Posted in Whathaveyou on December 4th, 2023 by JJ Koczan
You knew there were going to be a ton of Norwegian bands. Honestly, why have a Desertfest Oslo if you’re not going to celebrate the host country’s generational boom of native acts? The Devil and the Almighty Blues — who just rule live; they’re so good — lead the Norse charge here, but Saint Karloff, Superlynx, Suncraft, Karavan and Håndgemeng have been brought on as well. These join the previously-announced ranks of Kadavar and Monolord, the Brant Bjork Trio and Acid King, Bismarck and Full Earth and so on as the lineup begins to take shape for the inaugural Scandinavian edition of Desertfest.
They say there’s more to come, and I believe it. Desertfest Oslo 2024 is May 10 and 11. If you can get there, I’m not sure why you wouldn’t. I’ve been keeping up both with the Desertfest Oslo socials as much as possible as well as those of the Oslo fall fest Høstsabbat, whose behind-the-scenes team are at least in-part involved here.
Oh yeah and Eyehategod are playing. There is that little detail. Ha.
To wit:
DESERTFEST OSLO- New band announcement!
Norway has so much talent on offer these days, it would be anything but fair to exclude our own horde of bands on the first Desertfest Oslo.
We are super proud to announce the return of the Tired Old Dogs in The Devil And The Almighty Blues to our domestic live scene. This bunch of legends haven’t played Oslo since 2019, and we simply can’t wait to see their blues-laden excellence on stage again.
The other Norwegian acts following this announcement are all extraordinary examples of the diversity found in our bursting scene:
Karavan bring the filth, Håndgemeng bring the party, Saint Karloff bring the groove and Superlynx bring the laidback jams while Suncraft bring the energy.
Highly recommended every single one of them.
BUT – let’s not forget!
EYEHATEGOD is coming
This true force of nature is bringing their NOLA sludge overseas, and all the way to Oslo next spring.
EHG will leave no mind untouched, or unblown for that matter.
[Click play above to stream Superlynx’s 4 10 in its entirety. Album is out tomorrow on Argonauta Records.]
It’s been a productive few years from Oslo’s Superlynx. Their third album, 2021’s Electric Temple (review here), was followed-up by that December’s Solstice EP (review here), and last year, vocalist Pia Isaksen released the first full-length from her solo-project Pia Isa. It was announced this Spring they’d signed to Argonauta Records for their fourth album, the numerically-titled 4 10 and the eight-song/45-minute collection also features the first appearance of guitarist Espen Krøll alongside Isaksen, guitarist Daniel Bakken and drummer Ole Teigen, and it is marked by a languid overarching flow between the tracks, songs like “Sphinx” and “Heavier Than Me” on side A spacious in their presentation with atmosphere high on a list of priorities with sonic heft and melody. There are deeper aspects of grunge underlying some of the riffs, doom to be had throughout, but the real tell of 4 10 is in opener “Cycle.”
It is among the shorter cuts at 4:27 — the longest is presumed side B opener “Nothing to Everything” at 7:42; anagram numbers are fun — and has a mellow heavy crux with a slow, steady roll for which “Heavier Than Me” offers structural reinforcement, fleshing out the sense of mood that begins in “Cycle” and spans the record’s entirety, and is no less encompassing in this than the breadth of echoing reaches of “Into the Sun” in the final moments. Superlynx have always touched on psychedelia, and the additional guitar lets them do so on 4 10 with according flexibility as they reportedly shifted their process toward emphasizing the jams at root in their songwriting.
Indeed, it’s relatively easy to imagine the now-four-piece Superlynx in a rehearsal space, happening on the fluidity of riff that would soon enough become “The Unknown” at the finish of side A or the swaying semi-twang of the penultimate “Under its Spell,” which with a few pulls notes here and there evokes heavy Westernism as well as the garage doom of Uncle Acid and maybe even a bit of Graveyard‘s drawn blues as a near-drone backdrop for Isaksen‘s vocals. It doesn’t sound like an planned progression, something brought in by one of the members for the others to add their parts; it sounds like it came together, together, with all of them in the room. Organic is the word, and “Under its Spell” moves in much the same way, oozing naturally forward as the guitar becomes more prominent, grabs the front portion of the mix for a soulful lead after five minutes in, begins to draw it down from there.
They don’t mirror each other exactly — if I’ve got the vinyl structure right at all, that is — but “The Unknown” capping side A and “Under its Spell” would seem to have more in common than a titular prefix. Each later on its respective side, with “Into the Sun” backing the latter as the closer, and each offers some relative uptick in its delivery, whether it’s the vocals assuming a more intense cadence around three minutes into “The Unknown” or that howling guitar in “Under its Spell.” These little flourishes aren’t a ton on their own, but with the intricacy of melody in “Cycle,” the dual-vocals and sweep in the second half of “Nothing to Everything,” the still-somehow-morose shimmer of “Into the Sun” as it plays out its six and a half minutes, they and others like them add up, and 4 10 derives a facet of its persona as a record from them. Even with their songs rooted in jams, it seems Superlynx are prone to build something from out of them rather than directly port their improv sessions onto a platter — not that there’s anything wrong with that.
“Away,” which is the actual shortest cut at 3:28, precedes the closing duo and has a sudden stop before its held-chug verse begins, and is molten in its flow in kind with much of what surrounds, but arriving between “Nothing to Everything” and “Under its Spell” as it does, it has a secondary function of keeping momentum rolling from one extended piece to the next, and its hairy jangle of guitar is the foundation on which it rests to do so. Lyrics are semi-spoken at first, but “Away” is more than an interlude, and demonstrates how Superlynx are able to tie distinct pieces together in tone and style such that the continuity of 4 10, once laid out, holds through the finish.
In this way, the album is best experienced as a front to back listen, but individual tracks like “Cycle,” “The Unknown” and “Under its Spell” represent well the scope of floating vocals and outstretched guitar, nuanced composition interpreted through brooding psychedelia, weighted tonally in the guitars — remember there are two now! — and emotionally through Isaksen‘s voice, which rests easily in the verses and choruses as the organic approach of the band seems to extend to leaving space for vocals by rote rather than trying to adjust riffs around lyrics later.
That may or may not be how Superlynx actually function, but the complete statement of 4 10 is about who they are as a band, and they portray themselves with a rampant maturity. That’s not a dogwhistle for that they’re somehow staid creatively or they’ve stopped growing — they aren’t and haven’t — but it does mean they know what they’re doing in a way that, when their debut LVX came out in 2016 just three years after they’d formed, wouldn’t have been possible. The growth facilitated in their live work and their experience in the studio and as songwriters, it’s all right in these songs, right unto a little bit of hope in the early going of “Into the Sun” amid the pervasive melancholia, including that process of building upward — from “Nothing to Everything,” as the song puts it — in embracing the open feel of the jam without giving up the core of craft around it.
Whatever else they are, the tracks on 4 10 — there are four in the band now; they’ve been around for 10 years — are, they are the most realized representation to-date of Superlynx‘s methods, and the balance in them of meter and melody, ambience and impact, aren’t to be understated. They have carved out a place for themselves, stylistically, and now set about refining it as their own.
Posted in Whathaveyou on August 7th, 2023 by JJ Koczan
Why 4 10? Am I crazy to think of number-title albums as somewhat aberrant? Is it crazier to think that’s what Oslo’s Superlynx might’ve been going for in naming their upcoming album as they did? Well, there’s four of them now and it’s the 10th anniversary of the band, so it’s not at all without reasoning behind it — even though the record itself was made as a trio — and if you want an efficient capsule of what’s up with Superlynx lately, you’re probably not going to find one using fewer characters. I don’t have much experience to speak from, but I hear good things about brevity.
The first single from 4 10 is the opener “Into the Sun,” and you can see the video for it at the bottom of this post, suitably atmospheric with undulating waves and such. I haven’t heard the full record yet — they’ll release it Sept. 9, which is before Oct. 4, or 04/10 if you write it Euro-style — but there’s about two months to go before it’s out, so I’m not complaining. But from what I’m hearing in the new song, it sounds like an expansion on 2021’s Electric Temple (review here), which is about what I’d hope for. Not like they’re coming into the record not knowing who they are.
Argonauta sent the following down the PR wire:
Norwegian Psychedelic Doomsters SUPERLYNX Reveal Full Album Details; “4 10” Out In September
Norway-based Psychedelic Doomsters SUPERLYNX celebrate their 10th anniversary by releasing new music, a new additional member and the return to stage. The band recently teased their new journey with the single “Into the Sun”, which is “a song suited for closing your eyes and drifting away” says the band.
The new album is entitled “4 10” and it is written and played by the original trio Pia, Ole and Daniel as usual, but since the recording the band has expanded by including additional guitarist Espen Krøll. He will join the band on stage from now on for an even fuller live sound.
“Jamming has always been important to us in addition to songwriting”. Superlynx says “This time all the music on the album was created through jamming sessions where the music that came out lead the way and turned into these songs. The entire album was recorded in the rehearsal space where we started out a decade ago, by our drummer Ole Teigen / Crowtown Recordings. The focus on 4 10 is imagination, dreams, connection and an open view. Today we further explore fuzzed out heavy psych, improvisation and the depths of dreams and surrealism”.
When Superlynx is asked about musical influences the answer is something like “the sum of all the different music we all listen to and are inspired by, be it doom, drone, psych, shoegaze, desert rock, grunge, metal, old blues, jazz, 60/70s rock”.
The members have a lot of music in common but also different influences. It is all a part of them, and something that naturally affects their own style of playing. Superlynx follows no rules except what sounds and feels right, and lets the music lead their way.
Posted in Whathaveyou on June 16th, 2023 by JJ Koczan
We don’t even get the title of the new Superlynx album yet, let alone the release date — guessing September based on ‘early Autumn’ below — but we do find out that the Norwegian former-trio are now a four-piece with the addition of second guitarist Espen Krøll alongside vocalist/bassist Pia Isaksen, guitarist Daniel Bakken, and drummer Ole Teigen and there’s the reveal of the first single from the impending long-player called “Into the Sun,” which is delightfully headfirst-dive-in immersive in its post-doom wash and hypnotic melody. There’s a video for the song at the bottom of the post. If you skip from here, I won’t argue.
If you’re still here, thanks. Superlynx were announced last month as signing to Argonauta for their next full-length, so this news is part of a campaign already in progress, but that’s just fine. The band’s next album will follow behind 2021’s Solstice EP (review here) and be their fourth overall and first for Argonauta, though the Italian label also issued Isaksen‘s solo album under the Pia Isa moniker, 2022’s Distorted Chants (review here). Their last record was 2021’s Electric Temple (review here), which pushed deeper into the kinds of atmospherics that “Into the Sun” seems to present with stately patience. I’m looking forward to this album, if you couldn’t tell. I dig the band. You might also if you get the chance to check them out.
And with that, we turn it over to the PR wire and its magically blue text:
Norwegian Psych Heavy Rockers SUPERLYNX Release Single and Video of the New Song “Into the Sun”
After their recent signing with Italian label ARGONAUTA Records, Norway-based Psychedelic Doomsters SUPERLYNX release the first song from their forthcoming album, expected by early Autumn and whose details will follow in the next weeks.
The new song “Into the Sun” sees the band digging into their most introspective and ethereal twist.
“Into the Sun is one of the first songs that came out of our first jams for the new album, and it actually turned out very close to the initial jam. We feel it is a mellow and quite uplifting song, just diving into a feelgood vibe. It is about letting go and enjoying the moment, through an escape from your troubles and to your favourite space whatever that is, and allowing yourself to just be here and now.” Superlynx say.
“Pia who wrote the words comes from an island and has a deep connection to the sea, to beaches and the sun and the words are written from that perspective. But whatever is one´s favorite place or escape – sometimes you just have to let things be, zone out and have a good time. To us this is definitely a song suited for closing your eyes and drifting away.”
SUPERLYNX exceeds genres with their distinct sound and melts heavy psychedelic rock, doom, meditative atmospheres and droning riffs together. In 2023 Superlynx will celebrate their 10th anniversary as a band with releasing new music, a new additional live member and returning to the stage.
Indeed, the new album is written and played by the original trio Pia, Ole and Daniel as usual, but since the recording the band has expanded by including additional guitarist Espen Krøll. He will join the band on stage from now on for an even fuller live sound.
«We are super happy to have Espen in the band. He is a lovely person and guitarist and fits right in. We really look forward to hitting the stage with him» the band says.
Did you know? The name Superlynx is inspired by the big, beautiful, shy and rare, yet hunted cat living in northern areas – the Lynx. The band wanted to have a link to nature and the animal realm in their name, and it represents both a natural force, and the massive, heavy and rough but also fragile in their music. The Lynx also has its name from lux – meaning light – because of its super luminous eyes, and light is a constant focus for Superlynx even in their darker music.
Posted in Whathaveyou on May 3rd, 2023 by JJ Koczan
Last heard from with late-2021’s Solstice EP (review here), Oslo-based heavy melodic downer rockers Superlynx have signed on to release their next — also their fourth, somehow; where does the time go? — full-length through Italian imprint Argonauta Records as part of that label’s ever-expanding lineup. Solstice, 2021’s Electric Temple (review here) and 2019’s New Moon (review here) came out via Dark Essence Records (their 2016 debut LP, LVX, was self-released), so this marks the beginning of a new era for the three-piece, whose vocalist Pia Isaksen preceded the band in working with Argonauta for her 2022 solo album under the moniker Pia Isa, Distorted Chants (review here).
I guess that went well enough, or Superlynx probably wouldn’t be making the announcement below, which the algorithm — no blessings and peace upon it; tear down the algorithm — happened to put before me on social media amid the generally much less useful social slop of people’s pets dying, random cleavage and tour dates I’ve already posted. Think of it as a modern equivalent to being in the right place at the right time without actually going anywhere or doing anything. In fact, let’s not talk about social media consumption. This is a happy post.
Instead, let’s talk about Superlynx, whose new record will probably also be depressing. Isaksen brought that overarching melancholy to Distorted Chants as well, and I’ll be interested to hear on the new Superlynx if and how doing that album plays into either the vocals or songwriting here. Plus they’re just a cool, immersive listen anyway, and that’s definitely going to be welcome as Fall comes around with its shorter days and the looming winter ahead. September? November? I don’t know the status of the album — the photo of them with the contract below looks like it was taken in the studio — but I’ll be glad to hear it whenever it surfaces.
They posted about it on socials yesterday and I had a post with that all set to go up, but then the PR wire lit up with the below press release this morning, so here goes:
Norway-based Psychedelic Doom Specialists SUPERLYNX Sign To ARGONAUTA Records
Superlynx is a three piece band from Oslo, Norway formed in 2013. The band exceeds genres with their distinct sound and melts heavy psychedelic rock, doom, meditative atmospheres and droning riffs together. After releasing their third album Electric Temple and Solstice EP and playing some great gigs and festivals in 2021, the band went back in the studio and are now ready with their fourth full length album.
This coming release also sees Superlynx moving on from the Norwegian label Dark Essence to Italian label Argonauta Records. All of Superlynx ́s releases have received wonderful reviews and ended up on many best of the year lists. They have been known to write songs that are dealing with heavy personal emotions but always turned towards light, love, nature and the magic joy of music itself.
Superlynx loves playing live and have developed a reputation as a great live band delivering powerful and atmospheric shows. Through their gigs around Norway and abroad the band has made their mark as a heavy and hypnotic live band with sincere, intense and explosive expressions. Superlynx have played festivals like Høstsabbat, Hellbotn, Inferno Festival, Midgardsblot, Pstereo, Musikkfest Oslo, 360 Festival, Oslo Beikmørke etc. The trio have also shared stages with bands like Weedeater, Sabbath Assembly, Gold, Chrch, Fister, The Wounded Kings, Grave Pleasures, Virus, Sâver, Order, The Moth, Funeral, Narcosatanicos and many more.
In 2023 Superlynx will celebrate their 10th anniversary as a band with releasing new music, a new additional live member and returning to the stage.
Says the band: “We are so excited to start our 10th year as a band with signing to Argonauta Records. We look so much forward to sharing new music this year and feel that Argonauta will be a very fitting home and launch station for the new album. Since Pia has already released her solo album on this label we also know how hard working and dedicated these people are. We really look forward to starting a new chapter together”.
SUPERLYNX are: PIA ISAKSEN (BASS/VOCALS) OLE TEIGEN (DRUMS) DANIEL BAKKEN (GUITAR)
Posted in Bootleg Theater on November 28th, 2022 by JJ Koczan
Oslo-based multi-instrumentalist/vocalist Pia Isaksen, also frontwoman for the melodic nodders Superlynx, released her debut solo album as Pia Isa, Distorted Chants (review here), in March 2022 through Argonauta Records. “Trauma,” with a video premiering below, is a fitting representation of it, for the weight of the chug in Isaksen‘s guitar and bass, the floating guest lead guitar of desert rock progenitor Gary Arce from Yawning Man, Yawning Sons, Big Scenic Nowhere, et al, the drums of Superlynx bandmate Ole Teigen, and the overarching focus on atmosphere. Too heavy to be post-rock, not quite doom, Distorted Chants found Isaksen able to find an expressive niche of her own, something apart from singer-songwriterism, but built on that foundation and fleshed out accordingly into a fuller sound.
I’ve started (mentally anyhow) putting together my year-end list of the best debut albums, and I assure you that Distorted Chants will be on it. Songs, performance, craft, it’s all locked in as Isaksen brings together pandemic-born material with a sensibility that avoids so many of the male-gaze-centered traps set for women artists in contemporary heavy music — it is not especially witchy despite its mindful ambience, in other words; the intent feels more ‘be itself’ than ‘play to style’ — and that is refreshing both in terms of sonic persona and the realization of the material itself. The sound and the album are hers — bolstered in this case by the almost-goth guitar work of Arce — and the abiding feel from the music is personal, emotional in voice and style of play, while carrying not insignificant tonal weight from the first lurching riff of “Trauma” onward through the somewhat-brief-seeming sub-four-minute run. You could easily say the same of the whole record.
What’s invariably a sign of our times, “trauma” itself has become something of a buzzword. The very notion of a person’s mental and physical self being altered by some event or infliction is the defining aspect of the 2020s thus far — remember that plague? as Isaksen puts it, “Like magma traveling underneath the skin,” before she reminds: “The body does not forget” — and Distorted Chants is of this moment. She is not by any means the only artist to explore outside the confines of a ‘main project’ in the post-pandemic era, but turmoil and, indeed, trauma, become fluid movement through heavy haze in her hands and the density in the sound of “Trauma” is as much welcoming as it is consuming. There’s some distance from the experience, necessary for any artist to frame anything as a creative work, but Isaksen effectively creates the space for the song’s ideas to flourish, and they do.
I didn’t expect Arce, who plays on three of the album’s tracks, to appear in the clip, but sure enough he’s in there with Isaksen and Teigen, so right on. The more the merrier. And for what my saying so is worth, if you don’t support free talk therapy for all who want it, fuck off. Whatever else trauma is, it’s real for a lot of people.
Enjoy the clip, followed by a quote from Isaksen and
Pia Isa, “Trauma (feat. Gary Arce)” video premiere
Pia Isa on “Trauma:
“I am thrilled to finally have the vinyl out and to celebrate it with the music video for the song Trauma. This is one of the most personal and heavy tracks on the album, graced with gorgeous guitar melodies by Gary Arce coming in over the massive riff guitars and Ole Teigen´s slow heavy drums. The song is dealing with difficult matter, where trauma is symbolised visually by smoke, lava and a volcanic outburst in the video. I tried to find a hopeful and empowering view on it and to me personally this is an example of how therapeutic music can really be and how it can transport you into a different mindset.”
Pia Isa is the solo project of bassist/vocalist Pia Isaksen from Norwegian heavy psych/doom band Superlynx. She is now gearing up for the release of her debut solo album “Distorted Chants”, which features Ole Teigen (Superlynx) on drums and a guest appearance by guitarist Gary Arce (Yawning Man, Big Scenic Nowhere) on three of the songs.
Having played and written music for most of her life a solo album has been brewing in Pia’s mind for a long time. Finally everything has aligned for her first one to materialize and “Distorted Chants” was the result of that. As much as she loves playing with Superlynx (formed 2013) and other people her ideas for this album seemed more right to work through on her own.
Today’s Friday, and in most but a decreasing number of circumstances, that means a Quarterly Review is over. Not this one. Remember, doublewide means it goes to 100 albums. The really crazy part? It could go longer. I could add another day. It could go to 11! Have I done that before?
Probably. That Spinal Tap reference is too obvious for me to have never made it. In any case, I’ve got something booked for Monday after next already, so I won’t be adding another day, but I could just on the releases that came in over the last couple days. Onto the list for next time. Late September/early October, I think.
If you’re hurting for Quarterly Review in the meantime? Yeah, stick around. There’s a whole other week coming up. That’s what I’ve been saying. Have a great weekend and we’ll pick back up on Monday with another 10 records.
Quarterly Review #41-50:
The John Denver Airport Conspiracy, Something’s Gotta Give
Hail Toronto psych. The John Denver Airport Conspiracy released Something’s Gotta Give as a 16-tracker name-your-price Bandcamp download nearly a year ago, and vinyl delays give squares like yours truly who missed it at the time another opportunity to get on board. The 14-song LP edition runs 42 minutes, and it’s time well spent in being out of its own time, a pedal steel Americana-fying the ’60s drift of “Comin’ Through” while “Jeff Bezos Actually Works for Me” pairs garage strum-and-strut with a cavernous echo for an effect like shoegaze that looked up. “2000 November” and closer “The Lab” dares proto-punk shimmy and “Green Chair” has that B3 organ sound and lazy jangle that one can’t help but associate with 1967, “Ya, I Wonder” perhaps a few years before that, but “The Big Greaser” works in less directly temporal spaces, and the whole album is united by an overarching mellow spirit, not totally in a fog because actually the structures on some of these songs are pretty tight — as they were in the 1960s — but they’ve definitely and purposefully kept a few screws loose. Their sound may solidify over time and it may not, but as a debut album, Something’s Gotta Give is deceptively rich in its purpose and engaging in its craft and style alike. I wish I’d heard it earlier, I’m glad to have heard it now.
Clara Engel‘s experimentalist folk songwriting moves into and across and over and through various traditions and methods, but their voice is as resonant, human and unifying as ever, and that’s true from “O Human Child” through the softly echoing guitar pieces “Golden Egg” and “High Alien Priest,” the more ethereal “Glass Mountain,” and so on, while excursions like “I Drink the Rain,” “Cryptid Bop” and “Dead Tree March” earlier add not only instrumental flourish but an avant garde sensibility consistent with Engel‘s past work, even if as songs they remain resoundingly cohesive. That is to say, while founded on experimentalist principles, they are built into songs rather than presented in their rawest form. The inclusion of organ in finale “The Devils are Snoring” is striking and complements the minimalist vocals and backing drone, but by then Engel has long established their ability to put the listener where they wants, with the image of “Rowing Home Through a Sea of Golden Leaves” duly poetic to suit the music as demonstration. Gorgeous, impassioned, hurt but striving and ever moving forward creatively. Engel‘s work remains a treasure for those with ears to hear it. “I Drink the Rain” is an album unto itself.
Though the initial push of doomer riffing and melodic vocals in the post-intro title-track “Weird Tales” reminds a bit of Apostle of Solitude, the hooky brand of heavy wrought by Chilean three-piece Cormano — vocalist/guitarist Aaron Saavedra, bassist/backing vocalist Claudio Bobadilla, drummer/backing vocalist Rodrigo Jiménez — on their debut full-length is more about rock than such morose proceedings, and in fact it’s the prior intro “La Marcha del Desierto” that makes that plain. They’ll delve into psychedelic airiness in “El Caleuche” — the bassline underneath a highlight on its own — and if you read “Bury Me With My Money” as a capitalist critique, it’s almost fun instead of tragic, but their swing in “Urknall” and the roll of “Rise From Your Grave” (second Altered Beast reference of this Quarterly Review; pure coincidence) act as precursor to the thickened unfurling of “Futuere” and “A Boy and His Dog,” a closing pair that reinforce Cormano‘s ultimate direction as anything but settled, the latter featuring a pointedly heavy crash before a surprisingly gentle finish. Will be curious to see where their impulses lead them, but Weird Tales is that much stronger for the variety currently in their influences.
Like the rest of reality, Baltimorean heavy psychedelic blues rockers Black Lung have undergone a few significant changes in the last three years. Guitarist/vocalist Dave Cavalier (also Mellotron) and drummer/synthesist Elias Schutzman (also Revvnant, ex-The Flying Eyes) bid farewell to fellow founding member Adam Bufano (guitar, also ex-The Flying Eyes) and brought in Dave Fullerton to fill the role, while also, for the first time, adding a bassist in Charles Braese. Thus, their first record for Heavy Psych Sounds, the J. Robbins-produced/Kurt Ballou-mixed Dark Waves is a notable departure in form from 2019’s Ancients (review here), even if the band’s core methodology and aesthetic are the same. The sound is fuller, richer, and more able to hold the various Mellotrons and other flourishes, as well as the cello in “Hollow Dreams” and guest vocals on “Death Grip” and guest keys on “The Cog” and “The Path.” Taking inspiration from modern global uncertainties sociopolitical, medical and otherwise, the band put you in a mind of living through the current moment, thankfully without inducing the level of anxiety that seems to define it. Small favors amid big riffs. With shades of All Them Witches and further psychedelic exploring transposed onto their already-a-given level of songwriting, Black Lung sound like they’re making a second debut.
Make a big space and fill it with righteousness. Finland’s Slowenya are born out of an experimentalist hotbed in Turku, and the three-piece do justice to an expectation of far-out tendencies across the nonetheless-concise 31 minutes and six songs of Meadow, their second long-player in as many years. There’s an undercurrent of metal as “Synchronized” holds forth with a resilient, earthy chug, but the melodicism that typifies the vocals running alongside is lighter, born of a proggy mindset and able to keep any overarching aggression in check. With synths, samples, and ambient sounds filling out the mix — not that the massive tonality of the guitar and bass itself doesn’t do the job — a breadth is cast from “Intro” onward through “Nákàn” and the gone-full-YOB swell of “Irrevocable,” which is yet another of the tracks on Meadow one might hear and expect to be 20 minutes long and instead is under seven. The penultimate “Transients” pushes deeper into drone, and “Resonate and Relate” (7:53) caps Slowenya‘s impressive second LP with a due blend of melodic wash and lurching rhythmic physicality, the screams into a sudden stop effectively carrying the threat of more to come. You want to hear this.
As their growing fanbase immediately set about waiting for their third full-length after 2021’s Electric Temple, Norwegian heavy-broodgaze trio Superlynx issued at the very end of the year the Solstice EP, combining covers from Saint Vitus, Black Rebel Motorcycle Club, Nat King Cole (because obviously he’d be third on that list) and Nirvana with two originals in “Reorbit” and “Cosmic Wave.” As bassist/vocalist Pia Isaksen has already put out a solo release in 2022, drummer Ole Teigen has a blues band on the side among other projects, and one assumes guitarist Daniel Bakken is up to something else as well, Solstice serves as a welcome holdover of momentum after the album. It’s worth the price of admission (eight Euro) for the take on Nirvana‘s “Something in the Way” alone, but the so-slow-it-sounds-like-it’s-about-to-fall-apart “Reorbit” and the leadoff adaptation of “Born Too Late” enforces that song’s message with a modernized and made-even-more slogging sense of defeat. Maybe we were all born too late. Maybe that’s humanity’s fucking problem. Anyway, after you get this, get Isaksen‘s solo record as Pia Isa. You won’t regret that either, especially with the subdued vibe in some of the material on this one.
The always-hit-record ethic of multinational conglomerate jammers Øresund Space Collective pays dividends once again as Oily Echoes of the Soul emerges publicly — it was previously released in a different form to Bandcamp subscribers — as carved from a session all the way back in 2010. At the time I’m pretty certain all members of the band actually lived in Denmark, but sitarist K.G. Westman, who appeared here while still a member of Siena Root, is from Sweden, so whatever. Ultimately the affair is less about where they’re from than where you’re going while hearing it, which is off to a laid-back, anything goes psychedelic improvisation, beginning with the funky and suitably explorational, half-hour-long opener “Bump and Grind ØSC Style” before moving into the sitar-led “Peace of Mynd” (13:27) and the 24-minute title-track’s organic surges and recessions of volume; proggy, ’70s, and unforced as they are. Before twang-happy and much shorter closer “Shit Kickin'” (4:10), the 15-minute “Deep Breath for the EARTH” offers affirmation of the project’s reliably expansive sound. I’ve made no secret that I listen to this band in no small part for the emotionally and/or existentially soothing facets of their sound. Those are on ready display here, and I’ll be returning to this 12-year-old session accordingly.
Recorded in Dec. 1997 at Zone Six‘s practice space, the two-song Beautiful EP portrays a much different band than Zone Six ultimately became, with Australian-born vocalist Jodi Barry and then-Liquid Visions members Dave “Sula Bassana” Schmidt (bass, effects), Hans-Peter Ringholz (guitar, noise) and drummer/recording specialist Claus Bühler as well as keyboardist/etc.-ist Rusty and bringing two longform, molten works of pioneering-at-the-time heavy psychedelia. I mean, we’re talking 20 years ahead of their time, at least, here. It’s still forward-thinking. The guitars and breathy vocals in “Something’s Missing” are a joy and “Beautiful” plays off drone-style atmospherics with intermittently jazzy verses and a more active rhythm, winding guitar and pervasively spaced mindbending. Imagining what could’ve been if this record had been finished, one could repaint the scope of 2010s-era European heavy psychedelia as a whole, but on their own, the two extended inclusions on the 23-minute EP are a gorgeous glimpse at this fleeting moment in time. It is what it says it is.
LINK
TO THE PAST
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The Cimmerian, Thrice Majestic
Thrice Majestic and four-times barbarous comes this debut EP release from Los Angeles’ The Cimmerian, a new trio featuring Massachusetts expat David Gein (ex-bass, The Scimitar, etc.) on guitar, and the brand of heavy that ensues readily crosses the line between metal and doom, as the galloping “Emerald Scripture” reinforces directly after the eight-minute highlight and longest groover “Silver and Gold.” Drummer David Morales isn’t shy with the double-kick and neither should he be, and bassist/vocalist Nicolas Rocha has a bark that reminds of Entombed‘s L.G. Petrov, and that is not a compliment I’m ever going to hand out lightly. Lead cut “Howls of Lust and Fury” promises High on Fire-ist thrash in its opening, but The Cimmerian‘s form of pummel goes beyond any single point of inspiration, even on this presumably formative suckerpunch of an EP, which balances intensity and nod in the finishing move “Neck Breaker,” a last growl perhaps the most brutal of all. Fucking a. More of this.
You could probably sit and parse out where Ultracombo are coming from — geographically, it’s Vincenza, Italy — in terms of sound on the sequentially titled follow-up to 2019’s Season I (review here), but to do so denies the double-guitar five-piece credit for the obvious efforts they’ve put into making this material their own. Those efforts pay off in the listening experience of the five-tracker, which runs 25 minutes and so offers plenty enough to make an impression. Witness the slowdown in centerpiece “Umanotest” or the keyboard-or-keyboard-esque lead in the back half of the prior “Follia,” the added jammy feel in “Specchio,” the this-is-the-difference-the-right-drummer-makes “12345” or the return of the synth and an added bit of playfulness before the big ending in — what else? — “La Fine.” That this EP manages to careen and pull such hairpin turns of rhythm is a triumph unto itself. That it manages to do so without sounding like Queens of the Stone Age feels like a fucking miracle. “Dear Ultracombo, Hope you’re well. Time to make an album. Put in an interlude or two depending on space. Sincerely, some dude on the internet.”
Posted in Questionnaire on June 1st, 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: Pia Isaksen of Superlynx & Pia Isa
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How do you define what you do and how did you come to do it?
I create and play music with my band Superlynx and solo project PIA ISA. I am trying create and do things I love and that I find meaningful. I discovered that music was my thing when I was a kid and started playing piano when I was eight. A year later I started inventing little melodies and songs myself and it felt like a very exciting and almost magic thing. I started playing guitar when I was 13 and listened to a lot of music. The town I grew up in, called Moss, had a great music scene at the time and so many bands, so there were people to play with and places to practice. I moved to Oslo in my early twenties and played in a couple of bands there which later led on to forming Superlynx in 2013. Then I started my solo project last year after having thought about it for years and finally found time for it.
Describe your first musical memory.
The first memory that comes to mind is sitting on the floor in the living room as a maybe three or four year old with my mom, singing songs together from a children’s songbook. I was very excited about singing and learning songs. I also remember the first time I felt moved by music and tears suddenly came rolling just because it was so beautiful. I think I was around eight and a Grieg record was playing in the house.
Describe your best musical memory to date.
This is a tough question and it seems impossible to choose one. There are so many special moments to look back on, from gigs I have played – especially with Superlynx – to being in the audience at amazing gigs, to moments of connecting musically with other people and memorable creative times. One gig that comes to mind was in Berlin in July 2019 when Superlynx supported Weedeater in a packed venue in 40 ° C and everyone up front was dancing during our set. The heat was a challenge but there was such a special lovely energy in the room and we had so much fun that hot summer night with new and old friends. Playing live the very night Oslo opened again after covid lockdown last year was also something to remember. And finally making my solo album and then having someone whose music I have been a fan of for a long time, Gary Arce from Yawning Man, etc., play on it also stands out. Seeing Sleep in Oslo in 2012 with a group of friends was also very special. One of them, a very good friend of mine, passed away shortly after and I am grateful we got to make this last great memory. Sorry, this question brings up many things. I will stop here.
When was a time when a firmly held belief was tested?
I always assume that people are kind and honest. That has led to disappointment more than once and I think I have become a little less naive as I have gotten older.
Where do you feel artistic progression leads?
To different things for different people. I guess also to more insight and to a broader “toolbox” for your ideas and what you want to express.
How do you define success?
Doing what you love, what is important to you and what makes you happy. When it comes to music I think it is something like creative fulfillment and when the music, words, performance, mood and sound just feel right all together. The feeling of having created a work you can fully stand behind and feel happy with. And if someone else connects to it and gets some meaning, comfort, good times, a needed escape or maybe even help dealing with things through it that is a wonderful thing. Like so much music has done for me. It wouldn’t hurt to sell a lot of records and tour the world but being able to do what you love and having good people around is pretty successful I would say.
What is something you have seen that you wish you hadn’t?
On a selfish level a lot of things. Violence, sexism, racism, sickness, injustice, the climate crisis etc. It would have been easier to not have seen or experienced any of it. But in the bigger picture I don’t think it is a very good solution to look away from the truth and pretend these problems don’t exist.
Describe something you haven’t created yet that you’d like to create.
More music of course, and I would also like to do some more collaborations. It would also be exciting to do some music for moving images or a film some time. And I wish to do more graphic art of my own that I have many ideas for and that I hope will be possible to realize sometime in the future.
What do you believe is the most essential function of art?
Connection, catharsis, escape, deeper understanding of life, transcendence, hope. To express and communicate thoughts, ideas and feelings from our very inner core in a way that nothing else can, on more and on deeper levels. To help understand ourselves, each other and the world better and it definitely connects us and makes life more interesting.
Something non-musical that you’re looking forward to?
I am looking so much forward to summer which is finally beginning to kick in here, and to daily swims in the ocean when the sea gets warm enough. It is getting there. To me this is one of the very best things in life.
