Quarterly Review: Gaupa, Orango, Onségen Ensemble, Gypsy Wizard Queen, Blake Hornsby, Turbid North, Modern Stars, Trillion Ton Beryllium Ships, Borehead, Monolithe

Posted in Reviews on January 13th, 2023 by JJ Koczan

quarterly-review-winter 2023

So here we are. On the verge of two weeks, 100 records later. My message here is the same as ever: I’m tired and I hope you found something worthwhile. A lot of this was catchup for me — still is, see Gaupa below — but maybe something slipped through the cracks for you in 2022 that got a look here, or maybe not and you’re not even seeing this and it doesn’t matter anyway and what even is music, etc., etc. I don’t know.

A couple bands were stoked along the way. That’s fun, I guess. Mostly I’ve been trying to keep in mind that I’m doing this for myself, because, yeah, there’s probably no other way I was going to get to cover these 100 albums, and I feel like the site is stronger for having done so, at least mostly. I guess shrug and move on. Next week is back to normal reviews, premieres and all that. I think March we’ll do this again, maybe try to keep it to five or six days. Two 100-record QRs in a row has been a lot.

But again, thanks if you’ve kept up at all. I’m gonna soak my head in these and then cover it with a pillow for a couple days to keep the riffs out. Just kidding, I’ll be up tomorrow morning writing. Like a sucker.

Winter 2023 Quarterly Review #91-100:

Gaupa, Myriad

Gaupa Myriad

Beginning with the hooky “Exoskeleton” and “Diametrical Enchantress,” Myriad is the second full-length from Sweden’s Gaupa (their first for Nuclear Blast), and a bringing together of terrestrial and ethereal heavy elements. Even at its most raucous, Gaupa‘s material floats, and even at its most floating, there is a plan at work, a story unfolding, and an underlying structure to support them. From the minimalist start of “Moloken” to the boogie rampage of “My Sister is a Very Angry Man,” the Swedefolk of “Sömnen,” the tension and explosions of “RA,” with the theatrical-but-can-also-really-sing, soulful vocals of Emma Näslund at the forefront, a proggy and atmospheric cut like “Elden” — which becomes an intense battery by the time it hits its apex; I’ve heard that about aging — retains a distinct human presence, and the guitar work of Daniel Nygren and David Rosberg, Erik Sävström‘s bass and Jimmy Hurtig‘s drums are sharp in their turns and warm in their tones, creating a fluidity that carries the five-piece to the heavy immersion of “Mammon,” where Näslund seems to find another, almost Bjork-ish level of command in her voice before, at 5:27 into the song’s 7:36, the band behind her kicks into the heaviest roll of the album; a shove by the time they’re done. Can’t ask for more. Some records just have everything.

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Orango, Mohican

orango mohican

Six albums in, let’s just all take a minute to be glad Orango are still at it. The Oslo-based harmonybringers are wildly undervalued, now over 20 years into their tenure, and their eighth album, Mohican (which I’m not sure is appropriate to take as an album title unless you’re, say, a member of the Stockbridge-Munsee Community) is a pleasure cruise through classic heavy rock styles. From opener/longest track (immediate points) “The Creek” twisting through harder riffing and more melodic range than most acts have in their entire career, through the memorable swagger in the organ-laced “Fryin’,” the stadium-ready “Running Out of Reasons,” the later boogie of “War Camp” and shuffle in “Dust & Dirt” (presumably titled for what’s kicked up by said shuffle) and the softer-delivered complementary pair “Cold Wind” and “Ain’t No Road” ending each side of the LP with a mellow but still engaging wistfulness, nobody does the smooth sounds of the ’70s better, and Mohican is a triumph in showcasing what they do, songs like “Bring You Back Home” and the bluesier “Wild River Song” gorgeous and lush in their arrangements while holding onto a corresponding human sensibility, ever organic. There is little to do with Orango except be wowed and, again, be thankful they’ve got another collection of songs to bask in and singalong to. It’s cool if you’re off-key; nobody’s judging.

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Stickman Records website

 

Onségen Ensemble, Realms

Onségen Ensemble Realms

You never really know when a flute, a choir, or a digeridoo might show up, and that’s part of the fun with Onségen Ensemble‘s six-track Realms LP, which goes full-Morricone in “Naked Sky” only after digging into the ambient prog of “The Sleeping Lion” and en route to the cinematic keys and half-speed King Crimson riffing of “Abysmal Sun,” which becomes a righteous melodic wash. The Finnish natives’ fourth LP, its vinyl pressing was crowdfunded through Bandcamp for independent release, and while the guitar in “Collapsing Star” calls back to “Naked Sky” and the later declarations roll out grandiose crashes, the horns of “The Ground of Being” set up a minimalist midsection only to return in even more choral form, and “I’m Here No Matter What” resolves in both epic keys/voices and a clear, hard-strummed guitar riff, the name Realms feels not at all coincidental. This is worldbuilding, setting a full three-dimensional sphere in which these six pieces flow together to make the 40-minute entirety of the album. The outright care put into making them, the sense of purpose, and the individualized success of the results, shouldn’t be understated. Onségen Ensemble are becoming, and so have become, a treasure of heavy, enveloping progressive sounds, and without coming across as contrived, Realms has a painterly sensibility that resonates joy.

Onségen Ensemble on Facebook

Onségen Ensemble on Bandcamp

 

Gypsy Wizard Queen, Gypsy Wizard Queen

Gypsy Wizard Queen self-titled

Chad Heille (ex-Egypt, currently also El Supremo) drums in this Fargo, North Dakota, three-piece completed by guitarist/vocalist/engineer Chris Ellingson and bassist/vocalist Mitch Martin, and the heavy bluesy groove they emit as they unfurl “Witch Lung,” their self-titled debut’s 10-minute opener and longest track (immediate points), is likewise righteous and hypnotic. Even as “Paranoid Humanoid” kicks into its chorus on Heille‘s steady thud and a winding lead from Ellingson, one wouldn’t call their pace hurried, and while I’d like to shake everyone in the band’s hand for having come up with the song title “Yeti Davis Eyes” — wow; nicely done — the wandering jam itself is even more satisfying, arriving along its instrumental course at a purely stoner rock janga-janga before it’s finished and turns over to the final two tracks, “The Good Ride” and “Stoned Age,” both shorter, with the former also following an instrumental path, classically informed but modern in its surge, and the latter seeming to find all the gallop and shove that was held back from elsewhere and loosing it in one showstopping six-minute burst. I’d watch this live set, happily. Reminds a bit of Geezer on paper but has its own identity. Their sound isn’t necessarily innovative or trying to be, but their debut nonetheless establishes a heavy dynamic, shows their chemistry across a varied collection of songs, and offers a take on genre that’s welcome in the present and raises optimism for what they’ll do from here. It’s easy to dig, and I dig it.

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Gypsy Wizard Queen on Bandcamp

 

Blake Hornsby, A Collection of Traditional Folk Songs & Tunes Vol. 1

blake hornsby A Collection of Traditional Folk Songs & Tunes Vol 1

It’s not quite as stark a contrast as one might think to hear Asheville, North Carolina’s Blake Hornsby go from banjo instrumentalism to more lush, sitar-infused arrangements for the final three songs on his A Collection of Traditional Folk Songs & Tunes Vol. 1, as bridging sounds across continents would seem to come organically to his style of folk. And while perhaps “Old Joe Clark” wasn’t written as a raga to start with, it certainly works as one here, answering the barebones runs of “John Brown’s Dream” with a fluidity that carries into the more meditative “Cruel Sister” and a drone-laced 13-minute take on the Appalachian traditional song “House Carpenter” (also done in various forms by Pentangle, Joan Baez, Myrkur, and a slew of others), obscure like a George Harrison home-recorded experiment circa Sgt. Pepper but sincere in its expression and cross-cultural scope. Thinking of the eight-tracker as an LP with two sides — one mostly if not entirely banjo tunes between one and two minutes long, the other an outward-expanding journey using side A as its foundation — might help, but the key word here is ‘collection,’ and part of Hornsby‘s art is bringing these pieces into his oeuvre, which he does regardless of the form they actually take. That is a credit to him and so is this album.

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Ramble Records store

 

Turbid North, The Decline

Turbid North The Decline

Oof that’s heavy. Produced by guitarist/vocalist Nick Forkel, who’s joined in the band by bassist Chris O’Toole (also Unearth) and drummer John “Jono” Garrett (also Mos Generator), Turbid North‘s The Decline is just as likely to be grind as doom at any given moment, as “Life Over Death” emphasizes before “Patients” goes full-on into brutality, and is the band’s fourth full-length and first since 2015. The 2023 release brings together 10 songs for 43 minutes that seem to grow more aggressive as they go, with “Eternal Dying” and “The Oppressor” serving as the opening statement with a lumber that will be held largely but not completely in check until the chugging, slamming plod of closer “Time” — which still manages to rage at its apex — while the likes of “Slaves,” “Drown in Agony” and “The Old Ones” dive into more extreme metallic fare. No complaints, except maybe for the bruises, but as “The Road” sneaks a stoner rock riff in early and some cleaner shouts in late amid Mastodonny noodling, there’s a playfulness that hints toward the trio enjoying themselves while doling out such punishment, and that gives added context and humanity to the likes of “A Dying Earth,” which is severe both in its ambient and more outright violent stretches. Not for everybody, but if you’re pissed off and feel like your brain’s on fire, they have your back with ready and waiting catharsis. Sometimes you just want to punch yourself in the face.

Turbid North on Facebook

Turbid North on Bandcamp

 

Modern Stars, Space Trips for the Masses

Modern Stars Space Trips for the Masses

A third full-length in as many years from Roman four-piece Modern Stars — vocalist/guitarist/synthesist Andrea Merolle (also sitar and mandolin), vocalist Barbara Margani, bassist/mixer Filippo Strang and drummer Andrea SperdutiSpace Trips for the Masses is maybe less directly space rock in its makeup than one might think. The band’s heavy psychedelia is hardly earthbound, but more ambience than fiery thrust or motorik, and Merolle‘s vocals have a distinctly Mark Lanegan-esque smokiness to which Margani adds bolstering backing presence on the deceptively urbane “No Fuss,” after the opening drift of “Starlight” — loosely post-rock, but too active to be that entirely either, and that’s a compliment — and the echoing “Monkey Blues” first draw the listener in. Margani provides the only voice on centerpiece “My Messiah Left Me Behind,” but that shift is just one example of Modern Stars‘ clear intent to offer something different on every song, be it the shimmer of “Everyday” or the keyboard sounds filling the open spaces early in the eight-minute “Drowning,” which later takes up a march punctuated by, drums and tambourine, devolving on a long synth/noise-topped fade into the six-minute liquid cohesion that is “Ninna Nanna,” a capstone summary of the fascinating sprawl Modern Stars have crafted. One could live here a while, in this ‘space.’

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Little Cloud Records store

 

Trillion Ton Beryllium Ships, Destination Ceres Station: Reefersleep EP

trillion ton beryllium ships destination ceres station reefersleep

Those who’ve been following the progression of Nebraska’s Trillion Ton Beryllium Ships will find Destination Ceres Station: Reefersleep — their second offering in 2022 behind the sophomore full-length Consensus Trance (review here) — accordingly dense in tone and steady in roll as the three-piece of Jeremy Warner, Karlin Warner and Justin Kamal offer two more tracks that would seem to have been recorded in the full-length session. As “Destination Ceres Station: Reefersleep” open-spaces and chugs across an instrumental-save-for-samples 12:31 and the subsequent “Ice Hauler” lumbers noddily to its 10:52 with vocals incorporated, the extended length of each track gives the listener plenty to groove on, classically stonerized in the post-Sleep tradition, but becoming increasingly individual. These two songs, with the title-track hypnotizing so that the start of the first verse in “Ice Hauler” is something of a surprise, pair well, and Trillion Ton Beryllium Ships add a taste of slow-boogie to lead them out in the slow fade of the latter, highlighting the riff worship at the heart of their increasingly confident approach. One continues to look forward to what’s to come from them, feeling somewhat greedy for doing so given the substance they’ve already delivered.

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Borehead, 0002

Borehead 0002

The current of feedback or drone noise beneath the rolling motion of Borehead‘s “Phantasm (A Prequel)” — before the sample brings the change into the solo section; anybody know the name of that rabbit? — is indeed a precursor to the textured, open-spaced heavy progressive instrumentalism London trio have on offer with their aptly-titled second EP, 0002. Produced by Wayne Adams at the London-underground go-to Bear Bites Horse Studio, the three-song outing is led by riffs on that opener, patient in its execution and best consumed at high volume so that the intricacy of the bass in “Lost in Waters Deep,” the gentle ghost snare hits in the jazzy first-half break of “Mariana’s Lament” after the ticking clock and birdsong intro, and the start-stop declarative riff that lands so heavy before they quickly turn to the next solo, or, yes, those hidden melodies in “Phantasm (A Prequel)” aren’t lost. These aspects add identity to coincide with the richness of tone and the semi-psychedelic outreach of 0002‘s overarching allure, definitely in-genre, but in a way that seems contingent largely on the band’s interests not taking them elsewhere over time, or at least expanding in multiple directions on what’s happening here. Because there’s a pull in these songs, and I think it’s the band being active in their own development, though four years from their first EP and with nothing else to go on, it’s hard to know where they’ll head or how they’ll get there based on these three tracks. Somehow that makes it more exciting.

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Monolithe, Kosmodrom

Monolithe Kosmodrom

With song titles and lyrical themes based around Soviet space exploration, Kosmodrom is the ninth full-length from Parisian death-doomers Monolithe. The band are 20 years removed from their debut album, have never had a real break, and offer up 67 minutes’ worth of gorgeously textured, infinitely patient and serenely immersive death, crossing into synth and sampling as they move toward and through the 26-minute finale “Kosmonavt,” something of a victory lap for the album itself, even if sympathy for anything Russian is at a low at this point in Europe, given the invasion of Ukraine. That’s not Monolithe‘s fault, however, and really at this point there’s maybe less to say about it than there would’ve been last year, but the reason I wanted to write about Kosmodrom, and about Monolithe particularly isn’t just that they’re good at what they do, but because they’ve been going so long, they’re still finding ways to keep themselves interested in their project, and their work remains at an as-high-if-not-higher level than it was when I first heard the 50-minute single-song Monolithe II in 2005. They’ve never been huge, never had the hype machine behind them, and they keep doing what they do anyway, because fuck it, it’s art and if you’re not doing it for yourself, what’s the point? In addition to the adventure each of the five songs on Kosmodrom represents, some moments soaring, some dug so low as to be subterranean, both lush, weighted and beautiful, their ethic and the path they’ve walked deserves nothing but respect, so here’s me giving it.

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Album Review: Olson, Van Cleef, Williams, Bleached Skeletons Strewn About the Plains

Posted in Reviews on October 11th, 2022 by JJ Koczan

Olson Van Cleef Williams Bleached Skeletons Strewn About the Plains

Bleached Skeletons Strewn About the Plains is the third full-length offering from the multinational collaboration Olson, Van Cleef, Williams, issued on quite-limited CD and (unlimited, duh) DL through The Eagle Stone Collective and Electric Relics Audio Artifacts. With T.G. Olson (also Across Tundras, etc.) based presently in Iowa, Ivonne Van Cleef (who seems to travel) in Argentina and Caleb R.K. Williams in France, they remain committed to the instrumental approach of their prior two outings in 2021’s Unleash the Hoof’s Revenge and 2020’s As Gold Turned to Black Powder (discussed here), and present a richly evocative and varied soundscape across 10 new tracks and 45 minutes.

Somewhat curiously, they have not said much of anything about an intended narrative for the new collection of improvised and semi-improv works, recorded and assembled remotely, and mixed cohesively enough that if you weren’t told you’d never know they weren’t in the same studio, so you’ll pardon me if I fill in with at least a potential interpretation.

Beginning with the duly foreboding drones and open-landscape wash of “Hoofbeats,” which features The Ivonne Van Cleef Orquesta — there may or may not actually be an orquesta, but definitely some string sounds to going along with the voluminously strummed guitar and various other melodic, ambient effects and whatnot — Bleached Skeletons Strewn About the Plains would seem to tell the story of the slaughter of American bison undertaken in the late 1800s as a means of furthering the genocide of the Native American populations that hunted the animals for food and other uses.

This is a documented policy part of the greater movement of White colonizers (or settlers, depending on which books you read) moving into the Great Plains in the middle of the United States, taking the land and isolating and working to destroy the culture and population of the people who lived there. It is, in fact, essential US history; the actual manifestation not-quite-as-glossed-over-as-it-used-to-be-but-still-plenty-glossed-over in discussions of ‘manifest destiny.’ Olson, Van Cleef, Williams portray these ideas in broad-reaching dark pastoralism, resonant hums and swells like that of “Bison Bones” and “The Fury of the Slaughter,” the former of which boasts the second of two guest appearances — Julián Pinto on percussion — and the latter which brings the electric guitar forward on a bed of consuming noise.

Songs like “Hides and Blood” — which begins in silence after “The Fury of the Slaughter” rings out its last regretted wisps to end the first three tracks’ initial salvo — move with intention. There are drums or at least beats being kept at times, but nothing is so certain with these players, each of whom has a history in experimentalism as well as folk musics of varying stripes. The twang in “Hides and Blood” and the penultimate “Ride the Ashes” — admittedly more buried in that later cut — will be recognizable from Olson‘s work elsewhere, but like the project’s moniker informs, it’s really just a part of the greater unfolding of this material, which isn’t so much cinematic as placemaking in itself.

Acoustic guitar and ancient hiss accompany the rolling rhythm of “Tragedy of the Commons,” in which the beating-on-a-thing timekeeping drops out as the track pushes toward its third minute, a last line of drone guitar holding sway until, well, it isn’t, and “Spiritual Eyes” picks up to begin again, even shorter at 2:38. Furthering the thesis as regards subject matter — and whether the theme was decided on before the music, during the recording, or after is ultimately meaningless; provided it’s true, it simply is — is the fact that “Spiritual Eyes,” which sets itself to a line of electric guitar and maybe far-back effects-laced harmonica (not sure, honestly), gives over to “A Prayer for the Buffalo,” an obvious focal point and the longest single inclusion at 6:12.

Olson Van Cleef Williams Bleached Skeletons Strewn About the Plains liner

No, Olson, Van Cleef, Williams are not the first outfit to explore this big-sky aural territory, and those gravitated toward the atmospheres of Neil Young‘s Dead Man soundtrack or Hex-era Earth should think of Bleached Skeletons Strewn About the Plains less as a derivation from those works and others like them and more like an expansion of those ideas into something new. “A Prayer for the Buffalo” is gorgeously patient and a sorrowful, engrossing wash, set to a simple drum beat that punctuates its willful, multifaceted slog, again departing well in advance of the finish, which brings together string sounds and guitar effects as though you’ve just crossed over a hill and now can truly see the land stretch before you.

Like much of what surrounds, it ends on a long fade before “Genocide” fades in with a decidedly more grim rumble in its distortion. What might be a drum machine underscores, but a sinister hum pervades, low guitar tone and high lead notes playing out until it simply ends in noise, leaving the aforementioned “Ride the Ashes” as the next stage in the tale, a kind of aftermath that might be represented in the cover art. Death, put to sinister purpose, is everywhere. But there’s a righteousness in the strum as well, since after all, these people were sure they were doing their god’s will and thereby prospering. At least some of them did. Others, no doubt, just wanted the fucking land.

Keeping with the spirit of the history being more embodied than retold here, closer “Wild Breath Decay” runs two minutes and is more layers than I can count but still largely impressionistic, building to a swell but ending with just a strum, almost clumsy, of acoustic guitar, and a stretch of silence, which is an element used often throughout Bleached Skeletons Strewn About the Plains either as intended respite for the listener — separating one piece from another can give an audience time to digest what they just heard — or further the sense of mourning that is so contextually pervasive.

In any case, Olson, Van Cleef, Williams appear to have arrived at this point directly as a consequence of the explorations throughout the two full-lengths that preceded, and their ability to turn material — either thought out and crafted, constructed, or added to off the cuff by one player and then the next; I honestly don’t know but I’d love to find out more about the process, especially for this record — into a viable-enough portrayal of its apparent theme that they don’t need to actually tell you about it, should say something about the level of impression in the listening experience. Bleached Skeletons Strewn About the Plains will not resonate for all who take it on, but it is particularly bold in its memorialization, especially for a record without lyrics, and emblematic of these players’ ability to harness clear intention from abstract sound. It is beautiful, sad, encompassing.

Olson, Van Cleef, Williams, Bleached Skeletons Strewn About the Plains (2022)

Electric Relics Audio Artifacts on Bandcamp

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Quarterly Review: Boris, Mother Bear, Sonja, Reverend Mother, Umbilicus, After Nations, Holy Dragon, Trillion Ton Beryllium Ships, Deer Creek, Riffcoven

Posted in Reviews on September 26th, 2022 by JJ Koczan

THE-OBELISK-FALL-2020-QUARTERLY-REVIEW

Welcome back to the Fall 2022 Quarterly Review. It’s not quite the same as the Mountain of Madness, but there are definitely days where it feels like they’re pretty closely related. Just the same, we, you and I, persist through like digging a tunnel sans dynamite, and I hope you had a great and safe weekend (also sans dynamite) and that you find something in this batch of releases that you truly enjoy. Not really much point to the thing otherwise, I guess, though it does tend to clear some folders off the desktop. Like, 100 of them in this case. That in itself isn’t nothing.

Time’s a wastin’. Let’s roll.

Quarterly Review #51-60:

Boris, Heavy Rocks

Boris Heavy Rocks (2022)

One can’t help but wonder if Boris aren’t making some kind of comment on the franchise-ification of what sometimes feels like every damn thing by releasing a third Heavy Rocks album, as though perhaps it’s become their brand label for this particular kind of raucousness, much as their logo in capital letters or lowercase used to let you know what kind of noise you were getting. Either way, in 10 tracks and 41 minutes that mostly leave scorch marks when they’re done — they space out a bit on “Question 1” but elsewhere in the song pull from black metal and layer in lead guitar triumph — and along the way give plenty more thick toned, sometimes-sax-inclusive on-brand chicanery to dive into. “She is Burning,” “Cramper” and “My Name is Blank” are rippers before the willfully noisy relative slowdown “Blah Blah Blah,” and Japanese heavy institution are at their most Melvinsian with the experiment “Nosferatou,” ahead of the party metal “Ruins” and semi-industrial blowout “Ghostly Imagination,” the would-be-airy-were-it-not-crushing “Chained” and the concluding “(Not) Last Song,” which feeds the central query above in asking if there’s another sequel coming, piano, feedback, and finally, vocals ending what’s been colloquially dubbed Heavy Rocks (2022) with an end-credits scene like something truly Marvelized. Could be worse if that’s the way it’s going. People tend to treat each Boris album as a landmark. I’m not sure this one is, but sometimes that’s part of what happens with sequels too.

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Relapse Records store

 

Mother Bear, Zamonian Occultism

Mother Bear Zamonian Occultism

Along with the depth of tone and general breadth of the mix, one of the aspects most enjoyable about Mother Bear‘s debut album, Zamonian Occultism, is how it seems to refuse to commit to one side or the other. They call themselves doom and maybe they are in movements here like the title-track, but the mostly-instrumental six-track/41-minute long-player — which opens and closes with lyrics and has “Sultan Abu” in the middle for a kind of human-voice trailmarker along the way — draws more from heavy psychedelia and languid groove on “Anagrom Ataf,” and if “Blue Bears and Silver Spliffs” isn’t stoner riffed, nothing ever has been. At the same time, the penultimate title-track slows way down, pulls the curtains closed, and offers a more massive nod, and the 10-minute closer “The Wizaaard” (just when you thought there were no more ways to spell it) answers that sense of foreboding in its own declining groove and echo-laced verses, but puts the fuzz at the forefront of the mix, letting the listener decide ultimately where they’re at. Tell you where I am at least: On board. Guitarist/vocalist Jonas Wenz, bassist Kevin Krenczer and drummer Florian Grass lock in hypnotic groove early and use it to tie together almost everything they do here, and while they’re obviously schooled in the styles they’re touching on, they present with an individual intent and leave room to grow. Will look forward to more.

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Sonja, Loud Arriver

sonja loud arriver

After being kicked out of black metallers Absu for coming out as trans, Melissa Moore founded Sonja in Philadelphia with Grzesiek Czapla on drums and Ben Brand on bass, digging into a ‘true metal’ aesthetic with ferocity enough that Loud Arriver is probably the best thing they could’ve called their first record. Issued through Cruz Del Sur — so you know their ’80s-ism is class — the 37-minute eight-tracker vibes nighttime and draws on Moore‘s experience thematically, or so the narrative has it (I haven’t seen a lyric sheet), with energetic shove in “Nylon Nights” and “Daughter of the Morning Star,” growing duly melancholy in “Wanting Me Dead” before finding its victorious moment in the closing title-track. Cuts like “Pink Fog,” “Fuck, Then Die” and opener “When the Candle Burns Low…” feel specifically born of a blend of 1979-ish NWOBHM, but there’s a current of rock and roll here as well in the penultimate “Moans From the Chapel,” a sub-three-minute shove that’s classic in theme as much as riff and the most concise but by no means the only epic here. Hard not to read in catharsis on the part of Moore given how the band reportedly came about, but Loud Arriver serves notice one way or the other of a significant presence in the underground’s new heavy metal surge. Sonja have no time to waste. There are asses to kick.

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Reverend Mother, Damned Blessing

Reverend Mother Damned Blessing

Seven-minute opener ends in a War of the Worlds-style radio announcement of an alien invasion underway after the initial fuzzed rollout of the song fades, and between that and the subsequent interlude “Funeral March,” Reverend Mother‘s intent on Damned Blessing seems to be to throw off expectation. The Brooklynite outfit led by guitarist/vocalist/songwriter Jackie Green (also violin) find even footing on rockers like “Locomotive” or the driving-until-it-hits-that-slowdown-wall-and-hey-cool-layering “Reverend Mother,” and the strings on the instrumental “L.V.B.,” which boasts a cello guest spot by High Priestess Nighthawk of Heavy Temple, who also returns on the closing Britney Spears cover “Toxic,” a riffed-up bent that demonstrates once again the universal applicability of pop as Reverend Mother tuck it away after the eight-minute “The Masochist Tie,” a sneering roll and chugger that finds the trio of Green, bassist Matt Cincotta and drummer Gabe Katz wholly dug into heavy rock tropes while nonetheless sounding refreshing in their craft. That song and “Shame” before it encapsulate the veer-into-doom-ness of Reverend Mother‘s hard-deliver’d fuzz, but Damned Blessing comes across like the beginning of a new exploration of style as only a next-generation-up take can and heralds change to come. I would not expect their second record to sound the same, but it will be one to watch for. So is this.

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Umbilicus, Path of 1000 Suns

Umbilicus Path of 1000 Suns

The pedigree here is notable as Umbilicus features founding Cannibal Corpse drummer Paul Mazurkiewicz and guitarist/engineer Taylor Nordberg (also visuals), who’s played with Deicide, The Absence and a host of others, but with the soar-prone vocals of Brian Stephenson out front and the warm tonality of bassist Vernon Blake, Umbilicus‘ 10-song/45-minute first full-length, Path of 1000 Suns is a willful deep-dive into modernly-produced-and-presented ’70s-style heavy rock. Largely straightforward in structure, there’s room for proto-metallurgy on “Gates of Neptune” after the swinging “Umbilicus,” and the later melodic highlight “My Own Tide” throws a pure stoner riff into its second half, while the concluding “Gathering at the Kuiper Belt” hints at more progressive underpinnings, it still struts and the swing there is no less defining than in the solo section of “Stump Sponge” back on side A. Hooks abound, and I suppose in some of the drum fills, if you know what you’re listening for, you can hear shades of more extreme aural ideologies, but the prevailing spirit is born of an obvious love of classic heavy rock and roll, and Umbilicus play it with due heart and swagger. Not revolutionary, and actively not trying to be, but definitely the good time it promises.

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Listenable Insanity Records on Facebook

 

After Nations, The Endless Mountain

After Nations The Endless Mountain

Not as frenetic as some out there of a similar technically-proficient ilk, Lawrence, Kansas, double-guitar instrumental four-piece After Nations feel as much jazz on “Féin” or “Cae” as they do progressive metal, djent, experimental, or any other tag with which one might want to saddle the resoundingly complex Buddhism-based concept album, The Endless Mountain — the Bandcamp page for which features something of a recommended reading list as well as background on the themes reportedly being explored in the material — which is fluid in composition and finds each of its seven more substantial inclusions accompanied by a transitional interlude that might be a drone, near-silence, a foreboding line of keys, whathaveyou. The later “Širdis” — penultimate to the suitably enlightened “Jūra,” if one doesn’t count the interlude between (not saying you shouldn’t) — is more of a direct linear build, but the 40-minute entirety of The Endless Mountain feels like a steep cerebral climb. Not everyone is going to be up for making it, frankly, but in “}}}” and its punctuationally-named companions there’s some respite from the head-spinning turns that surround, and that furthers both the dynamic at play overall and the accessibility of the songs. Whatever else it might be, it’s immaculately produced and every single second, from “Mons” and “Aon” to “))” and “(),” feels purposeful.

After Nations on Facebook

After Nations on Bandcamp

 

Holy Dragon, Mordjylland

Holy Dragon Mordjylland

With the over-the-top Danzig-ian vocals coming through high in the mix, the drums sounding intentionally blown out and the fuzz of bass and guitar arriving in tidal riffs, Denmark’s Holy Dragon for sure seem to be shooting for memorability on their second album, Mordjylland. “Hell and Gold” pulls back somewhat from the in-your-face immediacy of opener “Bong” — and yet it’s faster; go figure — and the especially brash “War” is likewise timely and dug in. Centerpiece “Nightwatch” feels especially yarling with its more open riff and far-back echoing drums — those drums are heavy in tone in a way most are not, and it is appreciated — and gives over to the Judas Priestly riff of “Dunder,” which sounds like it’s being swallowed by the bass even as the concluding solo slices through. They cap with “Egypt” in classic-metal, minor-key-sounds-Middle-Eastern fashion, but they’re never far from the burly heft with which they started, and even the mellower finish of “Travel to Kill” feels drawn from it. The album’s title is a play on ‘Nordjylland’ — the region of Denmark where they’re from — and if they’re saying it’s dead, then their efforts to shake it back to life are palpable in these seven songs, even if the end front-to-back result of the album is going to be hit or miss with most listeners. Still, they are markedly individual, and the fact that you could pick them out of the crowd of Europe’s e’er-packed heavy underground is admirable in itself.

Holy Dragon on Instagram

Holy Dragon on Bandcamp

 

Trillion Ton Beryllium Ships, Consensus Trance

Trillion Ton Beryllium Ships Consensus Trance

Lincoln, Nebraska, trio Trillion Ton Beryllium Ships are right there. Right on the edge. You can hear it in the way “Beg Your Pardon” unfolds its lumbering tonality, riff-riding vocals and fervency of groove at the outset of their second album, Consensus Trance. They’re figuring it out. And they’re working quickly. Their first record, 2021’s TTBS, and the subsequent Rosalee EP (review here) were strong signals of intention on the part of guitarist/vocalist Jeremy Warner, bassist Karlin Warner and drummer Justin Kamal, and there is realization to be had throughout Consensus Trance in the noisy lead of “Mystical Consumer,” the quiet instrumental “Distalgia for Infinity” and the mostly-huge-chugged 11-minute highlight “Weeping Beast” to which it leads. But they’re also still developing their craft, as opener “Beg Your Pardon” demonstrates amid one of the record’s most vibrant hooks, and exploring spaciousness like that in the back half of the penultimate “Silo,” and the sense that emerges from that kind of reach and the YOB-ish ending of capper “I.H.” is that there’s more story to be told as to what Trillion Ton Beryllium Ships have to offer in style and substance. So much the better since Consensus Trance has such superlative heft at its foundation.

Trillion Ton Beryllium Ships on Facebook

Trillion Ton Beryllium Ships on Bandcamp

 

Deer Creek, Menticide

Deer Creek Menticide

Kind of funny to think of Menticide as a debut LP from Deer Creek, who’ve been around for 20 years — one fondly recalls their mid-aughts splits with Church of Misery and Raw Radar War — but one might consider that emblematic of the punk underpinning the sludgy heavy roll of “(It Had Neither Fins Nor Wings) Nor Did it Writhe,” along with the attitude of fuckall that joins hands with resoundingly dense tonality to create the atmosphere of the five originals and the cover medley closer “The Working Man is a Dead Pig,” which draws on Rush, Bauhaus and Black Sabbath classics as a sort of partially explanatory appendix to the tracks preceding. Of those, the impression left is duly craterous, and Deer Creek, with Paul Vismara‘s mostly-clean vocals riding a succession of his own monolithic riffs, a bit of march thrown into “The Utter Absence of Hope” amid the breath of tone from his and Conan Hultgren‘s guitars and Stephanie Hopper‘s bass atop the drumming of Marc Brooks. One is somewhat curious as to what drives a band after two full-length-less decades to make a definitive first album — at least beyond “hey a lot of things have changed in the last couple years” anyhow — but the results here are inarguable in their weight and the spaces they create and fill, with disaffection and onward and outward-looking angst as much as volume. That is to say, as much as Menticide nods, it’s more unsettling the more attention you actually pay to what’s going on. But if you wanted to space out instead, I doubt they’d hold it any more against you than was going to happen anyway. Band who owes nothing to anyone overdelivers. There.

Deer Creek on Facebook

Deer Creek on Bandcamp

 

Riffcoven, Never Sleep at Night

Riffcoven Never Sleep at Night

Following the mid-’90s C.O.C. tone and semi-Electric Wizard shouts of “Black Lotus Trance,” “Detroit Demons” calls out Stooges references while burl-riffing around Pantera‘s “I’m Broken,” and “Loose” manifests sleaze to coincide with the exploitation of the Never Sleep at Night EP’s cover art. All of this results in zero-doubt assurance that the Brazilian trio have their bona fides in place when it comes to dudely riffs and an at least partially metal approach; stylistically-speaking, it’s like metal dudes got too drunk to remember what they were angry at and decided to have a party instead. I don’t have much encouraging to say at this juncture about the use of vintage porn as a likely cheap cover option, but no one seems to give a shit about moving past that kind of misogyny, and I guess as regards gender-based discrimination and playing to the male gaze and so on, it’s small stakes. I bet they get signed off the EP anyway, so what’s the point? The point I guess is that the broad universe of those who’d build altars to riffs, Riffcoven are at very least up front with what they’re about and who their target audience is.

Riffcoven on Facebook

Riffcoven on Bandcamp

 

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Quarterly Review: MWWB, Righteous Fool, Seven Nines and Tens, T.G. Olson, Freebase Hyperspace, Melt Motif, Tenebra, Doom Lab, White Fuzzy Bloodbath, Secret Iris

Posted in Reviews on July 6th, 2022 by JJ Koczan

THE-OBELISK-FALL-2020-QUARTERLY-REVIEW

I don’t know what day it is. The holiday here in the States has me all screwed up. I know it’s not the weekend anymore because I’m posting today, but really, if this is for Tuesday or Wednesday, I’m kind of at a loss. What I do know is that it’s 10 more records, and some quick math at the “71-80” below — which, yes, I put there ahead of time when I set up the back end of these posts so hopefully I don’t screw it up; it’s a whole fucking process; never ask me about it unless you want to be so bored at by the telling that your eyeballs explode — tells me today Wednesday, so I guess I figured it out. Hoo-ray.

Three quarters of the way through, which feels reasonably fancy. And today’s a good one, too. I hope as always that you find something you dig. Now that I know what day it is, I’m ready to start.

Quarterly Review #71-80:

MWWB, The Harvest

MWWB The Harvest

It’s difficult to separate MWWB‘s The Harvest from the fact that it might be the Welsh act’s final release, as frontwoman Jessica Ball explained here. Their synth-laced cosmic doom certainly deserves to keep going if it can, but on the chance not, The Harvest suitably reaps the fruit of the progression the band began to undertake with 2015’s Nachthexen (review here), their songs spacious despite the weight of their tones and atmospheric even at their most dense. Proggy instrumental explorations like “Let’s Send These Bastards Whence They Came” and “Interstellar Wrecking” and the semi-industrial, vocals-also-part-of-the-ambience “Betrayal” surround the largesse of the title-track, “Logic Bomb,” the especially lumbering “Strontium,” and so on, and “Moon Rise” caps with four and a half minutes of voice-over-guitar-and-keys atmospherics, managing to be heavy even without any of the usual trappings thereof. If this is it, what a run they had, both when they were Mammoth Weed Wizard Bastard and with this as their potential swansong.

MWWB on Facebook

New Heavy Sounds website

 

Righteous Fool, Righteous Fool

Righteous Fool Righteous Fool

Look. Maybe it’s a fan-piece, but screw it, I’m a fan. And as someone who liked the second run of Corrosion of Conformity‘s Animosity-era lineup, this previously-unreleased LP from the three-piece that included C.O.C. bassist/vocalist Mike Dean and drummer/vocalist Reed Mullin (R.I.P.), as well as guitarist/vocalist Jason Browning, is only welcome. I remember when they put out the single on Southern Lord in 2010, you couldn’t really get a sense of what the band was about, but there’s so much groove in these songs — I’m looking right at you, “Hard Time Killing Floor” — that it’s that much more of a bummer the three-piece didn’t do anything else. Of course, Mullin rejoining Dean in C.O.C. wasn’t a hardship either, but especially in the aftermath of his death last year, it’s bittersweet to hear his performances on these songs and a collection of tracks that have lost none of their edge for the decade-plus they’ve sat on a shelf or hard drive somewhere. Call it a footnote if you want, but the songs stand on their own merits, and if you’re going to tell me you’ve never wanted to hear Dean sing “The Green Manalishi (With the Two-Pronged Crown),” then I think you and I are just done speaking for right now.

Righteous Fool on Facebook

Ripple Music website

 

Seven Nines and Tens, Over Opiated in a Forest of Whispering Speakers

seven nines and tens over opiated in a forest of whispering speakers

I agree, it’s a very long album title. And the band name is kind of opaque in a kind of opaque way. Double-O-paque. And the art by Ahmed Emad Eldin (Pink Floyd, etc.) is weird. All of this is true. But I’m going to step outside the usual review language here, and instead of talking about how Vancouver post-noise rock trio Seven Nines and Tens explore new melodic and atmospheric reaches while still crushing your rib cage on their first record for the e’er tastemaking Willowtip label, I’m just going to tell you listen. Really. That’s it. If you consider yourself someone with an open mind for music that is progressive in its artistic substance without conforming necessarily to genre, or if you’re somebody who feels like heavy music is tired and can’t connect to the figurative soul, just press play on the Bandcamp embed and see where you end up on the other side of Over Opiated in a Forest of Whispering Speakers‘ 37 minutes. Even if it doesn’t change your life, shaking you to your very core and giving you a new appreciation for what can be done on a level of craft in music that’s still somehow extreme, just let it run and then take a breath afterward, maybe get a drink of water, and take a minute to process. I wrote some more about the album here if you want the flowery whathaveyou, but really, don’t bother clicking that link. Just listen to the music. That’s all you need.

Seven Nines & Tens on Facebook

Willowtip Records website

 

T.G. Olson, II

TG Olson II

In March 2021, T.G. Olson, best known as the founding guitarist/vocalist for Across Tundras, released a self-titled solo album (review here). He’s had a slew of offerings out since — as he will; Olson is impossible to keep up with but one does one’s best — but II would seem to be a direct follow-up to that full-length’s declarative purpose, continuing and refining the sometimes-experimentalist, sometimes purposefully traditional folk songwriting and self-recording exploration Olson began (publicly, at least) a decade ago. Several of II‘s cuts feature contributions from Caleb R.K. Williams, but Olson‘s ability to build a depth of mix — consider the far-back harmonica in “Twice Gone” and any number of other flourishes throughout — is there regardless, and his voice is as definitively human as ever, wrought with a spirit of Americana and a wistfulness for a West that was wild not for its guns but the buffalo herds you could see from space and an emotionalism that makes the lyrics of “Saddled” seem all the more personal, whether or not they are, or the lines in “Enough Rope” that go, “Always been a bit of a misanthrope/Never had a healthy way to cope,” and don’t seem to realize that the song itself is the coping.

Electric Relics Records on Bandcamp

 

Freebase Hyperspace, Planet High

Freebase Hyperspace Planet High

Issued on limited blue vinyl through StoneFly Records, Freebase Hyperspace‘s first full-length, Planet High, is much more clearheaded in its delivery than the band would seem to want you to think. Sure, it’s got its cosmic echo in the guitar and the vocals and so on, but beneath that are solidified grooves shuffling, boogieing and underscoring even the solo-fueled jam-outs on “Golden Path” and “Introversion” with a thick, don’t-worry-we-got-this vibe. The band is comprised of vocalist Ayrian Quick, guitarist Justin Acevedo, bassist Stephen Moore and drummer Peter Hurd, and they answer 2018’s Activation Immediate not quite immediately but with fervent hooks and a resonant sense of motion. It’s from Portland, and it’s a party, but Planet High upends expectation in its bluesy vocals, in its moments of drift and in the fact that “Cat Dabs” — whatever that means, I don’t even want to look it up — is an actual song rather than a mess of cult stoner idolatries, emphasizing the niche being explored. And just because it bears mentioning, heavy rock is really, really white. More BIPOC and diversity across the board only makes the genre richer. But even those more general concerns aside, this one’s a stomper.

Freebase Hyperspace on Facebook

StoneFly Records store

 

Melt Motif, A White Horse Will Take You Home

Melt Motif A White Horse Will Take You Home

Not calling out other reviews (they exist; I haven’t read any), but any writeup about Melt Motif‘s debut album, A White Horse Will Take You Home, that doesn’t include the word “sultry” is missing something. Deeply moody on “Sleep” and the experimental-sounding “Black Hole” and occasionally delving into that highly-processed ’90s guitar sound that’s still got people working off inspiration from Nine Inch NailsThe Downward Spiral even if they don’t know it — see the chugs of “Mine” and “Andalusian Dog” for clear examples — the nine-track/37-minute LP nonetheless oozes sex across its span, such that even the sci-fi finale “Random Access Memory” holds to the theme. The band span’s from São Paulo, Brazil, to Bergen, Norway, and is driven by Rakel‘s vocals, Kenneth Rasmus Greve‘s guitar, synth and programming, and Joe Irente‘s bass, guitar, more synth and more programming. Together, they are modern industrial/electrionica in scope, the record almost goth in its theatrical pruning, and there’s some of the focus on tonal heft that one finds in others of the trio’s ilk, but Melt Motif use slower pacing and harder impacts as just more toys to be played with, and thus the album is deeply, repeatedly listenable, the clever pop structures and the clarity of the production working as the bed on which the entirety lays in waiting repose for those who’d take it on.

Melt Motif on Facebook

Apollon Records on Bandcamp

 

Tenebra, Moongazer

tenebra moongazer

Moongazer is the second full-length from Bologna, Italy-based heavy psychedelic blues rockers Tenebra, and a strong current of vintage heavy rock runs through it that’s met head-on by the fullness of the production, by which I mean that “Cracked Path” both reminds of Rainbow — yeah that’s right — and doesn’t sound like it’s pretending it’s 1973. Or 1993, for that matter. Brash and raucous on its face, the nine-song outing proves schooled in both current and classic heavy, and though “Winds of Change” isn’t a Scorpions cover, its quieter take still offers a chance for the band to showcase the voice of Silvia, whose throaty, push-it-out delivery becomes a central focus of the songs, be it the Iommic roll of “Black Lace” or the shuffling closer “Moon Maiden,” which boasts a guest appearance from Screaming TreesGary Lee Conner, or the prior “Dark and Distant Sky,” which indeed brings the dark up front and the distance in its second, more psych-leaning second half. All of this rounds out to a sound more geared toward groove than innovation, but which satisfies in that regard from the opening guitar figure of “Heavy Crusher” onward, a quick nod to desert rock there en route to broader landscapes.

Tenebra on Facebook

New Heavy Sounds website

Seeing Red Records website

 

Doom Lab, IV: Ever Think You’re Smart​.​.​. And Then Find Out That You Aren’t?

doom lab iv

With a drum machine backing, Doom Lab strums out riffs over the 16 mostly instrumental tracks of the project’s fourth demo since February of this year, Doom Lab IV: Ever Think You’re Smart​.​.​. And Then Find Out That You Aren’t?, a raw, sometimes-overmodulated crunch of tone lending a garage vibe to the entire procession. On some planet this might be punk rock, and maybe tucked away up in Anchorage, Alaska, it’s not surprising that Doom Lab would have a strange edge to their craft. Which they definitely do. “Clockwork Home II (Double-Thick Big Bottom End Dub)” layers in bass beneath a droning guitar, and “Diabolical Strike (w/ False Start)” is a bonus track (with vocals) that’s got the line, “You’ll think that everything is cool but then I’ll crush your motherfucking soul,” so, you know, it’s like that. Some pieces are more developed than others, as “Deity Skin II” has some nuanced layering of instrumentation, but in the harsh high end of “Spiral Strum to Heaven II” and the mostly-soloing “Infernal Intellect II,” Doom Lab pair weirdo-individualism with an obvious creative will. Approach with caution, because some of Doom Lab‘s work is really strange, but that’s clearly the intention from the start.

Doom Lab on Bandcamp

 

White Fuzzy Bloodbath, Medicine

White Fuzzy Bloodbath Medicine

What you see is what you get in the sometimes manic, sometimes blissed-out, sometimes punk, sometimes fluid, always rocking Medicine by White Fuzzy Bloodbath, which hearkens to a day when the universe wasn’t defined by internet-ready subgenre designations and a band like this San Jose three-piece had a chance to be signed to Atlantic, tour the universe, and eventually influence other outcasts in their wake. Alas, props to White Fuzzy Bloodbath‘s Elise Tarens — joined in the band by Alex Bruno and Jeff Hurley — for the “Interlude” shout, “We’re White Fuzzy Bloodbath and the world has no fucking idea!” before the band launch into the duly raw “Chaos Creator.” Songs like “Monster,” “Beep-Bop Lives” and “Still” play fast and loose with deceptively technical angular heavy rock, and even the eight-minute title-track that rounds out before the cover of Beastie Boys‘ “Sabotage” refuses to give in and be just one thing. And about that cover? Well, not every experiment is going to lead to gold, but it’s representative on the whole of the band’s bravery to take on an iconic track like that and make their own. Not nearly everybody would be so bold.

White Fuzzy Bloodbath on Facebook

White Fuzzy Bloodbath on Bandcamp

 

Secret Iris, What Are You Waiting For

secret iris what are you waiting for

With the vocal melody in its resonant hook, the lead guitar line that runs alongside and the thickened verse progression that complements, Secret Iris almost touch on Euro-style melancholic doom with the title-track of their debut 7″, What Are You Waiting For, but the Phoenix, Arizona, three-piece are up to different shenanigans entirely on the subsequent “Extrasensory Rejection (Winter Sanctuary),” which is faster, more punk, and decisively places them in a sphere of heavy grunge. Both guitarist Jeffrey Owens (ex-Goya) and bassist Tanner Grace (Sorxe) contribute vocals, while drummer Matt Arrebollo (Gatecreeper) is additionally credited with “counseling,” and the nine-minutes of the mini-platter first digitally issued in 2021 beef up a hodgepodge of ’90s and ’00s rock and punk, from Nirvana grunge to Foo Fighters accessibility, Bad Religion‘s punk and rock and a slowdown march after the break in the midsection that, if these guys were from the Northeast, I’d shout as a Life of Agony influence. Either way, it moves, it’s heavy, it’s catchy, and just the same, it manages not to make a caricature of its downer lyrics. The word I’m looking for is “intriguing,” and the potential for further intrigue is high.

Secret Iris on Facebook

Crisis Tree Records store

 

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The Obelisk Questionnaire: Jeremy Warner of Trillion Ton Beryllium Ships

Posted in Questionnaire on January 14th, 2022 by JJ Koczan

Jeremy Warner of Trillion Ton Beryllium Ships

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: Jeremy Warner of Trillion Ton Beryllium Ships

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

I create music with the goal to make (myself) one feel elevated via a sonic physical-mental puzzle, construction, resolution and dissolution. My hope is that it creates and displays and conveys a bit of the AWE-FULL-ness of everything. Basically, we make a big low distorted sound and push it and rotate it, slowly, through space.

I started playing guitar at 13. Initially I was obsessed with Slayer and Guns and Roses, Danzig and the Black Crowes, and I spent a lot of time trying to learn their songs. In 2000 I saw Six Feet Under and that made a big impression on me. In 2003 someone gave me a Relapse compilation CD and it opened a new vision in me of what metal could be. Since then, every week or so I would turn on my amp and tune down to D or B and write riffs, trying to figure out a recipe. I was always in a band, some punk, some metal, and played a lot of local shows, but I didn’t take the steps to build a doom band.

Over the years my wife continued to get more and more into heavy music. We went to a High on Fire show in 2008 and she was completely captivated by it. Instead of slowly going away from music, as many people I know have as they get older, we got more and more into it, going to more shows, and practicing more and more. We endlessly discussed starting a doom band. Finally, we found our drummer and put TTBS together.

Describe your first musical memory.

Listening to ABBA. It was the only tape we had. I still love “Fernando.” I think I’ll put it on now.

Describe your best musical memory to date.

I think the most moving and emotional experience I’ve had recently was seeing Royal Thunder at Psycho in 2019. They played first on the small stage in the middle of the casino. It was noon. Something about it was magical. On the last song Mlny Parsonz kept singing, alone, and jumped off the stage, belting it out. I saw someone crying and I started crying. It was a moment when music took over for me, total emotion and the high of sound.

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

I started a business, and it was a failure. My belief that doing it from the heart, as honestly and as well as I could, working every hour of the day, for years — that these were the primary things needed to make a business grow and succeed. It just wasn’t true in this case. I guess I believed that was ALL that was needed.

Where do you feel artistic progression leads?

We are here and awake. We have something in us that we feel and want to express. Some may have more of it or a clearer path to it. Some dig a well to it. They uncover it. A way to express it finds us. Others discover a different part of it. We let it out, clumsy at first. If we are really lucky we get a chance to refine it and grow it, others find it. It approaches and recedes from an apex of different dimensions, it is successful in different ways at different times. It is polished. It is. Eventually, it is destroyed and forgotten.

How do you define success?

Success is having someone be moved — engrossed — disrupted, en-Hightened, lightened — by your music. Success is talking shop, music structure, sound, guitars, amps, pedal boards, cowboy boots, gossip, with a fellow awkward weirdo at a show. True instant friendship of music.

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

I saw three small raccoons near our house crossing the road, in a line, late at night. An oncoming car hit the last one. We stopped in the road and in the headlights the two unharmed raccoons kept going off to the side of the highway. The last one’s back legs didn’t work but it crawled on its front legs toward the others, slowly.

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

I’d like to create mantra meditation songs.

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

For me, art resets something inside my mind, gives me something different to contemplate. It gives me a different place to stand and look at everything, and relieves something in me.

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

I’m looking forward to winter.

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Trillion Ton Beryllium Ships, Rosalee EP (2021)

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Quarterly Review: Duel, Mastiff, Wolftooth, Illudium, Ascia, Stone From the Sky, The Brackish, Wolfnaut, Trillion Ton Beryllium Ships, Closet Disco Queen

Posted in Reviews on December 15th, 2021 by JJ Koczan

THE-OBELISK-FALL-2020-QUARTERLY-REVIEW

Okay. Day Three. The halfway point. Or the quarter point if you count the week to come in January. Which I don’t. Feeling dug in. Ready to roll. Today’s a busy day, stylistically speaking, and there’s two wolf bands in there too. Better get moving.

Quarterly Review #21-30:

Duel, In Carne Persona

duel in carne persona

Duel seem to be on a mission with In Carne Persona to remind all in their path that rock and roll is supposed to be dangerous. Their fourth album and the follow-up to 2019’s Valley of Shadows (review here) finds the Austin four-piece in a between place on songs like “Children of the Fire” (premiered here) and “Anchor” and the especially charged gang-shout-chorus “Bite Back,” proffering memorable songwriting while edging from boogie to shove, rock to metal. They’ve never sounded more dynamic than on the organ-inclusive “Behind the Sound” or the tense finale “Blood on the Claw,” and cuts like “The Veil” and the particularly gritty “Dead Eyes” affirm their in-a-dark-place songwriting prowess. They’re not uneven in their approach. They’re sure of it. They turn songs on either side of four minutes long into anthems, and they seem to be completely at home in their sound. They’re not as ‘big’ as they should be by rights of their work, but Duel serve their reminder well and pack nine killer tunes into 38 minutes. Only a fool would ask more.

Duel on Facebook

Heavy Psych Sounds website

 

Mastiff, Leave Me the Ashes of the Earth

mastiff leave me the ashes of the earth

Fading in like the advent of something wicked this way coming until “The Hiss” explodes into “Fail,” Hull exports Mastiff tap chug from early ’00s metalcore en route to various forms of extreme bludgeonry, whether that’s blackened push in “Beige Sabbath,” grind in “Midnight Creeper” or the slow skin-crawling riffage that follows in “Futile.” This blender runs at multiple speeds, slices, dices, pummels and purees, reminding here of Blood Has Been Shed, there of Napalm Death, on “Endless” of Aborted. Any way you go, it is a bleak cacophony to be discovered, purposefully tectonic in its weight and intense in its conveyed violence. Barely topping half an hour, Leave Me the Ashes of the Earth knows precisely the fury it manifests, and the scariest thing about it is the thought that the band are in even the vaguest amount of control of all this chaos, as even the devolution-to-blowout in “Lung Rust” seems to have intent behind it. They should play this in art galleries.

Mastiff on Facebook

MNRK Heavy website

 

Wolftooth, Blood & Iron

Wolftooth Blood and Iron

Melody and a flair for the grandeur of classic NWOBHM-style metal take prominence on Wolftooth‘s Blood & Iron, the follow-up to the Indiana-based four-piece’s 2020 outing, Valhalla (review here), third album overall and first for Napalm Records. As regards trajectory, one is reminded of the manner in which Sweden’s Grand Magus donned the mantle of epic metal, but Wolftooth aren’t completely to that point yet. Riffs still very much lead the battle’s charge — pointedly so, as regards the album’s far-back-drums mix — with consuming solos as complement to the vocals’ tales of fantastical journeys, kings, swords and so on. The test of this kind of metal should ALWAYS be whether or not you’d scribble their logo on the front of your notebook after listening to the record on your shitty Walkman headphones, and yes, Wolftooth earn that honor among their other spoils of the fight, and Blood & Iron winds up the kind of tape you’d feel cool telling your friends about in that certain bygone age.

Wolftooth on Facebook

Napalm Records on Bandcamp

 

Illudium, Ash of the Womb

Illudium Ash of the Womb

Another argument to chase down every release Prophecy Productions puts out arrives in the form of Illudium‘s second long-player, Ash of the Womb, the NorCal project spearheaded by Shantel Amundson vibing with emotional and tonal heft in kind on an immersive mourning-for-everything six tracks/47 minutes. Gorgeous, sad and heavy in kind “Aster” opens and unfolds into the fingers-sliding-on-strings of “Sempervirens,” which gallops furiously for a moment in its second half like a fever dream before passing to wistfully strummed minimalism, which is a pattern that holds in “Soma Sema” and “Atopa” as well, as Amundson brings volatility without notice, songs exploding and receding, madness and fury and then gone again in a sort of purposeful bipolar onslaught. Following “Madrigal,” the closing “Where Death and Dreams Do Manifest” finds an evenness of tempo and approach, not quite veering into heavygaze, but gloriously pulling together the various strands laid out across the songs prior, providing a fitting end to the story told in sound and lyric.

Illudium on Facebook

Prophecy Productions store

 

Ascia, Volume 1

Ascia Volume 1

Ascia takes its name from the Italian word for ‘axe,’ and as a solo-project from Fabrizio Monni, also of Black Capricorn, the 20-minute demo Volume 1 lives up to its implied threat. Launched with the instrumental riff-workout “At the Gates of Ishtar,” the five-tracker introduces Monni‘s vocals on the subsequent “Blood Axes,” and is all the more reminiscent of earliest High on Fire for the approach he takes, drums marauding behind a galloping verse that nonetheless finds an overarching groove. “Duhl Qarnayn” follows in straight-ahead fashion while “The Great Iskandar” settles some in tempo and opens up melodically in its second half, the vocals taking on an almost chanting quality, before switching back to finish with more thud and plunder ahead of the finale “Up the Irons,” which brings two-plus minutes of cathartic speed and demo-blast that I’d like to think was the first song Monni put together for the band if only for its metal-loving-metal charm. I don’t know that it is or isn’t, but it’s a welcome cap to this deceptively varied initial public offering.

Ascia on Bandcamp

Black Capricorn on Facebook

 

Stone From the Sky, Songs From the Deepwater

Stone From the Sky Songs From the Deepwater

France’s Stone From the Sky, as a band named after a Neurosis singularized song might, dig into heavy post-rock aplenty on Songs From the Deepwater, their fourth full-length, and they meet floating tones with stretches of more densely-hefted groove like the Pelican-style nod of “Karoshi.” Still, however satisfying the ensuing back and forth is, some of their most effective moments are in the ambient stretches, as on “The Annapurna Healer” or even the patient opening of “Godspeed” at the record’s outset, which draws the listener in across its first three minutes before unveiling its full breadth. Likewise, “City/Angst” surges and recedes and surges again, but it’s in the contemplative moments that it’s most immersive, though I won’t take away from the appeal of the impact either. The winding “49.3 Nuances de Fuzz” precedes the subdued/vocalized closer “Talweg,” which departs in form while staying consistent in atmosphere, which proves paramount to the proceedings as a whole.

Stone From the Sky on Facebook

More Fuzz Records on Bandcamp

 

The Brackish, Atlas Day

The Brackish Atlas Day

Whenever you’re ready to get weird, The Brackish will meet you there. The Bristol troupe’s fourth album, Atlas Day brings six songs and 38 minutes of ungrandiose artsy exploration, veering into dreamtone noodling on “Dust Off Reaper” only after hinting in that direction on the jazzier “Pretty Ugly” previous. Sure, there’s moments of crunch, like the garage-grunge in the second half of “Pam’s Chalice” or the almost-motorik thrust that tops opener “Deliverance,” but The Brackish aren’t looking to pay homage to genre or post-thisorthat so much as to seemingly shut down their brains and see where the songs lead them. That’s a quiet but not still pastoralia on “Leftbank” and a more skronky shuffle-jazz on “Mr. Universe,” and one suspects that, if there were more songs on Atlas Day, they too would go just about wherever the hell they wanted. Not without its self-indulgent aspects by its very nature, Atlas Day succeeds by inviting the audience along its intentionally meandering course. Something something “not all who wander” something something.

The Brackish on Facebook

Halfmeltedbrain Records on Bandcamp

 

Wolfnaut, III

Wolfnaut III

Formerly known as Wolfgang, Elverum, Norway’s Wolfnaut offer sharp, crisp modern heavy rock with the Karl Daniel Lidén mixed/mastered III, the three-piece of guitarist/vocalist Kjetil Sæter (also percussion), bassist Tor Erik Hagen and drummer Ronny “Ronster” Kristiansen readily tapping Motörhead swagger in “Raise the Dead” after establishing a clarity of structure and a penchant for chorus largesse that reminds of Norse countrymen Spidergawd on “Swing Ride” and the Scorpions-tinged “Feed Your Dragon.” They are weighted in tone but emerge clean through the slower “Race to the Bottom” and “Gesell Kid.” I’m going to presume that “Taste My Brew” is about making one’s own beer — please don’t tell me otherwise — and with the push of “Catching Thunder” ahead of the eight-minute, willfully spacious “Wolfnaut” at the end, the trio’s heavy rock traditionalism is given an edge of reach to coincide with its vitality and electrified delivery of the songs.

Wolfnaut on Facebook

Wolfnaut on Bandcamp

 

Trillion Ton Beryllium Ships, Rosalee EP

Trillion Ton Beryllium Ships Rosalee EP

Having released their debut full-length, TTBS, earlier in 2021 as their first outing, it shouldn’t come as a surprise that Lincoln, Nebraska’s Trillion Ton Beryllium Ships still seem to be getting their feet under them in terms of sound and who they are as a band, but as the 34-minute-long Rosalee EP demonstrates, in terms of tone and general approach, they know what they’re looking for. After the thud and “whoa-oh” of “Core Fragment,” “Destroyer Heart” pushes a little more into aggression in its back end riffs and drumming, and the chugging, lurching motion of “URTH Anachoic” brings a fullness of distortion that the two prior songs seemed just to be hinting toward. It’s worth noting that the 16-minute title-track, which closes, is instrumental, and it may be that the band are more comfortable operating in that manner for the time being, but if there’s a confidence issue, no doubt it can be worked out on stage (circumstances permitting) or in further studio work. That is, it’s not actually a problem, even at this formative stage of the project. Quick turnaround for this second collection, but definitely welcome.

Trillion Ton Beryllium Ships on Facebook

Trillion Ton Beryllium Ships on Bandcamp

 

Closet Disco Queen, Stadium Rock for Punk Bums

Closet Disco Queen Stadium Rock for Punk Bums

Their persistently irreverent spirit notwithstanding, Closet Disco Queen — at some point in the process, ever — take their work pretty seriously. That is to say, they’re not nearly as much of a goof as they’d have you believe, and on the quickie 16-minute Stadium Rock for Punk Bums, the Swiss two-piece-plus, their open creative sensibility results in surprisingly filled-out tracks that aren’t quite stadium, aren’t quite punk, definitely rock, and would probably alienate the bum crowd not willing to put the effort into actively engaging them. So the title (which, I know, is a reference to another release; calm down) may or may not fit, but from “Michel-Jacques Sonne” onward, bring switched-on heavy that’s not so much experimentalist in the fuck-around-and-find-out definition as ready to follow its own ideas to fruition, whether that’s the rush of “Pascal à la Plage” or the barely-there drone of “Lalalalala Reverb,” which immediately follows and gives way to the building-despite-itself finisher “Le Soucieux Toucan.” If these guys aren’t careful they’re gonna have to start taking themselves seriously. …Nah.

Closet Disco Queen on Facebook

Hummus Records website

 

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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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Across Tundras Release Selected Sonic Rituals Vol. 1 Compilation

Posted in Whathaveyou on October 28th, 2020 by JJ Koczan

Pressed in an edition of 33 CDR copies, the new collection of lost tracks, demos and so on from Across Tundras has been dubbed Selected Sonic Rituals Vol. 1. That’s fair enough. The Vol. 1 part of that implies that there are likely to be further volumes, and the parenthetical ‘s’ next to “collection” speaks to that as well, so I guess if you were thinking the Tumbleweeds series was all the band had to say as regards buried tapes, wrong-o. The remaster job these songs have been given is part of the appeal here, as it brings a sense of cohesion to what are by the band’s own admission and by the nature of the comp a bunch of different recordings from different sources. For all that, it sounds pretty right on, and the download is name-your-price on Bandcamp, which is how Across Tundras always roll.

If you haven’t heard it yet, Across Tundras‘ 2020 long-player, LOESS – LÖSS (review here), came out earlier this month and was released in similar fashion. The arrival of this follow-up compilation seems only appropriate for harvest time.

Info and stream, as taken from Bandcamp, which is the only social media-ish thing the band has at this point:

across tundras selected sonic rituals vol 1

Across Tundras – Selected Sonic Rituals Vol. 1

The final and undefinitive collection(s) of lost and out of print AT recordings. Culled, curated, and remastered from long lost tour CDR’s, cease & desist letters, and hazy late night demo sessions. Resurrected from their resting places on almost dead hard drives and half baked tapes for one last rodeo! Let the rest live on in the bootlegger’s ether. Cheers!

Released October 26, 2020.

Tracklisting:
1. Breaking Ground II (2020 Remaster) 02:36
2. Hearts for the Rain (2020 Remaster) 05:32
3. Indian Summer Storms (2020 Remaster) 06:03
4. Final Breath Over Venom Falls (2020 Remaster) 06:43
5. Prodigal Child Mind (2020 Remaster) 04:02
6. Eyes That Tell a Story (2020 Remaster) 06:06
7. Blackbird Crimson Sky (2020 Remaster) 05:29
8. Cosmic Dust Bowl (2020 Remaster) 04:47
9. Cold Ride (2020 Remaster) 04:54
10. Blood for the Sun (2020 Remaster) 05:28

~ Recorded by Tanner Olson, Shannon Murphy, Matt Shively. Mixed and mastered by Tanner Olson.
~ Music by : Tanner Olson, Shannon Murphy, Matt Shively, Nate Rose

https://acrosstundras.bandcamp.com/

Across Tundras, Selected Sonic Rituals Vol. 1 (2020)

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