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: Elina Willener and Kieran Mortimer-Jones of Carson

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

Kieran Mortimer-Jones: I attempt to recreate feelings and emotions musically and deliver them in such a way that the same emotions are felt within the listener.

Elina Willener: I play rock music and I think I got that from my father. He makes music himself and to him I owe my love for guitar music.

Describe your first musical memory.

Kieran: I remember being kicked out of the recorder group lessons in primary school because I was playing all the songs way too fast. That’s when it was suggested to me that I learn the clarinet, as it was a much more challenging instrument to play.

Elina: At home in our living room listening to Mani Matter (one of the greatest Swiss singer-songwriters, who unfortunately died much too early). I have always loved his music, although at that time I did not understand the lyricism and great meaning of his lyrics, of course.

Describe your best musical memory to date.

Kieran: I remember one Christmas when I was about 14 and my father bought me my first electric guitar and amp. That was an amazing feeling, opening those boxes, holding it my hands and making a lot of noise. Being able to recreate the sounds and riffs of the bands I was listening to was mind blowing. I guess realizing that it wasn’t some magic trick, and that I could learn to do it too.

Elina: There are too many to name just one, but every time on stage with Carson is a highlight for me.

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

Kieran: That day is yet to come.

Elina: I also have nothing to say about this yet.

Where do you feel artistic progression leads?

Kieran: I feel it leads to wherever you want it to take you. You can progress artistically but still feel you haven’t gone anywhere. You can RE-gress and someone else might say you have developed. Art is always subjective as the consumer is ever changing, you never have the same audience twice and one man’s rubbish is another man’s gold.

Elina: Any creative progression is about discovering something new within ourselves and taking that something out into the world so that others can experience and enjoy it.

How do you define success?

Kieran: I would define success by being able to support myself and my family with income generated by my art. Simply because it allows you to do what you love, everyday.

But on a deeper level, I think success would be finally finding happiness and peace within myself. The search for contentment is long and tiring.

Elina: To be able to do what I love to do, to make my passion my profession, or at least partially.

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

Kieran: The development and consummation of the ‘Smart Phone’. No one has any peace anymore. No one looks out the window at the real world. No one can bear five minutes of listening to their own thoughts. Distract yourself from yourself with consumerism.

Elina: The ignorance that certain people still have when it comes to our environment. That makes me sad.

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

Kieran: I would like to build my own house. From start to finish, like my old man did. Something my family and I could be proud of.

Elina: Living from music.

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

Kieran: Enjoyment. To distract the audience from themselves and their regretful lives. To stir emotion in people in a way that suprises them. To connect with people.

Elina: Broadening of horizons, innovation and provocation.

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

Kieran: The demise and inevitable end of humanity.

Elina: Good answer, I can only agree with that.

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Carson, The Willful Pursuit of Ignorance (2022)

Swedish heavy rockers turned metallers Deville have finished recording their next album for release on Sixteentimes Music. Back in December, they released the single “Speaking in Tongues” (posted here) and “Hanged, Drawn & Quartered” — am I crazy in thinking that’s a kind of cheeky poke at High on Fire‘s “Hung, Drawn & Quartered?” or am I the only one in the universe who thinks that kind of grammatical callout exists? — and said they were headed to the studio, so because it’s now still March in my brain, their being finished sounds about right. Wait, what?

Guitarist/vocalist Andy Bengstsson and company grew even more aggressive on 2018’s Pigs With Gods (review here), and they’re certainly not letting up here, so one expects the album will be a likewise push. Although, neither “Hanged, Drawn & Quartered” nor “Speaking in Tongues” are going to be on said record, which means that once it’s announced Deville will still have the chance to, if it’s in their plan anyhow, offer up singles from the album too. The lesson: Bands: record everything. Deville end up with like nine months’ worth of material to keep their name out there ahead of an album release and it’s two extra tracks. Brilliant.

From the PR wire:

DEVILLE – Hanged, Drawn & Quartered

During the writing sessions for our new album out later this year (yes it is recorded and ready!) we decided to release some singles that will not be on the album. This is the second single and it is a heavy one called “Hanged, Drawn and Quartered”. Click on the pre-save button in the link and you will have it the second it is out on the 20th of May!

https://sixteentimes.com/hanged-drawn-and-quartered/

Deville:
Andreas Bengtsson – Vocals, Guitars
Michael Ödegården– Drums
Andreas Wulkan – Lead Guitar,Vocals
Martin Nobel – Bass

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Sweden’s Deville will enter the studio to record their sixth album in January. Their fifth LP, Pigs With Gods (review here), was released through Fuzzorama in 2018, and going by the new single it would seem that the band’s course toward more aggressive fare is proceeding apace, driven by chunkier riffing and harder-edged rhythms. It’s a departure from where they started out, certainly, but you if you were to listen to their records in order, you can make sense from where they were to where they are, and a consistency of songwriting is at their core, now as ever.

I assume “Speaking in Tongues” will be on the next record, and I was also thinking this version of it, but I guess with the main recording to take place in the coming weeks, anything is possible. Sixteentimes Music will have the new release.

From the PR wire:

DEVILLE New single out!

We will enter the studio in January next year and record our sixth studio album. It will once again be recorded in Sunnanå Studios and will be engineered by Tobias Ekqvist. Mixing will be taken care of by Richard Larsson (Soilwork etc). It will be released fall 2022 through Sixteentimes Music and a European tour will follow. #sixteentimesmusic #sixtm

When it all came together in 2004 Deville was born after some years of searching. Through a haze of rock, metal and stoner the members have found a way to do something that feels…
The line-up was complete when Åkesson came back from Australia and Hambitzer gave up soulless pop and joined the duo, Andy and Markus. Since the 2004 line-up there have been over 400 gigs and festivals in all over Europe and in the U.S and joined bands on tours like Red Fang, Torche, Mustasch and Truckfighters among other great acts.

It all started when Daredevil Records released a double feature cd lp with Deville at the end of 2005.Deville later signed to Buzzville Records in 2007 and the first full length album with material recorded during the period -06 and -07 “Come Heavy Sleep” was released in Europe and the US in the beginning of 2008. “Hail the Black Sky” followed in june 2009 again through Buzzville in Europe and in the US and the touring in Europe continued.

During 2011 and 2012 the album “Hydra” was created and Jan Persson joined the forces on guitar when Martin left after recording the album.This new album was the most intense and elborate so far and received great reviews. In march 2013 “Hydra” was released on Small Stone Records. During the summer Andreas Wulkan (Death Ray Boot etc.) replaced Janne on lead guitar.

Touring continued through 2013 and 2014 in the US and Europe. The work on a new record began and the album “Make It Belong To Us” was recorded summer 2015 again at Sunnanå Studios and produced and mixed by drummer Markus Nilsson. It became a more progressive and metal influenced record but still with the significant hooks and melodies that the band is known for.Released in November 2015 on swedish label Fuzzorama Records.

In 2016 Markus Nilsson and Markus Åkesson decided to leave the band and the new lineup, announced in august, was complete with Martin Nobel on bass, known from bands as Bad Barber, and Martin Fässberg on drums, known from Quit your dayjob, Suma a.o.

Deville are:
Andreas Bengtsson – Vocals, Guitars
Michael Ödegården– Drums
Andreas Wulkan – Lead Guitar,Vocals
Martin Nobel – Bass

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Swiss post-metallers Echolot are getting ready to release their third album, Destrudo, on Oct. 2 through Sixteentimes Music, and they give a substantial glimpse at its sprawling atmospheric base in the new single “Frozen Dead Star.” At nearly 10 minutes long, the track unfolds with a slow, doomly rollout and harsh, biting screams à la Thou before adding melodic singing to the mix and at about three minutes in turning to a guitar part that feels built off of what Neurosis were doing in the midsection of “Reach,” which closed their most recent LP, Fires Within Fires. Echolot manipulate this figure and join it soon enough to post-Amenra barely-there vocal fragility, passing the song’s halfway point with echoing melody and an underlying tension of drums that eases the transition back to heft when the time comes for it to inevitably be made.

Effective and airy lead guitar takes hold in squibbly fashion over the resurgent roll, marked by a fluid-sounding wash of crash cymbal — the bassline beneath it all is a treasure all too buried on my speakers; I suspect a different system would feature it more prominently — and the guitar line that has made itself central returns in heavier fashion before “Frozen Dead Star,” approaching its final minute, unleashes a deathly growl and more intense and insistent progression. Echoing, black metal-style screaming caps the proceedings with final lumbering, and the song fades out feeling something like an album on its own with the linear but cohesive course it follows. I don’t know what the rest of Destrudo might have on offer, but with “Frozen Dead Star” the Basel three-piece successfully execute the precise control and cerebral crush for which Euro post-metal is known. It is the work of a band who know what the fuck they’re doing.

The accompanying video has some band shots interspersed as part of its duly ambient presentation, and you can find it premiering below.

Please enjoy:

Echolot, “Frozen Dead Star” official video premiere

ECHOLOT new Album ‘DESTRUDO’ is out on October 2!

New single FROZEN DEAD STAR by ECHOLOT

Echolot – Frozen Dead Star (Official Video)
Recording by Jeroen Van Vulpen
Mix by Simon Jameson
Music by Echolot
Camera: Roberto Machulio
Designe: Renata Matellini
Effects: Raul Mate
Cut: Rafaela Matteo
Coloring: Renault Mattisimo

Echolot are:
Lukas Fürer – Guitar
Renato Matteucci – Bass
Jonathan Schmidli – Drums

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https://soundcloud.com/sixteentimes/sets/the-wooden-house-session-sons-of-morpheus/s-8DjKZ

[Click play above to stream Sons of Morpheus’ The Wooden House Session in its entirety. It’s out Feb. 22 on Sixteentimes Music.]

It happened, as one might imagine, in a wooden house. The proverbial cottage in the forest, to which a band withdraws to remove themselves from the distractions of real life, society, obligations of employment and/or family, and all the rest of everything that’s not making music, in order to trap themselves into a creative mindset. In the case of Swiss trio Sons of Morpheus, The Wooden House Session is the second release they’ve been able to cull from undertaking this experience early in 2018 — the first was a split with Berlin’s Samavayo dubbed The Fuzz Charger Split (discussed here) that came out last May — and its six-track/33-minute run speaks to both the intimacy and the urgency of the experience, as the band self-recorded and effectively captured a live feel in so doing. Part of what let them do that might be owed to the fact that Schüxenhaus Ins, where they tracked, is also a venue hosting shows.

So maybe it’s not so much the getting-lost-on-purpose impulse as it was they found a cool spot and dug the surrounding way-out vibe, but either way, as guitarist/vocalist Manuel Bissig, bassist Lukas Kurmann (who also mixed) and drummer Rudy Kink embark on The Wooden House Session, they nonetheless play to the narrative of working to get out of their own heads as a collective and pursue something truly special as a band — to discover who they are. That may be what The Wooden House Session does, and if it is, fair enough. It’s their third album behind 2017’s engaging Nemesis and their 2014 self-titled debut, and so a kind of natural maturing point five years on from their first record, and with a somewhat rawer tone in the guitar and bass, they’re able to bring a grunge sensibility to tracks like “Loner” and “Nowhere to Go” in a way that the slicker production of Nemesis likely wouldn’t. Dirtying up their sound works in their favor.

That’s shown quickly as the introductory “Doomed Cowboy” melds together the Western-style imagery of the album’s artwork with the foreboding atmosphere and the dense tonality toward which its title hints. In the span of a little more than three minutes, its effective wash of crash cymbals becomes surrounded by siren guitars and full-on noise assault as a sludgy march takes hold and deconstructs to abrasive feedback and noise. It’s nasty, but it’s supposed to be, and it doesn’t last long before Kurmann‘s bass starts the bounce of “Loner,” which gets under way with more scorching lead lines from Bissig, swinging drums from Kink, and the album’s first vocal lines. Those familiar with the band will already know the primacy of Queens of the Stone Age as an influence in Bissig‘s vocals and in some of the style of riffing.

It’s less true on The Wooden House Session than it was on Nemesis, and whether that’s owed to the circumstances of the recording or just a general result of having toured more and worked to develop a more individual approach, it suits him and the band as a whole. “Loner” plays back and forth between restrained verses and a let-loose hook, but grows spacious in its back half, with a solo taking hold over broad-sounding echoes, and a concluding bluesy lick that speaks of some of the ground later to be covered on the extended closer “Slave (Never Ending Version).” Before they get there, “Paranoid Reptiloid” digs into my personal all-time favorite conspiracy theory, which is that of the lizard people secretly running the earth and using humans as food and fuel — otherwise known as capitalism — amid another right on hook and a more extended instrumental break that gets suitably freaked out for the subject matter, held to earth somewhat by the punctuation of a cowbell amid the barrage of crash, but still churning in a way that Sons of Morpheus haven’t yet showed on The Wooden House Session. They draw it back to the chorus deftly at the end, underlining that their priority is songcraft, which again, holds true until the finale.

The fuzz on “Nowhere to Go” is particularly satisfying, and arrives in surges of volume that answer multi-layered vocal lines with a fervent sense of strut before the track turns to its more fully-toned midsection and a rousing melodic ending. The Wooden House Session, very subtly, has been toying with structure all along, and it continues to do so with “Nowhere to Go,” but especially with the push in the second half, it’s arguably the most switched-on summary of the album’s appeal. They back it with the shorter, catchy “Sphere,” which serves as a penultimate moment of straightforward push before “Slave (Never Ending Version)” takes hold. It’s arguably the most Songs for the Deaf that Sons of Morpheus get, but by the time they’re there, the context of what surrounds is enough to still make it their own. And that’s only more true when one considers “Slave (Never Ending Version)” behind it. A shorter edit of the track appeared on The Fuzz Charger Split, but the full spread of it here tops 13 minutes and becomes a defining moment for The Wooden House Session, fluidly turning from the verse/chorus trades of its early going to a free-sounding exploration that makes its way farther and farther out as it goes.

They ride the central riff and the chorus progression for a while, then over time let it d/evolve into its own space, the change happening right around the nine-minute mark as Sons of Morpheus make it clear that no, they’re not coming back this time. The last few minutes of “Slave (Never Ending Version)” are given to building a jam up to a considerable wash of noise and then letting it end naturally, and as they do, they highlight not only a strength they haven’t yet really shown on the album — i.e. for jamming — but further capture the atmosphere and narrative of The Wooden House Session‘s making. This organic sensibility has been at root in the material all along, but “Slave (Never Ending Version)” brings it forward in such a way as to make it the perfect capstone for the release and the listening experience. Their titling the album after where/how it was made would seem to hint to it being something of a one-off outside the normal album cycle. If that’s the case or not, there are valuable lessons for the band to learn from its construction, and one hopes those carry into whatever it might be they do next.

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Next time you’re looking at a pair of cartoon tits on an album cover with a cowskull instead of a woman’s face or some shit, remember the artwork for Samavayo and Sons of Morpheus‘ The Fuzz Charger Split, because that is how a stoner rock album cover is fucking done. I’m not saying every record needs to have a muscle car out front, but you want to speak directly to your audience? This does it better than all that pointless pseudo-ritualistic misogyny anyday. Looks like something straight out of 2002. Kudos to the bands and to Sixteentimes Music for putting it together.

Even better? The rest of the car is on back. I fucking love this genre.

Six tracks kicked off by the immediate momentum build of Samavayo‘s “Rollin'” and running through the dug-in desert fuzz and anchoring bassline of Sons of Morpheus‘ “Slave,” you don’t lose. You only win. Whole thing is 31 minutes well spent.

PR wire background follows, including the preorder link. You’ll want that:

Samavayo and Sons of Morpheus – The Fuzz Charger Split

Date: 18th of May 2018
Via: Digital and 12” Vinyl
Label: Sixteentimes Music
KatNo.: SIXT020

Preorder here: https://bit.ly/2ITQb2t

All three band members of Samayo grew up in East-Berlin, in the neighbourhoods Lichtenberg and Friedrichshain. As a 10 year old kid, singer Behrang Alavi fled as a political refugee from his home country of Iran to Berlin, Germany. The brothers Andreas and Stephan Voland grew up in the GDR (East-Germany) in East-Berlin.
After the fall of the Berlin Wall, the city was open, letting in cultural influences from any foreign country.

The capital city became a multi-cultural melting pot where a singer from Teheran and two brothers from Berlin started making music. More than 500 live shows in Europe and overseas followed, including gigs in Brazil, Albania, Greece, Croatia and France. They also played at one of the most well-known European Stoner Rock festivals “Stoned from the Underground.”

Before Sons of Morpheus were able to tour across Europe (f.e. with Karma to Burn and Kamchatka) and playing shows in 17 countries including USA, a simple feeling gave birth to everything: The need to crank up an amplifier and doing some good-shit rock music. Fuck the world! And that’s exactly what made singer/guitarist Manuel Bissig start conquering stages in Switzerland by the name of “Rozbub” (Swiss-German for “brat”). Everything followed the call, it was loud, nasty and raw – and immediately everyone could see, hear and feel: This “brat” knows exactly what he’s doing.

No surprise that 2013 released debut “S’esch ziit” climbed the Swiss iTunes-charts right away. In no time Sons of Morpheus played shows in the rock-republic of California and recorded for two weeks in Tucson AZ with Producer Jim Waters. That thriving spring in 2014 gave birth to new material and as a result a debut-album simply called “Sons of Morpheus” was about to be released. The band’s call for the following year 2016 was clear: To go back to rehearsal, write new material and get it recorded. Listening to “Nemesis,” Sons of Morpheus appear gloomier yet explosive.

Tracklist:
A01 Rollin – Samavayo
A02 Chopper – Samavayo
A03 Justify – Samavayo
B01 Dark Shadows – Sons of Morpheus
B02 Money – Sons of Morpheus
B03 Slave – Sons of Morpheus

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Samavayo, “Cross the Line” official video

Sons of Morpheus, “Monotone” official video

[Click play above to stream the premiere of Outsideinside’s ‘Pretty Things.’ Their album, Sniff a Hot Rock, is out Sept. 29 on Machine Age Records in the US and Sixteentimes Music in Europe.]

Outsideinside aren’t three seconds into opening track ‘Pretty Things’ before the handclaps have started, drummer Panfilo DiCenzo is on the bell of his ride cymbal and the boogie has begun that will continue in earnest through just about the entirety of their debut album, Sniff a Hot Rock. Only fair they should get down to business on the quick, since the Pittsburgh four-piece give themselves a pretty high standard to live up to in taking their moniker from one of the greatest and most pivotal heavy rock records of all time — Blue Cheer‘s 1968 sophomore LP — in addition to boasting guitarist/vocalist Dave Wheeler and bassist Jim Wilson in the lineup, both formerly of Tee Pee Records heavy classic rockers Carousel.

Released through Machine Age Records and Sixteentimes Music, the eight-track/35-minute LP dig into early AC/DC vibes on cuts like “Can’t Say Nothin'” and blend that raw sense of songcraft with echoing-solo psychedelic flourish — James Hart joined the band on guitar and backing vocals earlier in 2017, though I’m not sure if he actually features on the recording alongside Wheeler — but the core of Outsideinside‘s approach lies in the playin’-in-a-rock-and-roll-band attitude of hook-out-front pieces like the aforementioned leadoff “Pretty Things,” “Shot Me Down,” “Empty Room” and closer “Say Yeah,” and while the easy narrative might make it seem like Outsideinside are a brand new band formed in the wake of Carousel‘s untimely collapse, the truth is they’ve been kicking around Pittsburgh’s dinged-out bars since before The New York Times declared doing so was cool; having released a split in 2013 with Old Head in 2013 via Machine Age that featured the track “Misled,” which also appears here.

Accordingly, much of this material, while energetically performed in a clear move to bring out a live-sounding vibe — and effectively done, whether it’s the fuzzy/bluesy turns of “Can’t Say Nothin'” or the forward crotchal thrust of “Say Yeah” — would also seem to have the benefit of having been worked on for a while. Where it ultimately triumphs, however, is in not being overwritten as a result of that, but instead pared down to its most basic and classic-sounding elements. As he was in Carousel, Wheeler is a key presence in Outsideinside. He takes forward position early and does not relinquish for the duration, adopting the role of self-effacing storyteller on “Shot Me Down” with an underlying, winking swagger that makes even lines like, “She said ‘Keep on walkin’ son that don’t impress me none’/And she shot me down,” in the first chorus come across in good humor. Likewise, the subsequent “Empty Room” is what it sounds like: a tale of playing to small, unappreciative crowds. This lyrical perspective adds charm to the rhythmic strut that’s so much at the center of Outsideinside‘s writing, from the start-stop of “Pretty Things” to the brazen solo that takes charge of the second half of instrumental “Eating Bread” before “Ten Years” and “Say Yeah” cap side B, and Sniff a Hot Rock benefits greatly from that added sense of personality.

In conjunction with the tightness of the Cactus-style creeping bassline in “Misled” and the writing overall, Wheeler‘s frontman presence becomes a part of a subtle efficiency and professionalism that Outsideinside are in no rush to advertise — truth is doing so would take away from both the grandness and the funkness of their aesthetic — but which underscores the whole of Sniff a Hot Rock just the same. It might be their first record, in other words, but dudes know what they’re doing. They signal it early and often, and some of the record’s greatest success lies in balancing that with the outright fun of their boogie as it shines through on the shuffling “Empty Room,” Wilson‘s choice bass work on “Can’t Say Nothin'” and the brash finish in the one-two punch of “Ten Years” and “Say Yeah.”

As they shift from side A’s catchy landmarks in “Pretty Thing,” “Shot Me Down,” “Empty Room” and “Misled” into the more dug-in rhythm of “Can’t Say Nothin'” and “Eating Bread,” Outsideinside continue to proffer good-times vibes in classic form, their sound organic in presentation as well as structure without necessarily being overly vintage in its production. Heavy ’10s more than heavy ’70s, though of course the roots of the one lie in the other. Still, it’s worth highlighting that while the material they bring to bear throughout Sniff a Hot Rock feels as though it’s had the benefit of being worked on, hammered out, and brought to its most essential aspects, there’s a freshness at the core of Outsideinside that still speaks to this as being their first album. The difference is it’s natural without being haphazard where many others might be, and if that comes from Wheeler and Wilson‘s past work together in Carousel or from Outsideinside simply playing shows and recording for a few years before settling into the studio to track this material, so be it.

One way or the other, the end result is a palpable, two-sided, full-LP flow that signals the arrival of Outsideinside perhaps in picking up a bit where Carousel left off, but also establishing their own course in modernizing classic boogie rock with a vitality of their own and a level of songwriting that’s already plenty sure of itself even if “Shot Me Down” or “Empty Room” might tell you otherwise. It’s no coincidence they end with “Say Yeah.” The closer is a direct address to their audience and finds Wheeler as bandleader calling out for an audience interaction in a way that one very much imagines could end a live set as well, building in the finish as he encourages the “crowd” (i.e. the listener) to say yeah. Obviously in the context of the record itself, should one choose to respond, it’s not like he’s going to hear it, but if you’ve got the song on and you find you’re tempted to do so, it’s certainly understandable.

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Machine Age Records website

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