Here Lies Man Announce Ritual Divination out Jan. 22; “I Told You (You Shall Die)” Streaming Now

Posted in Whathaveyou on October 27th, 2020 by JJ Koczan

If I’m extraordinarily lucky, I’ll have the new single from Payment Terms For Research Essay Paper Writers - Top reliable and trustworthy academic writing aid. Enjoy the merits of qualified writing help available here Forget about those Here Lies Man stuck in my head for the rest of the day. “I Told You (You Shall Die)” is a righteous lead cut from Jan. 2021’s I took many writing classes in college but perhaps the most useful was one focused on Thesis In Education. My classmates and I spent a semester editing Ritual Divination, which is the follow-up to 2019’s Online Need School Paper Wrote for students of PK with 100% money back guarantee. Our professional writers help you achieving your academic and career goals. No Ground to Walk Upon EP (review here). As ever for the L.A.-based outfit, their sound brings niche cultism to Afrobeat-shuffling proto-metal, psychedelic flourishes of key and guitar set to dance to a rhythm that’s all their own in a heavy context. One does not necessarily expect a single track to speak for an entire  We provide Best Data Warehousing Research Papers, Thesis are standard based. Our custom PhD thesis proposal are efficient to all professionals. Here Lies Man release at this point, since they’ve proven multiple times over on their 2017 self-titled debut (review here) and 2018 sophomore full-length, Essay writing services given by Complete My Assignment are a vital necessity for all We are eager to serve you the http://bcn.uprrp.edu/trash/?custom-essay-in-2-hours You Will Know Nothing (review here), that they’re able to veer in multiple directions without losing their footing in terms of craft, but I’ll say that the forward riff in “I Told You (You Shall Die)” is likewise welcome and doomed as a first impression. And the solo scorches.

This band is a treasure.

Reliable see this here is here for you. Best experts, strong guarantees, best results. It's right here! Ritual Divination is out Jan. 22 on  Free go site, Software and Services RidingEasy. “I Told You (You Shall Die)” is streaming at the bottom of this post.

Art and info from the PR wire follows:

here lies man ritual divination

Here Lies Man – Ritual Divination – Jan. 22

Los Angles, CA quartet Here Lies Man announce their forthcoming fourth album Ritual Divination today and share the lead single “I Told You (You Shall Die)” via YouTube, Bandcamp and Spotify.

Four albums in, the convenient and generalized catchphrase for Here Lies Man’s erudite sound — if Black Sabbath played Afrobeat — might seem a little played out. But Ritual Divination is perhaps the best rendering of the idea so far. Particularly on the Sabbath side of the equation: The guitars are heavier and more blues based than before, but the ancient rhythmic formula of the clave remains a constant.

“Musically it’s an opening up more to traditional rock elements,” says vocalist/guitarist/cofounder Marcos Garcia, who also plays guitar in Antibalas. “It’s always been our intention to explore. And, as we travelled deeper into this musical landscape, new features revealed themselves.”

The L.A. based band comprised of Antibalas members have toured relentlessly following their breakout 2017 self-titled debut. Their second album, You Will Know Nothing and an EP, Animal Noises, both followed in 2018. Third album No Ground To Walk Upon emerged in August 2019. All of them were crafted by Garcia and cofounder/drummer Geoff Mann (former Antibalas drummer and son of jazz musician Herbie Mann) in their L.A. studio between tours. Ritual Divination is their first album recorded as the full 4-piece band, including bassist JP Maramba and keyboardist Doug Organ.

Ritual Divination continues with an ongoing concept of HLM playing the soundtrack to an imaginary movie, with each song being a scene. “It’s an inward psychedelic journey, the album is the trip,” Garcia says. “The intention and purpose of the music is to create a sonic ritual to lift the veil of inner space and divine the true nature of reality.”

Likewise, musically and sonically, the album is self-reflexive. “On this album the feel changes within a song,” Garcia says. “Whereas before each song was meant to induce a trancelike state, now more of the songs have their own arc built in.” Similarly, the guitar sounds themselves herein eschew the fuzz pedals of previous recordings, going for the directness of pure amp overdrive and distortion using an interconnected rig of 4 amplifiers. And, here, the well-versed live band is able to record as a unit, giving it much more of a live and dynamic feel.

“We’re very conscious of how the rhythms service the riffs,” Garcia explains. “Tony Iommi’s (Black Sabbath) innovation was to make the riff the organizing principle of a song. We are taking that same approach but employing a different organizing principle: For Iommi it was the blues, for us it comes directly from Africa.”

Ritual Divination will be available on LP, CD and download on January 22nd, 2021 via RidingEasy Records.

Artist: Here Lies Man
Album: Ritual Divination
Record Label: RidingEasy Records
Release date: January 22nd, 2021

01. In These Dreams
02. I Told You (You Shall Die)
03. Underland
04. What You See
05. Can’t Kill It
06. Run Away Children
07. I Wander
08. Night Comes
09. Come Inside
10. Collector of Vanities
11. Disappointed
12. You Would Not See From Heaven

hereliesman.com
facebook.com/hereliesman
hereliesman.bandcamp.com
ridingeasyrecs.com

Tags: , , , , ,

Quarterly Review: Mrs. Piss, Ulcerate, Shroom Eater, Astralist, Daily Thompson, The White Swan, Dungeon Weed, Thomas V. Jäger, Cavern, Droneroom

Posted in Reviews on October 9th, 2020 by JJ Koczan

THE-OBELISK-FALL-2020-QUARTERLY-REVIEW

Today is what would be the last day of the Fall 2020 Quarterly Review, except, you know, it’s not. Monday is. I know it’s been a messed up time for everybody and everything, but there’s a lot of music coming out, so if you’re craving some sense of normalcy — and hey, fair enough — it’s right there. Today’s an all-over-the-place day but there’s some killer stuff in here right from the start, so jump in and good luck.

And don’t forget — back on Monday with the last 10 records. Thanks for reading.

Quarterly Review #41-50:

Mrs. Piss, Self-Surgery

mrs piss self surgery

If “Nobody Wants to Party with Us” as the alternately ambient/industrial-punk fuckall of that song posits, most likely that’s because they’re way too intimidated to even drop a text to invite Who Can I Pay Customwritings Com To Do My Homework for Me. TheHomeworkPortal Best online service that can do my homework for me. resume Mrs. Piss over. The duo comprised of vocalist/guitarist Homepage - Use from our inexpensive custom research paper writing services and benefit from perfect quality Use this platform to get your Chelsea Wolfe and guitarist/bassist/drummer/programmer Essay Editor Online. Our website is useful not only for students, but also for everyone who works with texts. Freelance writers, businesspeople, those who deal with law documents, etc. all use our Rock Climbing Business Plan service. It helps make a text flawless in terms of grammar and style. The online editor has a lot of benefits. Jess Gowrie issue reader writer thinker essay Tax Research Paper how to write college application formal research paper Self-Surgery as an act of sheer confrontation. The screams of “You Took Everything.” The chugging self-loathing largesse of “Knelt.” The fuzzed mania of ‘M.B.O.T.W.O.,” which, yes, stands for “Mega Babes of the Wild Order.” The unmitigated punk of “Downer Surrounded by Uppers” and the twisted careen-and-crash of the title-track. The declaration of purpose in the lines, “In the shit/I’m sacrosanct/I’m Mrs. Piss” in the eponymous closer. Rage against self, rage against other, rage and righteousness. Among the great many injustices this year has wrought, that Order Essay Right Now! Argumentatice Essay Help with an Urgent Deadline? Again, yes. We often receive requests for essays with a deadline of several hours. Wolfe and Eternity - Writing A Business Plan Frees in Fairview Heights, reviews by real people. Yelp is a fun and easy way to find, recommend and talk about whats Gowrie aren’t touring this material, playing 20-something-minute sets and destroying every stage they hit has to be right up there. It’s like rock and roll to disintegrate every tired dude cliché the genre has. Yes. Fuck. Do it.

Mrs. Piss on Instagram

Sargent House website

 

Ulcerate, Stare into Death and Be Still

Ulcerate Stare into Death and Be Still

As progressive/technical death metal enjoys a stylistic renaissance, New Zealand’s Essay Writing UK offers affordable Research Paper Bibliography Example by professional essay writers providing quality essay help. Call 0044-2033180621 Ulcerate put out their sixth full-length, http://stadttheater.amberg.de/?publishing-a-dissertation - Change the way you cope with your assignment with our approved service Start working on your coursework right away with Stare into Death and Be Still and seem right in line with the moment despite having been around for nearly 20 years. So be it. What distinguishes Stare into Death and Be Still amid the speed-demon wizardry of a swath of other death metallers is the sense of atmosphere across the release and the fact that, while every note, every guitar squibbly, every sharpened turn the 58-minute album’s eight tracks make is important and serves a purpose, the band don’t simply rely on dry delivery to make an impression. To hear the cavernous echoes of the title-track or “Inversion” later on, Ulcerate seem willing to let some of the clarity go in favor of establishing a mood beyond extremity. In the penultimate “Drawn into the Next Void,” their doing so results in a triumphant build and consuming fade in a way that much of their genre simply couldn’t accomplish. There’s still plenty of blast to be found, but also a depth that would seem to evoke the central intention of the album. Don’t stare too long.

Ulcerate on Thee Facebooks

Debemur Morti Productions on Bandcamp

 

Shroom Eater, Ad.Inventum

shroom eater ad inventum

Nine songs running an utterly digestible 38 minutes of fuzz-riffed groove with samples, smooth tempos and an unabashed love for ’90s-style stoner rock, Shroom Eater‘s debut album, Ad.Inventum feels ripe for pickup by this or that heavy rock label for a physical release. LP, CD and tape. I know it’s tough economic times, but none of this vinyl-only stuff. The Indonesian five-piece not only have their riffs and tones and methods so well in place — that is, they’re schooled in the style they’re creating; the genre-converted preaching to the genre-converted, and nothing wrong with that — but there are flashes of burgeoning cultural point of view in the lead guitar of “God Isn’t One Eyed” or the lyrics of “Arogant” (sic) and the right-on riffed “Traffic Hunter” that fit well right alongside the skateboarding ode “Ride” or flourish of psychedelia in the rolling “Perspective” earlier on. Closing with “Dragon and Tiger” and “Friend in the High Places,” Ad.Inventum feels like the work of a band actively engaged in finding their sound and developing their take on fuzz, and the potential they show alongside their already memorable songwriting is significant.

Shroom Eater on Instagram

Shroom Eater on Bandcamp

 

Astralist, 2020 (Demo)

astralist 2020 demo

I’m not usually one to think bands should be aggrandizing their initial releases. It can be a disservice to call a demo a “debut EP” or album if it’s not, since you only get one shot at having an actual first record and sometimes a demo doesn’t represent a band’s sound as much as the actual, subsequent album does, leading to later regret. In the case of Cork, Ireland’s Astralist, it’s the opposite. 2020 (Demo) is no toss-off, recorded-in-the-rehearsal-space-to-put-something-on-Bandcamp outing. Or if it is, it doesn’t sound like it. Comprised of three massive slabs of atmospheric and sometimes-extreme doom, plus an intro, in scope and production value both, the 36-minute release carries the feel and the weight of a full-length album, earning its themes of cosmic destruction and shifting back and forth between melodic progressivism and death-doom or blackened onslaught. In “The Outlier,” “Entheogen” and “Zuhal, Rise” they establish a breadth and an immediate control thereof, and their will to cross genre lines gives their work a fervently individualized feel. Album or demo doesn’t ultimately matter, but what they say about Astralist‘s intentions does.

Astralist on Thee Facebooks

Astralist on Bandcamp

 

Daily Thompson, Oumuamua

daily thompson oumuamua

Lost in the narrative of initial singles released ahead of its actual arrival is the psychedelic reach Dortmund trio Daily Thompson bring to their fourth album, Oumuamua. Yes, “She’s So Cold” turns in its second half to a more straightforward heavy-blues-fuzz push, but the mellow unfurling that takes place at the outset continues to inform the proceedings from there, and even through “Sad Frank” (video posted here) and “On My Mind” (video posted here), and album-centerpiece “Slow Me Down,” the vibe remains affect by it. Side B has its own stretch in the 12-minute “Cosmic Cigar (Oumuamua),” and sandwiched between the three-minute stomper “Half Thompson” and the acoustic, harmonized grunge-blues closer “River of a Ghost,” it seems that what Daily Thompson held back about the LP is no less powerful than what they revealed. It’s still a party, it’s just a party where every room has something different happening.

Daily Thompson on Thee Facebooks

Noisolution website

 

The White Swan, Nocturnal Transmission

The White Swan Nocturnal Transmission

Following up 2018’s Touch Taste Destroy (review here), Ontario’s The White Swan present their fourth EP in Nocturnal Transmission. That’s four EPs, in a row, from 2016-2020. If the trio — which, yes, includes Kittie‘s Mercedes Lander on vocals, drums, guitar and keys — were waiting to figure out their sound before putting out a first full-length, they were there two years ago, if not before. One is left to assume that the focus on short releases is — at least for now — an aesthetic choice. Like its predecessor, Nocturnal Transmission offers three circa-five-minute big-riffers topped with Lander‘s floating melodic vocals. The highlight here is “Purple,” and unlike any of the other The White Swan EPs, this one includes a fourth track in a cover of Tracy Bonham‘s “Tell it to the Sky,” given likewise heft and largesse. I don’t know what’s stopping this band from putting out an album, but I’ll take another EP in the meantime, sure.

The White Swan on Thee Facebooks

The White Swan on Bandcamp

 

Dungeon Weed, Mind Palace of the Mushroom God

Dungeon Weed Mind Palace of the Mushroom God

A quarantine project of Dmitri Mavra from Skunk and Slow Phase, Dungeon Weed is dug-in stoner idolatry, pure and simple. Mavra, joined by drummer Chris McGrew and backing vocalist Thia Moonbrook, metes out riff after feedback-soaked, march-ready, nod-ready, dirt-toned riff, and it doesn’t matter if it’s the doomier tolling bell of “Sorcerer with the Skull Face” or the tongue-in-cheek hook of “Beholder Gonna Fuck You Up” or the brash sludge that ensues across the aptly-named “Lumbering Hell,” all layered solos and whatnot, the important thing is that by the time “Mind Palace” comes around, you’re either out or you’re in, and once you make that choice there’s no going back on it. Opener “Orcus Immortalis/Vox Mysterium” tells the tale (or part of it, as regards the overarching narrative), and if ever there was a band that could and would make a song called “Black Pudding” sound heavy, well, there’s Dungeon Weed for you. Dungeon Weed, man. Don’t overthink it.

Dungeon Weed on Thee Facebooks

Forbidden Place Records website

 

Thomas V. Jäger, A Solitary Plan

thomas v jager a solitary plan

The challenge of rendering songcraft in the nude can be a daunting one for someone in a heavy band doing a solo/acoustic release, but it’s a challenge Thomas V. Jäger of Monolord meets with ease on the home-recorded A Solitary Plan, his solo debut. Those familiar with his work in Monolord will recognize some of the effects used on his vocals, but in the much, much quieter context of the seven-song/29-minute solo release — Jäger plays everything except the Mellotron on the leadoff title-track — they lend not only a spaciousness but a feeling of acid folk serenity to “Creature of the Deep” and “It’s Alright,” which follows. Mixed/mastered by Kalle Lilja of Långfinger, A Solitary Plan is ultimately an exploration on Jäger‘s part of working in this form, but it succeeds in both its most minimal stretches and in the electric-inclusive “The Drone” and “Goodbye” ahead of the buzzing synth-laced closer “The Bitter End.” It would be a surprise if this is the only solo release Jäger ever does, since so much of what takes place throughout feels like a foundation for future work.

Thomas V. Jäger on Bandcamp

RidingEasy Records website

 

Cavern, Powdered

CAVERN POWDERED

Change has been the modus operandi of Cavern for a while now. They still show some semblance of their post-hardcore roots on their new full-length, Powdered, but having brought in bassist/vocalist Rose Heater in 2018 and sometime between then and now let out of Baltimore for Morgantown, West Virginia, their sonic allegiance to a heavier-ended post-rock comes through more than ever before. Guitarist/synthesist Zach Harkins winds lead lines around Heater‘s bass on “Grey,” and Stephen Schrock‘s drums emphasize tension to coincide, but the fluidity across the 24-minute LP is of a kind that’s genuinely new to the band, and the soul in Heater‘s vocals carries the material to someplace else entirely. A song like “Dove” presents a tonal fullness that the title-track seems just to hint at, but the emphasis here is on dynamic, not on doing one thing only or locking their approach into a single mindset. As Heater‘s debut with them, Powdered finds them refreshed and renewed of purpose.

Cavern on Thee Facebooks

Cavern on Bandcamp

 

Droneroom, …The Other Doesn’t

droneroom the other doesnt

Droneroom is the solo vehicle of guitarist Blake Edward Conley and with …The Other Doesn’t, experiments of varying length and degree of severity are brought to bear. The abiding feel is spacious, lonely and cinematic as one might expect for such guitar-based soundscaping, but “Casual-Lethal Narcissism” and “The Last Time Someone Speaks Your Name” do have some measure of peace to go with their foreboding and troubling atmospherics. An obvious focal point is the 15-minute dronefest “This Circle of Ribs,” which feels more forward and striking than someone of Droneroom‘s surrounding material, but it’s all on a relative scale, and across the board Conley remains a safe social distance away from structural traditionalist. Recorded during Summer 2020, it is an album that conveys the anxiety and paranoia of this year, and while that can be a daunting thing to face in such a way or to let oneself really engage with as a listener — shit, it’s hard enough just living through — one of the functions of good art is to challenge perceptions of what it can be. Worth keeping in mind for “Home Can Be a Frightening Place.”

Droneroom on Thee Facebooks

Humanhood Recordings on Bandcamp

 

Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Friday Full-Length: Monolord, Empress Rising

Posted in Bootleg Theater on September 25th, 2020 by JJ Koczan

Seeing the appeal of Monolord‘s Empress Rising doesn’t require an especially deep dive. Issued in April 2014 through what was then EasyRider Records — and it was bullshit they had to change the name, but RidingEasy has certainly been no worse for the wear since — the Gothenburg, Sweden, trio’s debut full-length is comprised of five tracks running 46 minutes given to massive, tectonic tonality, far off, watery vocals, and a consuming, nigh-on-irresistible nodding groove that runs across the entirety of the thing regardless of the tempo or volume of what’s actually being played.

Guitarist/vocalist Thomas Jäger, bassist Mika Häkki and drummer/coffee-enthusiast Esben Willems hit into a time-tested/time-approved formula of tonal largesse and hard-hitting landing that, by the time they were halfway through the 12-minute opener and longest track (immediate points) “Empress Rising,” seemed to denote them with the sense of royalty they were conveying in the lyrical repetitions of the song’s/album’s title. Listening back to it with six subsequent years of hindsight, it feels like a clarion — a call to worship for the converted that caps with a swirling solo and moves smoothly into the next round of pummeling with the emergence of the instrumental “Audhumbla.”

And of course, by then, Empress Rising is well under way, and nearly a third of its runtime is dedicated to that leadoff track. Reasonably so. On paper, what makes Monolord‘s first outing so effective could hardly be simpler: it’s very, very heavy. But what that doesn’t tell you is how it’s heavy. I’m a fan generally of burying vocals in the mix to play up a notion of big-sounding guitar and bass, and certainly that’s going on here with Jäger‘s effects-laden voice cutting through as though up from a watery grave, but it’s also a question of impact with Monolord. Plenty of bands play loud, play thick, but Empress Rising brought a sense of hitting hard to that as well in Häkki‘s way, way underrated bass work and in Willems‘ drumming.

I remember hearing it at the time and placing the three-piece mentally in the kind of post-Electric Wizard sphere of riff-worship that had been taking shape since the Dorset doom legends put out Witchcult Today, but that’s not ultimately what Monolord were after in terms of style. Their approach to heavy throughout — and this was their first offering, the band having formed in 2013 with Jäger and Willems coming outmonolord empress rising of Marulk and Häkki, originally from Finland, a former member of Rotten Sound — was raw not in presentation, but in its core. It was a barebones, primitive take that nonetheless was able to harness memorable progressions through hammering riffs and repeated lines into the heads of their listeners. See “Empress Rising” itself, as well as “Harbinger of Death.” And if you weren’t a convert by then on your way to place a backpatch order, “Icon” and “Watchers of the Waste” stood like sentry reinforcements waiting to unleash further crush, each progression seeming to manifest the sound of a boulder rolling downhill, demolishing whatever might have the misfortune to be in its path.

They were well-hyped in 2014, and fair enough. What struck me the first time I saw them play live (review here) wasn’t just the size of the crowd they brought in, but indeed, the way they seemed to slam home each part of their songs, geared for maximum crater-making. However, what I didn’t take into account was how much their approach would resonate especially with a next-generation fanbase. Not the stonerrock.com crowd, but those finding bands through the YouTube algorithm, through social media word of mouth and other such Millennial/post-Millennial means. And how new to that crowd what Monolord were doing would be as “Watchers of the Waste” stomped to its swinging, would-be-languid-if-it-weren’t-so-bludgeoning, about-to-fall-apart-the-whole-time finish.

Not that those people hadn’t heard SleepElectric Wizard, etc., or couldn’t at that point have seen them play live, but the difference really is one of generation. Already so well established as leaders of genre and influential, those bands inherently couldn’t be fresh-sounding in the way a new group putting out their first record could. The energy behind Empress Rising was different, and it put a charge into those who heard it that quickly thrust Monolord into the upper echelon of heavy acts in the middle and later heavy ’10s, the arguments in the band’s favor much bolstered through the hard work they put in touring and the fact that they seemed to realize and take hold of the momentum as they were building it, returning to the studio on the quick to work on their next record.

When you think about bands who emerged over the last decade, the advent of Monolord and the brash way they elbowed into underground consciousness have to be considered. In a busy European sphere that a few years earlier saw the rise of Kadavar in similar generational circumstances — though of course a different aesthetic — Monolord flourished, and by meeting the demands of festivals from Roadburn to Freak Valley to Psycho Las Vegas, the band’s reputation only seemed to grow.

In 2015, they offered up the second LP, Vænir (review here), and that together with 2017’s Rust (review here) found them pushing forward in terms of sound, adding a feeling of space to the proceedings and beginning to take psychedelic cues building on elements like Jäger‘s vocals throughout Empress Rising or even the wah-coated lead that caps the title-track, by now a recognizable landmark for the band even as they’ve progressed beyond it in terms of their craft. In late 2018, they signed to Relapse Records and went on to offer my pick for 2019’s album of the year in No Comfort (review here), their fourth album a triumph that underscored the notion of their being a way forward for them creatively, so that they weren’t trapped or typecast by what they did on Empress Rising, but able to continue to grow as they will.

There was no way to know six years ago the band that Monolord would become over the next half-decade (-plus), but if you look beneath the earth-flattening force of Empress Rising, there are hints to find of what VænirRust and No Comfort would bring. Think of it as having fun with hindsight. To wit, the record’s been through something like nine pressings and Monolord have put out an alternate version that’s all-instrumental (as they have for the second and third LPs, I think). One way or the other, Empress Rising was a crucial moment of arrival for a band whose influence could be almost immediately felt in the wake of their debut.

As always, I hope you enjoy. Thanks for reading.

I shaved about two minutes off my run just now by making the simple decision to go faster. The mornings are darker than they were. A few weeks ago I’d watch the sun start to come up circa 5:45AM, now I’m out and back in the dark. It has been taking me, loosely, about 14 minutes to go 1.3 miles around my neighborhood, up the big hill, around through the little walking park, back down, up and around to the house. Doing that in 12 minutes isn’t breaking any land-speed records, I’m all too aware, but it was satisfying to decide to do a thing and to do it.

Among the things I most miss about having an (active) eating disorder is the sense of control. To be in charge of my body was a glorious thing. I decided what went in and when and how it came out. It was a beautiful, often disgusting, sometimes painful process. But what isn’t? I have felt myself out of control lately. I’ve also decided to grow out my beard a bit and that’s messing with my perception of how my face looks. But stress in the house, the dog, the kid, etc. It is a lot, and I have found that anytime I seem to feel anything, it manifests in food/weight-related concerns. It isn’t even conscious, but I’ve caught it happening after the fact and lately have asked myself, “Did I really have too much almond butter for dessert or am I just tired of stepping in dog piss EVERY FUCKING DAY?”

You know, the big, important questions.

“Don’t be crazy,” has ascended to the level of personal mantra.

I’m so ready to get rid of the dog. So ready. The Pecan is now pointedly scared of being near her, because she jumps on him and bites him, and even as he’s swinging his arms and legs to hit and kick her will yell “No Omi!” as loud as he can. Unfortunately — I would argue for everyone — as ready as I am, I’m equal parts not-in-charge of making that decision. Apparently.

Today is my 16th wedding anniversary. 09.25.04. Morale in the house is low. The Patient Mrs. is teaching an extra online class this semester and that, in combination with reworking her regular classes to suit pandemic-time teaching, has resulted in her spending longer days in front of her laptop doing the less-preferred parts of her job. I am a fucking wretch, as usual. Heightened only by the dog, who as I see it has made everything worse while bringing zero joy into the house. Zero. No joy. It has been well over two months at this point. Net negative.

The Pecan is getting up. He will run in the closet soon and take a dump, then need to be changed. He will delay on his way down the stairs and then kick me when I finally lay him down to change his diaper because, well, he hates getting his diaper changed and has since he was about four months old and was capable of forming an opinion about anything. One might think such a child would embrace the notion of potty-training, but then one would be showing an incomplete awareness of toddler-logic, which is to say, the logic one might encounter from the average chimpanzee or a super-smart potbelly pig. He’ll be three next month and has had a runny nose for the last three weeks.

It has been… a challenge. I took a whole xanax yesterday afternoon and fell asleep on the couch while he beat me with Matchbox cars. First thing he did when I got him yesterday afternoon from upstairs after he blew off his nap — fucking again — was smack me in the groin. Granted that’s about at his smacking level, height-wise, but I wasn’t splitting hairs so much at the time as I was seeing stars. Doesn’t even matter anymore.

He had his speech assessed this week, and we haven’t gotten the official scorecard yet — which I’m assuming is somehow sponsored by the new Dew Garita! — but the teacher was impressed with his vocabulary. They must have asked him about trucks. Kid can tell you everything you ever wanted to know about the difference between a front-end loader and a backhoe, and if you don’t already know that difference, drop me a comment and I’ll be glad to fill you in.

We’re going to Connecticut today, staying over at The Patient Mrs.’ mother’s not-winterized place on the shoreline. I haven’t slept there yet this season, but I prefer it there Spring and Fall anyway, as it gets too hot for me in July/August. Anyway, We were going to go Saturday but our niece texted and asked if she could hang out with us while her mother and brother did something else and fucking a, I’ll drive north in I-95 afternoon traffic for that kid any and every day of the week. She was born the night Obama got elected. It was magic. A hope for a greater future that would seem to have evaporated in the looming, swollen face of fascism.

I don’t think I have time to get into the American political situation. I’ll say rest in peace RBG, they should’ve indicted those cops in Louisville who straight-up murdered Breonna Taylor in bed, and hooray for 200,000 COVID deaths! That’s like a fifth of the global total! Come on people, winter’s coming. I know we can hit 300k by January! USA! USA! USA!

Also, Biden’s gonna lose. Even if he wins, he’ll lose. Calling it now. I’ll be like doom metal’s own Nate Silver — everything predicted in the most pessimistic terms possible. “Uh, well Brian, current polls show we’re universally fucked.”

But hey, I gotta go get this kid from upstairs and then get in the shower because I stink like the fetid corpse of American democracy. Who fucking cares how Aaron Sorkin would write it? The New York Times is clueless. Post another news piece about the super-rich home-schooling their children while sailing around the world, why don’t you? Really live up to that East Coast liberal elite stereotype. Fucking hell.

Have a great and safe weekend. Wear your mask and for god’s sake put your fucking nose in it. Jesus. How hard is that?

I’m off. Gimme show and lots of good reviews next week. Don’t forget to hydrate. So important. And this went longer than I originally intended, so thanks again for reading if you made it this far.

FRM.

The Obelisk Forum

The Obelisk Radio

The Obelisk merch

 

Tags: , , , , ,

The Well Post “Sabbah” Live in Quarantine Video; Should Probably Be Touring

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

the well

One has to assume that if all were even close to being right in the world, Austin trio The Well would be spending a goodly portion of 2020 on the road. Such narratives are familiar enough by now when it comes to touring bands — yet still somehow sad — but as their home nation and mine continues its descent into reactionary fascism against the majority of public will, feels the ravages of climate change in various fires and storms — and firestorms! — and yes, still boasts tens of thousands of new cases of a not-so-global-anymore pandemic every. single. day., creativity will not be stifled. Perhaps that will be the last refuge before whatever grim fate the next several years might bring. Perhaps it will save us in the end. I won’t profess to know how it’s gonna work out.

But while things are bleak and growing bleaker with each executive tweet actively courting white supremacy, The Well have a new video. I know. Sometimes when you look at the stakes of shit happening in the world right now, these things seem minor, but you have to understand that they’re not. The fact is creativity matters — and no, that’s not a play on or a contradiction of Black Lives Matter, because jesus fucking christ Black Lives Fucking Matter and what the fuck did your parents do to you if you think otherwise, I’m just saying art is important — especially in times of turmoil. Consider the crucial output of Weimar Germany, film and paintings capturing the foreboding of that era. I wonder if decades from now people will look at the work being done in 2020 and feel the palpable sense of how we knew something was going and had gone horribly wrong, and were aware of the dangers we faced every day.

It all feels completely overwhelming, and it is. Whether you use the new The Well video for a few minutes of escapism, or just to see some color in a universe that looks increasingly grey, or just to check out the song, I’m not going to argue. It is the function of art, consciously or not, to reflect the moment of its creation in the interpretation of those making it. “Sabbah,” this live-captured version of the track from The Well‘s 2019 third album, Death and Consolation (review here), is a work in which the circumstance itself becomes part of the expression. Recorded separately by the members of the band, each then filming their part alone, they are seen spliced together, evoking the sum-of-their-parts cliché maybe, but emphasizing the importance of group function even in a moment that demands and enforces solitude.

Did The Well mean for all that to be in the video? I don’t know. Maybe they’re just trying to keep a little momentum going since they can’t, as noted, be touring. I don’t think that lessens the validity of the above. If you do, I guess you can start your own blog and write about it.

Enjoy the video:

The Well, “Sabbah” live quarantine video

During a global pandemic, an American political revolt and a new world in quarantine, one has to consider fresh ways to view the production of videos and making and performing music in unchartered territory, unlike anything this generation has seen before. The Well tackled just that when faced with creating a video for their single ‘Sabbah’ from their most recent release Death and Consolation. With a limited time frame and social distancing in full effect, The Well had to get creative, channeling a psychedelic dark experience through a very different means. Each member of the band (Ian Graham on guitar, Jason Sullivan on drums, and Lisa Alley on bass) recorded their parts individually with sound engineer, TV’s Daniel, masked up in their practice space in Austin, Texas.

The next night, on a small outdoor set, each band member filmed their respective video parts solo, joined only by TV’s Daniel as masked director and videographer. The scenes were then inter-woven together into a mesmerizing smokey psychedelic dreamscape using 3 cameras and projector lights to reconstruct the group experience. All said and done, this live version of Sabbah was recorded, mixed, shot and edited in a three day quarantine time turnaround, resulting in a unique and experimental piece of work that encapsulates the energy of The Well’s live performance, despite being surrounded by nothing but uncertainty and detachment in the world around them.

The Well, Death and Consolation (2019)

The Well on Thee Facebooks

The Well on Instagram

The Well on Bandcamp

The Well website

RidingEasy Records website

RidingEasy Records on Instagram

RidingEasy Records on Bandcamp

Tags: , , , , ,

R.I.P. Announce Oct. 9 Release for Dead End; Stream “Out of Time”

Posted in Whathaveyou on July 16th, 2020 by JJ Koczan

The piano that shows up in the new R.I.P. track is a nice touch. I’m serious. It adds a little bit of the unexpected amid all the grit-covered tones and harsh vibes that otherwise pervade. I wouldn’t call it classy, exactly — because context, right? — but it fits well with what the PR wire ultra-aptly describes as their “post-apocalyptic grunge.” Fuck I wish I could come up with something as good as that.

Alas.

R.I.P. issued their debut album, Street Reaper (review here), in Oct. 2017, so they’re right about three years out by the time Dead End shows up, and in the interim, they toured abroad (played Desertfest London in 2019), changed out their lineup and hit the studio with Billy Frickin’ Anderson at the helm. To call the time productive seems an understatement.

You can hear “Out of Time” at the bottom of this post. Cover art follows and album info follows here, fresh off the PR wire:

rip dead end

R.I.P. share first single from forthcoming album Dead End

Portland Street Doom band returns with crushing new sound, new lineup

Portland, OR ‘Street Doom’ quartet R.I.P. announce their forthcoming third album Dead End today, sharing the first single “Out of Time.”

When R.I.P. came crawling out of the sewers of Portland, OR four years ago, their grimy, sleazy Street Doom was already a fully formed monstrosity that quickly infected the minds of everyone it encountered. At the time, none of us expected its depravity to take such fierce hold, and yet, here were are, sheltering in place and/or stealthily creeping through a nightmare dystopia that the 80s sci-fi/horror movies foretold.

Dead End is, ironically, a recharge of the band’s sound, bearing influences ranging from John Carpenter films, post-apocalyptic grunge, pro-wrestling attitude and salty lo-fi hip-hop aesthetics to the band’s ferocious heavy metal.

During the three years since the 2017 release of their sophomore album Street Reaper, R.I.P. has been busy tightening their sound and their line up while loosening their grip on sanity – touring the west coast with bands like Electric Wizard and Red Fang, and taking Street Doom overseas for the first time for a month long headlining tour of Europe. These years on the road and the addition of a more aggressive rhythm section have allowed the band to fully break free from their influences and deliver on the promise hinted at on their first two releases.

For Dead End, R.I.P. worked with legendary producer Billy Anderson, interring onto wax their heaviest and most ambitious album yet. Continuing to move further away from their classic doom influences like Pentagram and Saint Vitus, the band offers a rare blast of originality in a scene rife with formulaic bands. Dead End is a fast and anxious ride where the very idea of doom is put to the test under duress of manic lyrics about death, insanity, and leather, and hook-laden guitar tracks that draw as equally from Nirvana as Black Sabbath.

Dead End will be available on LP, CD and download on October 9th, 2020 via RidingEasy Records.

Artist: R.I.P.
Album: Dead End
Label: RidingEasy Records
Release Date: October 9, 2020

01. Streets of Death
02. Judgement Night
03. Dead End
04. Nightmare
05. One Foot In The Grave
06. Death Is Coming
07. Moment of Silence
08. Buried Alive
09. Out of Time
10. Dead Of The Night

facebook.com/R.I.P.P.D.X
instagram.com/R.I.P.P.D.X
braveinthegrave.bandcamp.com
ridingeasyrecords.com

R.I.P., “Out of Time”

Tags: , , , , ,

Ice Premiere “Gypsy” from The Ice Age out July 10 on RidingEasy

Posted in audiObelisk, Reviews on June 24th, 2020 by JJ Koczan

ice the ice age

Seeing its first official release since it was recorded some 50 years ago, Ice‘s first and only full-length, The Ice Age, will be released by RidingEasy Records on July 10. It was originally supposed to come out in April, but frankly after half a century do a few more months really matter? By now, the narrative of the-great-heavy-’70s-lost-classic is well enough familiar. How many times has that story been told? Hundreds? Thousands maybe? RidingEasy are certainly no strangers to the era, between their Brown Acid archival compilation series and their Randy Holden reissue, not to mention supporting those who likewise worship that moment in time like DunbarrowBUSSvvamp and so on. Ice‘s The Ice Age is different though.

Think of it this way: Yeah, there are thousands of those records out there, from Atomic Rooster and Cactus to Spooky Tooth and Rare Earth. The heavy ’70s are a treasure trove, and an entire universe of formative heavy rock and roll and proto-metal exists waiting to be discovered by anyone who might want to take the time. Fine. How many of those bands have unreleased recordings? At this point? Far fewer. And how many entirely lost albums are there? Far fewer, let alone those that are as complete and as righteous front to back as The Ice Age, which digs into burly hooks on “Copper Penny” and rocks hard on opener “Gypsy,” but reminds of some of Bang‘s balladeering on the six-minute penultimate (and longest) cut “He Rides Among the Clouds,” pulling back on the brash swagger of “Running High” which is no doubt written in homage to how tight these dudes wore their bell-bottom jeans. One way or the other, they manage to make an impression as the five-piece that was, the prominent organ work of Barry Crawford (als0 vocals) sounding ahead of its time owing perhaps in some measure to the modern ears that mixed it here, but still engaging alongside John Schaffer‘s lead guitar on the mellower “3 O’Clock in the Morning,” which follows the initial push of “Gypsy” and “Satisfy” at The Ice Age‘s outset — or dawning, as it were.

Crawford, rhythm guitarist Richard Strange and bassist Jim Lee handle vocals throughout — the latter in the lead position — while Mike Saligoe rounds out on drums, and the interaction between different singers bolsters the songwriting even unto a later cut like “Run to Me,” which is an upbeat but still laid back straightforward heavy rocker, Lee‘s voice gruff in the verse giving way to a more melodic chorus. This along with the semi-early-prog instrumental climbing of “Copper Penny,” the post-McCartney bounce in the second half of “3 O’Clock in the Morning” and the sweeter and more accessible take of “I Can See Her Flying” help assure that the 10-song/37-minute LP brings enough dynamic to sustain itself, and it does to a striking measure, closing out with “Song of the East,” the early organeering of which gives way to lockstep guitar and organ leads in a rhythmic march that seems like it’s going to carry The Ice Age to its finish before the band sharply brings the song back to its central progression.

So what the hell was it, right? Isn’t that the question? What stopped Ice from releasing The Ice Age in the first place? Was there no one around in their native Indianapolis who’d get behind the album for even a private press edition that collectors now could fawn over like so many others? How did The Ice Age end up languishing for 50 — five-zero — years while countless other records have been heralded to a point of revising the history of rock and metal to see to their inclusion in it? Hey Ice, where you been all my life?

I don’t have the answer to any of that — sorry to disappoint. Band recorded, band broke up. Zukus!, who were featured on a Brown Acid release noted below, were the same band as Ice, but the bulk of this material never came out before. Rest assured, it’s been treated lovingly and with due reverence for this release; it’s hard to imagine those tapes sounding this clean when they came off the shelf or out of whatever cardboard box or closet they lived in for all that time. But if The Ice Age didn’t warrant that, it wouldn’t have been chased down in the first place. So here we are.

Will The Ice Age rewrite rock history? No. It never came out, so it’s not like it had some massive but undervalued influence.  But it is a curio among curios, and it is of a quality that deserves to be heard, and frankly to have been heard all this while. Better late than never? Yeah, that too.

You can dig into the premiere of “Gypsy” on the player below and find more background from the PR wire beneath that.

Please enjoy:

As RidingEasy Records’ highly successful Brown Acid series (now at 10 volumes and counting) proves, there is a massive amount of incredible heavy psych and proto-metal music that has been lost to the sands of time. Case in point, the astoundingly great 50-year-old album The Ice Age by Indianapolis quintet ICE was never even released upon its completion.

In the late 1960’s five young men formed a rock & roll band on the west side of Indianapolis, Indiana. They chose the coolest name possible: ICE. The group consisted of vocalist/keyboardist Barry Crawford, lead vocalist/ bassist Jim Lee, drummer Mike Saligoe, lead guitarist John Schaffer and rhythm guitarist/vocalist Richard Strange. They was among the first bands to perform an all original set throughout the Midwest at high schools, colleges & concert venues. They opened for national acts like Three Dog Night, SRC, Kenny Rogers & the First Edition, The Nitty Gritty Dirt Band and others in arenas and theaters.

In 1970, the band recorded 10 original songs at 8-Track Studios in Chicago Illinois, only to break up shortly thereafter. Two of the tracks were eventually released as a 45 in 1972, but confusingly under a different band name, Zukus! The A-side of that single was featured on Brown Acid: The Ninth Trip, which led RidingEasy Records to discover when licensing the track that an entire album had been languishing in obscurity all of this time. The 2-inch master tapes had been shelved and forgotten until recently when The Ice Age tracks were converted to digital and remixed, preserving the sounds of the original vocals & instruments. Finally, half a century later, this 10-song album of radio-ready rock will finally see light of day.

The Ice Age will be available on LP, CD and download on July 10th, 2020 via RidingEasy Records.

RidingEasy Records on Thee Facebooks

RidingEasy Records on Bandcamp

RidingEasy Records website

Tags: , , , , ,

The Death Wheelers Post “Divine Filth” Video; Album out Sept. 11

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

Violence, motorcycles, grainy footage, blown-out riffs — you get the idea where The Death Wheelers are coming from aesthetically. The Canadian troupe have been kicking up dust since their 2015 self-titled debut and their latest, Divine Filth, will be out on Sept. 11 through RidingEasy Records. The band have staged the record as the soundtrack to an ’80s biker movie that never happened which is fun, and the single is likewise a rager of marked vroom-vroom. I’m somewhat curious how The Death Wheelers might ultimately distinguish themselves from the likes of Satan’s Satyrs, who tread a similar path in terms of style if not substance(s), but whatever. That band broke up anyway and The Death Wheelers are instrumental, so I guess there’s room on the highway for more than one gang. Hopefully no one gets stabbed. I hear that’s a thing.

People being turned into zombies by lysergic drugs, the world ending, whatnot. Could it really be any worse than life is right now?

Possibly?

The PR wire:

the death wheelers divine filth

Canadian ‘bikesploitation’ inspired rock & sleaze a la Davie Allan & The Arrows, The Wild Angels, Psychomania, The Cramps

Canadian heavy rock instrumentalists The Death Wheelers share a video single for the title track to their forthcoming album Divine Filth today. Watch and share the B-movie ode “Divine Filth” HERE. Hear & share the single via Bandcamp.

From beyond the gutter, The Death Wheelers bring you their second album, the soundtrack to the fictional bikesploitation flick that never was: Divine Filth. Drawing inspiration from instrumental rock, proto-metal, punk and funk, the band embalms the listener in their sonic world of decay, groove and debauchery. Surfing the line between Motörhead, The Cramps and Dick Dale, the Canadian quartet uncompromisingly blends rawness and power in their riff fueled compositions. Recorded entirely in 48 hours in a live setting just like in the good old days, this second opus is a testament to what the band stands for: a no BS attitude spiked with a heavy layer of crass. Just like their previous offering, the album is devised to serve as a soundtrack loosely based on a plot synopsis of a B-movie:

It’s 1982. Spurcity is run-down. The crime rate is up and so is drug use. A new kind of kick has hit the streets and it ain’t pretty. DTA, a powerful and highly addictive hallucinogenic drug, is transforming its loyal citizens into undead trash. Its users experience an indescribable high, but it leaves them rotting away within days, craving human flesh. No one knows who is dealing this new potent drug, but rumour has it that the motorcycle cult, The Death Wheelers, is behind this concoction. Could this be the end of civilization as we know it? What is motivating this group of psychotic individuals?

The cycle of violence indeed continues with this sordid slab of sounds. So hop on, and enjoy one last ride with The Death Wheelers.

Divine Filth will be available on LP, CD and download on September 11th, 2020 via RidingEasy Records. Pre-orders are available at RidingEasyRecs.com.

Artist: Death Wheelers
Album: Divine Filth
Label: RidingEasy Records
Release Date: Sept 11th, 2020

01. Welcome to Spurcity
02. Ditchfinder General
03. DTA (Suicycle Tendencies)
04. Divine Filth
05. Lobotomobile
06. Corps Morts
07. Murder Machines
08. Motörgasm (Carnal Pleasure)
09. Chopped Back To Life
10. Road Rite
11. Nitrus

Max ‘The Axe’ Tremblay, Richard ‘The Bastard’ Turcotte, Ed ‘ Back from the dead’ Desaulniers, Hugo ‘Red Beard’ Bertacchi

facebook.com/thedeathwheelersband
https://www.instagram.com/thedeathwheelers/
https://thedeathwheelers.bandcamp.com/
ridingeasyrecs.com

The Death Wheelers, “Divine Filth” official video

Tags: , , , ,

Thomas V. Jäger of Monolord to Release Solo Album A Solitary Plan May 8

Posted in Whathaveyou on March 9th, 2020 by JJ Koczan

Not that anyone asked, least of all Monolord guitarist/vocalist Thomas V. Jäger himself, but if — as the PR wire alludes below — one of the issues he’s dealing with on this album is related to not being able to procreate through traditional biological means, as someone who’s been through that very particular kind of hell, I would only say in response, “There’s all kinds of families, dude.” Adoption, fostering, all that stuff. If you think it makes a difference not having a little booger-and-turd-factory running around who doesn’t look just like you, well, I wouldn’t know, but I do know that once you decide a kid is “your kid,” the chemicals in your brain kick in and make it so. That’s all I’ll say about it. Again, not that anyone asked.

Jäger‘s forthcoming solo debut, A Solitary Plan, is out May 8 and available to preorder now through RidingEasy Records, which of course was the imprint that first brought Monolord to light as well before the Gothenburg-based trio signed to Relapse ahead of last year’s album of the yearNo Comfort (review here). The largely-acoustic album was mixed and mastered by Kalle Lilja of Wolves in Haze and Långfinger fame and you can stream the leadoff title-track at the bottom of this post.

Dig in:

thomas v jager a solitary plan

Monolord singer/guitarist Thomas V. Jäger announces solo debut, shares title track

Swedish doom trio frontman preps emotionally heavy solo album on RidingEasy

Thomas V. Jäger is best known as the vocalist/guitarist in Monolord, the hottest, most crushing melodic doom band in the world. So, releasing an intimate, deeply and boldly personal album of acoustic and synth based songs hot on the heels of No Comfort, the band’s most successful and powerful album to date, might seem like a risky move. And yet, that’s not even the most daring and inspiring thing about A Solitary Plan.

Rather, this 7-song album is a cathartic depiction of very real and heart-wrenching situations as a means of musical therapy for the artist and, hopefully, for the listener as well. “This album is me venting all of this emotional energy I’ve been carrying around,” Jäger says. “Now I’m feeling more open about it, but at the start I had a hard time talking with friends and family. The record is what came out instead of talking about it.”

The central lyrical theme to the album is a coming to terms with the likelihood of not becoming a parent after wanting to have a family for a long time. “When I put down vocal tracks on the last song ‘The Bitter End’, you can hear my voice is trembling at parts. Every time I listen I get goosebumps, which rarely happens with songs I write.”

Other songs also deal with personal challenges, like health scares, existential searching, and death in the family. “Goodbye” is written for Monolord bassist Mika and his wife Emma. “When they had to put down their dog Eskil it affected me greatly. This song is him talking to them and telling them it is gonna be alright.” Heavy stuff, indeed — but in a different way from Monolord’s pummeling riffs.

Jäger doesn’t intend for the album to be a “woe is me” exercise, but rather something constructive. “I know that music helps people,” he says. “This is without any irony, it’s therapeutic. I know fans can interpret and use the songs for their own purposes. That feels meaningful to me.”

The album began organically, as Jäger often writes and records at home, sketching out song ideas on acoustic guitar into a computer with no set goal for anyone else to hear them. RidingEasy Records chief and Monolord manager Daniel Hall cajoled the guitarist into sending him some of the home recordings he’d been working on, and he immediately pushed for them to be released in this stripped-down form.

“I could’ve rearranged them to get a Monolord vibe, but I wanted the basis of just voice, guitar and synths,” Jäger says. “Really laid back and mellow.” He completed the album between tours, with mixing and mastering by Kalle Lilja at Welfare Sounds. Emil Rolof plays a real Mellotron on the title track, all other instruments and voices are Jäger himself.

A Solitary Plan will be available on LP, CD and download on May 8th, 2020 via RidingEasy Records.
Pre-orders are available at www.ridingeasyrecs.com.

Tracklisting:
01. A Solitary Plan
02. Creatures Of The Deep
03. It’s Alright
04. From The Ashes
05. The Drone (Oh Why)
06. Goodbye
07. The Bitter End

thomasvjager.bandcamp.com
https://www.facebook.com/ridingeasyrecords/
http://www.ridingeasyrecs.com/
https://www.instagram.com/easyriderrecord/

Thomas V. Jäger, “A Solitary Plan” official video

Tags: , , , , ,