Posted in Whathaveyou on October 9th, 2023 by JJ Koczan
I’m late to the party as ever, but Planet Desert Rock Weekend IV — set for Jan. 25-28 as a probably-warmer-than-where-you-are winter getaway in Las Vegas, Nevada — has added more bands to its lineup, including Spaceslug, Beastmaker and Flames of Durga. Curated by Vegas Rock Revolution‘s John Gist, the bill already featured the likes of a Spiralarms reunion, Italy’s Black Elephant, Sasquatch and Freedom Hawk, along with Sun Crow, Borracho and Scorpion Child, Mezzoa and Sonolith. Approached from any angle, this is a rocker’s lineup, and you could probably even do it without feeling like you’re drowning considering the evening starts for each of the four nights. Bonus!
There are more announcements to come as I understand it, and I will expect one about five minutes after this finally gets posted, because that’s just how on top of my game I am.
From social media:
Planet Desert Rock Weekend is ready to unleash the next band for Vegas Rock Revolution’s Planet Desert Rock Weekend IV – January 25-26-27, 2024 in Las Vegas…. It is the mighty Beastmaker! Out of the grave they are back with a vengeance !
Will be cool to have my buddy Trevor William Church back to Vegas for a show and first time with Beastmaker!
In case you hadn’t heard … here is the lineup so far with just two bands left to announce.
PDRW are setup so that you can enjoy your days in Vegas and have curated intimate shows each evening. 3 nights of heavy rock from around the world. Always a friendly crowd and one helluva party! Go alone and immediately will make new friends. Our community is like that!
Posted in Whathaveyou on September 4th, 2023 by JJ Koczan
Planet Desert Rock Weekend IV will take place across three days this coming January in Las Vegas, and if you’re the type to travel, that should be plenty of notice for you to plan your excursion. Assembled by singularly-passionate promoter John Gist of Vegas Rock Revolution, the initial lineup features Sasquatch and Freedom Hawk and Borracho and a Spiralarms reunion and and and and, oh hell you can read it for yourself on the banner.
In all seriousness, it’s a solid bill. Sandveiss are awesome and they and Black Elephant and Mezzoa, Vegas’ own Sonolith are the kind of right on picks one would expect considering the personnel involved in making the thing. I’m not the world’s biggest Scorpion Child fan, but even I know they’re good at what they do and I would imagine they put on a killer show. I guess I felt compelled to mention it since they were the only band I hadn’t talked about yet. Unless I missed someone else. Ha.
Here’s all the info, courtesy of the ol’ social media:
Planet Desert Rock Weekend returns for V4 with a 3 night heavy rock and roll party on January 25-26-27, 2024! After this year’s amazing couple nights, we are excited to bring a new and different lineup w/ some familiar bands from the Vegas Rock Revolution family blended in as always. The unique thing about PDRW is that you have your days to do things in Vegas. Shows start in the early evenings each night and all shows are at one venue each day.
Vegas Rock Revolution is super psyched to have Sasquatch and Freedom Hawk returning to Planet Desert Rock Weekend along with local riffmasters Sonolith!
6 more bands to be announced to finish the lineup. This will be 3 days in Vegas you will not forget.
Posted in Whathaveyou on February 14th, 2023 by JJ Koczan
You had me at Loin Hammer. That’s gotta be one of the best band names I’ve seen in the last couple years, at least. They’re somewhat thrashier than one might expect given the riffy foundations of many of the other bands, but they’re still called Loin Hammer, which is enough to make it an automatic win if you see them live. Imagine being able to say, “yeah, I’ve seen Loin Hammer.” If you’re the type to get a tattoo, that’d be a good one.
You’ll note return appearances from Merlock, Wizzerd, Swamp Ritual and The Gray Goo from last year’s Rocky Mountain Riff Fest. That says to me that in addition to an all-dayer-plus-pre-show-the-night-before, this is also a party and a reunion of friends. Pulling from the Pacific Northwest, the native Montana underground, Las Vegas and beyond, the lineup looks right on for a killer day of up and coming acts.
I looked back at what I said about the 2022 edition, and my impression was largely the same; it’s an intimate enough event that by the time it’s over everybody is going to know everybody. That kind of thing creates a sense of community which sticks as a defining factor as festivals expand — the return performances slated for 2023 are another element in establishing that — and I don’t know if you’ve ever done an image search to see what Kalispell looks like, but if you’re traveling to this one you will probably not regret booking an extra day just to take in some of the surrounding scenery, which is stunning even in Chamber of Commerce photos.
And, as noted, Loin Hammer will be there. So there’s that.
From socials:
Rocky Mountain Riff Fest 2023
April 22 at Old School Records & Eagles, Kalispell, MT
(free pre-party April 21 at Glacier Park VFW Post 2252)
Very pleased to announce the lineup for this year’s edition of Rocky Mountain Riff Fest!
Epic art by @isaacpasswaterillustration
Lineup April 22:
Tigers on Opium Sorcia Sonolith Grail Twin Void Wizzerd Swamp Ritual The Gray Goo Loin Hammer Lacoro
Posted in Questionnaire on January 17th, 2022 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: Adam Sage of Sonolith
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How do you define what you do and how did you come to do it?
First and foremost I’m a bass player. It’s what I love and will continue to be that until I die or my hands fall off, whichever comes first. I’ve never stopped learning and growing on my instrument and I’m truly in love with the feeling I get when I know I’ve done my job properly, both live and in the studio. Admittedly though, I first picked up a bass due to that now age old cliché. When my friends and I started our first band at the age of 12 I played drums… beating on an old Olympic kit from the 50s with a pair of vacuum extensions.
Until another friend joined who was immediately better (and also had real sticks). The other guys: “Sage, all that’s left for you is bass.” Me: “Fine, I’ll do it, ugh.” But something about it felt right immediately and I never looked back. I also have an intense interest in mixing/mastering and have had the privilege of working in that capacity as well as providing basslines for various projects over the last several years.
Describe your first musical memory.
My first musical memory is seeing B.B. King at 5. I don’t remember him actually up on stage playing but I do remember the feeling I got being there… wonder and excitement. I’ve been chasing that dragon ever since.
Describe your best musical memory to date.
This question is tougher than it should be. I have so many “best” memories. The B.B. King experience, playing Psycho fest with Demon Lung (what an amazing feeling of camaraderie that show was), getting a genuine chuckle out of one of my musical heroes when I randomly ran into Geezer Butler and cheesily told him “thanks for the music” and that “I’ve been badly trying to rip your basslines off since I was 10.”
And of course proposing to my wife, whom I called onstage during a show, under the guise of thanking her for all her efforts in helping organize the holiday canned food drive that the concert was highlighting. The show also happened to be at a strip club. Fun times.
When was a time when a firmly held belief was tested?
I find that my personal beliefs are simply just best educated guesses based on all of life’s experiences to date. An invaluable tool when looking at any new subject/challenge. But what do we really know? We know nothing. Right? Mental malleability is the best baseline to operate from and for me accumulated knowledge, coupled with openness, equal personal growth. My beliefs are challenged all the time, and I love it.
Where do you feel artistic progression leads?
This question ties into the last one in that without that openness no artist can ever grow. And hopefully from that something will be created that’s never been heard, seen, or experienced before.
How do you define success?
I usually don’t define success through money… although hey, when that happens, I’ll take it. As long as I know I did the best job I could and everyone is happy then I consider that a success. I’m speaking musically, but that could really be applied to anything.
What is something you have seen that you wish you hadn’t?
Years ago I attended an autopsy for a class while I was on mushrooms…jk, that was awesome. Being involved in pet rescue I’ve seen many beautiful stories and equally horrific ones. I’ll spare the gory details but the depths people will go to neglect and abuse their ‘pets’ is just abhorrent.
Describe something you haven’t created yet that you’d like to create.
I’m going to take the easy way out of this one and jokingly not jokingly say… a mix that I’m 100 percent happy with every time I listen back.
What do you believe is the most essential function of art?
To intrigue, to challenge, to give perspective, to evoke an emotional response, to give a window to someone else’s human experience.
Something non-musical that you’re looking forward to?
My wife was recently diagnosed with breast cancer and we have a tough road ahead of us. But after we finish kicking this disease in its ass I look forward to being out there again traveling and living life together. And of course (sorry to bring music into this question) back to raising hell at shows.
Posted in Reviews on October 1st, 2021 by JJ Koczan
Welcome to Friday. I’m glad to have come this far in the Quarterly Review, and even knowing that there are two days left to go — next Monday and Tuesday, bringing us to a total of 70 for the entire thing — I feel some measure of accomplishment at doing this full week, 10 reviews a day, for the total of 50 we’ll hit after this batch. It has mostly been smooth sailing as regards the writing. It’s the rest of existence that seems intent to derail.
But these are stories for another time. For now, there’s 10 more records to dive into, so you’ll pardon me if I do precisely that.
Quarterly Review #41-50:
Carcass, Torn Arteries
The original progenitors of goregrind return in gleeful fashion with their first full-length since 2013’s Surgical Steel. They’ve toured steadily over the intervening years, and Torn Arteries would seem to arrive timed to a return to the road, though it also follows the 2020 EP, Despicable, so make of that what you will. One way or the other, the 10-track/50-minute offering is at very least everything one could reasonably ask a Carcass record to be in 2021. That’s the least you can say of it. Point of fact, it’s probably much more. Driven by Bill Steer‘s riffs and solos — which would be worth the price of admission alone — as well as the inimitable rasp of bassist Jeff Walker, Carcass sound likewise vital and brutal, delighting in the force of “Kelly’s Meat Emporium” and the unmitigated thrash of “The Scythe’s Remorseless Swing,” while scalpel-slicing their way through “Eleanor Rigor Mortis” and the 10-minute “Flesh Ripping Sonic Torment Limited,” which, yes, starts out with acoustic guitar. Because of course it does. After serving as pioneers of extreme metal, Carcass need to prove nothing, but they do anyway. And bonus! Per Wiberg shows up for a guest spot.
Some concerned citizen needs to file assault charges against Copenhagen crushers LLNN for the sheer violence wrought on their third full-length, Unmaker. Comprised of 10 songs all with single-word titles, the Pelagic Records release uses synth and tonal ultra-heft of guitar and bass to retell Blade Runner but starring Godzilla across 39 minutes. Okay so maybe that’s not what the lyrics are about, but you’d never know it from the harsh screams that pervade most of the outing — guitarist Christian Bonnesen has a rare ability to make extreme vocals sound emotional; his performance here puts the record on another level — which renders words largely indecipherable. Still, it is their combination of whiplash-headbang-inducing, bludgeoning-like-machines-hitting-each-other, air-moving weight and keyboard-driven explorations evocative enough that LLNN are releasing them on their own as a companion-piece that makes Unmaker the complete, enveloping work it is.
I’m not sure it’s fair to call something that was apparently recorded five years ago forward thinking, but Smiling‘s melding of post-punk urgency, violin flourish, the odd bit of riot-style aggression, psychedelia and poppy melodic quirk in varying degrees and at various points throughout the debut album, Devour, is that anyway. Fronted by guitarist/songwriter Annie Shaw, Smiling makes a cut like even the two-minute “Other Lives” feel dynamic in its build toward a swelling-rumble finish, immediately shifting into the dreamier psych-buzz of “Forgetful Sam” and the melancholy-in-the-sunshine “Do What You Want.” Yeah, it goes like that. It also goes like the rager title-track though, so watch out. The earlier “Lighthouse” swings like Dandy Warhols, but the closing trilogy of “FPS,” “Take Your Time” and “Duvall Gardens” — also the three longest songs included — showcase a more experimentalist side, adding context and depth to the proceedings. So yeah, forward thinking. Time is all made up anyway.
The track itself, “Flood,” runs all of three minutes and 18 seconds, and I do mean it runs. The Taunton, UK, four-piece of guitarist/vocalists Charlie Dowzell and Tim Kazer, bassist/harsh-vocalist Kynan Scott and drummer Tom Coles offer it as a standalone piece and the track earns that level of respect with its controlled careening, the shouted verses giving way to a memorable clean-sung chorus with zero sense of trickery or pretense in its intention. That is to say, “Flood” wants to get stuck in your head and it will probably do precisely that. Also included in the two-songer digital outing — that’s Flood, the release, as opposed to “Flood,” the song — is “Flood (Young Bros Remix),” which extends the piece to 4:43 and reimagines it as more sinister, semi-industrial fare, but even in doing so and doing it well, it can’t quite get away from the rhythm of that hook. Some things are just inescapable.
Austin’s Holy Death Trio have the distinction of being the first band signed as part of the collaboration between Ripple Music and Rob “Blasko” Nicholson (bassist for Ozzy Osbourne, etc.), and Introducing…, the three-piece’s debut, is enough of a party to answer any questions why. Gritty, Motörheadular riffs permeate from post-intro leadoff “White Betty” — also some Ram Jam there, I guess — underscored by Sabbathian semi-doomers like “Black Wave” and the near-grim psychedelia of closer “Witch Doctor” while totaling an ultra-manageable 33 minutes primed toward audience engagement in a “wow I bet this is a lot of fun live” kind of way. It would not seem to be a coincidence that the centerpiece of the tracklist is called “Get Down,” as the bulk of what surrounds seems to be a call to do precisely that, and if the bluesy shuffle of that track doesn’t get the job done, something else is almost bound to.
Having put Samsara Blues Experiment to rest following the release earlier this year of the swansong End of Forever (review here), relocated-to-Brazil guitarist/vocalist Christian Peters (interview here) debuts the instrumental solo-project Fuzz Sagrado with a three-song self-titled EP, handling all instruments himself including drum programming. “Duck Dharma,” “Two Face” and “Pato’s Blues” take on a style not entirely separate from his former outfit, but feel stripped down in more than just the lack of singing, bringing together a more concise vision of heavy psychedelic rock, further distinguished by the use of Mellotron, Minimoog and Hammond alongside the guitar, bass and drum sounds, complementing the boogie in “Pato’s Blues” even as it surges into its final minute. Where Peters will ultimately take the project remains to be seen, but he’s got his own label to put it out and reportedly a glut of material to work with, so right on.
It’s 10PM, do you know where your head is? Wolves in Haze might. The Gothenburg-based three-piece of vocalist/guitarist Manne Olander, guitarist Olle Hansson and drummer/bassist/co-producer Kalle Lilja set about removing that very thing with their second record, Chaos Reigns, working at Welfare Sounds with Lilja and Per Stålberg at the helm in a seeming homage to Sunlight Studios as reinvented in a heavy rock context. Still, “In Fire” and “The Night Stalker” are plainly sinister in their riffs — the latter turning to a chorus and back into a gallop in a way that reminds pointedly of At the Gates, never mind the vocals that follow — and “Into the Grave” is as much bite as bark. They’re not without letup, as “Mr. Destroyer” explores moodier atmospherics, but even the lumbering finish of the title-track that ends the album is violent in intent. They call it Chaos Reigns, but they know exactly what the fuck they’re doing.
They work a bit of NWOBHM guitar harmony into the solos on “Rehash” and “At Wit’s End,” and the centerpiece “Interlude” is a willful play toward strum-and-whistle Morricone-ism, but for the most part, Louisville’s Shi are hell-bent on destructive sludge, with the rasp of guitarist Bael — joined in the effort by guitarist Jayce, bassist Zach and drummer Tyler — setting a Weedeater-style impression early on “Best Laid Plans” and letting the rest unfold as it will, with “Lawn Care for Adults” and “We’ll Bang, OK?” and the chugging fuckery of the title-track sticking largely to the course the riffs lay out. They make it mean, which is exactly the way it should be made, and even the sub-two-minute “Trough Guzzler” finds its way into a nasty-as-hell mire. Sludge heads will want to take note. Anyone else will probably wonder what smells like rotting.
Oh, that’s just disgusting. Come on now. Be reasonable, Churchburn. This third LP from the Providence, Rhode Island, extremists brings them into alignment with Translation Loss Records and though it’s just five songs — plus the intro “Toll of Annihilation” — and 33 minutes long, that’s plenty of time for guitarist/vocalist Dave Suzuki and company to pull you down a hole of blistering, vitriolic terrors. Where does the death end and the doom begin? Who gives a shit? Suzuki, bassist/vocalist Derek Muniz, guitarist Timmy St. Amour and drummer Ray McCaffrey take a duly mournful respite with “Unmendable Absence,” but after that, the onslaught of “Scarred” and the finale “Sin of Angels” — with Incantation‘s John McEntee sitting in on vocals — is monstrous and stupefyingly heavy. You’ll be too busy picking up teeth to worry about where the lines of one microgenre ends and another begins.
Have riffs, will plod. Voidscapes, the three-song second EP from Las Vegas’ Sonolith lets the listener know quickly where it’s coming from, speaking a language (without actually speaking, mind you) that tells tales of amplifier and tonal worship, the act of rolling a massive groove like that central to nine-minute opener “Deep Space Leviathan” as much about the trance induced in the band as the nod resultant for the listener. Close your eyes, follow it out. They complement with the shorter “Pyrrhic Victory,” which moves from a subdued and spacey opening line into post-High on Fire chug and gallop, effectively layering solos over the midsection and final payoff, and “Star Worshipers,” which slows down again and howls out its lead to touch on Electric Wizard without being so overt about it. At about three minutes in, Sonolith kick the tempo a bit, but it’s the more languid groove that wins the day, and the concluding sample about traveling the universe could hardly be more appropriate. Asks nothing, delivers 21 minutes of riffs. If I ever complain about that, I’m done.
Posted in Radio on September 17th, 2021 by JJ Koczan
I try really hard not to make these shows suck. I do. And I think I’m mostly successful in that endeavor, but I tried extra hard this time. With my voice tracks as well as the playlist, which is almost entirely new music apart from the Orange Goblin and Mars Red Sky songs. I wanted to put a little life in my voice and I hope I managed to do so. I know last ep was a special consideration, with the death of Eric Wagner and all, but I’m not trying to be the most softspoken guy on Gimme Metal or anything. I just want to play music that isn’t necessarily aggro all the time. I’m actually pretty excited generally about doing so.
Tried to show that a little bit more. Nobody said anything to me about it or anything. I highly doubt anyone gives a crap. As long as I’m not doing like three-song shows with no voiceovers, Gimme seems content enough to let me do me. But just for myself, I wanted to hopefully convey a little bit of how much I enjoy talking about and sharing music. That’s the point of the whole thing.
Thanks for listening if you do and/or reading. I hope you enjoy.
The Obelisk Show airs 5PM Eastern today on the Gimme app or at: http://gimmemetal.com
Full playlist:
The Obelisk Show – 09.17.21
Crystal Spiders
Septix
Morieris
Canyyn
Crush Your Bones
Canyyn
Orange Goblin
Cities of Frost
Healing Through Fire
VT
Sonolith
Star Worshipers
Voidscapes
ASTRO CONstruct
Hand Against the Solar Winds
Tales of Cosmic Journeys
Slowshine
Living Light
Living Light
EMBR
Born
1021
Vokonis
Null & Void
Null & Void
VT
Floored Faces
Shoot the Ground
Kool Hangs
Carcaňo
Riding Space Elephants
By Order of the Green Goddess
Malady
Dyadi
Ainavihantaa
River Flows Reverse
Final Run
When River Flows Reverse
Gondhawa
Raba Dishka
Käampâla
Mars Red Sky
Crazy Hearth
The Task Eternal
Terminus
The Falcon
The Silent Bell Toll
Djiin
Black Circus
Meandering Soul
VT
Negură Bunget
Brad
Zau
The Obelisk Show on Gimme Metal airs every Friday 5PM Eastern, with replays Sunday at 7PM Eastern. Next new episode is Oct. 1 (subject to change). Thanks for listening if you do.
