Lysekil, Sweden’s Mammoth Volume don’t necessarily have the element of surprise on their side as they did two years ago when they released their third album, The Cursed Who Perform the Larvagod Rites (discussed here), some 21 years after their second, 2001’s A Single Book of Songs, but neither do they seem to need it. A quick turnaround has done nothing to dull the individualist creative drive behind Raised Up by Witches. Comprised of nine tracks running a 45 minutes united mostly by an returning theme of fuzz and the vocal melodies from Jörgen Andersson, Daniel Gustafsson (guitar, bass, keys, flute, percussion) and Nicklas Andersson (drums, bass) — bassist Kalle Berlin is the only one without a voice credit — the album begins with “The Battle of Lightwedge” in building both volume and narrative in compact fashion to hit into a rolling, fuzzy payoff, keeping a distinctive sense of progressive quirk in the arrangements of keys and vocals.

This too is revealed as something of a thread as “Black Horse Beach” brings angular start-stop jangle-strums of guitar, but as with Dutch outfit Astrosoniq — who are something of an analogue for the heavier-shoving moments here. whether it’s the end of “The Battle of Lightwedge” or the aggro-ier chug offsetting the clearheaded alt-rock sway of “Scissor Bliss” — it’s mostly the performances and the weirdness itself carrying the listener from one side of the record to and through the other. That is to say, it all works as an album because the band made it that way. It’s not weird by happenstance. It’s supposed to be weird, written and/or built up to have more going on at any given moment than a single genre designation can hope to encapsulate, and uniform mostly in its striving against uniformity. It is distinctly, inevitably, Mammoth Volume.

And as a new generation of listeners gets introduced to the variable notion of just what that means, the definition itself is likewise expanding. Those who heard The Cursed Who Perform the Larvagod Rites will find Raised Up by Witches both more cohesive unto itself and more willing to toy with the tenets of genre, whether that’s the heavy stretches noted above in “Scissor Bliss” or the subsequent “Diablo III – Faces in the Water” providing one of the record’s central hooks while keeping the heavier momentum fluid. Desert rock, folkish harmonies, classic-style boogie, progressivism and heavy metal are all on the operating table, and while Mammoth Volume are precisely none of them on the whole, these genres and the Beatlesian melodicism of “Lisa” as it rambles with acoustic guitar sweetly pastoral chimes and percussion around a steady undercurrent of organ. A sample from the 1962 film David and Lisa feels far removed from the purposefully over-the-top Thin Lizzy-style solo of “Diablo III” — that song also seemingly a prequel to two tracks off the last album; time is a construct of the mind — but lends depth to the title, and opens to bouncing intertwined melodies.

It’s tongue-in-cheek, maybe, but still touches on pop gorgeousness as casually as most people eat breakfast, capping with another bit of dialogue for good measure. Pop comes and goes throughout Raised Up by Witches, and is ultimately one more tool the band uses to manifest their intentions in songwriting, but they’re no more bound to it than they are to traditional notions of what makes a given track heavy or whatever else. By the time they get to the transfigured yacht rock keyboard behind the initial vocals of the title-track, Mammoth Volume have well demonstrated that the chicanery is more than just for show. It’s not just that the band put together a bunch of verses and choruses and then decided to overdub a bunch of other stuff, or that they’re kitchen-sinking the arrangements — because they’re not — with elements that don’t fit and calling it experimental. These songs work. “Raised Up by Witches” works. It and they just work in a way that emphasizes how on their own wavelength Mammoth Volume are as relates to most if not all of underground heavy.

That’s fine. A band can do their own thing without being good too, though. Mammoth Volume avoid that trap through naturalism and by bringing their audience with them as “Lisa” and “Raised Up by Witches” give over to the tense chug of “Cult of Eneera,” and by setting a broad enough scope that just about whatever they want it to contain, it can. Zappa-jazz in “Scissor Bliss?” Sure. “Cult of Eneera” going extra-intricate in the rhythm at the midpoint before throwing punches of wah-bass to an effect funky and dense, making its own kind of fun? How could it be otherwise? “A Tale About a Photon” picks up the prog-boogie wherever they left it off, and is melodic despite the bit of push coinciding, with a low-key focus on dynamic, though it’s not exactly like “dynamic” was lacking in the leadup to the Raised Up by Witches‘ penultimate inclusion.

They sneak a hook in before they’re halfway done, but it’s less about verse/chorus trades than the linear trajectory they’re moving through and the changes happening on the way, with chimes later and who-knows-what being banged on. There are still changes in the vocals, as even in moving toward the recesses of side B, the band are using everything they have to get max-oddball before their tale unravels to finish, leaving closer “Sången om Ymer” to bounce and threaten a fuzzy overload and go big on melody instead. It spaces out in the middle for a bit of soundscaping, but there’s bass still punching through, and the melody returns and ends in purposefully not-grand style. Like much of the proceedings throughout, this is suited to what Mammoth Volume are doing across the span of Raised Up by Witches in being likewise expansive and not-overblown in a way one might call miraculous if there wasn’t so much obvious work behind it. Turns out they didn’t need the novelty of a comeback to start with. They thrive in this material, and whatever they’ve done before, it’s what they accomplish here and might accomplish going forward that are the most exciting.

Mammoth Volume, Raised Up by Witches (2024)

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I very pointedly went into the new Mammoth Volume single with no expectations of what was coming. I still managed to be surprised. The yacht-rock synth, classic prog weirdo bounce, somehow so Swedish and yet likewise so much not even of this reality’s wavelength — a decadescopic mashup that’s still later Beatles influenced but has gone so far off the deep end as to define its own normality as a standard for pop. Oh, and it rocks too.

It’s a good thing the record’s not out until August so maybe I can have a chance of getting my brain around this one four-minute segment of it. “Serpent in the Deep” — the track in question — comes from the Lysekil troupe’s new LP, Raised Up by Witches, which is out Aug. 23 on Blues Funeral Recordings. It’s the follow-up to their 2022 return album, The Cursed Who Perform the Larvagod Rites (review here), which came out first through Blues Funeral‘s PostWax subscription series, for which I’ve handled liner notes up to this point (full disclosure, etc.). As for anything more on the new record, I can’t say since I haven’t heard it. If you caught the last one though, you know it’s out there.

This came in a Bandcamp update yesterday, so I expect the PR wire follow-up to roll through probably five minutes after this is posted and shared. So it goes. The song streaming at the bottom is the point anyhow, and that’s there. Have at it:

MAMMOTH VOLUME – Raised Up by Witches

MAMMOTH VOLUME return with Raised Up By Witches, an absorbing trek through head-nodding grooves, wistful instrumentation and quirky brilliance that harnesses their absolute fluency with the surprisingly compatible genres of 70s progressive rock and classic stoner grooves.

MAMMOTH VOLUME has made it their brand to go unexpected places and take surprising turns pretty much every time you think you have them pegged. The latest installment in their angular yet infectious alternative to straightforward boogie van riffage, Raised Up By Witches is an exhilarating new trip where MAMMOTH VOLUME are basically the only vehicle on the road.

1. The Battle of Lightwedge
2. Black Horse Beach
3. Scissor Bliss
4. Diablo III: Faces in the Water
5. Lisa
6. Serpent in the Deep
7. Cult Of Eneera
8. A Tale about a Photon
9. Sången om Ymer

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Mammoth Volume, Raised Up by Witches (2024)

The Obelisk Questionnaire is a series of open questions intended to give the answerer an opportunity to explore these ideas and stories from their life as deeply as they choose. Answers can be short or long, and that reveals something in itself, but the most important factor is honesty.

Based on the Proust Questionnaire, the goal over time is to show a diverse range of perspectives as those who take part bring their own points of view to answering the same questions. To see all The Obelisk Questionnaire posts, click here.

Thank you for reading and thanks to all who participate.

The Obelisk Questionnaire: Daniel Gustafsson of Mammoth Volume

—

How do you define what you do and how did you come to do it?

The Swedish idiom I use is ‘hobby-musician’. If the person I’m talking to still hasn’t left after that description, I get into subcategories like ‘bedroom recordings’, DIY, Black Sabbath- and Mike Oldfield worship. By now I’m talking to myself for sure, and that’s when I like to add that one doesn’t choose an artistic hobby, it chooses you. Music picked me. I’m a subpar poet and a terrible painter, but writing, playing and recording music is the gift that keeps on giving for me.
Describe your first musical memory.

An Elton John live concert on TV, and particularly a rock and roll song. I was playing the crap out of the sofa pillows for drums, but I also decided to learn to play the piano then and there. (I half delivered on that promise.)
Some years later, and probably more profoundly, I sometimes got to stick around at my grandfather’s place when his friends came by with their violins, accordions and acoustic guitars (and alcohol!); they were jamming on Swedish folkmusic and trading hot solos. To this day, unplugged folky jams are probably my favourite. And alcohol.

Describe your best musical memory to date.

Some time along the 2001 MV tour the band started to get more and more loose, and it was during some of those live improvisations I started to feel that we as a group had a pretty great chemistry. Now trust me, we didn’t always slay! BUT it was a real ego boost to feel that the band could throw itself into any old vamp, and still make quality music. Opinions may vary on that of course.

On a ‘higher’ level, the best musical memory would be when I realised cannabis made my favourite records five times better. I’m down to 1.5 times better by now, but still totally worth it.

When was a time when a firmly held belief was tested?

I was brought up a materialistic working-class atheist, then I switched to young adult Christian for 15 years, and then I went back to middle-aged agnostic-atheism, so there’s that. First hand experience of how the ‘grand narrative’ really does shape one’s worldview.

Where do you feel artistic progression leads?

I’m sure you chose that phrase — artistic progression — precisely to mess with musicians [Not true. – ed.]… so here goes:

I am a little suspicious of musicians who keep “broadening their horizon” for one thing. Sure, there have been a few great artists who have pulled it off qualitywise, but us average Joes shouldn’t be so ambitious. I say it’s better to dig deeper rather than to look to your sides for inspiration. But then again, I am very much an introvert in the jungian sense. If somebody says they love “all kinds of music” I go into crazy tourettes mode and start listing bands and artists, demanding to know if the person ACTUALLY loves Stockhausen, Portal (Aus), Ornette Coleman, shrieking Muslim calls to prayer… Some people’s sanctimonious virtue signaling using different kinds of world-music in particular is laughable. It’s OK to dislike certain styles of music; in fact if you don’t, that means you have no quality standard by which to make an aesthetic judgment. Whatever.

Secondly, I think there are fundamentally distinct aspects to ‘art’. Similar to how music consists of melody-harmony-rhythm-tambre, there’s art for pleasure, for education and propaganda, for communion, for introspection; art from the head and art from the heart, sometimes even art from your naughty bits. For example: I didn’t learn to play the guitar to get chicks, so if I turned into Tommy Lee’s penis on our next tour that would not count as artistic progress. I have a few aspects of making music that I focus on (e.g. improvisation/chance; through composed harmonies over improvised music; the instrumentation) so artistic progression, for me, means doing more of the same but with a slight variation. More like Darwinian evolution than some crazy Frankenstein scientist mixing a little bit of this, a little bit of that, hoping to suddenly get it right.

How do you define success?

Crush the enemies. See them driven before you. Then, hear the lamentation of my super-ego wailing “What are you doooing!”

What is something you have seen that you wish you hadn’t?

Dad’s porn collection.

Describe something you haven’t created yet that you’d like to create.

How about a concept/rock opera album. But a really good one. No fillers. The second side of the LP is one long track of course. But what’s the concept? Undecided at the moment. If you asked me two days ago I would suggest the sinking of the ferry Estonia 1994. If you asked me two weeks ago I would say The Life of Jesus (part the first). At the moment I am reading up on some hella exciting psychiatric diagnoses, that would be great fodder for a concept album. I think this project will have to wait until I’ve made up my mind.

What do you believe is the most essential function of art?

I think there are a couple of different functions of art, because there are a couple of different aspects to this thing we call ‘art’. As I have already hinted at, the self-reflecting function of creating and working with music is a key aspect for me. Art as a way of holding up a mirror (in this case to myself, as opposed to society). But I also unironically appreciate the pure beauty of some art/music; a few moments of sublimated pleasure, a glimpse of perfection. That meeting can raise the spirits in an important way.

And a different sort of function: my chosen art ‘music’ becomes a conduit for things not necessarily music related. For example, the problem solving aspect of editing music is almost as rewarding to me as the actual writing of the music. That whole trial-and-error process, guided by educated guesses, fills up my quota of crossword puzzle brain gymnastics. If I didn’t have music I would have to get that fix somewhere else but as it happens art, qua function, has that covered too.

Lastly, the act of listening to one’s intuition, a vision if you’re lucky, and then to follow that vague sense of direction, that builds character. Forget about being in charge, forget about applying your training; listen closely to your intuition and have faith that you’re going in the right direction. Making music can be a safe training ground for working on that skill, which then has a chance of spilling over into ‘real’ life.

Something non-musical that you’re looking forward to?

No.

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Mammoth Volume, The Cursed Who Perform the Larvagod Rites (2022)

Sweden’s Mammoth Volume release their new album, The Cursed Who Perform the Larvagod Rites, on Aug. 19 through Blues Funeral Recordings.

Once upon about 20 years ago, there was a band in Sweden who were weird. They were called Mammoth Volume, and amid the surge of heavy rock and roll coming out of their home country at the time (see also: always), the Lysekil natives took a more pastoral turn. They weren’t going for retroism like others at that particular moment, but their brand of heavy rock fore sure was indebted to the classics. 21 years after releasing their landmark second LP, 2001’s A Single Book of Songs By…, the weirdos are back and, well, they’re still weird.

That is to say, their approach, whatever familiarity it might have to desert-minded this or classically bluesy that, is still their own. Fact of the matter is Mammoth Volume were never as big as some of the others of their cohort because they didn’t fit as easy into a single idea. Their songs could go different places, add different vibes to a record, and that’s still the case on the cumbersomely titled The Cursed Who Perform the Larvagod Rites. Just because it’s been two decades you think they can’t outweird you? I promise you they beg to differ.

“A Lullaby of Doom” is the first audio to come from The Cursed Who Perform the Larvagod Rites, which will be out Aug. 19 through Blues Funeral Recordings, and you’ll find it premiering in the video below. Please also note that this release is included in Postwax Year II, for which I write the liner notes.

Video and details from the PR wire follow:

Mammoth Volume, “A Lullaby of Doom” video premiere

Mammoth Volume on “A Lullaby of Doom”:

“”A Lullaby of Doom” is the first single from The Cursed who Perform the Larvagod Rites. The song is about a possible future with rampant wars and destruction, but also about hope, love and reconciliation. Now is a good time to reflect on – and appreciate – the fact that we do not live in a warzone. So, sit back, pour yourself a cold beer, smoke ’em if you got ’em, crank up the volume, listen and enjoy!”

Mammoth Volume was founded in the small Swedish town of Lysekil in 1996, during a recording session where Daniel Gustafsson was the artist and Nicklas Andersson was the sound engineer. Also at the session was Nicklas’ brother Jörgen (known then as THE metal singer in Lysekil). A friend of the three, Kalle Berlin, was invited to complete the lineup of the new band on bass, an instrument he hadn’t played before. A truly humble beginning. At the time, stoner rock was new, cool, and catching fire in Sweden, and Mammoth Volume immediately sought to differentiate themselves. Proggy sections, unusual melodic phrasings, jazzy breaks, shady tempo changes and wistful ballads became hallmarks of their sound.

A band who never thought anyone but friends and family would listen to their music signed with American record company The Music Cartel in 1998, and released their debut album the following year. Emails and phone calls began to flow in. The visitor counter on their official website increased noticeably, and Stonerrock.com – the place to be if you followed the genre – praised the record.

Noara Dance was released in 2000, a seven-song EP on CD and vinyl. Another positive response followed, and the band embarked on small tours in Germany and Holland with Dozer and Terra Firma, among others. In 2001, A Single Book of Songs was released and hit like a bomb in the scene. The album won the year’s best album on Stonerrock.com, even though the record made it clearer than ever that Mammoth Volume was as influenced by Yes and Mike Oldfield as by Kyuss. The band took to the road for the biggest tour of their career across Europe, playing in some places to packed houses, while other venues were almost comically empty.

The first phase of Mammoth Volume came to a close with the release of the 17-song “DEMO” album The Early Years. With that, the band took a long break. They recorded a few demos in the mid-2000’s, had a couple of rehearsals, gigs and recording sessions in the early 2010’s, but all in a fairly underground way. But Nicklas always had the vision to re-start the band properly, convinced that, with Daniel at his side, Mammoth Volume had more to give.

At last, the band officially reactivated in 2019, stronger than ever, and ready to present their comeback album of genre-bending stoner-prog fusion to an unsuspecting world.

New album “The Cursed Who Perform The Larvagod Rites”
Available on August 19th, 2022 through Blues Funeral Recordings.

Stronger and weirder than ever, Mammoth Volume return with their comeback album of genre-bending stoner-prog fusion. Ready to blindside the scene with massive riffs, unexpected instrumentation, and angular yet irresistible hooks, their approach remains utterly unique, going back to when this innovative foursome reigned over the early, wild west days of the online heavy rock landscape.

The band says: “The Cursed who Perform the Larvagod Rites is our first official release in over twenty years. A little bit of butterflies in the stomach, and a metallic taste in the mouth actually. How will our old fans react to our music in 2022? Well, we can promise them it is like nothing they could even imagine. It’s not metal, it’s not Nordic folk music, it’s not retro prog; but a bit of everything in between these styles. The Cursed who Perform the Larvagod Rites is a fictional (and sometimes not so fictional) journey through fire-ravaged wastelands, medieval castles, long abandoned ruins, post-apocalyptic cities and the modern city. So strap in, because you will be encountering demons, fortune tellers, literary figures, and of course the occasional cryptic gobbledygook lyrics for good measure. »

Tracklist:
1 The Kuleshov Effect
2 Diablo IV
3 Medieval Torture Device
4 Want to Join Us? Come Back Later!
5 Osteoporos
6 The Lightwedge 60’s Race, Zombie Piccolos and the German
7 A King and a Tyrant
8 A Lullaby of Doom
9 Diablo V: Lanternsong

Album credits:
Jörgen “Aston” Andersson – Vocals
Daniel Gustafsson – Guitars, Keyboards
Kalle Berlin – Bass
Nicklas Andersson – Drums, Vocals, Percussions

Guest Performances:
Richard Maisa – Bass on ‘Medieval Torture Device’ and ‘A King and a Tyrant’
Iza Elfström – Backup Vocals on ‘The Kuleshov Effect’

Mammoth Volume on Facebook

Mammoth Volume on Bandcamp

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Blues Funeral Recordings website

Like Josiah before them, Sweden’s Mammoth Volume will return with their first album in more than a decade’s time as part of Blues Funeral Recordings‘ PostWax series. They’re next on my list for liner notes, as it happens. They join the ranks of Acid King, a REZN/Vinnum Sabbathi collaboration, Elephant Tree and Lowrider, and the aforementioned Josiah in taking part in PostWax Vol. II, and in addition to announcing their involvement below, the PR wire also brings word that art is being handled by Johnny Dombrowski and Maarten Donders, who will alternate covers back and forth and collaborate on a piece together as well, which presumably (that is, I don’t know this for sure, but imagine so) will be used as front-piece for the eventual box that will contain all the Vol. II PostWax offerings.

That’s five of the nine PostWax unveilings in the bag, and if you’re not sure whether or not you should be stoked on Mammoth Volume — who first announced their reunion last summer — putting out a new record, I wholeheartedly invite you to dig into 2001’s A Single Book of Songs By… at the bottom of this post. Another pre-social media gem from the turn of the century, it is.

Dig:

Swedish stoner prog veterans MAMMOTH VOLUME to release new album as part of PostWax Vol. II vinyl subscription series on Blues Funeral Recordings

Swedish stoner prog veterans MAMMOTH VOLUME are confirmed to take part in Blues Funeral Recordings’ anticipated PostWax Vol. II vinyl series by releasing their first album in almost twenty years. Blues Funeral Recordings also present the art team to provide the illustrations and artwork on PostWax Vol. II: heavy music scene stalwart Maarten Donders and award-winning artist Johnny Dombrowski.

In the years between 1998 and 2002, MAMMOTH VOLUME released three albums that each made an increasingly massive impact among the growing worldwide heavy-rock community. With a style that blended an affection for American desert rock but was just as deeply characterized by a passion for 70s prog, jazzy breaks and wistful passages, their quirky take on heavy rock offered an angular yet infectious alternative to the boogie van riffage advanced by so many of the genre’s purveyors.

Re-activated in 2019, MAMMOTH VOLUME will soon return with a new album that’s vibrating with long-bottled-up energy. Drummer and founder Nicklas Andersson says: “Mammoth Volume is back, stronger than ever. It will be incredibly exciting to share our new music with the people for the first time in quite a few years. One thing is certain: this is exactly the record we wanted to make as we return to underground heavy scene, and we’re anxious for everyone to hear it!”

The work of heavy music art veteran Maarten Donders is known for its surreal, experimental, almost dreamlike qualities, and he has provided handmade illustrations, logos, designs and creative direction for countless musicians, bands, record labels, artists, magazines and venues in the music world. His work includes album covers and posters for the likes of Roadburn, Windhand, Monolord, Graveyard and Brant Bjork. Brooklyn-based award-winning illustrator Johnny Dombrowski has produced pieces for The New York Times, Penguin Random House, StudioCanal, GQ, Black Dragon Press and more. Recently, he has ventured into replicating, as closely as possible, the process and aging of pre-digital comic books. What started as an experiment soon turned into an obsession, taking influence over his client work and technique.

These two illustrators will alternate in creating album covers for each of the PostWax Vol. II releases, as well as contributing other elements throughout the process and collaborating on one cover piece, all under the art direction of Peder Bergstrand.

=> Get more info and subscribe to the PostWax Vol. II
AT THIS LOCATION: https://www.kickstarter.com/projects/bluesfuneral/postwax-vol-ii

The PostWax series present exclusive limited edition records from some of the best stoner rock, doom and heavy psych bands on the planet. Benefiting from a spectacular success in 2018, PostWax Year One debuted releases to subscribers first, which were subsequently issued in standard retail versions to the public several months later. With Acid King, Josiah, Lowrider, Elephant Tree, REZN and Vinnum Sabbathi already announced, the upcoming PostWax Vol. II series will present 9 deluxe releases on gorgeous vinyl, with each record including at least one exclusive track only available to subscribers, also coming with next-level sleeve design, hand-crafted art and behind-the-scenes liner notes. The first PostWax Vol. II release will be delivered directly to subscribers in the summer of 2021.

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Mammoth Volume, A Single Book of Songs By… (2001)

It’s been long enough since the last time we heard anything from Mammoth Volume that when you Google the band’s Facebook you get Mammoth Mammoth instead. I’ve talked about the band here once or twice, their 1999 self-titled debut was discussed here a few years back, but they belong to the era of pre-social media mobilization heavy from which many bands who existed in a MySpace ecosphere have virtually (literally, virtually) disappeared. The fact that Mammoth Volume broke up in the mid-aughts essentially means their CD-era catalog is in dire need of reissue — they were originally signed to The Music Cartel — and while they’re reportedly working on new material in the studio as we speak, they’ve posted a few archival offerings to a new Bandcamp page for listeners to check out.

Though it speaks to the very fact of their reunion, Return of the Mammoth Volume was tracked in 2005. Likewise, the Loved by Few, Hated by Dolphins EP was posted by the band in 2008 as their last outing (I think they were already broken up at the time) and Promo Vol. 1 & 2 – Tour & Turtle 1998 brings together two different demos sent out to initially try to score a record deal.

None of these has the presence of 2000’s Noara Dance or their swansong LP, A Single Book of Songs, but it’s been so long that it’s good just to know they’re out there doing anything at all. Credit to Remi VL for putting me onto the fact that they were active again.

Here’s info and audio:

Mammoth Volume was born in the winter of 1996, called into life by the main song writing team of Nicklas and Daniel. Nicklas engaged his older brother Jorgen to take over vocal duties and with the final addition of bass player Kalle, the band was born. The band is from the town of Lysekil, Sweden.

Mammoth volume formed as a recording project, but got a record deal right immediately and tours and various gigs became a fact. The band split ten years later. The band has released three full-length albums and a “maxicd” and a handful of demos.

Mammoth Volume is:
Jörgen Aston Andersson – vocals
Kalle Berlin – bass
Daniel Gustavsson – guitar
Nicklas Andersson – drums.

https://mammothvolume.bandcamp.com/

Mammoth Volume, Promo Vol. 1 & 2 – Tour & Turtle 1998 (2020)

Mammoth Volume, Loved by Few, Hated by Dolphins (2020)

Mammoth Volume, Return of the Mammoth Volume (2020)