Wail Premiere “Astronomy” Video; Debut Album Out Now

Posted in Bootleg Theater on September 9th, 2021 by JJ Koczan


Philadelphia’s  Our PhD research check can help you complete your work fast and according to all the requirements. Get a custom research proposal for PhD. Wail are a put-up-or-shut-up kind of band, so here they are putting up. The sans-vocals four-piece released their self-titled debut (review here) in July through  Custom Master Thesis Cell Culture from Academic Writers. Professionalism. Experience. Commitment. These are the main features that single out our ghostwriters. Handpicked degree holders, all of them are good at writing plagiarism-free, original research papers for sale. Day after day, year after year, they do their best to satisfy the needs of the customers, providing them with qualitative works across various subjects. Whether you need juridical, linguistic or nursing research papers for sale Translation Loss, and they now invite the audience to watch and listen as they make part of it. The video for “Astronomy” below is, by all accounts, as it happened at  Top 5 Write An Essay Pay Services You Can Trust. You cannot risk choosing a random dissertation writing service. This important paper practically determines your future. The last thing you need is a scamming, rotten service that steals your money and blocks you from messaging the support. You need the best dissertation writing service and well help you find it. Our team tested Red Planet Studio.

You get to see drummer  The Master Thesis Of Civil Engineering is a strategic and creative content house that creates innovative, online editorial for our clients, so they can achieve the best Calvin Weston nailing it alongside bassist  see url paper from us may come to the rescue, and become the best possible solution if you are under stress from being unable to cope with everything on your own. How Will You Benefit If You Buy Thesis Paper? The thought What if I buy thesis paper? crosses the mind of every student. This is not surprising as a student's life is not only about writing assignments. It is normal to wish Alexi Papadopoulos and guitarists  Cooperrider Dissertation. Oxbridge Essays offers the UK's most comprehensive essay writing service, with custom-written essays on any and every academic subject. Our essays can help you get the grades you need by giving you a template you can learn from and build on with your own original work. There's no faster or more simple way to get the Yanni Papadopoulos and  We have the Where To Buy Essay Papers out there as they are all native speakers who used to graduate from the US and the UK top universities. They possess vast writing experience. Convenient payments; All the financial operations are secure and protected from any scammers. We make it possible to pay using one of the time-tested, convenient world payment systems of your choice. Simple Ordering Pete Wilder, who leads the jam, and you get to see that jam come together in one of those rare moments bands talk about where everything just clicks. I interview people all the time about songwriting — it’s my favorite thing to talk about in interviews, if you couldn’t tell — and it doesn’t happen all the time or even particularly often, but every now and then someone will tell you about a magic moment where everything comes together and a song is finished being written more or less at the exact time it’s done being played through once.

Now, given the instrumentalist, improvisational nature of  The Business Planning Templates is a must-have for every student that want to perform excellently in their college research paper work Wail, it’s a somewhat different case for “Astronomy,” but still, what comes through in the clip is chemistry and a union of purpose whose results speak for themselves in the song itself. There’s a reason I hosted the album stream before it came out and why I’m hosting the video premiere now. It’s because I think it’s worth your time. That’s about as straightforward as I can say it.

Hey, here’s talented people doing cool shit together. Plus some shots of space. There.

I hope you have a great day. Sincerely.


Wail, “Astronomy” official video premiere

Wail on “Astronomy”:

This video is Wail live in Red Planet Studio recording our album. We were lucky to have two cameras on when we recorded the song Astronomy. We were happy with the performances and didn’t need any fixing or overdubbing. What you see is a band jamming on a groove, in other words, improvising. If the mood is right, this can capture some fantastic results, music produced by listening and reacting. Pete Wilder (guitarist – red Ibanez) wrote the groove, then took the footage and led us on a trip through the Cosmos.

The new video “Astronomy” by Philadelphia band WAIL.

Featuring Calvin Weston on drums, Pete Wilder and Yanni Papadopoulos on guitar, Alexi Papadopoulos on bass.

Order link: https://orcd.co/wail

Yanni Papadopoulos: guitar
Alexi Papadopoulos: bass
Pete Wilder: guitar
Grant Calvin Weston: drums

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Buss Premiere ‘Live at Dežolation Fest’ Video

Posted in Bootleg Theater on September 8th, 2021 by JJ Koczan

buss dezolation fest

Trieste, Italy, raw heavy rock three-piece We offer clicks online at cheap rates. If you need assistance in writing literature review get in touch with us. Buss are currently at work on their full-length debut, impending for next year. That’s good news for anyone who heard their self-titled EP (review here) last year and thought to themselves they could do with more. I count myself in that number. It was right on earlier this year when they posted a couple live songs filmed on what looked like a nice patio, and the clip below for the  We offer legitimate and credible Thesis For An Essay help at an affordable cost. Custom writing tasks are handled by highly trained and skilled Leaf Hound cover “Freelance Fiend” and the band’s own new song “Astrosatan,” filmed at Paperwritings.com: Research Proposal Methodology Sample that Knows the Rules. Students are bombarded with tasks daily, but thankfully, Paper Writings is always there to help them out. If you are looking for an expert that will answer the call of the desperate student, then we are here to assist. With the deadline appearing closer, you are probably worried about homework becoming more complicated. After all, we have been on the market for quite some time to know that write paper request is not Dežolation Fest follows in a similar spirit.

Don’t know Cheap and Quality Custom Written Essays for UK Students. Upon first hearing the term Law Research Papers service, it can be easy to make the assumption that the quality of the essays will be low. We want to assure you thats not the case with State of Writing. Place an order Check prices Dežolation Fest? Well, the narrative — blessings and peace upon it — is that  Do you want to pay someone to write your college paper or essay? Just order 'Dissertation Of Bcps' help online and get quality academic writing help now Buss threw a big ol’ party about a month ago, and the video would seem to prove it worked out. Pay Someone To Master Thesis Writing Companies Academic Research. Writing an academic work in your favorite discipline is great fun. You can take your time, make yourself a cup of tea, make yourself comfortable, choose a music playlist, open all the sources you have chosen, read them thoroughly, and write your paper perfectly. However, in reality, you do not have the entire evening to write a single assignment. You have five of Buss play on a small bare-wood stage lit by floodlights in the dusky evening that would be night by the time they’re done, and sure enough there are people there, outside among the trees. “Freelance Fiend” is already in progress as the video fades in, and “Astrosatan” has a darker riff, standing it for an additional element of proto-metal amid the boogie and ’70s rock vibes.

It looks like a good time. A lot does at this point, right? Let’s assume if you’re reading this, you weren’t there for this, so maybe it’s that much easier to consider it the embodiment of a certain ideal. Show up and play. Think of generator parties in abandoned desert skate parks. Think of forest-fests throughout Europe, some official in the sense of having any permits whatsoever, some decidedly not. I don’t know where Web Assignments do my homework for me please How it Works. Thousands of college students have used GetMyClassDone as their secThis site won Buss‘ to-do fell on that particular scale, but kudos to them for making a thing happen one way or the other, and further, for filming at least part of their set to give a teaser for their upcoming debut. I’ll be looking forward to hearing that.

Until then, enjoy the clip:

Buss, Live at Dežolation Fest 2021

Sick of silence, Buss & friends had organized the first edition of the Dežolation Fest. Lot of beer, awesome grill, great music and good people had transformed an empty field into a memorable land.

Here for you Buss live at Dežolation Fest performing Freelance Fiend by Leaf Hound and Astrosatan from the upcoming album.

Buss is a trio influenced by 70s underground sounds and 90s desert rock. We met in high school and started playing together just for fun.

Later we started writing some songs and performing live gigs. In May 2020 the band released the self-titled debut EP with the support from Rocket Panda Management.

Buss are now recording new stuff for their first LP that will be out in 2022, followed by an EU tour.


BUSS is:
Erik Carpani – bass & vocals
Patrik Pregarc – guitar
Ivan Kralj – drums

Buss, Buss EP(2020)

Buss on Instagram

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Friday Full-Length: The Dunes, The Dunes

Posted in Bootleg Theater on September 3rd, 2021 by JJ Koczan

Bookended with droning resonances given the Douglas Adams-esque titles ‘The Intergalactic Drifters Inn Welcoming Center Theme Song Pt. 1’ and ‘…Pt. 2,’ the self-titled debut full-length from Adelaide, Australia’s The Dunes indeed offers its own kind of welcome. Oak Island Records and Off the Hip Records released the album from the six-piece outfit in Oct. 2018, and it arrived some seven years after their first two-songer EP, 2011’s Going Under, with a songs like “When You Wake Up” and “Mountain” dating back two or three years already at that point, having been released either as singles or as part of other short or live releases. A while in the making, then. Fair enough.

For what it’s worth, The Dunes‘ time does not seem to have been misspent in finding their way. To dig back through their Bandcamp page to Going Under is to find a still echoey but more indie-minded outfit. Stacie Reeves‘ vocals remain duly ethereal, but one can hear the context shifting already on 2012’s Between Midnight and Dawn as a song like “Lunar Effect” stretches over eight minutes and willfully engages a more lysergic feel. The Dunes, in that regard, goes all in, a cut like the three-minute “(Just Because You’re Not Being Followed Doesn’t Mean You’re Not) Paranoid” delving into psychedelic boogie with the clear percussive punctuation of Clair O’Boyle giving the listener rhythmic landmarks amid the sundry melodies of guitarist Matt Reiner, keyboardist Jess Honeychurch, and synthesist Brett Walter. It’s not as much of a stretch into the far out as “Mountain,” which follows, but there it’s bassist Adam Vanderwerf holding to a grounded feel amid so much right-on-can-your-brain-even-handle-it-of-course-it-can-come-on-baby-let’s-do-this-together swirl, though all parties seem to let go as that song stretches past seven minutes en route to the sitar-or-guitar-as-sitar-inclusive “New Old.”

Maybe it seems like a long way from post-intro leadoff “When You Wake Up” by the time you get there, that song with a more prevalent hook from Reeves delivered in layers over a standout organ line and backing waves of languid rolling distortion, but with the more forceful strum of “Making Friends with Codeine” and the aforementioned shuffler along the way which reminds by New York-regionalist ears of Naam‘s space rocking glories — not that there isn’t an entire Aussie cosmos the dunes the dunesof space rock for them to draw inspiration from — The Dunes do well in throwing open the doors of expectation as they shift from one song to the next, one arrangement aspect, one riff, one procession, whatever it may be at that given moment, all while letting the whole be defined by those changes and the vocals that sometimes sit atop or sometimes come from underneath, the spaciousness of tonality in John McNichol‘s recording and Brett Orrison‘s mix/master allowing these whims and others to be served in such a manner that, by the time “Mountain” hits its peak (pun absolutely intended), the surge is one more welcome advent among the many.

After “New Old” pushes over and caps with more sitar drift, a cover of Melbourne trio Buried Feather‘s “WKNDS” follows, and it would be a moment of touching-solid-ground were the central riff and flow of the thing not so damn hypnotic. Still, it is more guitar-led, if not actually straightforward, and a shorter departure from the pairing of “Mountain” and “New Old,” which makes it seem all the more purposefully placed ahead of “Pariah,” the longest inclusion at an oozing eight minutes and 46 seconds. It has a build happening, and a crescendo accordingly, but it is neither overdone payoff nor a gentle letting go. The pre-midpoint verses feel constructed as a lyrical showcase, and the break to near silence at 4:19, setting up their final push. And it is a payoff, mind you, it just doesn’t feel forced. It is one more moment in which The Dunes push forward while holding melody and atmosphere as crucial, and the letting-go happens as they shift into “The Intergalactic Drifters Inn Welcoming Center Theme Song, Pt. 2,” that last drone finishing out on a fade to cap the record’s nine-track/50-minute entirety.

I’ll admit I’m just getting to know The Dunes‘ The Dunes, though I managed to post about it when they signed to Oak Island, and further, it was a misplaced tag on social media earlier this week — a UK band of the same name is playing a fest in Sweden; you either would or wouldn’t be shocked how often that kind of thing happens to me — but the combination of elements in its songs, with the keys varied and the synth coming and going, the various guitar effects and flowing groove that ensues, help make a more than favorable initial impression. The band hit Levitation in Austin, Texas, in 2019 as Reeves joined Melbourne’s User on stage, and of course did various shows in and around Australia to support the self-titled’s release. They even managed to book a date in Nov. 2020, which is an impressive achievement in itself, but it didn’t come to fruition. Such is the way of noble intentions in this time of plague.

Australia, as I understand it, is currently under pretty strict lockdown as well, and reasonably so, but The Dunes got a rehearsal in last month. I’ve no idea if they have new material in the works or how they’ve spent their pandemic other than what I’ve seen on their socials, all of which one can link to through their Bandcamp. In any case, these nine tracks have plenty to offer if you’re looking to get out of your own head for a few minutes, staying classy in melodic intention even as they deep-dive into the heart of whatever color sun it might be shining on the Southern Hemisphere of such a wretched planet. Lavender purple? I’m sure they’ll play another show someday. If they want to, I’m sure they’ll do another record — or maybe an EP; The Dunes arrived after several of those — but in the interim, for an album that I bumped into in kind of a dopey way, it’s been an engaging happenstance, and shit, I’m glad I got to hear it one way or the other.

As always, I hope you enjoy.

Uh, it… rained this week. Like, as a defining feature of the week. And over 40 people died in the NY region. Floods closed roads, people lost power and a whole bunch of people were like, “yup that’s climate change” because yup, that’s climate change. New Jersey gets tornados now. That kind of crap never used to happen here.

My wife’s mother came down from Connecticut on Wednesday to visit and got stuck yesterday owing to road closures, forcing her to shift plans. Not a hardship to have her by any means — she and The Patient Mrs. opened a nice bottle of wine and The Pecan loves her dearly and so do I — but it was kind of like, “well, now what?” on the day. As far as I go, it was a highlight of my week. The kid was in a great mood all day, used enough energy to take a nap, and I could leave the room to do dishes or — amazingly, take out my laptop without being assaulted — because there was another pair of eyes in the house to watch him and another giver-of-responses to keep him engaged. It’s when you stop paying attention that shit goes off the rails with him lately. He’s like, “Oh you’re not looking at me right now? Well, if you need me I’ll be climbing the window.” Which he does. Constantly.

Plus her dog is here, so that’s even less of an emergency for her to head back north. I took a nap yesterday afternoon as well, and slept until 5AM to start the day. Since I started pushing back to waking up at 4AM to work, which I did the rest of this week, including today, I’d forgotten how it felt with that extra time. I was ready to conquer the universe at 6PM last night, though I was still in bed by 8:30, so you can see how far that went.

I’m going to see King Crimson this weekend, which is a thing I’ve never done before. They’re playing an outdoor amphitheater here in New Jersey and I feel like with that and masked I’m reasonably comfortable being there. For a once-in-a-lifetime show, I’ll make it happen. And The Patient Mrs. is coming, so that’s a bonus. I’ve been looking forward to it and am of course apprehensive at the same time. But The Pecan also starts school next week, so that will be a back-to-earthly thing as well. As soon as Delta hits NJ though they’re gonna go remote. Or approve child vaccinations. Something has to give there and I suspect we’ll find out what by like November.

Today is a new The Obelisk Show on Gimme Metal. 5PM. The Eric Wagner tribute. By that time I expect to be waist deep in spaghetti squash in vodka sauce with slow-cooker pulled chicken, veggie sausage and a mountain of romano cheese, but I’ll be checking in on the chat as well. Thanks if you listen. http://gimmeradio.com.

Monday, that King Crimson review. Then premieres across the week for Scarecrow, Crystal Spiders, The Misery Men and TarLung, in that order. At some point in there I’ll have the interview I did the other day with Blackwater Holylight’s Sunny Faris up as well. It was not an hour long, if that makes you any more inclined to watch it than either the Sons of Alpha Centauri or Fuzz Sagrado chats. Here’s hoping.

Great and safe weekend. Stay hydrated. If you do the Labor Day thing, enjoy the day off. I’ll be back on Monday with more shenanigans because I believe if you want to honor labor, stop outlawing unions. Also fuck Texas, while we’re on politics for a moment.

That’s all. Have fun. Watch your head.


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Friday Full-Length: Olde Growth, Olde Growth

Posted in Bootleg Theater on August 27th, 2021 by JJ Koczan

It’s a pretty rare album that sounds better a decade after the fact. Don’t get me wrong, I liked the self-titled debut (review here) from Boston duo Olde Growth when I first heard it, and don’t get me wrong, it’s pretty raw either way, but even if you factor in that the two-piece were probably three or four years ahead of their time in sound and configuration, that’s still an admirable stretch for their first and, sad to say, only LP to have not only held up, but flourished in its earthy, sludgy way.

Initially self-released in 2010, the seven-song/46-minute offering was picked up in 2011 by MeteorCity for a CD release. Comprised of bassist/vocalist Stephen LoVerme (who also handled the artwork) and drummer Ryan Berry, they were arguably the last new-band release from the pivotal imprint, which had changed hands a year prior after being purchased by Dan “El Danno” Beland and Melanie “Hellmistress” Streko and tied in with the fate of the then-active stonerrock.com outlet and forum. Then married, the two had gone on a tear of adding label roster additions in in 2009-2010, and that saw releases from Freedom Hawk, New Keepers of the Water Towers, Snail, Flood, Ararat, Egypt, WhitebuzzSardoniS, Valkyrie — some you still hear about today, some you don’t — and Olde Growth were at the tail end of that bunch. Even the cardboard digipak, which the band still has available, was forward thinking, printed on recycled paper with soy ink used. The stamp-looking artwork and hand-scribbled fonts gave it a DIY look that suited the organic nature of the band’s sound and, well, moniker.

LoVerme and Berry were young at the time, and recorded in 2009 with guitarist AJ Peters of the band that was then called Riff Cannon and would soon become Summoner — a bit of irony there for a band without a guitarist making their album with one at the helm. Perhaps what’s most continually resonant about Olde Growth, however, is the sense of space in the tracks. As a unit, Olde Growth were maximally flexible, by which I mean they were able to make a song like the lead cut “The Grand Illusion” chargePhoto by Erin Genett, design by Stephen Loverme. ahead with a gallop that sounded haphazard without actually being so, pulling influence maybe from what High on Fire had done circa Blessed Black Wings but owning each progression as their own, much aided in that regard by LoVerme‘s malleable vocal approach, sludgy, shouted verse coursing into a more melodic chorus. Not by any means anything new for heavy music — such duality drove a surge of metalcore based in New England at the turn of the century — but few and far between were those who could pull it off 10-12 years later without sounding hackneyed, fewer still were those doing so in a heavy/stoner context, and I can’t think of another outfit who did it in a duo configuration. If I’m wrong about that, it doesn’t matter anyway. The point of rarity stands.

And as Olde Growth shoves through “The Grand Illusion,” it meets with the breadth and heft of “Life in the Present.” The tinny sound of Berry‘s snare, the wash of cymbals, the low-end effects as the song nears its melodic stretch in the midsection, it’s all a shift in structure that builds on the opener, so that as they turn it around into punker thrash it’s not a huge surprise, but ties together smoothly — or as smoothly as they want it to, anyhow — with a return to the lumbering (get it?) march at the end likewise setting up  the grimmer launch of the three-part “Cry of the Nazgul/The Second Darkness/To the Black Gate,” a Lord of the Rings-based lyric that saves Aragorn’s triumph for a layered-vocal in its third part, surprisingly soulful given the trudge through Middle Earth mud in most of the first five minutes. Some growls right at the end bring it together, and offer a resolution that, unlike the book or movies, didn’t require a slew of appendices or two hours of comedown epilogue.

“Sequoia,” however, might be called a comedown in itself. It is the slowest of pieces on Olde Growth at its outset, but nestles subtly into movement as it unveils a hook worthy of “The Grand Illusion,” and from there continues to add speed before cutting back again. The riff, low, slow, is rootsy stoner sludge idolatry, but well done with Berry‘s hi-hat keeping the nod punctuated as they cycle through the next verse, ahead of the ending slowdown and shouts, which end with amp hum and let the effects of minute-long interlude “Red Dwarf” arrive naturally and transition accordingly into the also-instrumental “Everything Dies,” which though it’s not as long or broad as the three-parter or the 10-minute finale “Awake” that follows is no less epic in its build, perhaps more so for the relative efficiency with which it’s brought to bear.

The closer opens righteously mellow following the intensity at the end of “Everything Dies,” and explodes with a snare hit for warning shortly before it’s four minutes deep. Yeah, there’s a ripper part in the middle and second half, and they plod to a finish with a lead line over top, but if you want to hear underscored just how much potential Olde Growth had, it’s in the methodical way they end the record. They could be brash, they could punk out, play fast, play slow, etc., but hearing “Awake” start out with such barely-there hypnotic minimalism while keeping that surge in its pocket is emblematic of what the two-piece might have accomplished going forward. Seems hard now to overstate the potential, in aesthetic, songwriting or performance.

So it goes. Olde Growth released the self-titled in 2012 on vinyl through the also-ahead-of-its-time Hydro-Phonic Records (that version had “Red Dwarf” and “Everything Dies” combined, which is fair), and would go on to play shows, tour a bit, and offer the Owl EP (review here) in 2012. Last I got to see them was in Boston in 2013, and they still made it worth the drive to the city. If you’ve never been to Boston, that is a significant compliment.

Also known for his video work with Treebeard Media and the Somerville, MA, venue ONCE Ballroom, LoVerme would reemerge circa 2014 as part of the more stylistically diverse SEA, and has recently been involved with the more extreme-minded Lunar Ark, who as it happened played a live show last week. How about that. What times we live in.

Nonetheless, this album could stand a reissue.

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

I woke up this morning at 4:10AM. My program of training my body to get up earlier has resulted in the increase of productivity I sought. Not a magic bullet to get everything done in a day that I want to — it’s only an hour and 20 minutes different from my luxurious 5:30 days — but it helps. I’ll hope to have it to 4AM by Monday. I remember clearly now putting my head down at the kitchen table in Massachusetts and falling asleep at the keyboard.

Of course, the tradeoff is fatigue, decrease in patience with myself and others, a brutally long-feeling day, and things like not being able to find the new toothbrush I left right frickin’ there on the table for myself this morning when I got up. Coffee, as ever, provides the single set of footprints in the sand while carrying me.

I’d be further remiss if I didn’t again note the blow that was the death of Eric Wagner at the week’s outset. The Skull and Trouble have both since commented on his passing, but the level of shock through the heavy underground is a testament to the career and life he led. Why he didn’t get a vaccine before going on tour, I don’t know. Could’ve been politics, could’ve been additional health risks. It doesn’t matter now.

This morning I also found a message on Facebook from July from a kid I went to middle school with that one of our classmates apparently died in 2019 and I never knew. Seems like maybe he killed himself. We didn’t keep in touch or anything after going to different high schools, but he was a nice enough kid at that age. Troubled. Loved golf, which was odd in an eighth grader. But yeah. I’m not sure I’d be justified in grieving the loss since it happened two years ago and I hadn’t spoken to him in about two and a half decades, but it was a bookend to the week that I hadn’t expected. I didn’t really know Eric Wagner either, though we spoke a few times.

That brings to mind how Chris Peters from Fuzz Sagrado/Samsara Blues Experiment wrapped up that interview that went up yesterday. I don’t know that anybody will watch that in its 80-minute entirety (maybe I should learn video editing, but that just seems like something that would take away from time I’d otherwise want to spend writing), but in the last couple minutes, he encouraged anyone watching to speak to more people, to reach out, because it’s so amazing to interact with others. I admit that’s not the kind of advice I’m likely to take. I will rarely initiate conversation with someone I don’t already know. Introverted is a grown-up way of saying shy, but either way. The truth of the matter is that I have always believed that when someone meets me who might not’ve known before, they’ll either be put off by my physical appearance or something I say. It is better, then, to not engage.

Obviously I have never had many friends. Further, among the oh-let’s-say-a-few challenges of parenting is encouraging my son to be outgoing or teaching him how handle simple social interactions to when my own impulses and unconsciously-demonstrated behaviors are so contrary to that. It is not a thing I’m good at.

We’ll throw it on the list that hopefully I’m the only one keeping.

I need to turn in the playlist for the next Gimme Metal show. It’ll be all Eric Wagner. More on that next week, and stay tuned as well for premieres from Old Man Wizard, Embr, Lurcher, Wang Wen and an interview with Sons of Alpha Centauri, whose new LP is out today on Exile on Mainstream.

Today is The Pecan’s last day of summer daycamp. He had a good time. Next week he’s home with me, which is a thing that I’m sorry to say I’ve been dreading in terms of getting work done, but will probably be fine. It’s been 12 and a half years and I haven’t lost the thread yet, so seven business days with the kid won’t kill me, even with The Patient Mrs. back at her office for most of the week as her semester has also started. If I need to work before bed, I can. That would mean less tweeting about Star Trek, but we all have to make sacrifices sometimes.

Whatever your next week brings, I hope you have a great and safe weekend. Hydrate. Have fun. Watch your head. Hug someone who has consented to be hugged. Buy an Obelisk t-shirt. Life is short.


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The Obelisk Questionnaire: Slowpoke

Posted in Questionnaire on August 26th, 2021 by JJ Koczan


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: Ben Chapman-Smith, Cameron Legge & Adam Young of Slowpoke

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

We play kickass, original stomping heavy music. We got there by absorbing a lot of music, practicing and writing and editing.

Describe your first musical memory.

Ben: Attending music class in kindergarten / elementary school.

Cam: Dancing around the house to my Dad’s cassettes while strumming a toy guitar.

Adam: I remember my dad had an acoustic guitar and I wanted so badly to be able to play it, but I couldn’t. That was the beginning of my infatuation with music.

Describe your best musical memory to date.

Ben: This might not be the favourite but it’s near the top. When this girl in high school gave me Appetite for Destruction for the first time. I was immediately obsessed with GNR

Cam: The first punk show that I seen in my hometown of Marystown. Made me realize what I want to do with my life.

Adam: Writing music with my really good friends.

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

Ben: When I left Toronto to pursue music as a career in St. John’s. It tested my belief in whether or not I could actually accomplish this.



Where do you feel artistic progression leads?

Ben: The shorter answer is artistic competency. I guess it depends on how fast you are progressing and what’s driving you. It can be incredibly liberating but can also force you into inhospitable territory. It depends on how you define artistic progression.

Cam: It really depends on what progression is referring to. In a true artistic sense, I think it’s being able to capture human experiences and emotions and putting them into a digestible context that people can relate to. I think the best artists have a way of tapping into us emotionally on a universal level.

Adam: Inward.

How do you define success?

Ben: For me, musically, success is a cross-section of financial sustainability and contributing interesting and genuine ideas.

Cam: Contributing something that didn’t exist before, while sustaining yourself financially.

Adam: Being happy doing what you’re doing.

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

Ben: I once seen a guy taking a dump in a New York subway.

Cam: A coked out guy tried to get in my car while I was parked in a parking garage.

Adam: I saw some pretty awful animal abuse when I was young.

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

Ben: A performance art/free form improvised doom metal odyssey inspired by traditional function of music in a ceremonial context.

Cam: I have always had an interest in film. I would love to be able to totally go out of my comfort zone and attempt to write a script for a horror film.

Adam: I’m with Ben.

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

Ben: To genuinely offer a perspective or to share a specific feeling.

Cam: “To disturb the comfortable and comfort the disturbed” – Cesar A Cruz.

Adam: To hold a mirror up to ourselves.

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

Ben: Getting a new car, no real plans for it but I’m looking forward to it.

Cam: Figuring out the chaos that is my 20s.

Adam: Does building my recording studio count?


Slowpoke, Slowpoke (2021)

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Video Interview: Chris Peters of Samsara Blues Experiment & Fuzz Sagrado

Posted in Bootleg Theater, Features on August 26th, 2021 by JJ Koczan

chris peters fuzz sagrado

This January, Berlin-based heavy psychedelic rockers Samsara Blues Experiment capped a run that began in 2008 with End of Forever (review here), their fifth album. In between its recording during summer 2020 and the release, guitarist, vocalist, occasional-sitarist and principal songwriter Christian Peters had relocated from Germany to Brazil for — what else? — love. Now married and living in a rural area about six hours from Sao Paulo, Peters has unveiled Fuzz Sagrado, a new solo-project the follows years of making largely synth-based explorations on his own under the moniker Surya Kris Peters.

While not necessarily lacking any synthesizer or keyboard elements in themselves — Peters handles drum programming (though the EP credits Slater on drums), Minimoog, Mellotron, Hammond, etc. — the three songs on Fuzz Sagrado‘s Fuzz Sagrado are enough of a departure to warrant being listed as a new outfit, especially since they boast so much more of a traditional ‘rock band’ style, Peters brings bass and guitar forward and, though these songs are instrumental, he’s begun working on vocal melodies and lyrics for subsequent offerings. Rock songs.

fuzz sagrado fuzz sagradoThe motivation for the shift is relatively simple: he’s rediscovered his love of rock and roll, and maybe stepping away from the business side of Samsara Blues Experiment, as well as the big move, has facilitated this. In the extended interview that follows, Peters talks about the end of Samsara Blues Experiment and the beginning of Fuzz Sagrado. He talks about the relationships with his former bandmates bassist/backing vocalist Hans Eiselt and drummer Thomas Vedder — both of whom also have other groups going as well — and how it felt to realize that a band who had toured on four continents and been together for 12 years was coming to an end.

He’s still processing it. It’s still pretty immediate. But it should be noted outright that when Samsara Blues Experiment called it quits they called it an “indefinite hiatus” and Peters‘ attitude is very much never-say-never. End of Forever will see a new pressing early next year, with plans reportedly for a 2LP edition of the band’s 2009 debut, Long-Distance Trip (review here), sometime thereafter. He jokes at one point in the interview about doing a reunion at Roadburn as old men. I would hope to be there for it, provided they let me out of the aged-blogger rest home for the day.

As to future plans, there’s “30 or 40” Fuzz Sagrado songs in one stage or another of recording and you can actually watch the inner debate play out as he thinks about whether or not he’s ready to make an album with the new project. If you want a spoiler, I think it might be another EP or two before we get there.

This interview was an utter pleasure for me. I hope you also enjoy:

Interview w/ Chris Peters of Fuzz Sagrado & Samsara Blues Experiment, Aug. 24, 2021

Fuzz Sagrado‘s self-titled debut EP is on Bandcamp now. Samsara Blues Experiment‘s repress of End of Forever is due early 2022. More info at the links.

Fuzz Sagrado, Fuzz Sagrado (2021)

Samsara Blues Experiment, End of Forever (2021)

Fuzz Sagrado on Facebook

Fuzz Sagrado on Instagram

Fuzz Sagrado on Spotify

Fuzz Sagrado website

Electric Magic Records on Facebook

Electric Magic Records on Bandcamp

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Cavern Deep Finish Recording Second Album

Posted in Whathaveyou on August 19th, 2021 by JJ Koczan

Respect to Umeå, Sweden’s Cavern Deep, who it would seem aren’t wasting any time whatsoever. Less than a month out from releasing their self-titled debut (review here) on Interstellar Smoke, and just two weeks from launching a series of lyric videos for its narratively-constructed tracks, the trio have nonetheless announced their follow-up long-player is recorded. Doom that works at a space rock pace? Sure, that works for me.

Bassist/vocalist Max Malmer posted about this in The Obelisk group on Facebook and noted that it would be a while before it was released — they’re apparently making a video game of some sort to go with; before you ask, yes, I advocated for a classic SNES Final Fantasy-style turn-based battle system; “You spoony bard!” for life — but if the songs are already in the can, how long will it be before they start on a third full-length? They’ve already shown themselves to be the restless type as a unit. Will they have a backlog of material waiting to be released by the end of this year?

And have I ever told you I used to daydream about writing ridiculous RPG plots? Also children’s books. Also Star Trek fanfic. Also poetry. Also pretty much anything. Alas, time.

I digress. To the PR wire:

cavern deep

Doom Metal Act Cavern Deep Are Back In The Studio!

Doom act Cavern Deep has just finished recording their second album. It continues the tale of the archeologist of the first album with 6 crushing new songs. All engineering, mixing and mastering is done DIY, same as the first album. More news to come very soon!

Cavern Deep is a slow, heavy band, founded 2019, by members from Zonaria and Swedish retro riffsters Gudars Skymning.

The debut self-titled album is about one archeologist and his crew of ambitious henchmen and their descent into the cavernous realm below the crust of the earth. Learn about their fate and listen to some heavy, gloomy riffs along their slow path downwards.

Cavern Deep is:
Kenny-Oswald Duvfenberg – Guitars and Vocals
Max Malmer – Bass and Vocals
Dennis Sjödin – Drums, Backup Vocals and Keys


Cavern Deep, Video Series Ch. 1: “Staring Down”

Cavern Deep, Cavern Deep (2021)

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Zahn Stream Self-Titled Debut LP in Full

Posted in audiObelisk, Reviews on August 17th, 2021 by JJ Koczan


Berlin instrumentalists Zahn release their self-titled debut album (review here) this week on Crazysane Records, and of the various outings from the sundry artists one might hear coming from the label, they perhaps best embody a “crazy-sane” ideal. They sound crazy and are, in fact, quite sane. The album begins at a running pace on “Zerrung” — a noise rocking bruiser with airier ambitions in floating guitar — and ends with “Staub” like it’s trying to embody the disjointed nature of something half remembered, and along the way, the core trio of guitarist Felix Gebhard, bassist Chris Breuer and drummer Nic Stockmann follow their whims to the bliss-filled land, voicelessly digging into heavy art rock vibes without the we-went-to-college-for-this posturing that so often accompanies, the sub-two-minute “Schranck” as close to Karma to Burn‘s bullshit-free sensibility (answering back to second cut “Pavian” in that regard) as one might reasonably ask them to come arriving to share midsection placement with the dronemitelectronica “Gyhum” right before.

These contrasts — and more! — can be yours in some temporary and intangible form as the album is streaming in full here. All things are ephemeral anyway, so you might as well take the ride. And it is one, to be sure. The creepy noise that accompanies the forwardZahn Zahn bassline of “Lochsonne Schwarz” and the tweaked-out guitar leads the end of “Aykroyd,” the dreamy atmosphere of “Tseudo” brought to ground through sheer persistence of crash amid hypnotic guitar repetitions. Even at their most ethereal, they are crushers at heart, but as regards first albums and the idea of a band setting themselves up for a sonic progression, the truth of Zahn is that Zahn can go wherever the hell they want from here and you’d have to shrug your shoulders and say, “yeah, makes sense.” Their songs aren’t disorganized any more than they want to be, but they are volatile, and you never quite know when some synth might show up. Or some sax. Or some extra percussion. Or who knows what else. The paths forward are many, and included among them is the refusal to choose a single one. If we were placing bets, that’d be mine.

I won’t be so presumptuous as regards your valuable time as to demand multiple listens outright, but the more you dig into Zahn‘s first full-length, the more you’re likely to find. Given its instrumental nature, it is something you can put on in the background and it won’t try to beat you over the head with hooks or whatever, but if you do that, you’re missing out. I’m not saying you need headphones and a notepad to jot down every chord change or shift in tempo, but the three-piece (and their friends) earn the attention their material warrants.

Please, enjoy. Copious album credits follow the player below:

ORDER LIMITED VINYL AND CD HERE: http://www.crazysanerecords.com/shop

Release Date: August 20, 2021

ZAHN are a new instrumental (noise) rock group consisting of Nic Stockmann (Heads., ex-Eisenvater) Chris Breuer (Heads., ex-The Ocean) and Felix Gebhard (live-Einstürzende Neubauten).

All songs written by ZAHN.

1. Zerrung
2. Pavian
3. Tseudo
4. Gyhum
5. Schranck
6. Lochsonne Schwarz
7. Aykroyd
8. Staub

Electronics on ‘Gyhum‘ and piano on ’Staub’ by Felix Gebhard. Lapsteel Guitar on ‘Tseudo‘ and ‘Aykroyd‘ by Chris Breuer. Additional drums and tambourine on ‘Pavian‘ by Peter Voigtmann. Additional guitars and synthesizers on ‘Pavian’ and ’Staub’ by Fabian Bremer. Additional Guitars on ‘Zerrung’ by Wolfgang Möstl. Synthesizers on ‘Lochsonne Schwarz’ and ‘Tseudo’ by Alexander Hacke. Saxophone on ‘Gyhum‘ and ‘Aykroyd‘ by Sofia Salvo.

Recorded by Peter Voigtmann at Die Mühle Studios in Gyhum, Germany.

Mixed by Dennis Jüngel at Bedroom Eyes Facilities in Berlin-Friedrichshain. Mastered by Philipp Welsing at Original Mastering in Hamburg.

Designed by Fabian Bremer in Leipzig.

Zahn are:
Felix Gebhard: Guitar
Chris Breuer: Bass
Nic Stockmann: Drums

Zahn on Facebook

Zahn on Instagram

Zahn on Bandcamp

Crazysane Records website

Crazysane Records on Facebook

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