Video Interview: Chad Ross of Comet Control Talks Inside the Sun and More

Posted in Bootleg Theater, Features on September 16th, 2021 by JJ Koczan

comet control (Photo by Olde Night Rifter)

The third album from not-quite-Toronto’s¬† You can use custom essay writing service for a small price and ask them ďLos Angeles Public Library Homework HelpĒ. Comet Control,¬† Where can i http://www.chance-quereinstieg.de/?homework-help-deforestation. Trusted research paper writing service with 100% satisfaction guarantee! We write custom term papers from scratch. Inside the Sun (review here), came out on Aug. 24 in a partnership with¬† To buy essay is a good way out. Our company offers to buy essays online. By providing essay writing services, we strive to give students a unique opportunity to buy essay and therefore improve their grades and re-enter the flow of calm life. see post - We realize that nearly all of them need assistance now and then. Tee Pee Records that extends back to before¬† An Pro Capital Punishment Essay can only be as good as per their qualification; hence to provide a complete and all-inclusive service you need a writing resource that can accommodate you for various subjects and topics. Comet Control was a band. It is a record that is both consistent with the band’s two prior outings, 2016‚Äôs¬† 30% Off http://www.jspe.de/fileadmin/?template-of-research-paper Promo Code. 30% Off Buy Essay Club Promo Code. July 2, 2020 July 2, 2020 admin Essay Writing Services, Other Coupons, Top Coupons 2019. BuyEssayClub.com discount code will help you to solve an issue with the written papers, if youíre overwhelmed with your homework. Just place an order by filling in a simple form on the website and you may not worry about your essay Center of the Maze¬†(review here) and 2014’s self-titled debut (review here), and marked by change, finding upon its release that guitarist/vocalist PRODUCT NAME: How To Write An Abstract For A Research Proposal WEBSITE: http://www.hirewriters.com RATING: 5/5 Content writing can be a good source of income if you Chad Ross and bassist¬† Ordering Essays Online Services Vancouver ē Write my custom paper We introduce you the seven (7) days of around the bush. Revisions are offered within our clients is cheap dissertation writing services vancouver best, fresh and new thought we might. Nicole Ross (n√©e Our UK Custom Thesis Term Papers Book Reports. Completing a dissertation or a PhD thesis is the greatest challenge in your academic career. Thousands of students experience a range of different problems when completing their dissertation. From finding relevant dissertation titles, to choosing suitable research methods and even writing the dissertation chapters. The research project has a huge impact on the final outcome of your degree, and so we are here to help. The experienced writing team provide Howell) have relocated to Northern Ontario, and working on a home studio there while also parenting a soon-to-be-toddler. Meanwhile, the band has also restructured at least in its studio incarnation, with Medical Microbiology Phd Thesis Services at affordable price Avail Here. Expert PhD level Dissertation Writers helps you for your Dissertation writing. Andrew Moszynski moving from guitar to drums — Academic and business this link for non-native English speakers Marco Mozin will handle the task live when/if that becomes a thing again — and¬† Have you ever found the best Dissertation Sur La Guerre 14 18 service? The answer is ďYesĒ, you just have. We are one click away ready to help you round-the-clock. Our Jay Lemak has taken over on keys. Oh and they built a studio for themselves too, but apparently that’s no big deal. They do it all the time.

Honestly, a new keyboardist would be enough change for most groups on one record — “Well, we’ve got a new keyboardist, so…” — but if you listen to¬† We offer low-priced academic Order Resume Online 1 1 3 Apk on any topic. If you're just about to apply to college, order college essays for sale and save your time & nerves! Inside the Sun, it still sounds very much like¬† A Ap Statistics Homework Service that Fulfills Your Requirements We take any writing task off your shoulders, including essays, business projects, thesis, term papers, coursework, research papers, dissertations, bibliography. Despite various types of custom-written papers, we specialize in creating PowerPoint presentations, critical essays and report writing. Our team takes care of in-demand college Comet Control, and that aforementioned consistency comes from the partnership of¬† Free Small Business Plan Template: our professionals can make a feast from anything. Don't believe? Just try out the prime quality now by visiting our site. Chad Ross and¬† The best dissertation editing services are exclusively available at Editing Worm. We offer professional Business Plan Services with complimentary Andrew Moszynski, who’ve been working together since their days in acid explorers Quest for Fire. The foundation of that collab and the writing of both, as well as the pervasive melodicism and songcraft central to the band’s approach means that¬†Inside the Sun is very much a third¬†Comet Control album, and brings with it the sense of manifesting the essential aspects of their sound that one hopes a band who’ve now been at it for eight-plus years would be hitting toward. If I called it one of the year’s best records — it is — would that be enough summary?

Probably not, which is one more reason I wanted to talk to¬†Ross about putting¬†Inside the Sun together. And as we dug into the record, particularly the uptempo opener “Keep on Spinnin'” and the manner in which side B unfolds from there in lush fashion as it does, I grew more curious about the¬†Ross/Moszynski writing as the core of¬†Comet Control, especially as is pertained to their prior work in¬†Quest for Fire, which is, if you listen to the two side-by-side, a different band.¬†Ross discusses the divergent purposes between the two and the growth of¬†Comet Control as its own thing, as well as where it might go in the unknowable future. In the more immediate, he’s also got a new solo record coming out next Spring under the moniker¬†C. Ross, and if you ever dug into the stuff he released as¬†Nordic Nomadic, you know that’s something to look forward to as well. I asked him outright for an early listen. Nothing yet, though he did tip me off to the new Dark Bird, and the¬†Rick White & Eiyn Sof 2019 release,¬†Secret River, Hidden Place, both of which are well worth searching out for the curious.

We spoke in the morning earlier this week, I in the wood paneling, he in the woods. The trees in his background were amazing, and he described going out there with an acoustic guitar and noodling around, which, yeah, made sense. How could you not?

Enjoy:

Comet Control, Inside the Sun Interview with Chad Ross, Sept. 13, 2021

Inside the Sun is available now through Tee Pee Records and streaming in full below. I’ll post more info on the forthcoming C. Ross album as I get it. More at the links.

Comet Control, Inside the Sun (2021)

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Album Review: Comet Control, Inside the Sun

Posted in Reviews on August 23rd, 2021 by JJ Koczan

comet control inside the sun

Whether you would skip delightedly across planetary orbits like so many invisible jump ropes or drift serene through a sea of nebular gases, Comet Control are your one-stop shop. The prismatic Toronto space — the final frontier? yes! — adventurers built themselves a whole studio to make their third LP, and, well, it worked. Inside the Sun collects eight new tracks for the¬†Tee Pee Records follow-up to 2016‚Äôs¬†Center of the Maze¬†(review here), running an immersive and at times peaceful but not at all staid 45 minutes across two well delineated sides of melodic psychedelia. Be it in opener “Keep on Spinnin'” or its side B counterpart title-track, wherein the drums of¬†Andrew Moszynski (Marco Mozin fills the role live) punctuate in submotorik fashion an outbound shove of intention, or in later, less-or-un-percussed folkish stretches like “The Afterlife” and closer “The Deserter,” the last of which finds Jay Lemak‘s keys complemented by guest violin from Sophie Trudeau — who plays in Godspeed You! Black Emperor and, mathematically speaking, either is or is not related to the Canadian prime minister —¬†Comet Control‘s depth of sound and flowing graciousness of craft comes across as the most crucial element of who they are.

They put the rockers up front, and the first sound one hears on “Keep on Spinnin'” is a wake-the-hell-up drum fill from Moszynski that stops dead before the guitars of founding principals¬†Chad Ross (also vocals) and¬†Andrew Moszynski kick in to lead the way out of the atmosphere on a rocket fueled by fuzz-laced shuffle, bass and drums the engine driving upward and outward as the keys add melodic flourish to the vocals, complementing the spaces between verse lines. It is a purposefully movement-minded, rhythmic leadoff. A statement. It does not reveal everything about Comet Control‘s intentions throughout¬†Inside the Sun¬†— it’s not a full summary or anything like that — but the facts that it’s one of two songs running over seven minutes long, that it starts the record, and that it’s the most active inclusion on it aren’t a coincidence. The band clearly wants to convey the feeling of motion, maybe even of being alive after five years of absence. One does not begrudge the boogie. And even as they move into a noisy wash in the song’s second half, only to stop dead once again and speak the single word “spinnin’,” they bring that keyboard line back around to top the reemergent push, and the melody’s never far off.

If it matters, everything that follows is slower to some degree — though I’m not about to compare BPMs with “Secret Life” (premiered here) to find how by how close the two are exactly — but side A remains uptempo, defined in no small part by its initial axial directive. The shaker-inclusive chug of “Welcome to the Wave” finds its verse tempting¬†Rolling Stones comparisons, but the quick hook hints at mellower vibes to come, the song’s title-line arriving in the lines “Moving in and out of phase/Welcome to the wave,” later, the urging, “Go inside the wave,” just before the solo. It is bright in that wave, and duly undulating, but again, the rhythm section acts as the anchor, and that shaker’s right there the whole time, earning its place among the final elements to stand at the end of the track, cutting off before “Secret Life” — the shortest inclusion at 3:40 and another kick in pace, howling in guitar, punchy in snare, and right on for the duration — takes over, lead lines trilling like a theremin amid a spirit that feels near to garage rock but is fuller in its sound than anything so willfully raw. Somehow it’s a fitting point of dimensional shift to the more languid but still rolling “Good Day to Say Goodbye.”

comet control (Photo by Olde Night Rifter)

Taking¬†Inside the Sun¬†as a linear progression, the dream-keys and organ of “Good Day to Say Goodbye,” the nodding groove, bright melody and anchoring fuzz riff around which it’s based serves as a vital transition to what follows on the second half of the record. The longest song at 7:27, it also offers a reminder that¬†Ross and Moszynski worked together in¬†Quest for Fire before¬†Comet Control‘s 2014 self-titled debut (review here), and is fair enough ground for them to cover, hitting a midpoint in tempo between the “Keep on Spinnin'” and “Secret Life” before and “The Afterlife” and “The Deserter” still to come while giving space — there’s that word again — for the title-track and the penultimate “Heavy Moments” to unfurl amid the lushness that surrounds. “Inside the Sun” itself feels broad because it is, guitars swirling by its end in a way that lets the listener know they’re not coming back this time, and that’s suitable to shift into the outright headphone-ready gorgeousness of “The Afterlife.” It is also how side B embodies the back-and-forth ethic of¬†Inside the Sun on the whole. Where the first half of the album played off pace between fastest and middle gears, the second oozes further into drift the alternating pattern, especially in “The Deserter” at the finish, speaking to just how far Comet Control are ready to go.

Understand: there is no conflict in this. Even if it is a case of competing impulses in the writing, that doesn’t come through in the finished product, which is all the more to the band’s credit since they’re working in their own studio for the first time. Rather, the post-’90s-alt wistfulness in the guitar of “Heavy Moments” offers a smooth letting go into “The Deserter,” which unfolds with such patience as to make its relatively short four-and-half-minute runtime deceptive. Keys and effects swirl begin, vocals arrive, bass, drums follow gradually, the aforementioned violin becoming a part of the whole with marked ease. It is perhaps in these final minutes that¬†Comet Control most reinforce what’s been uniting the material all along through the back and forth. Aside from the overarching course they’ve set into the ether, it is the melody that brings the songs together throughout¬†Inside the Sun. Of course that’s not to take anything away from what the rhythm section does throughout in reinforcing the trajectory — that work is crucial to the impression made by the album as a whole and the individual tracks as pieces of it — but as they ebb and flow,¬†Comet Control are no less purposeful in their soothing last stretch than they were in the outset’s relative intensity. It is the willingness to be beautiful that makes¬†Inside the Sun so encompassing.

Comet Control, Inside the Sun (2021)

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Birth Sign to Bad Omen Records; Three-Song Demo Posted

Posted in Whathaveyou on August 2nd, 2021 by JJ Koczan

San Diego’s Birth will make their full-length debut in 2022 through Bad Omen Records. In conjunction with Tee Pee‘s digital annex, the band bringing together former members of Astra and, on the demo, Radio Moscow, have made their first three-songer demo available as a get-introduced name-your-price download. This material has been kicking around a while — “Descending Us” was posted here in 2017 — and I don’t know who might be playing drums on the impending record, if in fact anybody will, but the demo’s righteous classic prog and one hopes and expects the album will follow suit, given the personnel and Mellotrons involved.

This’ll be good. It’s an easy bet. Grab the demo while you can and keep an eye out for more about the album.

Here’s PR wire info:

birth birth

San Diego Prog-Psych Stunners Birth Sign with Bad Omen Records

Ascending Underground Rock Band Featuring Members of Astra Begins Work on Debut Full Length; Offers Three Song Digital Demo for Free Download

Southern California psychedelic/progressive rock unit, Birth, has signed with respected rock label Bad Omen Records (Wytch Hazel, Spell, Satan’s Satyrs). Featuring members of San Diego’s revered retro rockers Astra, along with current or former members of Joy and Radio Moscow, Birth owns a cavernous cache of credibility rarely found in newly-formed musical groups. Birth is currently in the studio, assembling its debut full length LP which is slated for release in early 2022.

In celebration of the signing, Birth has made its self-titled debut/demo EP available for free download via its Bandcamp page. Visit birthprog.bandcamp.com (powered by our friends at NYC’s Tee Pee Records) to absorb this band‚Äôs first three formative forays; soaring songs which mark the spark of creation for the Birth universe and deliver a blast of vibrant progressive rock rich in cinematic scope and psychedelic intensity.

Featuring guitarist/keyboardist/vocalist Conor Riley (keyboards, vocals, acoustic guitar) and guitarist Brian Ellis, musicians who burst onto the prog-psych scene in the late aughts with Astra, a formidable, foundational group who would shape the sound of things to come alongside co-conspirators Earthless, Diagonal and Dungen, and whose albums ‚ÄėThe Weirding‚Äô (2009) and ‚ÄėThe Black Chord‚Äô (2012) stand proud as two of the greatest progressive achievements of this century thus far, there is a palatable excitement surrounding Birth and the group has been pegged as one to watch in underground circles.

Joining forces as Birth with bassist Trevor Mast and drummer Paul Marrone (for the recording of the demo), the fledgling foursome have created a soundtrack for an epic sci-fi saga on an imaginary timeline which may well lead some listeners back to the wide-eyed days of the early 70‚Äôs, offering shades of ‚ÄėThe Yes Album‚Äô, the wayward serenades of Van Der Graaf Generator, the demented potency of King Crimson and even the stellar travelogue of Far East Family Band. On ‘Birth’, elegiac mellotron-assisted songcraft and richly melodious solo passages melt together into kosmische melancholia; a thrilling celestial collision of delirious fantasy, lysergic sonic adventure and thundering jam-room chemistry.

Birth are:
Conor Riley – Keyboards / Acoustic Guitar / Vocals
Brian Ellis – Lead Guitar / Keyboards
Trevor Mast – Bass
Drums on [demo] recording: Paul Marrone

https://www.facebook.com/Birth.prog
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http://www.bad-omen-records.com/
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Birth, Birth (Demo) (2021)

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Quarterly Review: King Woman, Mythic Sunship, Morningstar Delirium, Lunar Funeral, Sat√°nico Pandemonium, Van Groover, Sergio Ch., Achachak, Rise Up Dead Man, Atomic Vulture

Posted in Reviews on July 19th, 2021 by JJ Koczan

the-obelisk-fall-2016-quarterly-review

Hey, how was your weekend? You won’t be surprised to learn mine was full of tunes, which I mark as a win. While we’re marking wins, let’s put one down for wrapping up the longest Quarterly Review to-date in a full 11 days today. 110 releases. I started on July 5 — a lifetime ago. It’s now July 19, and I’ve encountered a sick kid and wife, busted laptop, oral surgery, and more riffs than I could ever hope to count along the way. Ups, downs, all-arounds. I hope you’ve enjoyed the ride.

This day was added kind of on an impulse, and the point I’m looking to emphasize is that you can spend two full weeks reviewing 10 albums a day and still there’s more to be had. I’ve learned over time you’re never going to hear everything — not even close — and that no matter how deep you dig, there’s more to find. I’m sure if I didn’t have other stuff scheduled I could fill out the entirety of this week and then some with 10 records a day. As it stands, let’s not have this Quarterly Review run into the next one at the end of September/beginning of October. Time to get my life back a little bit, such as it is.

Quarterly Review #101-110:

King Woman, Celestial Blues

king woman celestial blues

After the (earned) fanfare surrounding King Woman‘s 2017 debut, Created in the Image of Suffering, expectations for the sophomore outing, Celestial Blues, are significant. Songwriter/vocalist Kris Esfandiari meets these head-on in heavy and atmospheric fashion on tracks like the opening title-cut and “Morning Star,” the more cacophonous “Coil” and duly punishing “Psychic Wound.” Blues? Yes, in places. Celestial? In theme, in its confrontation with dogma, sure. Even more than these, though, Celestial Blues taps into an affecting weight of ambience, such that even the broad string sounds of “Golgotha” feel heavy, and whether a given stretch is loud or quiet, subdued like the first half of “Entwined” or raging like the second, right into the minimalist “Paradise Lost” that finishes, the sense of burden being purposefully conveyed is palpable in the listening experience. No doubt the plaudits will be or are already manifold and superlative, but the work stands up.

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Relapse Records website

 

Mythic Sunship, Wildfire

Mythic Sunship Wildfire

Mythic Sunship are a hopeful vision for the future of progressive psychedelic music. Their fifth album and first for Tee Pee Records, Wildfire offers five tracks/45 minutes that alternates between ripping holes in the fabric of spacetime via emitted subspace wavelengths of shredding guitar, sax-led freakouts, shimmer to the point of blindness, peaceful drift and who the hell knows what else is going on en route from one to the other. Because as much as the Copenhagen outfit might jump from one stretch to the next, their fluidity is huge all along the course of Wildfire, which is fortunate because that’s probably the only thing stopping the record from actually melting. Instrumental as ever, I’m not sure if there’s a narrative arc playing out — certainly one can read one between “Maelstrom,” “Olympia,” “Landfall,” “Redwood Grove” and “Going Up” — and if that’s the intention, it maybe pulls back from that “hopeful vision” idea somewhat, at least in theme, if not aesthetic. In any case, the gorgeousness, the electrified vitality in what Mythic Sunship do, continues to distinguish them from their peers, which is a list that is only growing shorter with each passing LP.

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Morningstar Delirium, Morningstar Delirium

Morningstar Delirium Morningstar Delirium

I said I was going to preorder this tape and I’m glad I did. Morningstar Delirium‘s half-hour/four-song debut offering is somewhere between an EP and an album — immersive enough to be the latter certainly in its soothing, brooding exploration of sonic textures, not at all tethered to a sonic weight in the dark industrial “Blood on the Fixture” and even less so in the initial minutes of “Silent Travelers,” but not entirely avoiding one either, as in the second half of that latter track some more sinister beats surface for a time. Comprised of multi-instrumentalists/vocalist Kelly Schilling (Dreadnought, BleakHeart) and Clayton Cushman (The Flight of Sleipnir), the isolation-era project feeds into that lockdown atmosphere in moments droning and surging, “Where Are You Going” giving an experimentalist edge with its early loops and later stretch of ethereal slide guitar (or what sounds like it), while closer “A Plea for the Stars” fulfills the promise of its vocalists with a doomed melody in its midsection that’s answered back late, topping an instrumental progression like the isolated weepy guitar of classic goth metal over patiently built layers of dark-tinted wash. Alternating between shorter and longer tracks, the promise in Morningstar Delirium resides in the hope they’ll continue to push farther and farther along these lines of emotional and aural resonance.

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Morningstar Delirium on Bandcamp

 

Lunar Funeral, Road to Siberia

lunar funeral road to siberia

Somewhere between spacious goth and garage doom, Russia’s Lunar Funeral find their own stylistic ground to inhabit on their second album, Road to Siberia. The two-piece offer grim lysergics to start the affair on “Introduce” before plunging into “The Thrill,” which bookends with the also-11-minute closer “Don’t Send Me to Rehab” and gracefully avoids going full-freakout enough to bring back the verse progression near the end. Right on. Between the two extended pieces, the swinging progression of “25th Hour” trades brooding for strut — or at least brooding strut — with the snare doing its damnedest by the midsection to emulate handclaps could be there if they could find a way not to be fun. “25th Hour” hits into a wash late and “Black Bones” answers with dark boogie and a genuine nod later, finishing with noise en route to the spacious eight-minute “Silence,” which finds roll eventually, but holds to its engaging sense of depth in so doing, the abiding weirdness of the proceedings enhanced by the subtle masterplan behind it. Airy guitar work winding atop the bassline makes the penultimate “Your Fear is Giving Me Fear” a highlight, but the willful trudge of “Don’t Send Me to Rehab” is an all-too-suitable finish in style and atmosphere, not quite drawing it all together, but pushing it off a cliff instead.

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Helter Skelter Productions / Regain Records on Bandcamp

 

Sat√°nico Pandemonium, Espectrofilia

satanico pandemonium espectrofilia

Sludge and narcosadistic doom infest the six-track Espectrofilia from Mexico City four-piece Sat√°nico Pandemonium, who call it an EP despite its topping 40 minutes in length. I don’t know, guys. Electric Wizard are a touchstone to the rollout of “Par√°bola del Juez Perverso,” which lumbers out behind opener “El Que Reside Dentro” and seems to come apart about two minutes in, only to pick up and keep going. Fucking a. Horror, exploitation, nodding riffs, raw vibes — Sat√°nico Pandemonium have it all and then some, and if there’s any doubt Espectrofilia is worthy of pressing to a 12″ platter, like 2020’s Culto Suicida before it, whether they call it a full-length or not, the downward plunge of the title-track into the grim boogie of “Panteonera” and the consuming, bass-led closer “La Muerte del Sol” should put them to rest with due prejudice. The spirit of execution here is even meaner than the sound, and that malevolence of intent comes through front-to-back.

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Van Groover, Honk if Parts Fall Off

Van Groover Honk if Parts Fall Off

Kudos to Van Groover on their know-thyself tagline: “We‚Äôre not reinventing the wheel, but we let it roll.” The German trio’s 10-track/51-minute debut, Honk if Parts Fall Off, hits its marks in the post-Truckfighters sphere of uptempo heavy fuzz/stoner rock, injecting a heaping dose of smoke-scented burl from the outset with “Not Guilty” and keeping the push going through “Bison Blues” and “Streetfood” and “Jetstream” before “Godeater” takes a darker point of view and “Roadrunner” takes a moment to catch its breath before reigniting the forward motion. Sandwiched between that and the seven-minute “Bad Monkey” is an interlude of quieter bluesy strum called “Big Sucker” that ends with a rickity-sounding vehicle — something tells me it’s a van — starts and “Bad Monkey” kicks into its verse immediately, rolling stoned all the while even in its quiet middle stretch before “HeXXXenhammer” and the lull-you-into-a-false-sense-of-security-then-the-riff-hits “Quietness” finish out. Given the stated ambitions, it’s hard not to take Honk if Parts Fall Off as it comes. Van Groover aren’t hurting anybody except apparently one or two people in the opener and maybe elsewhere in the lyrics. Stoner rock for stoner rockers.

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Van Groover on Bandcamp

 

Sergio Ch., Koi

Sergio Ch Koi

There is not much to which Buenos Aires-based singer-songwriter and multi-instrumentalist Sergio Chotsourian, aka Sergio Ch., is a stranger at this point. In a career that has spanned more than a quarter-century, he’s dipped hands in experimentalist folk and drone, rock, metal, punk, goth and more in varying prolific combinations of them. Koi, his latest full-length, still finds new ground to explore, however, in bringing not only the use of programmed drum beats behind some of the material, but collaborations with his own children, Isabel Ch., who contributes vocals on the closing Nine Inch Nails cover, “Hurt,” which was also previously released as a single, and Rafael “Raffa” Ch., who provides a brief but standout moment just before with a swirling, effects-laced rap tucked away at the end of the 11-minute “El Gran Chaparral.” If these are sentimental inclusions on Chotsourian‘s part, they’re a minor indulgence to make, and along with the English-language “NY City Blues,” the partial-translation of “Hurt” into Spanish is a welcome twist among others like “Tic Tac,” which blend electronic beats and spacious guitar in a way that feels like a foreshadow of burgeoning interests and things to come.

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Achachak, High Mountain

Achachak High Mountain

Less than a year removed from their debut full-length, At the Bottom of the Sea, Croatian five-piece Achachak return with the geological-opposite follow-up, High Mountain. With cuts like “Bong Goddess,” “Maui Waui,” they leave little to doubt as to where they’re coming from, but the stoner-for-stoners’-sake attitude doesn’t necessarily account either for the drifty psych of “Biggest Wave” or the earlier nod-out in “Lonewolf,” the screams in the opening title-track or the follow-that-riff iron-manliness of “”Mr. SM,” let alone the social bent to the lyrics in the QOTSA-style “Lesson” once it takes off — interesting to find them delving into the political given the somewhat regrettable inner-sleeve art — but the overarching vibe is still of a band not taking itself too seriously, and the songwriting is structured enough to support the shifts in style and mood. The fuzz is strong with them, and closer “Cozy Night” builds on the languid turn in “Biggest Wave” with an apparently self-aware moody turn. For having reportedly been at it since 1999, two full-lengths and a few others EPs isn’t a ton as regards discography, but maybe now they’re looking to make up for lost time.

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Rise Up, Dead Man, Rise Up, Dead Man

Rise Up Dead Man Rise Up Dead Man

It’s almost counterintuitive to think so, but what you see is what you get with mostly-instrumentalist South African western/psych folk duo Rise Up, Dead Man‘s self-titled debut. To wit, the “Bells of Awakening” at the outset, indeed, are bells. “The Summoning,” which follows, hypnotizes with guitar and various other elements, and then, yes, the eponymous “Rise Up, Dead Man,” is a call to raise the departed. I don’t know if “Stolen Song” is stolen, but it sure is familiar. Things get more ethereal as multi-instrumentalists Duncan Park (guitar, vocals, pennywhistle, obraphone, bells, singing bowl) and William Randles (guitar, vocals, melodica, harmonium, violin, bells, singing bowl) through the serenity of “The Wind in the Well” and the summertime trip to Hobbiton that the pennywhistle in “Everything that Rises Must Converge” offers, which is complemented in suitably wistful fashion on closer “Sickly Meadow.” There’s some sorting out of aesthetic to be done here, but as the follow-up just to an improv demo released earlier this year, the drive and attention to detail in the arrangements makes their potential feel all the more significant, even before you get to the expressive nature of the songs or the nuanced style in which they so organically reside.

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Atomic Vulture , Moving Through Silence

Atomic Vulture Moving Through Silence

Yeah, that whole “silence” thing doesn’t last too long on Moving Through Silence. The 51-minute debut long-player from Brugge, Belgium, instrumentalists Atomic Vulture isn’t through opener “Eclipse” before owing a significant sonic debt to Kyuss‘ “Thumb,” but given the way the record proceeds into “Mashika Deathride” and “Coaxium,” one suspects Karma to Burn are even more of an influence for guitarist Pascal David, bassist Kris Hoornaert and drummer Jens Van Hollebeke, and though they move through some slower, more atmospheric stretch on “Cosmic Dance” and later more extended pieces like “Spinning the Titans” (9:02) and closer “Astral Dream,” touching on prog particularly in the second half of the latter, they’re never completely removed from that abiding feel of get-down-to-business, as demonstrated on the roll of “Intergalactic Takeoff” and the willful landing on earth that the penultimate “Space Rat” brings in between “Spinning the Titans” and “Astral Dream,” emphasizing the sense of their being a mission underway, even if the mission is Atomic Vulture‘s discovery of place within genre.

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The Atomic Bitchwax Touring with Weedeater in September

Posted in Whathaveyou on July 13th, 2021 by JJ Koczan

the atomic bitchwax

Stalwart New Jersey heavy rockers¬†The Atomic Bitchwax will head out on tour with North Carolinian sludge veteran headliners¬†Weedeater this September. Of course, like everyone’s everything, the announcement comes with a big ol’ “conditions permitting” asterisk because the plague’s got variants like it’s limited color vinyl, but one can always hope and The Obelisk is nothing if not a place where a better future is envisioned.

Right?

Speaking of Roddenburyian optimism, I embarrased myself on social media the other day when founding Bitchwax bassist/vocalist¬†Chris Kosnik put up the poster below, saying something about digging his Star Trek art. In fact, the image comes from “To Serve Man,” a classic¬†The Twight Zone episode. Richard Kiel, not Ted Cassidy.¬†Kosnik was gracious about it, but I felt a bit of the fool just the same. Not the first or last time that day, rest assured.

The Atomic Bitchwax released their Scorpio (review here) full-length last year in continued alliance with¬†Tee Pee Records. And it ruled. No surprise there, even as the band brought in¬†Garrett Sweeny on guitar for the first time, they continued to deliver quality and quantity in kind. They’ve consistently set a high standard and met it, and yeah, if you can catch them live, don’t take it for granted.

Dates follow:

the atomic bitchwax tour

September shows !!!!

WEEDEATER w/special guests THE ATOMIC BITCHWAX / JOE BUCK YOURSELF / REBELMATIC
09/03/2021 Atlanta GA @ Masquerade
https://tinyurl.com/3bw5bszx
09/04/2021 Birmingham AL @ Zydeco
https://tinyurl.com/mhb6dk5f
09/05/2021 Cookeville TN @ Muddy Roots Festival
https://tinyurl.com/bjshkz2x
09/07/2021 Des Moines IA @ The Gas Lamp
https://tinyurl.com/3rpk74ym
09/08/2021 Iowa City IA @ Wildwood
https://tinyurl.com/hbp4uxaw
09/09/2021 Pekin IL @ Full Terror Assault Festival ***WEEDEATER ONLY
https://tinyurl.com/r5wdwma3
09/10/2021 St Louis MO @ Red Flag
https://tinyurl.com/ckwcad96
09/11/2021 Little Rock AR @ Mutants of the Monster Festival
https://tinyurl.com/afctmk2b09/13/2021 Evansville IN @ The Venue (Tickets On-Site ONLY)
09/14/2021 Canton OH @ The Buzzbin
https://tinyurl.com/yey95rew
09/16/2021 Boston MA @ Sonia
09/17/2021 Brooklyn NY @ The Arrogant Swine
https://tinyurl.com/czef22jn
09/18/2021 Philadelphia PA @ Kung Fu Necktie
https://tinyurl.com/t8h9bx9s

http://www.theatomicbitchwax.com/
https://www.facebook.com/The-Atomic-Bitchwax-86002001659/
http://teepeerecords.com/
https://www.facebook.com/teepeerecords/

The Atomic Bitchwax, “I’m Afraid of Americans” official video

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Comet Control Announce Inside the Sun out Aug. 27; Premiere “Secret Life”

Posted in audiObelisk, Whathaveyou on June 16th, 2021 by JJ Koczan

comet control (Photo by Olde Night Rifter)

Rejoice! Comet Control will release their third album, Inside the Sun, on Aug. 27 through the ever-vigilant Tee Pee Records. The first single “Secret Life” will be out on Friday — BUT — you can stream it right f’ing now because sometimes the universe lets not-horrible things happen. And when it does, it’s only right to take advantage. Song’s at the bottom of the post. I won’t begrudge you skipping the rest of this sentence to click play.

For anyone who stuck around, I’ll say that I got the record at the end of last week and I’ve been ‘spinning’ it — such as one does with a private stream — on steady rotation since. It’s eight tracks and 44 minutes of spuzzed-out-face-rock bliss, heavy and trippy and melodic melodic melodic all the way through. I don’t want to go too deep here, best to save some slathering for a review later on, but from the seven-minute rouse of opener “Keep on Spinnin'” down through the strut ‘n’ gaze of its hypnotic title-track and the cosmic ethereal folk of its closer, they answer 2016’s¬†Center of the Maze (review here) on all fronts, backs and side to sides. Oh, I dig it.

Preorders are up now. Actually I think they were up yesterday, but shh!

Info from the PR wire:

comet control inside the sun

COMET CONTROL: Canadian Psych Rockers Set Controls for the Heart of the Sun with Blazing New Album

Inside the Sun by Comet Control will be released on 27th August via Tee Pee Records

Album preorder: https://teepeerecords.com/products/comet-control-inside-the-sun-out-8-27-21

Formed in Toronto in 2013, after the break-up of Chad Ross and Andrew Moszynski’s acclaimed outsider outfit, Quest for Fire, Comet Control requires little introduction to anyone well-versed in the realms of contemporary psych.

After hashing out ideas for a new record following a European tour with Earthless in 2018, Ross and Moszynski escaped down the rabbit hole of their own Palace Sound Studio, to write and record new material. Material that will be unveiled this summer with the release of the band’s third studio album, Inside the Sun, on New York’s legendary underground label, Tee Pee Records.

Alongside bassist and fellow founder Nicole Ross, drummer Marco Moniz, keyboardist Jay Lemak and Godspeed You Black Emperor’s Sophie Trudeau, Comet Control form what is arguably one of the most kinetic and dynamic rock bands in recent memory. Drawing on a cosmic well laced with the imposing riffs of Dead Meadow and Sacri Monti, the motorik grooves of Krautrock, and those dimly lit passages of noise synonymous with the European shoegaze of Spiritualized and Ride, they are a phenomenal band, both on record and on stage. As anyone who has witnessed them live in support of acts like Boris, Black Mountain, King Gizzard & The Lizard Wizard and Vibravoid will attest.

Produced by Ross and Moszynski and recorded and mixed by Steve Chahley (U.S. Girls), Inside the Sun by Comet Control will be officially released on 27th August via Tee Pee Records. Pre-order the album here (digital) ‚Äď https://orcd.co/cometcontrol

“‘Secret Life’ is a song that Andrew pretty much had in his head. He recorded the drums in one or two takes by memory and we moved quickly through the rest, never overthinking anything. Andrew and I have been collaborating for a long time now, and even though we’re usually on our own trips, we always seem to meet musically in the most unknown, perfect places.” Chad Ross

TRACK LISTING:
1. Keep on Spinnin’
2. Welcome to the Wave
3. Secret Life
4. Good Day to Say Goodbye
5. Inside the Sun
6. The Afterlife
7. Heavy Moments
8. The Deserter

COMET CONTROL:
Andrew Moszynski ‚Äď Guitar
Chad Ross ‚Äď Vocals, Guitar
Nicole Ross ‚Äď Bass
Marco Moniz ‚Äď Drums
Jay Lemak ‚Äď Keyboards
Sophie Trudeau ‚Äď Violin (Guest Musician)

https://www.facebook.com/CometControl/
https://www.instagram.com/cometcontrol/
https://twitter.com/cometcontrol
https://cometcontrol.bandcamp.com/
facebook.com/teepeerecords
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Comet Control, “Secret Life” track premiere

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The Obsessed and The Skull Announce Co-Headlining Tour

Posted in Whathaveyou on June 10th, 2021 by JJ Koczan

Hot damn, The Obsessed and The Skull, co-headlining at what could’ve easily been dubbed the ‘Champions of Doom Tour’ but sadly was not. Neither are expected to have a new record out by the end of July —¬†The Skull‘s¬†The Endless Road Turns Dark (review here) came out in 2018, and¬†The Obsessed released¬†the bootleg-style¬†Live at Big Dipper (review here) last year — but hell, at least they’re both getting out. The dates arrive with a stopover for¬†The Obsessed‘s¬†Wino to play a solo set at¬†Ripplefest Texas 2021, and there are a couple shows where the two bands part ways for the night.

You’ll also note on Aug. 1 they have matinee and evening shows in Indianapolis and Louisville. That’s about an hour and 45 minutes down I-65 from one town to the other. Oldschool in more than just sound here, it would seem.

The PR wire brought dates and I didn’t even have to type them out myself! Amazing:

the obsessed the skull tour

THE OBSESSED And THE SKULL: Doom Rock Icons Announce US Co-Headlining Tour; Tickets On Sale Now!

THE OBSESSED and THE SKULL will join forces for a US co-headlining tour this Summer. Set to commence July 29th in Cleveland, Ohio, the doom rock caravan will wind its way through nearly two-dozen cities, drawing to a close on August 16th in Rochester, New York. Tickets are on sale now. See all confirmed dates below.

THE OBSESSED/THE SKULL:
7/29/2021 Now That’s Class РCleveland, OH **
7/30/2021 Club Garibaldi – Milwaukee WI
7/31/2021 Cobra Lounge – Chicago IL
8/01/2021 Black Circle – Indianapolis, IN (matinee show)
8/01/2021 Diamond Pub – Louisville, KY (evening show)
8/02/2021 Brickyard Bar – Knoxville, TN
8/03/2021 Growlers – Memphis, TN
8/04/2021 George’s Majestic РFayetteville, AR
8/05/2021 Bears – Shreveport, LA
8/06/2021 Division Brewery/Grrowl – Arlington, TX
8/07/2021 White Oak Music Hall – Houston, TX ##
8/07/2021 Ripple Fest @ Texas Ski Ranch – New Braunfels, TX ^^
8/08/2021 Lost Well – Austin, TX
8/09/2021 White Oak Music Hall – Houston, TX **
8/10/2021 Freetown Boom Boom Room – Lafayette, LA **
8/10/2021 Santos – New Orleans, LA ##
8/11/2021 The Earl – Atlanta, GA
8/12/2021 Pour House – Raleigh, NC
8/13/2021 Cafe 611 ‚Äď Frederick, MD
8/14/2021 GoldSounds – Brooklyn, NY
8/15/2021 Alchemy – Providence, RI
8/16/2021 Montage Music Hall – Rochester, NY
** THE OBSESSED only
## THE SKULL only
^^ WINO Solo

[poster by Gary Mader]

https://www.facebook.com/TheObsessedOfficial
http://relapse.com/the-obsessed-sacred/
https://theobsessed.bandcamp.com/
http://www.relapse.com
http://www.relapserecords.bandcamp.com
http://www.facebook.com/RelapseRecords

https://www.facebook.com/troubletheskull/
https://twitter.com/theskullusa
http://theskullusa.com/
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The Obsessed, Sacred (2017)

The Skull, “Ravenswood” official lyric video

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The Obelisk Questionnaire: Morgan McDaniel of Mirror Queen

Posted in Questionnaire on March 15th, 2021 by JJ Koczan

morgan mcdaniel mirror queen

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: Morgan McDaniel of Mirror Queen

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

I would say I play the guitar like trying to figure out which is the right doorbell. I enjoy few things more than music and am delighted that I have been presented opportunities to travel and deal high volume riffs to those who wish to listen (and otherwise). I came to do it and continue to do it with an all encompassing word — persistence. You must always work towards whatever it is you want and never be disillusioned by fear of failure, expectation or convention.

Describe your first musical memory.

My first real musical memory is my father introducing me to the Doors and The Kinks at a young age. While that didn’t kick me into full musical gear at that age it certainly left its effects as the latter remains one of my constantly favorite groups to revisit.

The first one of significant impact was the first lesson with second guitar teacher (since clearly the first one didn’t motivate me) Tor Synder, showing me the very barebone basics (string tunings and partial chords). Then before leaving me he (having played an acoustic for the duration of the lesson) asked to see my “Ion” brand strat knock off my parents had bought at Urban Outfitters for $100 (a real quality instrument). He then proceeded to play all of the Hendrix riffs at his disposal. I remember all I knew about Hendrix at that time was the name but I knew exactly whose music I was listening to and that was the thing for me. Side note, the week following he introduced me to Scorpions (Uli Jon Roth years), UFO and Rainbow. The world needs more people like that fella.

Describe your best musical memory to date.

Opening for Deep Purple [with The Golden Grass] at Capitol Theatre. Besides the obvious reasons for that being something I look back on fondly, what sticks out most was watching Deep Purple play from every possible vantage point. At one point I found myself watching from the staircase on the balcony (trying not to obstruct any views) when someone tugged on my shoulder. I had figured it would have been a “hey buddy, get out of the way” but was pleasantly greeted by an usher who gave a solid “that was a great set,” then I promptly thanked them, watched for a second longer and got out of the way.

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

My first European tour. As a 19 year old with no steady employment, no (formal) college education, a sprained wrist (as a bass player auditioning for a power trio, that was quite the intimidating predicament) and maybe a little over a month to rehearse. The idea of (in a sense) escaping the lack of (in a sense) purpose ‘back home’ was a welcome thought. However, when the reality sets in, relationships break down and at times you don’t know if you are really enjoying yourself then you are really forced to contemplate on whether you made the right choices. Luckily the verdict on my end was it was and I would do the same a hundred times over.

The last show of that tour was to a packed house in the Green Room stage at Roadburn which is a close second on the fondest memory front and the beliefs of right and wrong were null.

Where do you feel artist progression leads?

Up, down, left, right, all around. It leads wherever you want it to and even where you don’t. The ultimate destination being discovery, realization and enjoyment for oneself as well as others.

How would you define success?

Being happy, content yet ambitious in any venture one decides to embark on.

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

One stands out vividly but I will save that for my book….

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

The perfectly disguised pop song. An unconventionally structured, familiar but new monstrosity that is as easy at it is to listen to as it is to analyze. Then I’d hope to write a few more in that vein.

Also working on a film score sounds like an arduous yet rewarding project.

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

The most essential function of art in my humble opinion is the freedom of interpretation it emanates (solicits/elicits). The term “universal language” is as justifiable as it is clich√© when describing music as it acts as a healer, reminder of distant memories both good and bad, an equalizer of interest and anything/everything in between.

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

Travelling, hanging out with all my friends in a dirty bar, oh and giving my mom a big hug.

https://www.facebook.com/mirrorqueennyc/
https://mirror-queen.bandcamp.com/
https://www.facebook.com/teepeerecords/
https://twitter.com/teepeerecords
https://instagram.com/teepeerecords/
https://teepeerecords.bandcamp.com/
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Mirror Queen, “Inviolate” official video premiere

Mirror Queen, Verdigris (2017)

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