Rising, Mathreyata

Dark Buddha Rising Mathreyata

From out of the weirdo hotbed that is Tampere, Finland, Dark Buddha Rising reemerge from the swirling ether with new lessons in black magique for anyone brave enough to be schooled. Mathreyata follows 2018’s II EP but is the band’s first full-length since 2015’s Inversum (review here), and from the initial cosmically expansive lurch of “Sunyaga” through the synth-laced atmosludge roll of “Nagathma” and the seven-minute build-to-abrasion that is “Uni” and the guess-what-now-that-abrasion-pays-off beginning of 15-minute closer “Mahatgata III,” which, yes, hits into some New Wavy guitar just before exploding just after nine minutes in, the band make a ritual pyre of expectation, genre and what one would commonly think of as psychedelia. Some acts are just on their own level, and while Dark Buddha Rising will always be too extreme for some and not everyone’s going to get it, their growing cult can only continue to be enthralled by what they accomplish here.

Dark Buddha Rising on Thee Facebooks

Svart Records website

 

Vine Weevil, Sun in Your Eyes

vine weevil sun in your eyes

Together, brothers Yotam and Itamar Rubinger — guitar/vocals and drums, respectively — comprise London’s Vine Weevil. Issued early in 2020 preceded by a video for “You are the Ocean” (posted here), Sun in Your Eyes is the second album from the brothers, who are also both former members of Uncle Acid and the Deadbeats, and in the watery title-track and the Beatles-circa-Revolver bounce of “Loose Canon” they bask in a folkish ’60s-style psychedelia, mellotron melodies adding to the classic atmosphere tipped with just an edge of Ween-style weirdness — it’s never so druggy, but that undercurrent is there. “You are the Ocean” hints toward heavy garage, but the acoustic/electric sentimentality of “My Friend” and the patient piano unfurling of “Lord of Flies” ahead of organ-led closer “The Shadow” are more indicative overall of the scope of this engaging, heartfelt and wistful 31-minute offering.

Vine Weevil on Thee Facebooks

Vine Weevil on Bandcamp

 

King Chiefs, Flying into Void

king chiefs flying into void

Since before their coronation — when they were just Chiefs — the greatest strength of San Diego heavy rockers King Chiefs has been their songwriting. They’ve never been an especially flashy band on a technical level, never over the top either direction tempo-wise, but they can write a melody, craft a feel in a three-or-four-minute track and tell any story they want to tell in that time in a way that leaves the listener satisfied. This is not a skill to be overlooked, and though on Flying into Void, the follow-up to 2018’s Blue Sonnet (review here), the album is almost entirely done by guitarist/vocalist Paul ValleJeff Podeszwik adds guitar as well — the energy, spirit and craft that typify King Chiefs‘ work is maintained. Quality heavy built on a foundation of grunge — a ’90s influence acknowledged in the cover art; dig that Super Nintendo — it comes with a full-band feel despite its mostly-solo nature and delivers 37 minutes of absolutely-pretense-free, clearheaded rock and roll. If you can’t get down with that, one seriously doubts that’ll stop King Chiefs anyhow.

King Chiefs on Thee Facebooks

King Chiefs webstore

 

Battle Hag, Celestial Tyrant

battle hag celestial tyrant

How doomed is Battle Hag‘s doom? Well, on Celestial Tyrant, it’s pretty damn doomed. The second long-player from the Sacramento, California-based outfit is comprised of three worth-calling-slabs slabs that run in succession from shortest to longest: “Eleusinian Sacrament” (12:47), “Talus” (13:12) and “Red Giant” (19:15), running a total of 45 minutes. Why yes, it is massive as fuck. The opener brings the first round of lurch and is just a little too filthy to be pure death-doom, despite the rainstorm cued in at its last minute, but “Talus” picks up gradually, hard-hit toms signaling the plod to come with the arrival of the central riff, which shows up sooner or later. Does the timestamp matter as much as the feeling of having your chest caved in? “Talus” hits into a speedier progression as it crosses over its second half, but it’s still raw vocally, and the plod returns at the end — gloriously. At 19 minutes “Red Giant” is also the most dynamic of the three cuts, dropping after its up-front lumber and faster solo section into a quiet stretch before spending the remaining eight minutes devoted to grueling extremity and devolution to low static noise. There’s just enough sludge here to position Battle Hag in a niche between microgenres, and the individuality that results is as weighted as their tones.

Battle Hag on Thee Facebooks

Transylvanian Tapes on Bandcamp

 

Hyde, Hyde

hyde hyde

It might take a few listens to sink in — and hey, it might not — but Parisian trio Hyde are up to some deceptively intricate shenanigans on their self-titled debut LP. On their face, a riff like that of second cut “Black Phillip” or “DWAGB” — on which The Big Lebowski is sampled — aren’t revolutionary, but the atmospheric purpose to which they’re being put is more brooding than the band give themselves credit for. They call it desert-influenced, but languid tempos, gruff vocals coated in echo, spacious guitar and rhythmic largesse all come together to give Hyde‘s Hyde a darker, brooding atmosphere than it might at first seem, and even opener “The Victim” and the penultimate “The Barber of Pitlochry” — the only two songs under five minutes long — manage to dig into this vibe. Of course, the 11-minute closing eponymous track — that is, “Hyde,” by Hyde, on Hyde — goes even further, finding its way into psychedelic meandering after its chugging launch rings out, only to roll heavy in its last push, ending with start-stop thud and a long fade. Worth the effort of engaging on its own level, Hyde‘s first full-length heralds even further growth going forward.

Hyde on Thee Facebooks

Hyde on Bandcamp

 

Faith in Jane, Mother to Earth

Faith in Jane Mother to Earth

Maryland’s best kept secret in heavy rock remain wildly undervalued, but that doesn’t stop power trio Faith in Jane from exploring cosmic existentialism on Mother to Earth even as they likewise broaden the expanse of their grooving, bluesy dynamic. “The Circle” opens in passionate form followed by the crawling launch of “Gone are the Days,” and whether it’s the tempest brought to bear in the instrumental “Weight of a Dream” or the light-stepping jam in the middle of the title-track, the soaring solo from guitarist/vocalist Dan Mize on the subsequent “Nature’s Daughter” or the creeper-chug on “Universal Mind,” the cello guest spot on “Lonesome” and the homage to a party unknown (Chesapeake heavy has had its losses these last few years, to say nothing of anyone’s personal experience) in closer “We’ll Be Missing You,” Mize, bassist Brendan Winston and drummer Alex Llewellyn put on a clinic in vibrancy and showcase the classic-style chemistry that’s made them a treasure of their scene. I still say they need to tour for three years and not look back, but if it’s 56 minutes of new material instead, things could be far worse.

Faith in Jane on Thee Facebooks

Faith in Jane on Bandcamp

 

American Dharma, Cosmosis

American Dharma COSMOSIS

Newcomer four-piece American Dharma want nothing for ambition on their 70-minute debut, Cosmosis, bringing together progressive heavy rock, punk and doom, grunge and hardcore punk, but the Waynesboro, Pennsylvania, outfit are somewhat held back by a rawness of production pulling back from the spaces the songs might otherwise create. A bona fide preach at the outset of “Damaged Coda” is a break early on, but the guitars and bass want low end throughout much of the 14-song proceedings, and the vocals cut through with no problem but are mostly dry even when layered or show the presence of a guest, as on closer “You.” Actually, if you told me the whole thing was recorded live and intended as a live album, I’d believe it, but for a unit who do so well in pulling together elements of different styles in their songwriting and appear to have so much to say, their proggier leanings get lost when they might otherwise be highlighted. Now, it’s a self-released debut coming out during a global pandemic, so there’s context worth remembering, but for as much reach as American Dharma show in their songs, their presentation needs to move into alignment with that.

American Dharma on Thee Facebooks

American Dharma on Bandcamp

 

Hypernaut, Ozymandias

hypernaut ozymandias

Call it a burner, call it a corker, call it whatever you want, I seriously doubt Lima, Peru’s Hypernaut are sticking around to find out how you tag their debut album, Ozymandias. The nine-song/38-minute release pulls from punk with some of its forward-thrusting verses like “(This Is Where I) Draw the Line” or “Cynicism is Self-Harm,” but there’s metal there and in the closing title-cut as well that remains part of the atmosphere no matter how brash it might otherwise get. Spacey melodies, Sabbathian roll on “Multiverse… Battleworld” (“Hole in the Sky” walks by and waves), and a nigh-on-Devo quirk in the rhythm of “Atomic Breath” all bring to mind Iowan outliers Bloodcow, but that’s more likely sonic coincidence than direct influence, and one way or the other, Hypernaut‘s “Ozymandias” sets up a multifaceted push all through its span to its maddening, hypnotic finish, but the real danger of the thing is what this band might do if they continue on this trajectory for a few more records.

Hypernaut on Thee Facebooks

Hypernaut on Bandcamp

 

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Quarterly Review: Celestial Season, Wren, Sumokem, Oginalii, Völur, Wedge, SpellBook, Old Blood, Jahbulong, Heavy Trip

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

THE-OBELISK-FALL-2020-QUARTERLY-REVIEW

The end of the week for the Quarterly Review is a special time, even if this particular QR will continue into next Monday and Tuesday. Also apparently today is Xmas? Okay. Whatever, I’ve got writing to do. I hope you’re safe and not, say, traveling out of state to see family against the urging of the CDC. That would be incredibly irresponsible, etc. etc. that’s what I’m doing. Don’t get me started.

However you celebrate or don’t, be safe. Music will help.

Quarterly Review #41-50:

Celestial Season, The Secret Teachings

celestial season the secret teachings

Like many of the original death-doom set, Dutch masters Celestial Season gave up the style during their original run, departing toward heavy rock after 1995’s Solar Lovers. At an hour’s run spread across 13 tracks including ambient guitar and violin/cello interludes, The Secret Teachings has no time for such flighty fare. Reunited with original vocalist Stefan Ruiters and bassist Lucas van Slegtenhorst, the band return in grand fashion for their first full-length in 20 years, and songs like “Long Forlorn Tears” and “Salt of the Earth” conjure all the expert-grade morose plod one could possibly ask, as each side of the 2LP begins with its own intro and sets its own mood, from the almost-hopeful wistfulness of opener/longest track (immediate points) “The Secret Teachings of All Ages” at the start to the birdsong-laced “Beneath the Temple Mount” that leads the way into “A Veil of Silence” and “Red Water” at the finish, the latter a Type O Negative cover that fits well after the crescendo of the song before it.

Celestial Season on Thee Facebooks

Burning World Records website

 

Wren, Groundswells

wren groundswells

The gift Wren make to post-metal is that even in their quietest stretches, they maintain tension. And sure, the Londoners’ second LP, Groundswells — also stylized all-caps: GROUNDSWELLS — has in “Murmur” its “Stones From the Sky” moment as all works of the genre seemingly must, but the six-cut/44-minute follow-up to 2017’s Auburn Rule (discussed here) casts a scope less about pretense or ambition than largesse and heft, and that serves it well, be it in the shorter “Crossed Out Species” or longer pieces like the opener “Chrome” and the penultimate “Subterranean Messiah,” which injects some melodic vocals into the proceedings and airy string-inclusive prog amid all the surrounding crush. All well and good, but it’s hard to deny the sheer assault of the doomed apex in closer “The Throes,” and you’ll pardon me if I don’t try. Ambience through volume, catharsis through volume, volume all things.

Wren on Thee Facebooks

Gizeh Records website

 

Sumokem, Prajnaparadha

sumokem prajnaparadha

With strength of performance to fall back on and progressive realization in their songwriting, Little Rock, Arkansas’ Sumokem would seem to come of age on their third long-player, Prajnaparadha, answering the flourish of 2017’s The Guardian of Yosemite (discussed here) with an even more confident stylistic sprawl and an abiding patience that extends even to the album’s most intense moments. Not at all a minor undertaking in dynamic or its run of five long songs following the intro “Prologue,” Prajnaparadha manages not to be dizzying mostly because of the grace with which it’s crafted, tied together by ace guitar work and a propensity for soaring in order to complement and sometimes willfully contrast the tonal weight. When the growls show up in “Fakir” and carry into “Khizer,” Sumokem seem to push the record to its final level, and making that journey with them is richly satisfying.

Sumokem on Thee Facebooks

Cursed Tongue Records webstore

 

Oginalii, Pendulum

Oginalii Pendulum

Psychedelia comes poison-tipped with brooding post-grunge atmospheres as Oginalii‘s Pendulum swings this way and that between “Scapegoat” and “Black Hole” and “Pillars” and “Veils” across its too short 24 minutes. The Nashvillainous four-piece explore an inner darkness perfect for these long months of forced-introspection, and though calling something pandemic-appropriate has become a tired compliment to give, the underlying rhythmic restlessness of “Scapegoat” and the crying out overtop, the fuzzy burst of “Veils” and the interweaving drums and guitar noise behind the recited semi-sung poetry of “Pillars” serve the soundtrack cause nonetheless, to say nothing of the two-minute minimalist echoing stretch of “Black Hole” or the oh-okay-it’s-indie-post-rock-but-oh-wait-what-the-hell-now-it’s-furious closer “Stripped the Screw.” Anger suits Oginalii as it comes through here, not in tired chestbeating but in spacious craft that manages to sound intense even in its languid reach. Pretty fucking cool, if you ask me.

Oginalii on Thee Facebooks

Devil in the Woods on Bandcamp

 

Völur, Death Cult

Völur death cult

Toronto’s Völur offer their third album, Death Cult, in cooperation with Prophecy Productions, and it comes in four string-laced tracks that waste little time in pushing genre limits, bringing folk influences in among doom, blackened metallurgy and more ethereal touches. Arrangements of violin, viola, cello, double-bass, keys, and the shared vocals of Laura Bates and Lucas Gadke (the latter also of Blood Ceremony) give a suitably arthouse feel to the proceedings rounded out by the drums and percussion of Justin Ruppel, and it’s far from unearned as the four songs play out across 37 minutes, “Dead Moon” veering into lumbering death-doom in its apex ahead of the jazz-into-choral-into-drone-into-freer-jazz-into-progressive-black-metal of the 11-minute “Freyjan Death Cult,” subsequent closer “Reverend Queen” leaving behind the chaos in its last few minutes for an epilogue of mournful strings and drums; a dirge both unrepentantly beautiful and still in keeping with the atmospheric weight throughout. Bands like this — rare — make other bands better.

Volur on Thee Facebooks

Volur at Prophecy Productions

 

Wedge, Like No Tomorrow

wedge like no tomorrow

Bursting with enough energy to make one miss live music, Wedge‘s third album, Like No Tomorrow, transcends vintage-ism in its production if not its overall mindset, bringing clarity to Deep Purple organ-tics on opener “Computer” while keeping the lyrics purposefully modern. Bass leads the way in “Playing a Role” and the spirit is boogie fuzz until the jam hits and, yeah, they make it easy to go along for the ride. “Blood Red Wine” has arena-rock melody down pat while centerpiece and likely side A closer “Across the Water” at last lets itself go to that place, following the guitar until the surge that brings in “Queen of the Night” indulges purer proto-metal impulses, still accomplished in its harmonized chorus amid the charge. Is that the guitar solo in “U’n’I” panning left to right I hear? I certainly hope so. The shortest cut on Like No Tomorrow feels like it’s in a hurry to leave behind a verse, and sets up the surprisingly modestly paced “At the Speed of Life,” which is lent a cinematic feel by the organ and layered choral vocals that bolsters yet another strong hook, while the nine-minute “Soldier” is bluesier but still sounds like it could be the live incarnation of any of these tracks depending on where a given jam takes Wedge on any given night. Here’s hoping, anyhow.

Wedge on Thee Facebooks

Heavy Psych Sounds website

 

SpellBook, Magick and Mischief

SpellBook Magick and Mischief

About a year and a half after issuing Otherworldly (review here), their third album under the moniker Witch Hazel, the dukes of York, PA, are back with a new name and a refreshed sound. As SpellBook, vocalist Nate Tyson, guitarist Andy Craven, bassist Seibert Lowe and drummer Nicholas Zinn push through two vinyl sides of classic heavy f’n metal, less concerned with doom than they were but still saving a bit of roll for the longer centerpiece “Not Long for This World” and the airy, dramatic closer “Dead Detectives.” Elsewhere, “Black Shadow” brings a horns-at-the-ready chorus, “Motorcade” reminds that the power of Judas Priest was always in the basslines (that’s right, I said it), and “Ominous Skies” brims with the vitality of the new band that SpellBook are, even as it benefits from the confidence born of these players’ prior experience together.

SpellBook on Thee Facebooks

Cruz Del Sur Music website

 

Old Blood, Acid Doom

old blood acid doom

Kudos to L.A.’s Old Blood for at least making the classification part easy when it comes to their debut album, conveniently titled Acid Doom, though that category hardly accounts for, say, the piano stretch of second cut “Bridge to Nowhere,” or the heavy rock theatricality in “Heavy Water” or the horn sounds of “Slothgod” a few songs later, but I suppose one has to start somewhere, and ‘acid doom’ is fair enough when it comes to accounting for the sleekery in the vocals of Lynx, the weight of the riffs of C. Gunner, the roll of bassist Octopus and drummer Diesel and the classic-style organ work of J.F. Stone. But if Old Blood want to unfurl something deceptively complex and stylistically intricate on their debut, that’s certainly cool as far as I’m concerned. Production is a strong presence throughout in a way that pulls a bit from what the impact of the songs might be on stage (remember stages?), but the songwriting is there, and Lynx‘s voice is a noteworthy presence of its own. I’m not sure where they’ll end up sound-wise, but at the same time, Acid Doom comes across like nothing else in the batch of 70 records I’m doing for this Quarterly Review, and that in itself I find admirable.

Old Blood on Thee Facebooks

Metal Assault Records on Bandcamp

DHU Records webstore

 

Jahbulong, Eclectic Poison Tones

JAHBULONG ECLECTIC POISON TONES

Just because you know the big riff is going to kick in about a minute into opening track “Under the Influence of the Fool” on Jahbulong‘s tarot-inflected stoner doom four-songer Eclectic Poison Tones doesn’t make it any less satisfying when it happens. The deep-rolling three-piece from Verona make their full-length debut with the 45-minute offering through Go Down Records, and the lurching continues in “The Tower of the Broken Bones” and “The Eclipse of the Empress,” which is the only cut under 10 minutes long but still keeps the slow-motion Sabbath rolling into the 15-minute closer “The Eremite Tired Out (Sweed Dreams)” (sic), which plays off some loud/quiet changes fluidly without interrupting the nod that’s so central to the entirety of the album. Look. These guys know the gods they’re worshiping — Sleep, Black Sabbath, Electric Wizard maybe, etc. — and they’re not trying to get away with saying they invented any of this. If you can’t get down with 45 minutes of slower-than-slow grooves, maybe you’re in the wrong microgenre. For me, it’s the lack of pretense that makes it.

Jahbulong on Thee Facebooks

Go Down Records website

 

Heavy Trip, Heavy Trip

heavy trip heavy trip

Heavy Trip. Four songs. Two sides. Three dudes. Instrumental. Accurately named. Yeah, you’ve heard this story before, but screw it. They start out nice and spacious on “Hand of Shroom” and they finish with high-speed boogie in the 13-minute “Treespinner,” and all in between Heavy Trip make it nothing less than a joy to go along wherever it is they’re headed. The Vancouver three-piece make earlier Earthless something of an elephant in the room as regards influences, but the unhurried groove in second cut “Lunar Throne” is a distinguishing factor, and even as “Mind Leaf” incorporates a bit more shove, it does so with enough righteousness to carry through. As a debut, Heavy Trip‘s Heavy Trip might come across more San Diego than Vancouver, but screw it. Dudes got jams like Xmas hams, and the chemistry they bring in holding listener attention with tempo changes throughout here speaks to a progressive edge burgeoning in their sound.

Heavy Trip on Thee Facebooks

Burning World Records on Bandcamp

 

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Green Lung Finish Recording New Album; UK Tour Set for May

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

On to mixing for London cult heavy upstarts Green Lung, who’ll make their debut next year on Svart Records with their new LP. The awaited follow-up to their 2019 first long-player, Woodland Rites (review here), was recorded at Giant Wafer Studios and as I understand it still needs to have a completed mix and master, but all the parts are laid down and when it comes to making records that’s a pretty big deal. No sign of a release date yet, of course, but with what should’ve been a headlining UK tour for this past May rescheduled to May 2021, it doesn’t seem unreasonable to think that with mixing starting this week they’d be able to have it all wrapped, pressed and ready to roll by April.

And of course, who the hell knows what the world will look like come next May, but I’m willing for the moment to err on the side of optimism as a side-effect of looking forward to the album itself. Whatever it takes at this point.

The band confirmed the completed recording process on social media:

green lung (Photo by Ester Segarra Photography)

That’s a wrap! Album II is in the bag and we’re headed back to London. Eternal thanks to Bear Bites Horse Studio for doing an incredible job of recording and mixing (and somehow managing to put up with us for a fortnight), and to Ed at Giant Wafer for the use of the studio – we couldn’t imagine a more inspiring setting to record in.

Can’t wait for you all to hear it next year via Svart Records.

Green Lung tour May 2021:
21.05.21 Birmingham The Asylum Venue
22.05.21 Manchester The Bread Shed Manchester
23.05.21 Nottingham Rough Trade Nottingham
24.05.21 Sheffield Corporation Sheffield
25.05.21 Glasgow Ivory Blacks
26.05.21 Newcastle Trillians Newcastle
27.05.21 Milton Keynes The Craufurd Arms (Live Music Venue)
28.05.21 Cardiff Clwb Ifor Bach
29.05.21 Bristol Exchange
30.05.21 Norwich The Waterfront Norwich

https://www.songkick.com/artists/9178639-green-lung/calendar

GREEN LUNG is:
Tom Templar – Vocals
Scott Masson – Guitar
Andrew Cave – Bass
Matt Wiseman – Drums
John Wright – Organ

https://www.facebook.com/greenlungband
https://www.instagram.com/greenlungband/
http://www.greenlung.co.uk/
https://greenlung.bandcamp.com/
www.svartrecords.com
www.facebook.com/svartrecords

Green Lung, Woodland Rites (2019)

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Orange Goblin Reschedule 25th Anniversary Shows

Posted in Whathaveyou on November 10th, 2020 by JJ Koczan

Like anyone’s anything and everyone’s everything, Orange Goblin‘s anniversary live streams have been rescheduled. If you’re not currently stalking the band’s socials, you might’ve missed the stirringly emotional announcement video from bassist Martyn Millard that these performances will be his last with the band. That’s significant. Lineup changes in Orange Goblin are all but unheard of, and while it seems certain the band will continue, one wonders how a dynamic so long established will change with someone new brought on board.

But I guess with the lockdown 2.0 in the UK, Millard‘s tenure in Orange Goblin extends a little longer. Better for public health all around, really.

I genuinely had the thought of somehow flying to London for these shows, if I could get in. Now I suppose I’ll just be happy to watch at home. Also worth noting that Orange Goblin had previously scheduled UK tour dates for December, and those were already put off, so this is different from that. Complicated times, people.

From the PR wire:

ORANGE GOBLIN DAVID BOULONGNE

ORANGE GOBLIN FORCED TO RESCHEDULE 25th Anniversary Global Live Streaming Shows

Shows now set for December 18 & 19

British heavy metal legends give lockdown the middle finger – two unique shows planned online re-scheduled for December

Having already seen their extensive plans for a 2020 25th Anniversary tour dashed by the global pandemic, UK heavy metal titans Orange Goblin recently announced not one, but TWO global live stream events celebrating all stages of the band’s lengthy existence to date. With the newly announced lockdown meaning that punters who had paid for a ticket to see the band in the flesh at these shows would not be allowed in, the band refused to give up – instead they simply re-scheduled the dates and decided that, come hell or high water, the Orange Goblin 25TH Anniversary WILL take place

Therefore, the four piece will now perform a pair of globally streamed pay-per-view shows online, still with a limited capacity live audience also in attendance, in London on December 18th and 19th.

Titled ‘From Planet Ten….to the House of God’, the first night will concentrate solely on material from the bands early, Rise Above Records era releases.

The following night’s performance goes under the name of ‘They Come Back….The Filthy & The Damned’, and will focus on songs from post-Rise Above years, right up to and including material from the acclaimed latest album ‘The Wolf Bites Back’

And the celebrations don’t end there, as each night of the online event will feature live stream exclusive behind the scene access, interviews, exclusive merchandise, chat rooms, Q&A’s and the chance to win exclusive Orange Goblin prizes! And for a very lucky few, there are extremely limited tickets available to attend the gigs in person at The Dome, in North London!

Vocalist Ben Ward is philosophical about the change of dates;

‘Obviously the second nationwide lockdown is a massive pain in the arse for everyone and now due to the venue being shut throughout November we have no choice but to reschedule these special live / live stream shows to Friday 18th and Saturday 19th December! We are very sorry to everyone for the inconvenience but we sincerely hope that everyone can still join us for what will be two very special 25th Anniversary shows and the last ever with our original bassist and best buddy Martyn Millard! All tickets previously purchased to attend the shows will still be valid for the new dates, as will any pre-purchased live stream access. It’s pretty ironic that these shows will now take place on the exact same dates as we were due to perform in London as part of the UK tour. Apologies once again for the postponement but these things are obviously out of our hands and we all hope you can all join us in December!’

Tickets for these shows via the live stream will be available at www.hotel-radio.com/landing/orange-goblin-xxv-anniversary

Extremely limited physical tickets to the show ‘live in person’ are still available from www.old-empire.co.uk

Anyone unable to attend the rescheduled dates should contact Old Empire directly for information and help

These two shows have taken on added significance in recent weeks with the news that long term bass player and founding member Martyn Millard is to leave the group after 25 years. These two dates will be his last performances with the band and a fitting way to bow out after 9 albums and countless tours and festival appearances worldwide.

https://www.facebook.com/orangegoblinofficial/
https://twitter.com/OrangeGoblin1
https://www.instagram.com/orangegoblin1/
http://www.orange-goblin.com/
https://www.facebook.com/spinefarm
www.spinefarmrecords.com/

Orange Goblin, Rough & Ready, Live & Loud (2020)

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Elephant Tree Post “The Fall Chorus” Video

Posted in Bootleg Theater on November 2nd, 2020 by JJ Koczan

Elephant Tree

Eventful few months for Elephant Tree. Also the rest of the planet, but definitely too for the London-based four-piece, who were about to unveil the latest video from their oh-why-don’t-I-just-go-put-it-on-again 2020 sophomore LP, Habits (review here), when a series of allegations of sexual harassment and rape were brought against Alex Fitzpatrick, the head of what was then the band’s label, Holy Roar Records.

Well then. Label exploded, of course. Some of the other parties involved in Holy Roar formed a new imprint called Church Road Records that a few bands migrated toward. Elephant Tree seemed to buy back whatever rights, etc., to their own material and one assumes that before their third LP surfaces sometime in the future, they’ll figure out a next move in terms of who’s putting it out. There’s time, and certainly in a case where there are victims of sexual assault involved, distribution/promotion concerns are superseded. It’s 2020. Nobody’s on the side of an accused rapist except apparently about 43 percent of my country in pre-election polls.

Zing!

I’ve had the back end of this post ready to roll out since Sept. 2, I think, and it’s just been sitting there in my drafts since I knew sooner or later Elephant Tree would indeed unveil “The Fall Chorus.” The teaser that they posted was duly enticing, and the clip itself follows an artfully conveyed narrative done with cut-out puppeteering and well shot to coincide with the emotionality on display in what’s unquestionably the most subdued track on Habits, an answer perhaps in part to “Circles” from the band’s 2016 self-titled debut (review here).

To call the situation around their now-former label ugly and unfortunate is understating it, but I’m glad the band finally got to release this video. Yes, because it means I can finally make use of this draft, but also since it’s a sure sign that after releasing one of the best albums of 2020, they’re ready to move forward and see what comes next.

Enjoy:

Elephant Tree, “The Fall Chorus” official video

Video Directed by Mark Crane @ Theatre On Wax [https://www.theatreonwax.com/]
Additional puppeteering and construction by Sheelagh Frew Crane [www.sheelaghfrewcrane.com]
Snow Overlay provided by Videezy [https://www.videezy.com/]

elephanttree.band

Elephant Tree on Thee Facebooks

Elephant Tree on Instagram

Elephant Tree website

Deathwish Inc. website

Deathwish Inc. on Thee Facebooks

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