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The Obelisk Questionnaire: Phiasco

Posted in Questionnaire on September 16th, 2022 by JJ Koczan

phiasco

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: Phiasco

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

Well, mainly we are trying to have fun by doing what we love most. Making music is some kind of escape I would say and that’s one big motivation. Starting a band in your teenie years or twenties is one of the best experiences you could probably make on your way to adolescence and running a band in your thierties/fourties means you still are able to conserve this spirit. Our style can be more or less described as fuzz influenced rock music…

Describe your first musical memory.

Our first musical memory as a four-piece is probably the moment we got together in a rehearsal space. It was small sticky but we had the opportunity to get on the roof to get a fresh breeze above the roofs of cologne. Playing some cover versions of “and you will know us by the trail of dead” or “biffy clyro” and starting to evolve an own kind of style. This started in about 2011.

Describe your best musical memory to date.

I also try to answer this from the band-perspective. The genesis of a song in its entirety is huge! As we are writing songs together in the rehearsal room it’s always a special moment when the spirit is on and the creative process flows. Recording your own stuff and listen to it for the first time is always a very special moment too! And of course memories of being on stage together.

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

I would say it’s not that far in the past. The 24 of February 2022 when war came back to Europe partly destroyed our believe in a peaceful life together. FCK PTN!

Where do you feel artistic progression leads?

Artistic progression is something that you could feel on your own by becoming a better musician technically but I would say a also huge part of progression is, that when you’re an artist you are part of a big family of artists. There exists a strong scene of musicians in our home town Cologne. To get to know all the other artists around you and being part of a growing family is a great progress.

How do you define success?

Success to us is defined by putting on a great show and move people in a physical or a mental sense. Also it means to transport that energy onto black plastic.

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

The growing of Spotify… (just kidding) but of course Spotify is on one hand a popular way to spread your music. On the other hand there are almost no other benefits for small artists like us…

There are way more important things in life, tragic moments in everybody’s personal lives that would break the scope here…

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

I really would love to make a split LP one day!

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

Art is creation. It gives a glance of the creators world an triess to transport it. Art can be a key to open the mind!

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

My retirement. ;-)

https://www.facebook.com/phiascomusic
https://www.instagram.com/phiascomusic
https://www.twitter.com/phiascomusic
https://phiasco.bandcamp.com/
https://sptfy.com/62k6

Phiasco, Kessel (2022)

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Phiasco Post “Lucky Loop” Video From New Album Kessel

Posted in Bootleg Theater on June 23rd, 2021 by JJ Koczan

phiasco

The story goes that Cologne-based heavy rockers Phiasco blew their whole pressing budget for their next record, Kessel, on the video premiering below for “Lucky Loop.” Whether that’s true or a goof, I of course have no idea, but it’s a good story to tell either way. The German four-piece were last heard from with 2016’s Vieh (review here), which was their debut, and so they’re nothing if not due. “Lucky Loop” finds their fuzz tones and straight-up vibe in check, and the clip is legitimately entertaining, involving time travel, homebrewing/bootlegging, missing a gig they would’ve played to two fans, and so on. I didn’t even know beer-concentrate was a thing. Also, I think the narrative might end with them getting into a car wreck with less bearded versions of themselves, so yeah. It goes like that.

I won’t encourage drinking and driving. I will encourage watching Phiasco pretend to do so. And road-sodas for passengers are of course all good.

Video is directed by Felix Rudolph and it comes as Phiasco are a scant $500 away from topping their crowdfunding goal for a vinyl run of Kessel (pun totally intended). There’s nothing to make me think they won’t get there anyway, but if you dig into the charm-laden “Lucky Loop” and don’t come out the other end thinking it’s a cause worth supporting, that’s on you, morally speaking. For me, infectious riffs, lighthearted storytelling, making silly faces at the camera — this is the stuff of a life well lived.

Enjoy:

Phiasco, “Lucky Loop” official video

Musicvideo for “Lucky Loop” of the upcoming album “Kessel”

There are two kinds of fuel in the world of bands on the road. Gasoline and beer. One for the machine, one for the mind. Follow along as the band struggles to maintain a good stock of both of them, while trying to find their way to a venue that is due to be shaken by the band’s fuzzy and powerful sound.

It’s a story of unparalleled heroism, sacrifice, potent beer concentrate, great quantities of hair and long roads, that will defy the laws of time and space itself!

Fasten your seatbelts an grab a cold beer!

Help us to get the “Kessel” vinylized by pre-ordering your copy (Vinyl/CD/Digi) here: https://www.startnext.com/Kessel

Phiasco on Facebook

Phiasco on Instagram

Phiasco on Twitter

Phiasco on Bandcamp

Phiasco on Spotify

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Setalight Festival 2016 Announces Lineup for Oct. 21-22 in Berlin

Posted in Whathaveyou on July 18th, 2016 by JJ Koczan

setalight festival 2016 header

The fall festival season kicks off in Europe before fall even starts. It’s like car companies rolling out next year’s models before we’re halfway through this year (though we are that now as well; you get my point). It seems like between August and November there isn’t a week when one if not multiple nations is playing host to a swath of quality bands, and Setalight Festival 2016 throws itself into the heart of the fray on Oct. 21 and 22, hosting an already-packed two-day lineup at the these-are-German-words Zukunft am Ostkreuz venue in Berlin.

I’m not sure if this is the complete lineup or not. It could be, easily. As of now, jam-prone Dutch trio The Machine, and Germany’s own Mother Engine — veterans of Freak Valley and Desertfest Berlin, no doubt among others — will also take part, as well as East-meets-West groovers Samavayo (based in Berlin), French mostly-instrumentalists Glowsun, uptempo rockers Phiasco and a host of others, some familiar — looking at you, Motorowl — and some less so. A couple names to investigate below, since if Setalight Records — which of course is putting on the festival — knows anything it’s how to pick bands.

The particulars came down the PR wire:

setalight festival 2016 poster

The Berlin based music label SETALIGHT presents the 4th time bands out of Stonerrock, Heavy & Hard Rock, Doom, Noise and Psychedelic Rock. Beside known bands of the scene, we will also present new or unknown bands.

For the lineup, we picked some great bands out of the dust, such as:

THE MACHINE
MOTHER ENGINE
SAMAVAYO
NEUME
OUZO BAZOOKA
PHIASCO
GLOWSUN
THIEVES BY THE CODE
BALG
MOTHERBRAIN
SWEDENBORG RAUM
KALAMAHARA
MOTOROWL
and many more.

When / where:

The SETALIGHT FESTIVAL will take place from 21st to 22nd of October 2016 in Berlin, (Club: Zukunft am Ostkreuz). The pre-sale just started. Get more information at the links:

www.setalight-festival.com
https://www.facebook.com/events/1671298366486172/

The Machine, “Coda Sun” official video

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Quarterly Review: Sourvein, Mantar, Elevators to the Grateful Sky, The Poisoned Glass, Spirit Collector, Phiasco, The Cosmic Dead, Postures, Estoner, The Black Explosion

Posted in Reviews on June 20th, 2016 by JJ Koczan

the-obelisk-summer-2016-quarterly-review

Well here we are. Standing on the precipice of a week of 50 reviews, looking out together at the geographic and sonic expanses that will be covered. I never know entirely what a given Quarterly Review is going to bring. Some have been smooth, some not. This one is being put together very little pre-production in terms of chasing down band links and that sort of thing, so I expect it’s going to be an adventure one way or another. I’ll keep you updated as we go as to my mental state and the deterioration thereof.

If you don’t know the drill, The Obelisk’s Quarterly Review is a week every three months in which I review 10 albums per day, Monday through Friday. Some of it was released in the prior three months, some of it is brand new, some of it probably isn’t out yet, some of it is probably older. It’s all relevant one way or another. I hope you find something you enjoy.

Quarterly Review #1-10:

Sourvein, Aquatic Occult

Sourvein Aquatic Occult

Looking at the makeup of Sourvein’s much-awaited fourth album, Aquatic Occult (on Metal Blade), it’s understandable why it might’ve taken five years to put together. Yes, they had splits out in between, as they do, but the band’s last full-length was 2011’s Black Fangs (review here), and though the 14-song/42-minute Aquatic Occult is manageable, with a host of interludes to carry the listener along its thick-toned, undulating waves, a swath of guest appearances no doubt played havoc with logistics. Fortunately, Sourvein’s figurehead, vocalist T-Roy Medlin, seems to thrive on chaos. Working with producer Mike Dean (C.O.C.), and a revolving-door lineup that here features Lou Gorra of Halfway to Gone, Medlin brazenly explores a more melodic dynamic than he ever has. It’s a rare band looking to experiment after 20 years, a rarer band still that pulls it off so well. There’s still some sludgy rasp and guest growling, but Sabbathian roll is the order of the day ultimately and Medlin’s homage to his home in Cape Fear, North Carolina, establishes a breadth unheard before from Sourvein that’s worthy of the years and obvious effort that went into its making.

Sourvein on Thee Facebooks

Sourvein at Metal Blade Records

 

Mantar, Ode to the Flame

Mantar Ode To The Flame

Hamburg duo Mantar’s blend of thrash, sludge and blackened doom is brash, righteously punkish and thus far uncompromised in its malevolent intent. On their second album and Nuclear Blast debut, Ode to the Flame, songs like “Era Borealis” swagger as much as they sneer, the middle-finger-up arrogance becoming part of the appeal. “The Hint” offers some tinge of melody and “I Omen” some organ-laced atmospherics, but Mantar, who debuted in 2015 with the also fire-minded Death by Burning (review here) on Svart, carry their extremity forward like the next logical step of the same impulses that High on Fire once brought forth. Their tempo shifts, from blazing squibblies to outright lumbering, are pulled off with due fuckall, and the shouts from guitarist/vocalist Hanno and drummer/vocalist Erinc are spit forth in a manner near-indecipherable but still have no trouble getting their point across. Mantar are positioning themselves to be the kick in the ass that the underground needs. The next few years (and albums) will see how that pans out, but for now they have two scorchers under their collective belt.

Mantar on Thee Facebooks

Mantar at Nuclear Blast

 

Elevators to the Grateful Sky, Cape Yawn

elevators to the grateful sky cape yawn

There is a stylistic restlessness to stretches of Elevators to the Grateful Sky’s second record, Cape Yawn (on HeviSike), that becomes the uniting factor between the adrenaline-amped opening with “Ground” and “Bullet Words” and the later dream-surf Yawning Man-meets-sax unfurling of the title-track. The Palermo, Italy, outfit have stated their intention as capturing a blend of ‘90s alternative and modern heavy. Fair enough, but hearing that play out on the penultimate “Mountain Ship” in a mix of weighted riffing and laid back vocals giving way to shouts, it seems that to me that next time out, Elevators to the Grateful Sky should probably just start saying they sound like themselves, because they do. Granted, they’re pulling elements from familiar sources – Soundgarden, Kyuss, etc. – but in giving them new context, the four-piece are defining their sound as moving fluidly between the various styles, and that’s to be commended. The more you put into listening, the more you’ll get out of it.

Elevators to the Grateful Sky on Thee Facebooks

HeviSike Records website

 

The Poisoned Glass, 10 Swords

the poisoned glass 10 swords-700

Representing a 50 percent reunion of Burning Witch, the droning contemplations and hellish atmospherics of The Poisoned GlassRitual Productions debut, 10 Swords, pique immediate interest. And bassist/percussionist/etc.-ist G. Stuart Dahlquist and vocalist/keyboardist Edgy 59 do not disappoint. With unspeakable patience, they execute six grueling and cinematic pieces that seem to find comfort in tortured expression and that feel claustrophobic even as they continue to expand outward and downward through “Plume Veil” and “Toil and Trouble” into the extended closing duo “Silent Vigil” – spoiler alert: not actually silent – and “Low Spirits,” which moves from minimalist stillness through far-back screams and into a wash of synth before its seven minutes are up, covering more ground in one track than some bands do in their entire career. Fair to say on the whole 10 Swords is an immersive listen, but the prevailing vibe is much less “diving in” than “being swallowed whole by some obscure medieval terror.” So, you know, watch out for that.

The Poisoned Glass on Thee Facebooks

Ritual Productions on Bandcamp

 

Spirit Collector, Owls to Athens

spirit collector owls to athens-700

Los Angeles newcomers Spirit Collector make their debut with the self-released, three-song Owls to Athens EP, clear in its intent and brimming with airy, post-rock-derived guitar atmospherics. A particularly telling moment arrives with the Terence McKenna sample in centerpiece “Reclaim Your Mind,” which speaks of casting off the culture of celebrity worship for a richer human experience, but it’s in the extended closer “Theosophy” (7:57) that Spirit Collector find their footing someplace between a doomed plod and thoughtful psychedelia, picking up a chugging momentum as they push through toward the almost blackened finish, having come a surprising distance since their eponymous opener set the tone for expanse. An encouraging first offering if somewhat familiar superficially as instrumental heavy post-rock (think Explosions in the Sky, Russian Circles, Red Sparowes, etc.), and there’s nothing in Owls to Athens to make one think Spirit Collector can’t move forward and develop the experimental drive they begin to show here.

Spirit Collector on Thee Facebooks

Spirit Collector on Bandcamp

 

Phiasco, Vieh

phiasco vieh

Vieh, the debut full-length from Colonge-based desert rocking foursome Phiasco, takes its name from the German word for “cattle.” The band owe some of their fuzz to Truckfighters and some of their psychedelic wash to Sungrazer, but the attitude in songs like “Ultimate Warrior” – comprised largely of riffs topped with an extended sample from the titular professional wrestler – and “Sunndown” is their own, as is the we’re-still-having-a-really-good-time-while-we-make-this-15-minute-song closer “Phisco” (sic), a highlight of the live-recorded full-length, which across its span is light on pretense and heavy on bounce. Cuts like “Old Town” and opener “Back to the Future” – hey, that’s a movie! – bring catchy hooks, and the uptempo “Erasing Rabbits with My Phaserlight” winds up as harmonized as goofed out, and thus is all the more engaging. There’s a certain amount of getting by on charm here, but Phiasco have a capable, varied songwriting process that’s given due fullness and clarity in these eight tracks.

Phiasco on Thee Facebooks

Phiasco on Bandcamp

 

The Cosmic Dead, Rainbowhead

the-cosmic-dead-rainbowhead

Man, who gives a shit about anything else when Glaswegian five-piece The Cosmic Dead are enacting their hypnotic swirl? Their latest instrumental invitation to watch existence melt is called Rainbowhead and it arrives through Paradigms Recordings (CD) and Blackest Rainbow Records (LP) with four tracks that serve as the band’s first full-length since 2014’s EasterFaust, though they’ve had splits in between to keep a prolific rate of offerings fitting for their explorational heavy psych/space rock. The bulk of Rainbowhead is engagingly upbeat as side A plays out across “Human Sausage,” “Skye Burial” and the 13-minute “Inner C,” and side B’s 18-minute title-track follows suit as The Cosmic Dead seem to have found a similar niche between progressive rock and psych to that which Mammatus proffered on their most recent outing. It suits The Cosmic Dead, and they keep an improv vibe prevalent as ever, grasping the subconscious with trip-on-it lysergic pulsations.

The Cosmic Dead on Thee Facebooks

Paradigms Recordings website

Blackest Rainbow Records website

 

Postures, Halucinda

postures halucinda

Deeply textured and lush in its construction around guitar arrangements, percussive and keyboard-laden melodic flourish, Postures’ second full-length, Halucinda (on World in Sound), plays back and forth between prog and heavy rock impulses. The Gothenburg, Sweden, five-piece seem most at home in extended tracks like “Myriad Man,” “Every Room” and the jazzy 10-minute “Wavemaker,” but even the acoustic-led centerpiece interlude “A Million Sequences” invites the audience to turn up the volume for maximum wash effect. Paulina Nyström delivers a powerful, commanding and fluid vocal performance, and while the rhythm section of bassist Per Pettersson and drummer Isak Björhag are the foundation on which these complex structures play out – Viktor Andersson and Benjamin Watts handle guitar; Madeleine Sjögren is credited with backing vocals/keys and Margit Gyllspång percussion/backing vocals – there’s no angle from which Postures don’t come across rich and vital in their winding but well-plotted course, one song feeding fluidly to the next until the dreamy “In the Dark” rounds out with the emotional apex of the record.

Postures on Thee Facebooks

World in Sound Records

 

Estoner, Lennud Saatana Dimensioonis

estoner lennud saatana dimensioonis

What else to call a stoner band from Estonia? Estoner’s appeal, however, goes well beyond their moniker. The Tallinn-based outfit’s second album, Lennud Saatana Dimensioonis, arrives in a handmade hexagonal CD package, heat sealed, as well as with complete visual accompaniment on limited VHS and cassette via Golem Records. The music is no less relentlessly creative, running a gamut between prog, black metal, heavy rock, psychedelia, space rock and probably a few others in its seven-track course. A song like “Teleporteerumine” conjures darkened swirl and “Reptiloid” follows through with foreboding threat, but Estoner plunge even deeper as they go, proferring aesthetic reach that makes seemingly disparate elements work together fluidly on “Hüvasti, Kosmiline Monoliit” and the 10-minute closing title-track. Perhaps the highest compliment one can pay to Lennud Saatana Dimensioonis is to call it Svart-worthy, as its diverse means of engulfing the listener speak to a forward-thinking approach that one can only hope Estoner continue to develop.

Estoner on Thee Facebooks

Estoner on Bandcamp

 

The Black Explosion, Atomic Zod War

Unbenannt-1

Extra points to Swedish troupe The Black Explosion for opening their third album, the space-fuzzed out Atomic Zod War (on Metalville Records), with its longest track, the 13-minute “Paralyzed.” That song offers a languid voyage through uncharted jammy reaches, and that sets an open, laid back expectation that the rest of the album seems only too glad to build on, from the Nebula-via-Monster Magnet blown out vibes of “Ain’t Coming Home” to the semi-garage buzz of “Going Down,” a highlight groove that emphasizes the natural, raw tones at play leading into “Get My Mind Together” and the finisher “Devil Inside,” which brings the guitar of Chris Winter (also Dollhouse) forward with backing from bassist Simon Haraldsson and drummer Andreas Lindquist that feels born of the new West Coast tradition but is likely playing off of older impulses. But for its hey-look-it’s-tits cover art, the grit Atomic Zod War offers comes through organically and draws the listener in with its live feel and underlying boogie.

The Black Explosion on Thee Facebooks

Metalville Records

 

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