It’s an enticing idea, Al Cisneros and David Eugene Edwards working together, but if you’re thinking it’s gonna sound like Sleep with the dude from 16 Horsepower playing banjo and “Strawfoot”-crooning over it, that’s probably not what their collaborative EP is going to be. Mind you I wouldn’t actually know that, as I haven’t heard it, but Cisneros has been sporadically working on solo dub tracks under his own name — his latest two-songer, Suicide of Judas / Akeldama, was pressed as a 7″ in 2023 — for over a decade now, and Edwards‘ 2023 solo album, Hyacinth (review here), brought moody modernism to his roots-based songwriting.

As to what combining those two might sound like, it could be Edwards on a Cisneros track, Cisneros on an Edwards track, both, neither, or some combination of the two. In other words I’ve got no idea. But whatever it is, I’m sure some people will moan about it and some people will say it’s the best thing ever, because both parties involved are known enough to have fans and such is the nature of fandom as we’ve all learned from the internet. For realsies, you wouldn’t say either of these parties was lacking for creativity, so the thought of having them collaborate, however it actually turns out, is exciting. And by the way, I’m slagging neither Edwards‘ solo record nor Cisneros‘ dub excursions. Both are rad as well and artistic exploration is a good thing and the world could use more of it.

There’s no audio yet — and that’s not actually unreasonable; with just two songs there isn’t a ton to go around — but preorders are up for the 10″ from Drag City and fortunately neither Cisneros nor Edwards are lacking for a back catalog for you to dive into in the meanwhile. April 25 is the release date, like the headline says.

From social media:

Announcing Pillar of Fire / Capernaum, the first collaboration between Al Cisneros (OM, Sleep) and David Eugene Edwards (Wovenhand, 16 Horsepower), out on April 25th.

Pre-order the 10” now: lnk.to/pillaroffire

Tracklisting:
1. Pillar of Fire 4:24
2. Capernaum 5:17

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https://davideugeneedwards.bandcamp.com/
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David Eugene Edwards, Hyacinth (2023)

Al Cisneros, Suicide of Judas / Akeldama (2022)

This video of “Sonic Titan” is from October 2019, five years ago. That puts it on the tail end of Sleep‘s live activity as they wound down the band headed into the woefully well-timed early-2020 hiatus — because if you’re gonna take a break from touring and let Al Cisneros, Matt Pike and Jason Roeder go about their other bands, business, and lives, when the entire world is about to spend a year at home is (sadly) a good time to do it — and it was filmed at Melkweg, in Amsterdam, presumably by ‘Amsterdam Metal Scene,’ which is the YouTube account that posted it. The last time I saw the band, who remain one of stoner metal’s most crucial, influential and righteous acts — if they were playing tonight, you’d both know about it and want to go — was at Roadburn 2019, also coincidentally in the Netherlands.

They played two sets (review here and here), and their being there was a victory lap for the reunion Pike and Cisneros had begun a decade earlier, bringing Roeder (also Neurosis, Helen Money, etc.) in to fill the drummer role originally held by Chris Hakius, as well as a celebration of the studio album The Sciences (discussed here, review here), which came out in 2018 as the band’s first release in about 15 years. It was a big deal, and a strong association in my mind with the course of the band. Is it sheer happenstance that Sleep took a break and the entire world once again went to shit? History will tell. Or, more likely, not.

The merits of “Sonic Titan” likely speak for themselves, and I’m not claiming to have unearthed anything landmark here, it’s just a video of Sleep killing it as they did. Riding his own groove, Cisneros is animated in what was a highlight of The Sciences — I mean, it wasn’t “Giza Butler,” but it was up there — and had been issued as a live bonus track for the 2003 Tee Pee Records version of Dopesmoker (discussed here), some five years after they originally disbanded. You could easily do worse for a wakeup call on a Saturday morning, and while I could sit and expound at length — this week someone whose opinions I respect called The Obelisk, ‘Doom’s Home for Longform,’ which made me feel both extra-fancy like peanuts and longwinded — about Sleep‘s legacy, impact on heavy underground everything, and the riffs, riffs, riffs, in the spirit of it being the weekend, I’ll catch the next one. It’s Saturday morning. Shouldn’t we be watching cartoons right now?

Sleep have made a couple appearances since the hiatus, and I assume they’ll do more sooner or later, but as Matt Pike continues to barnstorm with High on Fire, he’s well spoken for time-wise. This year, Cisneros has appeared on the Triptych series of releases from former Neurosis guitarist/vocalist Steve Von Till‘s Harvestman project. Since Neurosis collapsed in 2022, I’m honestly not sure what Roeder‘s been up to due to a minimal social media presence. Fair enough.

—

Yesterday was The Pecan’s birthday. She’s seven. It was a very Zelda-centered celebration. The Patient Mrs. and I went to her school to read about space, and my mother painted her a black hole with the accretion disk and radiation jets, bought her new pillows and bedsheets with space on them, but most of her presents from us were Zelda merch. That includes a couple new books to read, Creating a Champion and the strategy guide to Twilight Princess, which we haven’t played (yet) but is cool looking and will be fun to read about I’m sure. I hid the presents around the house (plus one on the back yard trampoline) and gave her a paper with Zelda-style clues to find them like sacred relics. My mother did that a few times for me when I was a kid, but it was clues in poems. I always loved it and The Pecan did too.

Last week we had the big party with kids from her class and Girl Scouts, the bounce house and the whole bit. It was about 50 people at the house, but the weather was good so everyone was outside and it was cool. She had a good time. A breeze blew out her candles and that was a hiccup, but we worked it out. It was a great day.

But between that, the rush to get everything done yesterday before school and Scouts were over, and the Quarterly Review that consumed the site for more than two weeks prior, I didn’t want to let it go any further without properly closing out a week, even if that happens like this. There is precedent, but the last time I did a Saturday Sleep-In was 2015, so if you don’t remember, no sweat. I generally don’t post on the weekend, save for exceptional circumstances.

I’ve also been sick since early this past week, an unfortunate and way-too-soon follow-up to a cold I had a couple weeks ago, and harsher. Tuesday and Wednesday I was just about completely on my ass, and The Patient Mrs. had a multi-day school board thing in Atlantic City, so I was solo-parenting too. It was a difficult, draining few days and I haven’t slept much for the coughing, fever, soreness, sinus pressure, congestion, fatigue, on and on. The good news is the last couple days, Thursday, Friday, today, were better, but even yesterday my energy was pretty shortlived. I had to sit down for a minute a few times hiding those presents. Easily worth it, but not the otherwise norm.

But I’m on the mend, even if it’s slow going.

Next week, look out for a Vokonis review, and a look at some new stuff from the universe of Dr. Space, a full album stream for Deaf Lizard and such and sundry around all that. I hope you have a great and safe rest of the weekend, and I’ll catch you back here Monday for more of this ongoing apparently-longform nonsense. Thanks for reading.

FRM.

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What a day to be alive was April 20, 2018, when Sleep released The Sciences (review here). Five years ago as of next week. Their first studio album since they unveiled the complete Dopesmoker (discussed here) in 2003 and some nine years since their reunion first got underway with a couple sets at the curated All Tomorrow’s Parties fest playing their by-then-the-stuff-of-legend 1992 album, Sleep’s Holy Mountain (reissue review here), in its entirety. And they just dropped it. No fanfare, no advance notice. It wasn’t there and then it was. Like a Beyoncé or Taylor Swift record. Brilliant.

They had released the standalone single “The Clarity” (review here) in 2014, so it wasn’t the first new music from the trio of bassist/vocalist Al Cisneros, guitarist Matt Pike and drummer Jason Roeder — who had entire other careers going anyway in Om, High on Fire and Neurosis, respectively — but if it was ever going to happen, they were due after years of steady touring, fest appearances, a generation’s worth of influence on acts working almost entirely in their wake, and so on. The release was an event. All the more so because the record didn’t suck.

Self-produced with engineering and mixing by Noah Landis (Neurosis), The Sciences runs a statistically significant six songs and 53 minutes. Captured as a 2LP, it makes side-consuming highlights of its three longer tracks — “Sonic Titan” (12:27), “Antarcticans Thawed” (14:23) and “Giza Butler” (10:03); ordered on CD with the latter two switched — while bookending with the three-minute feedback titular intro “The Sciences” before the bong-hit-and-go beginning of “Marijuanaut’s Theme” (6:40) announces the actual start of the record, and “The Botanist” closes with a duly bombed jam, languid in its unfolding, topped with a ripper solo from Pike as one would hope, and brought to a deceptively gentle finish of drums and feedback.

Between one end and the other, Sleep lived up to and arguably surpassed the impossible expectations of what a new album from them could be. Dug into a stonerized mythology of lyrics that connected “Sonic Titan” (which had been around as a live track since Dopesmoker) to “Holy Mountain” and “Giza Butler” to signature pieces like “Dragonaut” and “Dopesmoker” — to which it seemed to be a direct sequel and a worthy one in its riff — The Sciences unfurled as slab-massive and addled, a hybrid-strain culmination of Pike‘s sativa energy and the mellow indica of Cisneros‘ vocal storytelling and proclamations of weed-worshiping brilliance like, “through Iommosphere chutes deploy capsule splash down on the T-H-sea/To raft/Row the hash oil leagues to shoreline,” from “Marijuanaut’s Theme” set to the only nod that could contain them in Roeder‘s rollout.

A triumph, then, by virtue of its existence as well as its substance. “Sonic Titan” is more riff than lyric, but picks up from the end of “Marijuanaut’s Theme” with a declarative purpose just the same and is hypnotic enough in its first five minutes before the bass introduces the verse line that when the vocals start the feeling of arrival is palpable. “Look onto Zion, though it can’t be seen/Man on the moon cannot help me see,” are the words, and they’re plenty since the focus is the lumbering riff that coincides and carries through the rest of the song, changing at around nine minutes in to give a bounce that serves well under Pike‘s solo and feels like a precursor to “Giza Butler” to come, while giving justification to what had only been a live bonus cut on the 2003 Dopesmoker CD before that.

Similarly, “Antarcticans Thawed” had been around for years by the time it showed up on The Sciences, played at shows and spread through various live clips and bootlegs. Again I’ll note that the vinyl puts it ahead of “Giza Butler,” which suits both its forward shove and the way its massive midsection builds on “Sonic Titan,” the jam-ish noise that ends establishing it that much more as its own side. That positioning is important because it also gives “Giza Butler” its due as the culmination of the album, which it very much is, stoned and drawn out at the start, most-righteous in its riff, Sabbath worthy in its putting-it-plainly payoff: “Marijuana is his light and his salvation” with a march that feels like they’ve been saving it for just such an occasion. Between the pterodactyl flying again and the CBDeacon, the shopping cart chariot and the Iommic Pentecost, the lyrics seem to answer “Dopesmoker”‘s exaltation to drop out of life with bong in hand by making the real world — guy living under a bridge getting high — no less epic than the ‘rifftual’ put on display by Pike, Cisneros and Roeder throughout. It is the full-bore manifestation of stoner metal glory. The apex. The communion. The tree that is also both the root and the leaf.

And then, because they’re Sleep and they can, they tack on “The Botanist” as a kind of half-song epilogue jam, to underscore the screw-it-let’s-get-high proselytizing by living it. Fair enough. The band would continue to tour throughout 2018 and 2019, and Third Man Records, which issued The Science, offered the complementary single “Leagues Beneath” (review here) in 2018 and the sprawling 4LP Live at Third Man Records (review here) in 2019. They ended that year by announcing they’d enter ‘Hypersleep’ —  a till-whenever hiatus — in Jan. 2020. This of course would turn out to be well timed to everyone’s everything also taking a hiatus, not that they planned it that way.

The last couple years have found Cisneros continuing solo work in a dub vein for Drag City amid persistent-over-a-span-of-years rumors of a new Om full-length, Pike launching his Pike vs. the Automaton project and currently making a new High on Fire record, and Roeder largely quiet as Neurosis came apart last year, though really what is there to say. Sleep haven’t been completely absent, however, and the specter of another round of touring is never really gone, even five years after The Sciences first splashed down on the listeners who didn’t know they were waiting for it. I don’t think they’ll thud another record like that anytime soon, but it’s kind of comforting not to know that for sure. Universe of infinite possibility, etc.

Seemed like an anniversary worth marking. As always, I hope you enjoy. Thanks for reading.

—

Ah jeez.

Thanks if you’ve kept up with the Quarterly Review thus far. Thanks if you read that thing about Gimme Metal. Thanks in general. As you might guess, it’s been kind of an up and down week.

But I’ve said what I wanted to say about it and the rest is nothing new. Life shit. I’ll spend later today continuing to work on QR stuff for Monday and then later next week review Fuzz Sagrado, Black Moon Circle and Dozer, because I’m stupid and don’t believe in days off.

I hope you have a great and safe weekend. Don’t forget to drink water. Watch your head. If it’s nice where you are, enjoy the weather. I spent a decent portion of time outside this week for a dude who also spends so much time staring at a laptop screen. You do what you gotta, on all levels.

FRM.

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Good show. Good tracks. Two Acid King songs to start, new stuff from Nebula, Sasquatch, Obiat, Torpedo Torpedo, Les Nadie — with whose debut album I am enthralled; review next week — Chat Pile, Brujas del Sol, Cities of Mars, Freedom Hawk (also reviewing next week). Classics from YOB, The Devin Townsend Band, Yawning Man, Kyuss, Sleep. New classic, anyhow, from the latter and a live cut from Yawning Man that’s gorgeously immersive to end out before the bonus track Freedom Hawk closes. I don’t know how much sense it makes on paper, but it flows well.

I don’t really have a theme here other than “make a good show.” I wanted to mix it up with stuff people might know and not, hopefully keep listeners hooked. Even 89 episodes of The Obelisk Show, I still a little bit live in fear that at some point Gimme Metal is going to be like, “You’re weird, you play weird shit, you never turn your playlists in on time and you suck at this,” and give me the axe. It’s happened to me on radio before (ask me about that some time; glorious story), but hasn’t happened yet here. Still, a nod to accessibility isn’t the worst idea once every 90 shows or so.

Thanks if you listen and thanks for reading.

The Obelisk Show airs 5PM Eastern today on the Gimme app or at: http://gimmemetal.com.

Full playlist:

The Obelisk Show – 07.22.22 (VT = voice track)

The Obelisk Show on Gimme Metal airs every Friday 5PM Eastern, with replays Sunday at 7PM Eastern. Next new episode is Aug. 5 (subject to change). Thanks for listening if you do.

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Though not unheard of, Matt Pike side-projects don’t happen all the time. It’s been more than a decade since he fronted Kalas on the side from High on Fire, and in the years since, splitting duty with High on Fire and Sleep has no doubt been enough, so Pike vs. the Automaton, which released its self-titled debut (review here) earlier this year on MNRK Heavy (formerly eOne), is something of an outlier. I don’t know how much touring Pike and company will ultimately do for the project, and that record’s enough of a brainscrew that I’d be curious to check it out live. I’m not trying to sell you on a show or anything — dude needs my promotion not in the slightest — but if you go or don’t, this isn’t necessarily a ‘they’ll be back’ kind of situation.

Food for thought. There’s elements in Pike vs. the Automaton that draw from all sides of his approach and then some from what he’s shown to-date. I wonder what that would be like blasting at you from a stage at full volume. Torrential, maybe.

From the PR wire:

Matt Pike Announces First Live Shows Supporting Debut Solo LP ‘Pike vs. the Automaton’

From rewriting the hard rock rulebook with his Grammy award-winning trio, High on Fire, to reverse engineering doom metal with his genre-defining trio Sleep, Matt Pike has channeled his natural talents and chiseled a steely path straight to the heart of modern-day metal’s molten core. Pike’s debut solo LP, ‘Pike vs. the Automaton’, was released on February 18 via MNRK Heavy. Music, merch and more is available at PikeVstheAutomaton.com.

Matt Pike announces the very first live shows with his solo band, which includes drummer Jon Reid, bassist Chad “Chief” Hartgrave, guitarist Chris Evans (Lord Dying), and “possible special guests”. The group has booked live dates in Seattle (May 5), Tacoma, WA (May 6), Port Angeles, WA (May 7) and Portland, OR (May 8) with additional live performances expected to be detailed soon.

On the topic of the first “Automaton” shows, Pike bellows, “Who’s ready to be crushed by sound?!? Rehearsals for our inaugural shows have been deafening! We are primed and ready to deliver and destroy! See you soon!”

‘Pike vs. the Automaton’ live dates:

May 5 Seattle, WA Barhouse
May 6 Tacoma, WA Plaid Pig
May 7 Port Angeles, WA Devil’s Lunchbox
May 8 Portland, OR High Water Mark

https://www.facebook.com/Pike-Vs-The-Automaton-100879172572641
http://PikeVstheAutomaton.com
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Pike vs. the Automaton, Pike vs. the Automaton (2022)

This was fun. I asked the other day on the ol’ social medias for requests and wound up getting a whole playlist’s worth. It was a genuine surprise, but hell’s bells, there’s some good stuff here, and as I’m normally so focused on trying to fit as much new music as humanly possible into the two hours, the chance to revisit some oldies but goodies from Saint Vitus, Sleep, Mos Generator, and Throttlerod was great, not to mention the chance to shine light on new stuff from Steak, Weedevil, Kurokuma and Lark’s Tongue, the latter of which, I admit, was my own request.

I included the names in the playlist so I could do oldschool radio-style shout-outs, which was fun in the voice breaks, and I appreciated the chance to hear stuff I wouldn’t have otherwise, like Wallowing or Buñuel, the latter whose new album is out today on Profound Lore and is pretty wild heavy stuff. Maybe I’ll do this kind of thing from time to time. Next show I might just load up on psych tunes and let it ride. Ha.

If you listen, or you see these words, thanks.

The Obelisk Show airs 5PM Eastern today on the Gimme app or at: http://gimmemetal.com.

Full playlist:

The Obelisk Show – 02.18.22

The Obelisk Show on Gimme Metal airs every Friday 5PM Eastern, with replays Sunday at 7PM Eastern. Next new episode is March 4 (subject to change). Thanks for listening if you do.

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As one might expect, High on Fire frontman and Sleep guitarist Matt Pike is keeping good company on his forthcoming debut solo release, Pike vs. the Automaton. The newly announced record — really, the press release just came in — follows Pike‘s illustrated book of lyrics and the announcement that Sleep will return for at least a few shows next year. This, plus awaited word of the next High on Fire LP adds up to one busy heavy icon.

And Pike is that, make no mistake. As much as anyone could be without having actually been in Black Sabbath, he’s an influence on generations of acts across a range of styles. High on Fire earned that Grammy. Needless to say, this is anticipated.

I could go on, but here’s this from the PR wire:

High on Fire’s Matt Pike to Release Debut Solo LP, ‘Pike vs. the Automaton’, February 18, 2022

Iconic Heavy Metal Guitarist, Frontman Unleashes Diverse, Skyscraping Album Constructed during COVID-19 Pandemic; New Video “Alien Slut Mum”

From rewriting the hard rock rulebook with his Grammy award-winning trio, High on Fire, to reverse engineering doom metal with his genre-defining trio Sleep, Matt Pike has channeled his natural talents and chiseled a steely path straight to the heart of modern-day metal’s molten core. On February 18, Pike will release his debut solo LP, ‘Pike vs. the Automaton’, via MNRK Heavy. Pre-orders are live at PikeVstheAutomaton.com.

Born out of the challenges brought on by a worldwide pandemic, birthed under hellish red-orange skies bred from rampaging west coast wildfires, and built amidst the yearlong political riots and rallies in Portland, OR, Pike’s solo debut, ‘Pike vs. the Automaton’, is both a musical and emotional release. The record was written by Pike with drummer Jon Reid, features contributions from a slew of family and friends, and was recorded with longtime conspirator Billy Anderson, the producer who brought the best out of Pike previously on touchstone titles such as ‘Surrounded by Thieves’ and ‘Sleep’s Holy Mountain’.

“I was just going bonkers during the pandemic. It was like really, truly miserable. And then all the riots here in Portland and all the political shit. I was trapped in my garage, which was the only place I could go and jam and do anything,” confesses Pike. “I was trapped in there ’cause I couldn’t go jam with High on Fire, I couldn’t do this, I couldn’t do that, no one could fly. I was going crazy. My friend Jon Reid, who was the original drummer for Lord Dying, had moved to Portland and was babysitting my dog, Crom, and he was drumming for my wife’s band, so he had his drums already set up at my place. I finally said, “Dude, do you want to come over and just start jamming? So, I just started this thing with my friend Jon. I was like, “Dude, fuck it. Let’s start a side band and we’ll just demo this and act like we’re starting it as teenagers, you know?”

‘Pike vs. the Automaton’ is advanced by the bizarrely titled track “Alien Slut Mum”.

When asked for comment on the clip, Pike cryptically replies, “Four friends enter the woods, for a getaway, little did they know they would never return! Dogmen, Sasquach, Reptilians, or alien slut mum?!?! Where have they gone??” Feast your eyes on “Alien Slut Mum” at this location.

“Necessity is the mother of invention” is a well-known proverb that has proven itself true time and time again. When the need for something becomes imperative, you are forced to find ways of getting or achieving it. In this true story, the need for Pike was to create and play music with others at a time when that lifelong love was seemingly out of reach. Guest musicians on ‘Pike vs. the Automaton’ include Alyssa Maucere-Pike (Lord Dying / Grigax), Chad “Chief” Hartgrave, Brent Hinds (Mastodon), Steve McPeeks (West End Motel), Josh Greene (El Cerdo), Todd Burdette (Tragedy), and High on Fire’s Jeff Matz, who lays down Turkish electric saz on the album’s towering closing track “Leaving the Wars of Woe”.

‘Pike vs. the Automaton’ track listing:

1.) Abusive
2.) Throat Cobra
3.) Trapped In A Midcave
4.) Epoxia
5.) Land
6.) Alien Slut Mum
7.) Apollyon
8.) Acid Test Zone
9.) Latin American Geological Formation
10.) Leaving The Wars Of Woe

The album title, ‘Pike vs. the Automaton’, wasn’t an ego thing for me,” says Pike. “Billy and Jon said, “Dude, you should use your name in this. This is your solo project.” I said, “I don’t want to do that”. The Automaton, in Greek mythology, is the big robot that’s the guardian of the Gods, basically. It’s a soulless, big machine named Talos. The big machine that’s working against mankind at this moment. In ‘Jason and the Argonauts’, Jason and the Argonauts have to battle this big machine guy that protects the island. Basically, what the album title is saying, metaphorically, is ‘Pike against the World.'”

“I made a psychedelic rock record that Sleep and High on Fire fans would like,” Pike continues when asked for a CliffsNotes description of ‘Pike vs. the Automaton’. “And maybe if you’re not a Sleep or High on Fire fan, you might like it too. I definitely think it’s interesting; it has D-Beat punk, two-step. It’s got everything and it still works together, it doesn’t sound odd. It’s just an off-the-wall psychedelic rock record.”

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Matt Pike, “Alien Slut Mum” official video

Kudos to Sleep on deciding to take the right two years off. The Sabbathian heirs announced their indefinite hiatus — they made it fun by calling it ‘Hypersleep’ — in November 2019, and, well, if you’ve been alive in the time since, you know how well the world has fared without them.

Their return for three shows next April — two in Colorado, one in New Mexico — is only welcome. No idea what it’ll lead to in terms of touring or anything — Matt Pike has a book of his lyrics coming out and I think High on Fire are due to release an album — but what the hell, three dates are better than none.

The band’s latest album, The Sciences (review here), as well as the companion single “Leagues Beneath” (discussed here), were released in 2018, and followed by the encompassing 3LP live outing, Live at Third Man Records (review here), the next year. The live record(s) was a fitting capper to a run that began with shows a decade earlier that introduced Sleep, long thought of as gone forever as their mythos grew in the digital/social media age, to an entirely new generation of fans. It seemed time had done precious little to dull their impact, and with Neurosis‘ Jason Roeder stepping in on drums alongside Pike‘s guitar and the bass and vocals of Al Cisneros — whose impact with Om in the interim years isn’t to be understated — they had a unifying factor around which to rally the varied on-stage personae between the two founding members.

In a live setting and on The Sciences — not to forget the may-it-be-perpetually-reissued 2014 single, “The Clarity” (review here) — Sleep both justified and added to their legend. May they continue to do so for as long as they find it vaguely interesting and/or lucrative:

Hello Denver, Colorado Springs and Albuquerque. We will be seeing you soon in 2022. Tickets on sale Friday 10/29 at 9a PST/10a MST. Praise Iommi.

Sleep are:
Al Cisneros
Matt Pike
Jason Roeder

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