Quarterly Review: Sonic Flower, Demon Head, Rakta & Deafkids, Timo Ellis, Heavy Feather, Slow Draw, Pilot Voyager, The Ginger Faye Bakers, Neromega, Tung

Posted in Reviews on April 2nd, 2021 by JJ Koczan

quarterly-review-spring-2019

Friday morning and the Spring 2021 Quarterly Review draws to a close. It’s been a good one, and though there are probably enough albums on my desktop to make it go another few days, better to quit while I’m ahead in terms of not-being-so-tired-I’m-angry-at-everything-I’m-hearing. In any case, as always, I hope you found something here you enjoy. I have been pleasantly surprised on more than a few occasions, especially by debuts.

We wrap with more cool stuff today and since I’m on borrowed time as it is, let me not delay.

Quarterly Review #41-50:

Sonic Flower, Rides Again

sonic flower rides again

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Sonic Flower on Thee Facebooks

Heavy Psych Sounds on Bandcamp

 

Demon Head, Viscera

demon head viscera

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Demon Head on Thee Facebooks

Metal Blade Records website

 

Rakta & Deafkids, Live at Sesc Pompeia

Rakta Deafkids Live at Sesc Pompeia

Next time someone asks you what the future sounds like, you’ll have a good answer for them. Combined into a six-piece band, Brazilian outfits Rakta and Deafkids harness ambience and space-punk thrust into a sound that is born of a past that hasn’t yet happened. Their Live at Sesc Pompeia LP follows on from a 2019 two-songer, but it’s in the live performance that the spirit of this unity really shines through, and from opener/longest track (immediate points) “Miragem” through the semi-industrialized effects swirl of “Templo do Caos,” into the blower-noise dance party “Sigilo,” the weirdo-chug-jam of “Forma” and the space rock breakout “Flor de Pele” and the percussed buzz and echoing howls of “Espirais,” they are equal parts encompassing and singular. It is not to be ignored, and though there are moments that border on unlistenable, you can hear from the wailing crowd at the end that to be in that room was to witness something special. As a document of that, Live at Sesc Pompeia feels like history in the making.

Rakta on Thee Facebooks

Deafkids on Thee Facebooks

Rapid Eye Records website

 

Timo Ellis, Death is Everywhere

Timo Ellis Death is Everywhere

A madcap, weighted-but-anti-genre sensibility comes to life in supernova-experimentalist fashion throughout the four songs of Timo EllisDeath is Everywhere. The lockdown-era EP from Ellis (Netherlands, Yoko Ono, Cibo Matto, on and on) makes post-modern shenanigans out of apocalypses inner and outer, and from lines like “this bridal shower is bumming me out” in the unabashedly hooky “Vampire Rodeo” to “the earth will still breathe fire without you!” in “Left Without an Answer,” the stakes are high despite the flittering-in-appreciation-of-the-absurd mood of the tracks themselves. The title-track and “Evolve or Die” blend sonic heft and the experimental pop movement that “Vampire Rodeo” sets forth — the third cut is positively manic and maniacally positive — while “Left Without an Answer” almost can’t help but be consuming as it rolls into a long fade leaving intertwining vocals lines as the last to go, telling the listener to “learn to say goodbye” without making it easy. Won’t be for everyone, doesn’t want to be. Is expression for itself. Feels genuine in that, and admirable.

Timo Ellis on Thee Facebooks

Timo Ellis on Bandcamp

 

Heavy Feather, Mountain of Sugar

heavy feather mountain of sugar

With not-at-all-subtle nods to Humble Pie and Ennio Morricone in its opening tracks, Heavy Feather‘s second LP, Mountain of Sugar, has boogie to spare. No time is wasted on the 38-minute/11-track follow-up to 2019’s D√©bris & Rubble (review here), and true to the record’s title, it’s pretty sweet. The collection pits retro mindset against modern fullness in its harmonica-laced, duly-fuzzed title-track, and goes full-Fleetwood on “Come We Can Go” heading into a side B that brings a highlight in the soft-touch-stomp of “Rubble and Debris” and an earned bit of Southern-styled turn in “Sometimes I Feel” that makes a fitting companion to all the bluesy vibes throughout, particularly those of the mellow “Let it Shine” earlier. The Stockholm outfit knew what they were doing last time out too, but you can hear their process being refined throughout Mountain of Sugar, and even its most purposefully familiar aspects come across with a sense of will and playfulness.

Heavy Feather on Thee Facebooks

The Sign Records on Thee Facebooks

 

Slow Draw, Yellow & Gray

slow draw yellow and gray

Don’t tell him I told you so, but Slow Draw is starting to sound an awful lot like a band. What began as a drone/soundscaping project from Stone Machine Electric drummer/noisemaker Mark Kitchens has sprouted percussive roots of its own on Yellow & Gray, and as Kitchens explores textures of psychedelic funk, mellow heavy and even a bit of ’70s proggy homage in “Sylvia” ahead of the readily Beck-ian jam “Turntable” and acousti-drone closer “A Slow Move,” the band-vibe is rampant. I’m going to call Yellow & Gray a full-length despite the fact that it’s 24 minutes long because its eight songs inhabit so many different spaces between them, but however you want to tag it, it demonstrates the burgeoning depth of Kitchens‘ project and how it’s grown in perhaps unanticipated ways. If this is what he’s been doing in isolation — as much as Texas ever shuttered for the pandemic — his time has not been wasted.

Slow Draw on Thee Facebooks

Slow Draw on Bandcamp

 

Pilot Voyager, Nuclear Candy Bar

plot voyager nuclear candy bar

Freak! Out! The 66-minute Nuclear Candy Bar from Hungarian psychedelicists Pilot Voyager might end mostly drifting with the 27-minute “23:61,” but much of the four tracks prior to that finale are fuzz-on-go-go-go-out-out-out heavy jams, full in tone and improv spirit however planned their course may or may not actually be. To say the least, “Fuzziness” lives up to its name, as guitarist/founder √Ākos Karancz — joined by bassist Bence Ambrus (who also mastered) and drummers Kriszti√°n Megyeri and Istv√°n Baumgartner (the latter only on the closer) — uses a relatively earthbound chug as a launchpad for further space/krautrocking bliss, culminating in a scorching cacophony that’s the shortest piece on the record at just under seven minutes. If you make it past the molten heat of the penultimate title-track, there’s no turning away from “23:61,” as the first minute of that next day pulls you in from the outset, a full-length flow all unto itself. More more more, yes yes yes. Alright you get the point.

Pilot Voyager on Thee Facebooks

Psychedelic Source Records on Bandcamp

 

The Ginger Faye Bakers, Camaro

the ginger faye bakers camaro

Sit with The Ginger Faye BakersCamaro EP for a little bit. Don’t just listen to the first track, or even the second, third or fourth, on their own, but take a few minutes to put it all together. Won’t take long, the thing’s only 17 minutes long, and in so doing you’ll emerge with a more complex picture of who they are as a band. Yeah, you hear the opening title-cut and think early-Queens of the Stone Age-style desert riffing, maybe with a touch of we’re-actually-from-the-Northeast tonal thickness, but the garage-heavy of “The Creeps” feels self-aware in its Uncle Acid-style swing, and as the trio move through the swinging “The Master” and “Satan’s Helpers,” the last song drawing effectively from all sides, the totality of the release becomes all the more sinister for the relatively straight-ahead beginning just a short time earlier. Might be a listen or two before it sinks in, but they’ve found a niche for themselves here and one hopes they continue to follow where their impulses lead them.

The Ginger Faye Bakers on Thee Facebooks

The Ginger Faye Bakers on Bandcamp

 

Neromega, Nero Omega

Neromega Nero Omega

If you’re not yet keeping an eye on Regain Records offshoot Helter Skelter Productions, Rome’s Neromega are a fervent argument for doing so. The initials-only cultish five-piece are Italian as much in their style of doom as they are in geography, and across their four-song Nero Omega debut EP, they run horror organ and classic heavy rock grooves alongside each other while nodding subtly at more extreme fare like the death ‘n’ roll rumble in closer “Un Posto” or the dirt-coated low end that caps “Pugnale Ardore,” the drifting psych only moments ago quickly forgotten in favor of renewed shuffle. Eight-minute opener “Solitudine,” might be the highlight as well as the longest inclusion on the 24-minute first-showing, but it’s by no means the sum total of what the band have on offer, as they saunter through giallo, psychedelia, doom, heavy riffs and who knows what else to come, they strike an immediately individual atmospheric presence even while actively toying with familiar sounds. The EP is cohesive enough to make me wonder what their initials are.

Neromega on Thee Facebooks

Helter Skelter Productions website

 

Tung, Bleak

TUNG BLEAK

Some of the made-even-bigger-by-echo vocals from guitarist Craig Kasamis might remind of Maurice Bryan Giles from Red Fang, but Ventura, California’s Tung are up chasing down a different kind of party on 2020’s Bleak, though Kasamis, guitarist David Briceno (since replaced by Bill Bensen), bassist Nick Minasian and drummer Rob Dean have a strong current of West Coast noise rock in what they’re doing as well in “Runaway,” a lurcher like “Spit” later on or the run-till-it-crashes finisher “Fallen Crown,” which the only song apart from the bookending opener “Succession Hand” to have a title longer than a single word. Still, Tung have their own, less pop-minded take on brashness, and this debut album leaves the bruises behind to demonstrate its born-from-hardcore lineage. Their according lack of frills makes Bleak all the more effective at getting its point across, and while they’d probably tell you their sound is nothing fancy, it’s fancy enough to stomp all over your ears for about half an hour, and that’s as fancy as it needs to be. Easy to dig even in its more aggressive moments.

Tung on Thee Facebooks

Plain Disguise Records website

 

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The Obelisk Questionnaire: Timo Ellis

Posted in Questionnaire on February 25th, 2021 by JJ Koczan

TIMO-ELLIS

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: Timo Ellis

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

I define myself (not too hard!) as an artist, primarily as a musician/ composer/ producer, and then latently, but also sincerely in digital art, writing, poetry, and film/ video. I came to do it intuitively, as a means of transmuting (and frankly surviving) my various childhood psychic and emotional difficulties. + even that seems too narratively tidy?? I think I just did it because I had to, and I could.

Describe your first musical memory.

listening on repeat to the “Really, Rosie” LP by Carole King and Maurice Sendak, at home, in 1975.

Describe your best musical memory to date.

(does this mean a memory of music? or a memory of playing music??) my personal experiences playing music have been so hugely varied, not only musically but also emotionally/ psychologically in terms of my frame of (and clarity of!) mind, that I’m afraid I’d unwittingly sanitize/ edit for effect, or optics, even to myself. However I will say that going full acid/ punk rock drumming 200% balls out with Yoko Ono live across Europe was a peak (series of) moments; that band (with Yoko, Sean Lennon, and Andrew Weiss) was fucking monstrous.

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

my moral position on animal liberation regularly gets tested/ nuanced, and ultimately strengthened by the public, as well as by many of my friends and family…however my belief in not mindlessly exploiting/ murdering the Earth/ oceans/ air gets constantly challenged, and mostly complicated/ defeated, by my complicity in still using single use plastics/ buying new electronics/ driving/ flying/ uncritically relying on big oil for electricity, heat and AC.

Where do you feel artistic progression leads?

back to square one, to the beginning (+ hopefully to fiercer and better art!).

How do you define success?

doing consistently excellent work, and then having a good name/ reputation for decency and compassion (*and of course being able to break even doing it is nice, too.).

What is something you have seen that you wish you hadn’t?
in 1980, when I was 10 years old, I saw The Shining in the theater when it came out, by myself, and I think I can safely say that I still haven’t fully recovered from this (hearing Wendy Carlos’s music from this film almost makes me nauseous, even now.).

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

a loving, supportive relationship with my own mind (I’m working on it though.)

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

to illuminate the glory and incomprehensible, ecstatic beauty of consciousness, and of life itself.

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

being able to go to the movies again!

https://www.timoellis.com
https://timoellis.bandcamp.com
https://www.instagram.com/timoellismusic
https://www.youtube.com/user/squenchy
https://www.facebook.com/timoellismusic
https://soundcloud.com/timoellismusic

Timo Ellis, Death is Everywhere (2021)

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