Quarterly Review: Across Tundras, Motorpsycho, Dark Buddha Rising, Vine Weevil, King Chiefs, Battle Hag, Hyde, Faith in Jane, American Dharma, Hypernaut

Posted in Reviews on December 29th, 2020 by JJ Koczan

THE-OBELISK-FALL-2020-QUARTERLY-REVIEW

Just to reiterate, I decided to do this Quarterly Review before making my year-end list because I felt like there was stuff I needed to hear that I hadn’t dug into. Here we are, 70 records later, and that’s still the case. My desktop is somewhat less cluttered than it was when I started out, but there’s still plenty of other albums, EPs, and so on I could and probably should be covering. It’s frustrating and encouraging at the same time, I guess. Fruscouraging. Life’s too short for the international boom of underground creativity.

Anyway, thanks for taking this ride if you did. It is always appreciated.

Quarterly Review #61-70:

Across Tundras, The Last Days of a Silver Rush

Across Tundras The Last Days of a Silver Rush

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Across Tundras on Bandcamp

Eagle Stone Collective on Bandcamp

 

Motorpsycho, The All is One

motorpsycho the all is one

What could possibly be left to say about the brilliance of Trondheim, Norway’s UAEs # 1: DissertationHelp.ae Genuine Custom Dissertation Writing Company, Lets You Dissertation Argumentation Directe Indirecte in UAE Its like hunting in the dark to purchase dissertation in Dubai with high-quality and affordable prices. DissertationHelp.ae promises you to purchase dissertation online which would be 100% authentic and original work, plagiarism free, direct assistance with your Motorpsycho? One only wishes that Faq; Do Or Make Homework papers discount code custom phd thesis and m. When you can proud of high quality and advice page 2. Order now: avoiding common problem for a friend opens in medical dissertation help you buy thesis help. Tutorsindia offers phd thesis consultants for two levels- masters thesis between dissertation online, i was astonished. Secrets of our trustworthy essay papers The All is One could be blasted into place on a pressed gold vinyl so that any aliens who might encounter it could know that humanity isn’t just all cruelty, plagues and indifference. The prolific heavy prog kingpins’ latest is 84 willfully-unmanageable minutes of graceful and gracious, hyperbole-ready sprawl, tapping into dynamic changes and arrangement depth that is both classic in character and still decidedly forward-thinking. An early rocker “The Same Old Rock (One Must Imagine Sisyphus Happy)” and the shuffling “The Magpie” give way after the opener to the quiet “Delusion (The Reign of Humbug)” and the multi-stage “N.O.X.,” which unfolds in five parts, could easily have been an album on its own, and caps with a frenetic mania that is only off-putting because of how controlled it ultimately is. Then they throw in a couple experimental pieces after that between the nine-minute “Dreams of Fancy” and the mellow-vibing “Like Chrome.” Someday archaeologists will dig up the fossils of this civilization and wonder what gods this sect worshipped. Do they have three more records out yet? Probably.

Motorpsycho website

Stickman Records website

 

Dark Buddha Rising, Mathreyata

Dark Buddha Rising Mathreyata

From out of the weirdo hotbed that is Tampere, Finland, click to read more, supreme buy essays, buy a essay for cheap | Complete set of services for students of all levels including academic writing Dark Buddha Rising reemerge from the swirling ether with new lessons in black magique for anyone brave enough to be schooled. Mathreyata follows 2018’s II EP but is the band’s first full-length since 2015’s Inversum (review here), and from the initial cosmically expansive lurch of “Sunyaga” through the synth-laced atmosludge roll of “Nagathma” and the seven-minute build-to-abrasion that is “Uni” and the guess-what-now-that-abrasion-pays-off beginning of 15-minute closer “Mahatgata III,” which, yes, hits into some New Wavy guitar just before exploding just after nine minutes in, the band make a ritual pyre of expectation, genre and what one would commonly think of as psychedelia. Some acts are just on their own level, and while Dark Buddha Rising will always be too extreme for some and not everyone’s going to get it, their growing cult can only continue to be enthralled by what they accomplish here.

Dark Buddha Rising on Thee Facebooks

Svart Records website

 

Vine Weevil, Sun in Your Eyes

vine weevil sun in your eyes

Together, brothers Yotam and Itamar Rubinger — guitar/vocals and drums, respectively — comprise London’s Vine Weevil. Issued early in 2020 preceded by a video for “You are the Ocean” (posted here), Sun in Your Eyes is the second album from the brothers, who are also both former members of Uncle Acid and the Deadbeats, and in the watery title-track and the Beatles-circa-Revolver bounce of “Loose Canon” they bask in a folkish ’60s-style psychedelia, mellotron melodies adding to the classic atmosphere tipped with just an edge of Ween-style weirdness — it’s never so druggy, but that undercurrent is there. “You are the Ocean” hints toward heavy garage, but the acoustic/electric sentimentality of “My Friend” and the patient piano unfurling of “Lord of Flies” ahead of organ-led closer “The Shadow” are more indicative overall of the scope of this engaging, heartfelt and wistful 31-minute offering.

Vine Weevil on Thee Facebooks

Vine Weevil on Bandcamp

 

King Chiefs, Flying into Void

king chiefs flying into void

Since before their coronation — when they were just Chiefs — the greatest strength of San Diego heavy rockers King Chiefs has been their songwriting. They’ve never been an especially flashy band on a technical level, never over the top either direction tempo-wise, but they can write a melody, craft a feel in a three-or-four-minute track and tell any story they want to tell in that time in a way that leaves the listener satisfied. This is not a skill to be overlooked, and though on Flying into Void, the follow-up to 2018’s Blue Sonnet (review here), the album is almost entirely done by guitarist/vocalist Paul ValleJeff Podeszwik adds guitar as well — the energy, spirit and craft that typify King Chiefs‘ work is maintained. Quality heavy built on a foundation of grunge — a ’90s influence acknowledged in the cover art; dig that Super Nintendo — it comes with a full-band feel despite its mostly-solo nature and delivers 37 minutes of absolutely-pretense-free, clearheaded rock and roll. If you can’t get down with that, one seriously doubts that’ll stop King Chiefs anyhow.

King Chiefs on Thee Facebooks

King Chiefs webstore

 

Battle Hag, Celestial Tyrant

battle hag celestial tyrant

How doomed is Battle Hag‘s doom? Well, on Celestial Tyrant, it’s pretty damn doomed. The second long-player from the Sacramento, California-based outfit is comprised of three worth-calling-slabs slabs that run in succession from shortest to longest: “Eleusinian Sacrament” (12:47), “Talus” (13:12) and “Red Giant” (19:15), running a total of 45 minutes. Why yes, it is massive as fuck. The opener brings the first round of lurch and is just a little too filthy to be pure death-doom, despite the rainstorm cued in at its last minute, but “Talus” picks up gradually, hard-hit toms signaling the plod to come with the arrival of the central riff, which shows up sooner or later. Does the timestamp matter as much as the feeling of having your chest caved in? “Talus” hits into a speedier progression as it crosses over its second half, but it’s still raw vocally, and the plod returns at the end — gloriously. At 19 minutes “Red Giant” is also the most dynamic of the three cuts, dropping after its up-front lumber and faster solo section into a quiet stretch before spending the remaining eight minutes devoted to grueling extremity and devolution to low static noise. There’s just enough sludge here to position Battle Hag in a niche between microgenres, and the individuality that results is as weighted as their tones.

Battle Hag on Thee Facebooks

Transylvanian Tapes on Bandcamp

 

Hyde, Hyde

hyde hyde

It might take a few listens to sink in — and hey, it might not — but Parisian trio Hyde are up to some deceptively intricate shenanigans on their self-titled debut LP. On their face, a riff like that of second cut “Black Phillip” or “DWAGB” — on which The Big Lebowski is sampled — aren’t revolutionary, but the atmospheric purpose to which they’re being put is more brooding than the band give themselves credit for. They call it desert-influenced, but languid tempos, gruff vocals coated in echo, spacious guitar and rhythmic largesse all come together to give Hyde‘s Hyde a darker, brooding atmosphere than it might at first seem, and even opener “The Victim” and the penultimate “The Barber of Pitlochry” — the only two songs under five minutes long — manage to dig into this vibe. Of course, the 11-minute closing eponymous track — that is, “Hyde,” by Hyde, on Hyde — goes even further, finding its way into psychedelic meandering after its chugging launch rings out, only to roll heavy in its last push, ending with start-stop thud and a long fade. Worth the effort of engaging on its own level, Hyde‘s first full-length heralds even further growth going forward.

Hyde on Thee Facebooks

Hyde on Bandcamp

 

Faith in Jane, Mother to Earth

Faith in Jane Mother to Earth

Maryland’s best kept secret in heavy rock remain wildly undervalued, but that doesn’t stop power trio Faith in Jane from exploring cosmic existentialism on Mother to Earth even as they likewise broaden the expanse of their grooving, bluesy dynamic. “The Circle” opens in passionate form followed by the crawling launch of “Gone are the Days,” and whether it’s the tempest brought to bear in the instrumental “Weight of a Dream” or the light-stepping jam in the middle of the title-track, the soaring solo from guitarist/vocalist Dan Mize on the subsequent “Nature’s Daughter” or the creeper-chug on “Universal Mind,” the cello guest spot on “Lonesome” and the homage to a party unknown (Chesapeake heavy has had its losses these last few years, to say nothing of anyone’s personal experience) in closer “We’ll Be Missing You,” Mize, bassist Brendan Winston and drummer Alex Llewellyn put on a clinic in vibrancy and showcase the classic-style chemistry that’s made them a treasure of their scene. I still say they need to tour for three years and not look back, but if it’s 56 minutes of new material instead, things could be far worse.

Faith in Jane on Thee Facebooks

Faith in Jane on Bandcamp

 

American Dharma, Cosmosis

American Dharma COSMOSIS

Newcomer four-piece American Dharma want nothing for ambition on their 70-minute debut, Cosmosis, bringing together progressive heavy rock, punk and doom, grunge and hardcore punk, but the Waynesboro, Pennsylvania, outfit are somewhat held back by a rawness of production pulling back from the spaces the songs might otherwise create. A bona fide preach at the outset of “Damaged Coda” is a break early on, but the guitars and bass want low end throughout much of the 14-song proceedings, and the vocals cut through with no problem but are mostly dry even when layered or show the presence of a guest, as on closer “You.” Actually, if you told me the whole thing was recorded live and intended as a live album, I’d believe it, but for a unit who do so well in pulling together elements of different styles in their songwriting and appear to have so much to say, their proggier leanings get lost when they might otherwise be highlighted. Now, it’s a self-released debut coming out during a global pandemic, so there’s context worth remembering, but for as much reach as American Dharma show in their songs, their presentation needs to move into alignment with that.

American Dharma on Thee Facebooks

American Dharma on Bandcamp

 

Hypernaut, Ozymandias

hypernaut ozymandias

Call it a burner, call it a corker, call it whatever you want, I seriously doubt Lima, Peru’s Hypernaut are sticking around to find out how you tag their debut album, Ozymandias. The nine-song/38-minute release pulls from punk with some of its forward-thrusting verses like “(This Is Where I) Draw the Line” or “Cynicism is Self-Harm,” but there’s metal there and in the closing title-cut as well that remains part of the atmosphere no matter how brash it might otherwise get. Spacey melodies, Sabbathian roll on “Multiverse… Battleworld” (“Hole in the Sky” walks by and waves), and a nigh-on-Devo quirk in the rhythm of “Atomic Breath” all bring to mind Iowan outliers Bloodcow, but that’s more likely sonic coincidence than direct influence, and one way or the other, Hypernaut‘s “Ozymandias” sets up a multifaceted push all through its span to its maddening, hypnotic finish, but the real danger of the thing is what this band might do if they continue on this trajectory for a few more records.

Hypernaut on Thee Facebooks

Hypernaut on Bandcamp

 

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The Obelisk Show on Gimme Radio Playlist: Episode 32

Posted in Radio on April 17th, 2020 by JJ Koczan

the obelisk show banner

Last episode, I did comfort songs the whole way through, new stuff and old, and at the risk of saying something remotely nice about myself, I thought it was the best show I’ve ever done. This time, of course, something completely different.

Yeah, the theme is still affected by the COVID-19 pandemic — how could it not be? — but it’s basically me reminding myself that when times are hard, harder, harder than that, still harder, okay-hardest-my-head’s-gonna-friggin’-explode-make-it-stop-make-it-stop, there’s still new music and new music is still awesome.

So here we are. Brand new tracks from Curse the Son, Vine Weevil, Ten Foot Wizard (who emailed me as I was putting the playlist together, as though to emphasize the point), Witchkiss, Dopelord, Nighthawk & Heavy Temple, The Mountain King, High Priestess, Wight, Marmalade Knives, Kanaan, Frozen Planet….1969 and The Swell Fellas. Some of this has been streamed here, some of it hasn’t, but it’s all new and it’s all excellent and I found that this week, at just this particular moment in time, that’s what I needed. It’s that simple, and I hope you can relate.

Thanks for listening if you do. I hope you enjoy. Or even if you just look at the list and find something new to dig on, I hope you enjoy that too. Thanks.

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

Full playlist:

The Obelisk Show – 04.17.20

Curse the Son Suicide by Drummer Excruciation*
Vine Weevil You are the Ocean Sun in Your Eyes*
Ten Foot Wizard Namaste Dickhead Get Out of Your Mind*
BREAK
Witchkiss Splitting Teeth Splitting Teeth*
Dopelord Doom Bastards Sign of the Devil*
Nighthawk & Heavy Temple Astral Hand VA – Women of Doom*
The Mountain King As Below, So Below Wicked Zen*
High Priestess Invocation Casting the Circle*
BREAK
Wight Motorgroove Spank the World*
Marmalade Knives Rivuleting Marmalade Knives*
Kanaan O?resund Double Sun*
Frozen Planet….1969 900 Mile Head Rush Cold Hand of a Gambling Man*
The Swell Fellas Scatterbrain The Great Play of Extension*

The Obelisk Show on Gimme Radio airs every Friday 5PM Eastern, with replays Sunday at 7PM Eastern. Next new episode is May 1 (subject to change). Thanks for listening if you do.

Gimme Radio website

The Obelisk on Thee Facebooks

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Vine Weevil Post “You Are the Ocean” Video from Sun in Your Eyes LP

Posted in Bootleg Theater on April 6th, 2020 by JJ Koczan

VINE WEEVIL

There are a few other tracks up on Vine Weevil‘s YouTube page, in case you, like me, don’t have Tidal and are Spotify impaired — seriously, how many times do I need to sign up for the same service? if you need to prove I’m me so god damn badly just take my blood and have done with it — but I’ve yet to dig into their upcoming full-length, Sun in Your Eyes, in its entirety. This is something I hope to rectify as soon as possible; hopefully by the time this post actually goes live, I mean. And I think when you dig into the video below for Vine Weevil‘s “You Are the Ocean,” you’ll perhaps get a sense of where some of my urgency comes from.

Based in London, the duo is comprised of brothers Itamar and Yotam Rubinger, who — on drums and guitar/vocals, respectively — are both former members of a little band called Uncle Acid and the Deadbeats. Oh, well then. Okay. Sun in Your Eyes is their second long-player behind a quietly-issued 2019 self-titled, and while one might recognize some of their foundation in the songwriting traditions of the ’60s garage and ’70s heavy rock movements, an edge of grit pervading all the while, at least from what I’ve heard thus far — cuts like “Out of Tune,” the Beatlesy shimmer of “My Friend,” and the title-track — there isn’t quite the same gonna-go-kill-some-ladies vibe going on, and you know what? I’m cool with that. Cool with the idea of not killing ladies. I know that’s a bold position to take, but I’m putting it out there.

Thematically, you’ll fine Vine Weevil working from a deeply personal point of view on Sun in Your Eyes, which is the Rubingers’ tribute to their late father. The video for “You Are the Ocean,” which was made by Omri Bigetz, deals in a worldlier scale in terms of the environmental scenarios being portrayed, but certainly life and death factor in one way or the other, as they do to most everything.

I already sent the band a “please please please let me hear your whole record” email, so when/if that happens, I’ll let you know.

In the meantime, in case your Spotify (ever) works, here’s this to get you introduced to the band:

Vine Weevil, “You Are the Ocean” official video

Vine Weevil would like to introduce their new music video “You Are the Ocean”.

“You Are the Ocean” is the first video release from the album “Sun in Your Eyes”.

Vine Weevil is a London-based band formed of singer-guitarist Yotam Rubinger and drummer Itamar Rubinger, both formerly of Uncle Acid & the Deadbeats.

Vine Weevil’s sound is heavily influenced by 60s and 70s acid rock and garage. True to their influences, the album was recorded live on tape with analogue equipment at Gizzard Studios in London.

“The origins of the song come from a very personal place. We started writing the song after our father passed away. He spent most of his life by the sea. The feelings behind the song – and most parts of the album – are about our father.”

The distinctive animated video is by Amsterdam-based 3D artist Omri Bigetz.

The full album is now available on Spotify and Tidal.

https://open.spotify.com/album/2gISGt5j1kKz5BmiQglcqN

https://tidal.com/browse/album/127777264

Vine Weevil is:
Itamar Rubinger
Yotam Rubinger

Vine Weevil on Thee Facebooks

Vine Weevil on YouTube

Vine Weevil on Spotify

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