The Obelisk Presents: The Top 20 Singles, EPs, Splits and Demos of 2014

Posted in Features on December 23rd, 2014 by JJ Koczan

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I did this last year mostly as a result of not having somewhere to put  Buy Research Paper Online of high quality written from scratch by custom http://www.klimacampus-hamburg.de/?online-personal-statement-writing-service & best research paper writing service UK. Elder‘s  Key feature of our premium Homework Helper Science: We are Ireland based editing service and helping all the best universities college including Trinity College, Griffith college, national University of Ireland and many more from a decade now. Spires Burn/Release EP in 2012, but it went pretty well, so I thought we’d do another round for 2014. The 2013 list covered demos, singles, EPs and splits — basically everything that’s not a full-length album — and the same rules apply here. It’s a pretty basic idea, but it makes sense to me to consider short releases apart from full-lengths because very often they’re trying to accomplish different things.

For example, if an album is trying to tell a story or describe a central theme, either blatantly in its lyrics or atmospherically through the music itself, a demo might just be the work of a band trying to feel their way into their sound. It doesn’t strike me as fair to judge the two on the same standard. Likewise, if a band releases a single, should that really be judged alongside an hour-long release? Granted, some bands’ singles actually are an hour long, but that’s another category entirely. “The ‘Dopesmoker’ Awards” will be handed out at another date.

No, not really. At least not this year.

If you didn’t see the full-albums Top 30 of 2014, please feel free to check it out and think of this and the year-end podcast as companion pieces, albeit both a little more casual. Let’s get to it:

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The Top 20 Short Releases of 2014

1. Sleep, The Clarity
2. Fatso Jetson/Herba Mate, Early Shapes
3. All Them Witches, Effervescent
4. Cortez/Borracho, Split 7″
5. Naam/White Hills/Black Rainbows/The Flying Eyes, 4-Way Split
6. Heavy Temple, Heavy Temple
7. Death Alley, Over Under/Dead Man’s Bones 7”
8. Geezer, Live! Full Tilt Boogie
9. The Sun, the Moon and the Witch’s Blues, The Sun, the Moon and the Witch’s Blues
10. Demon Head, Demo 2014
11. Gold & Silver, Azurite and Malachite
12. The Proselyte, Our Vessel’s in Need
13. Hull, Legend of the Swamp Goat
14. Lamp of the Universe/Krautzone, Split
15. The Ultra Electric Mega Galactic, Through the Dark Matter
16. The Heavy Co., Uno Dose
17. Wren, Wren
18. He Whose Ox is Gored, Rumors 7”
19. Lewis and the Strange Magics, Demo
20. Godhunter/Secrets of the Sky, Gh/0st:s
21. Lord, Alive in Golgotha

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A couple notes: The Sleep single was a given. I don’t think anything could’ve topped it one way or another, even if I hadn’t listened to it 100 times since its release in July as part of the Adult Swim Singles Series. In any case, there was no debate about where to place it. You might notice on the other end the list goes to 21. I thought that being the element of chaos suited Lord well, and since I’m not entirely sure their Alive in Golgotha EP has been officially released, they warranted inclusion just in case.

One thing that struck me in putting this list together was the amount of splits included. You’ll notice Fatso Jetson and Herba Mate‘s Early Shapes right in behind Sleep. That one was an utter joy, as far as I’m concerned, and made me wish both of them would get on putting out full-lengths as soon as possible. Not far behind is Cortez and Borracho‘s split single, which had killer tracks from both bands, and the Naam/White Hills/Black Rainbows/The Flying Eyes split from Heavy Psych Sounds that, even with four bands involved, managed to keep a flowing atmosphere front to back, which was impressive enough in and of itself, never mind the individual contributions of those four acts, which were also top quality. The Krautzone/Lamp of the Universe split also provided a considerable psych blissout, and Godhunter‘s split/collaboration with Secrets of the Sky earned extra points for its adventurous spirit and the payoff its risk-taking brought to bear.

Like their Lightning at the Door LP, All Them Witches‘ Effervescent 25-minute jam figured heavily in my 2014 listening habits, as did Heavy Temple‘s self-titled debut EP. Dutch garage/heavy punkers Death Alley earned spins with their debut 7″, a lack of pretense in melding proto-thrash and heavy rock impulses allowing them to quickly find a niche that one hopes they continue to develop. Their debut single, along with Demon Head‘s Demo 2014 (and, indeed, that band’s follow-up single) and the Lewis and the Strange Magics demo were an allay to concerns retro-minded rock might be stagnating.

Geezer featured on the Short Releases list last year as well. I wasn’t sure what to do with their Gage 12″, since it was released in 2013 as an EP and 2014 as an LP, but either way, their Live! Full Tilt Boogie tape effortlessly recalled classic blues rock performances and demonstrated the fluid chemistry at work in the New York trio, I hope it’s not the last live release they do. Along similar bluesy lines, The Heavy Co.‘s Uno Dose found the Hoosier three-piece dipping into heavy jams more than their last full-length, and if that’s the direction they’re headed, you won’t hear me argue. Hailing from Sweden and arriving as an offshoot of Asteroid, the single-song EP from The Sun, the Moon and the Witch’s Blues had more than a touch of heavy blues to it too, and made me look forward to that project’s development from here on out.

There’s little I’m going to complain about less than hearing Ed Mundell bust out Miles Davis-inspired solos, so yeah, The Ultra Electric Mega Galactic‘s Through the Dark Matter EP gets a nod. Impressive guitar work ran a current through Boston duo Gold & Silver‘s debut EP, Azurite and Malachite, but the proggy feel was what ultimately sold me on the two extended instrumentals included there, whereas with fellow Beantowners The Proselyte, it was the catchy songwriting and variety they showed in just four tracks. The He Whose Ox is Gored 7″ was likewise modern and satisfyingly weighted, though obviously shorter, and last but not at all least, the progressive sludge of Wren‘s self-titled EP seemed to fly under a lot of people’s radar but was a markedly individual take on a well established form that portended of good things to come.

As with everything, I’m sure there’s something in this mix that I forgot. If you’ve got a call you want to make on something, please let loose in the comments. Thanks for reading.

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Naam, White Hills, Black Rainbows and The Flying Eyes Split: So Much Space, So Little Time

Posted in Reviews on June 11th, 2014 by JJ Koczan

The four bands included, tripped out as they are, can hardly account for the amount of space traversed. Italy’s Black Rainbows, led by guitarist/vocalist Gabriele Fiori — whose own contributions to European psychedelia include running the label issuing this release, Heavy Psych Sounds and assembling this year’s inaugural Totem Psych Fest, taking place this summer outside of Rome (more info here) — unite with Brooklyn heavy space rockers and past tourmates Naam, well-kept New York secret outfit White Hills and bluesy Baltimore explorers The Flying Eyes for a 2LP gatefold four-way split featuring a side from each. All four groups work regularly in pretty extended forms, so you basically get a song or two from each, but still, the fact that they all got together and combined their efforts for this release makes it something special, the limited numbers of the vinyl and various colors (as well as a CD version) having been pressed in time for this year’s Desertfest, at which Black Rainbows also appeared. Everyone involved shares an obvious affinity for heavy psychedelic rock, but as one would hope for a release of this nature, there are also four distinct takes presented across the split — the official title of which is Heavy Psych Sounds 4-Way Split Vol. I — and each band takes advantage of an opportunity to bliss out in their own way, beginning with Naam — who’ve spent significant time on tour in Europe both before and after issuing their latest album, 2013’s Vow (review here) — on their two tracks, “Skyscraper (Ambient Mix)” and “Thickening Web,” which are included as side 1A leading off the 51-minute double-LP.

Its title is a dead giveaway, but “Skyscraper (Ambient Mix)” is a reworking of Vow highlight “Skyscraper,” and what was a landmark on the ultra-spacey sophomore full-length from the Brooklyn four-piece arises on the Heavy Psych Sounds split as a stripped-down wash of effects, elements dropping in and out over the course of its seven-plus minutes, guitarist/vocalist Ryan Lee Lugar‘s voice barely distinct for the reverb it carries, a slow, mellow progression playing out behind given further depth between the high and low end thanks to a swirl of effects. “Skyscraper” proper was not short on ambience, between the guitar, John Weingarten‘s keys, John Preston Bundy‘s bass and Eli Pizzuto‘s percussive roll, but “Skyscraper (Ambient Mix)” — on which engineer/mixer Jeff Berner has added some instrumentation as well — feels thoroughly reworked and comes across experimental enough to make the original seem straightforward in comparison. With a fuller-sounding instrumental stretch to over eight minutes, “Thickening Web” furthers the atmosphere of the opener while building on it, Weingarten coming to the fore in a dreamy midsection as the bass, guitar and drums fade out and back in around his keys. There’s a build at work and constant movement, but Naam still evoke a laid back feel, which is all the more fitting leading into White Hills‘ experimental 11-minute “They’ve Got Blood… Like You’ve Got Blood,” presented here as an alternate version to what appeared as the title-track of the 2005 self-released full-length, They’ve Got Blood Like We’ve Got Blood. As much as they’re clearly separate entities with their own sonic aims, a linear flow is present as well, and White Hills further Naam‘s sprawling ambience and percussive undertones with engrossing space-drones and an ending movement with lo-fi techno beats and organ leadout. You’ve got four psych bands all contributing to the release. It was bound to get weird at some point.

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