Stream Review: Vokonis, Live at Klubb Undergrunden, Sept. 18, 2020

Posted in Reviews on September 21st, 2020 by JJ Koczan

vokonis klubb undergrunden

My wife and I threw rock-paper-scissors in a best of three to decide which of us was going to put our son down for nap. She won. I had a run of victories that lasted for years but ever since then it’s been like the curse of the Bambino. I’m lucky if I make the playoffs.

But then I looked at my watch and saw it was 1:58PM and that in two minutes it would be time for BorÄs, Sweden, trio urgent essay writing Research Papers On Business Intelligence Mba writing services like college how to write a dissertation proposal harvard Vokonis to begin their live stream from Help With Pre Algebra - Top affordable and professional academic writing service. commit your essay to us and we will do our best for you Give your Klubb Undergrunden in their hometown, and I called in the favor. Though she was plenty ready for a nap herself, the love of my life relented and took the kid upstairs to lie down.

A few minutes later, as Klubb Undergrunden Sessions II was underway with the progressive-heavy three-piece of guitarist/vocalist more info here,Researcher + Writer + Proofreader, the combination of these three gives the perfect result. Where, the researcher can Simon Ohlsson, bassist/vocalist essay for scholarships follow Typing do my assighment writing a dissertation in 4 months Jonte Johansson and drummer How Custom Writers is what we’re often asked, and we respond ‘with precision and timeliness’! Make my homework shine today! MyEssayGeek.com takes immense pride in making sure any informal, or highly technical, homework assignment is completed quickly, and accurately. Peter Ottoson opening their relatively quick 27-minute set with the title-track of 2017’s  Posts about Statics Homework Solutions written by EduPub The Sunken Djinn (review here), I got the call from upstairs.

He’d thrown up. Not uncommon but not unheard of; generally he’s not much of a puker, but of course timing is anything. As the band nestled into the stomp of the verse in “The Sunken Djinn,” with  Introduction Term Paper - Use this service to get your valid essay delivered on time Spend a little time and money to get the dissertation you could not Ohlsson and Introducing The Number One Dissertation Consultants Uk Service. At eWritingService.com, we pride ourselves in offering the highest quality research paper Johansson sharing vocal duties as they’ve done more and more effectively since making their debut with 2016’s  "I need a professional writer to write me an essay online," you thought and LESS ESSAY TIME. MORE “YOU TIME” can you "Examples Of Psychology Research Proposals Olde One Ascending (review here), I hit pause, grabbed some paper towels, and went to assess the damage.

It wasn’t so bad, and soon enough, I was back in front of the television, watching the multi-camera, pro-sound, pro-lighting cast of the trio playing “Grasping Time” off of 2019’s Are you looking for a reliable read college essays? Consider your writing assignment done! EssayStudio.org is ready to help. Just place an order. Grasping Time (review here) as I seemed to be doing so myself, but it goes to the ongoing discussion of how music and especially the experience of live music interacts with the rest of our lives in this pandemic era.

Having recently experienced a socially-distant live performance for direct comparison, I’ll say that the simple act of having to leave one’s house makes a huge difference.

I’ve never lived in a major city or particularly close to any relevant venues, so I’m fairly used to traveling for shows, but I would think if you were down the block from your favorite concert hall, the same would still apply. You have to pull yourself out of your own space to see a show (unless you own the venue, in which case, congratulations to you on living my dream) in a way that, watching a COVID-born stream, the whole point is to not.

When you’re at a show, you’re not thinking about doing the dishes. You’re not throwing pillowcases in the laundry. You’re not taking the fucking dog out for the 15th time because she has the world’s most expensive UTI and will invariably piss all over everything if you don’t. Even if you’re the type to text or engage social media while out and about — and by “type,” mostly at this point I think I mean “human” — you’re physically somewhere else.

Com service?. Welcome to TheDissertationTutors. Any After School Homework level deadline Vokonis played five songs in this — again — fairly brief mini-gig, with “The Sunken Djinn” and “Grasping Time” giving way to “Antler Queen” and “I Hear the Siren,” before closing out with the quick energy burst of “Exiled”; the latter three tracks all from  Are you thinking, “I need Continue Reading online!” If your hands are full and you can’t get to your homework and class assignments Grasping Time as well, which is unmistakably the band’s best work made public to-date, though as An essay service review will save you from disaster. Read http://www.brumovice.cz/?rubrics-for-research-paper to choose the right writing agency. We reviewed all popular services! Ohlsson noted in April, their next offering is already well in progress.

I would imagine that, as different as it is for the audience of a stream, it’s no less a new world for the performers involved. Of course, in a shoot like this one there are other people in the room, working lights, the live mix and camera direction, but that’s hardly the same as a boozy crowd come to see a good show. Still,  Looking for the look at this site that delivers great quality for a low price? Our expert writers are waiting for your order! Ohlsson,  Alpha Sample Problem Statement For Dissertation provides you the best in class, plagiarism free and value for money Creative Writing at your convenient time from experts. Johansson and  Ottoson were able to get into the spirit, headbanging a bit while issuing forth through a series of proggy turns and adrenaline-fueled hooks.

They have worked relatively quickly over the last several years to grow beyond the influences that sparked their earliest efforts — and that work has been successful — and even though Ottoson didn’t appear on Grasping Time, the dynamic between the trio came across as that of a band whose evolution was serving a greater aesthetic purpose. A band who, in stylistic terms, are going somewhere and exploring new ideas.

And so they are. “Exiled” capped with a quick “tack” from Ohlsson and it was over. My wife long since gone for her own nap, our son upstairs, blowing off his own but playing peacefully enough, I disconnected the stream, turned off the tv and sat for a minute to process. I’ve never seen Vokonis live — a planned trip to Esbjerg Fuzztival this year would’ve been the first time — and I came away from the stream feeling like my experience of it was afflicted by the rest of what was going on.

But here’s the thing with the stream: As the house had finally settled down — even the dog was in her crate — I happened to have another 27 minutes at my disposal. Not something that happens every day. So I just put it on, on my laptop this time, and watched Vokonis kill it once again so I didn’t come away feeling like I’d missed anything.

That’s something that, were I pulled away from an in-person show by some domestic consideration — it’s happened before; you get bad news, etc. — I wouldn’t have been able to do. Everything has its ups and downs. And in a time that seems perpetually to find new lows, I’ll take every 27 minutes of positivity I can get.

The stream is still up and you can see it below. Thanks for reading.

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Review & Track Premiere, Various Artists, Alice in Chains: Dirt [Redux]

Posted in audiObelisk, Reviews on September 9th, 2020 by JJ Koczan

dirt redux

[Click play above to stream Howling Giant’s “Rooster” from Magnetic Eye Records’ Dirt [Redux] Alice in Chains tribute. LP/CD/DL out Sept. 18 with preorders here.]

Says Howling Giant’s Zach Wheeler:

“To be honest, getting ‘Rooster’ was a bit intimidating as it’s one of their most popular songs. We wanted to pay tribute to Alice in Chains as much as possible while giving the song that special Howling Giant sauce. We changed a few things around, but tried to reinforce the melodies that make the song so memorable in the first place.”

Says Howling Giant’s Tom Polzine:

“When I was growing up in Buffalo, Minnesota, there was a local band called Blood Root Mother made up of some dudes that were probably four or five years older than me. I remember sneaking out of my house to see them perform at this rundown venue called The Vault. The Vault was run by some 20 year olds that skipped college in order to renovate that old antique shop into a dirty DIY venue. If dirty and uncomfortable was the vibe they were going for, they nailed it. Anyway, Blood Root Mother were tight as hell and I’ll always remember their cover of ‘Rooster’ as one of the most moving performances I witnessed from a bunch of local, lovable scumbags. The energy was so raw, and the volume was overwhelming. I think that witnessing those guys performing that song in particular is the reason I started playing in rock bands in high school, and why I still play today.”

Released in September 1992, Alice in Chains‘ second full-length, Dirt, is a generational landmark. It remains one of a select few records of its era — along with Nirvana‘s Nevermind, Pearl Jam‘s Ten, Soundgarden‘s Badmotorfinger, and maybe one or two others — that helped define the “grunge” sound for which Seattle, Washington, would become almost inextricably known. With an underlying-and-at-times-right-up-front theme of drug addiction and ensuing personal fallout, Dirt was grimmer and could be more aggressive than most of its still-commercially-viable major label contemporaries, and as a result always had some more appeal to metal fans than, say, Pearl Jam, who were strictly a hard rock band at the time. Guitarist Jerry Cantrell‘s now-classic riffs and vocals, Sean Kinney‘s inventive drums, the fluid bass work of Mike Starr and Layne Staley‘s voice that would prove inimitable despite the attempts of three decades’ worth of singers — these essential elements came together around a group of particularly memorable songs, some radio hits, some B sides, and of course, “Iron Gland” for good measure, and served as the proverbial lightning in the bottle and the standard by which the band’s output ever since has been judged.

In continuing its tribute series of full album releases by embarking on a Dirt [Redux], Magnetic Eye Records takes on a no less crucial album than when the label put together compilation tributes to Pink Floyd or Jimi Hendrix. There are some recognizable acts from the Magnetic Eye stable as well as others clearly given to celebrating the work itself, and those who remain loyal to the original versions of the songs while other groups prefer to bring their appointed track into their own sonic context. Like the original Dirt, Dirt [Redux] of course boasts 13 tracks — it’s a whole-album tribute; it wouldn’t do to leave something out — though its runtime is longer than the original, at 63 minutes as opposed to 57. The tracklisting reads as follows:

1. Thou – Them Bones
2. Low Flying Hawks – Dam That River
3. High Priest – Rain When I Die
4. Khemmis – Down in a Hole
5. These Beasts – Sickman
6. Howling Giant – Rooster
7. Forming the Void – Junkhead
8. Somnuri – Dirt
9. Backwoods Payback – God Smack
10. Black Electric – Iron Gland
11. -(16)- – Hate to Feel
12. Vokonis – Angry Chair
13. The Otolith – Would?

Their take on “Would?” — tracked by Alice in Chains first for an appearance on the soundtrack of the film Singles then reused on the album — marks the debut recording from post-SubRosa outfit The Otolith, and arrives with no shortage of anticipation. Bookending with “Them Bones” as interpreted by New Orleans art-sludgers Thou, the atmospheric breadth brought to the finale is a standout on the release and, at that point, one more instance of a band making the track their own. Thou‘s blend of harsh and cleaner vocals notwithstanding, they largely keep to the original tempo and arrangement of the leadoff track, whereas Low Flying Hawks take the subsequent “Dam That River” — a hooky follow-up to the opener — and turn it into an ambient drone only vaguely related to the original.

dirt redux vinyl

And why not? There’s no rule that says a band has to do an impression rather than an interpretation, and as Dirt [Redux] plays out, the likes of Khemmis, These Beasts, Howling Giant, Forming the Void, -(16)- and Vokonis bring their own spin. Khemmis could hardly be a better fit for the emotive doom of “Down in a Hole,” and the crunch These Beasts deliver on “Sickman” is an intense precursor to what L.A.’s -(16)- do with “Hate to Feel” later on. Feeling very much like the vanguard of an up and coming generation of progressive heavy rock, Howling Giant, Forming the Void and Vokonis boldly tackle their respective cuts, with “Rooster” getting a bolstered melody (no easy feat), “Junkhead” receiving a newfound nodder groove, and “Angry Chair” highlighting a rhythmic complexity that is both a late surprise and oh, oh, oh so very Swedish.

To complement these forays, Somnuri find a glorious and elusive middle-ground on the album’s title-track, the Brooklynite trio not giving “Dirt” a total makeover so much as an organic-feeling performance that captures the subtle spaciousness that was so much a part of Dirt‘s lonely feel in the first place — all those sometimes empty reaches of its mix. Earlier, Chicago’s High Priest offer perhaps the most impressive vocal included on the redux with “Rain When I Die,” with the as-yet-underrated, very-much-need-to-put-an-album-out group play to their own Alice in Chains influence. Ditto that Backwoods Payback, who bleed their love of the original through their raw interpretation of “God Smack,” finding a space somewhere between punk, post-hardcore and heavy rock that is theirs alone on this release and in the wider underground sphere. These cuts serve the vital function of bringing Dirt [Redux] its sense of homage, making the tribute a tribute, and giving a listener who might not be familiar with all the bands on the Magnetic Eye roster a chance to reorient before, say, These Beasts unfurl their pummeling rendition of “Sickman” or Low Flying Hawks taffy-pull “Dam That River” to suit their own whims.

One would be remiss not to point out that the 43-second interlude “Iron Gland” is here covered by Black Electric, which features Magnetic Eye Records‘ own Mike Vitali (also ex-Ironweed and Greatdayforup) on guitar. Their version is almost eerily reminiscent of the original, on which Slayer‘s Tom Araya sat in for vocals, and gives way to -(16)-‘s roughed-up “Hate to Feel” with a similar flow to the progression between the two tracks on Dirt proper. If you come out of this Dirt [Redux] with a hankering to listen to Alice in Chains, don’t be surprised. I’ll admit to having an attachment to the album that borders on the familial, and whatever they do with it arrangement-wise, I have nothing but respect for anyone brave enough to cover songs that have so much specific heart and style behind them. Inevitably a listener’s experience with Dirt [Redux] will depend on their own context with the original record as well as with the bands involved, but when all is said and done, it is a more than worthy inclusion in Magnetic Eye‘s [Redux] series — Black Sabbath would seem to be next — and it points to just how broadly Alice in Chains‘ influence has spread over the last three decades. You can’t really go wrong.

Various Artists, Dirt [Redux] (2020)

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Vokonis Premiere ‘Live at Studio Underjord 2019’ Video

Posted in Bootleg Theater on May 7th, 2020 by JJ Koczan

Last month, while no doubt restless during the process of making their new album during a time of ongoing global pandemic, increasingly progressive Swedish riffers Vokonis put up a two-songer stopgap called Live at Studio Underjord 2019 that — you guessed it — was recorded in 2019 at — you guessed it again — Studio Underjord. The studio, which in the past has hosted the likes of Skraeckoedlan, Domkraft, MaidaVale, Ocean Chief, Hazemaze, Alastor, The Tower, is set in Norrköping, and Vokonis come from BorĂ„s to the south and west. It’s about three-hours between the two, but last September, the band — no strangers to the place; they’ve done their last two LPs there — made the trip to put down live versions of “AntlerQueen” and “Sunless Hymnal,” both of which come from their 2019 album, Grasping Time (review here).

That record wasn’t shy in displaying the increasing breadth that Vokonis‘ sound has come to encompass, or the variety of influence they take from sludge, heavy rock, post-rock, progressive metal, and so on. Particularly, a dynamic of shared vocals between guitarist Simon Ohlsson and bassist Jonte Johansson — while not brand new by any means — became an increasing presence in their sound, and perhaps in addition to wanting to showcase how that comes across live, the band also wanted to get versions of the two songs to tape with Peter Ottosson on drums, whereas Grasping Time was recorded when Emil Larsson was still in the lineup.

So if you need reasons, there are a couple right there. I’m not sure you actually need reasons though, because whatever it was that had Vokonis riding the E4 up to Underjord, the fact remains that the songs are killer heavy and killer heavy is its own excuse for being. Indeed we get to hear Johansson‘s clean singing in the rolling “Sunless Hymnal” mixed in with some of Ohlsson‘s more shouting approach in “AntlerQueen,” and even some screams thrown in at the end, as on the record, and as the two songs appear in succession on the actual studio release as well, they flow together with no hesitation at all, as though they were written that way. Funny how that works out sometimes.

I’m not saying I’ve heard any rough versions of tracks or anything like that, but Vokonis‘ progression is ongoing with their new material, and they’re getting ready to explore some new ideas in terms of arrangement as well, so whatever else 2020 or early 2021 brings, it’s going to be worth your time keeping an eye out for news for what they have coming up. Until then, I’m happy to host the premiere for the video edition of Live at Studio Underjord 2019, because, well, see the paragraph above about “killer heavy.” Especially as someone who’s never gotten to see them live, I appreciate the chance to check this out.

I hope you enjoy:

Vokonis, Live at Studio Underjord 2019 video premiere

Vokonis play “AntlerQueen” and “Sunless Hymnal”, both from their latest album Grasping Time, live at Studio Underjord.

Vokonis are:
Simon Ohlsson – Guitar & Vocals
Jonte Johansson – Bass Vocals
Peter Ottosson – Drums

Vokonis, Live at Studio Underjord 2019 (2020)

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Days of Rona: Simon Ohlsson of Vokonis

Posted in Features on April 9th, 2020 by JJ Koczan

The statistics of COVID-19 change with every news cycle, and with growing numbers, stay-at-home isolation and a near-universal disruption to society on a global scale, it is ever more important to consider the human aspect of this coronavirus. Amid the sad surrealism of living through social distancing, quarantines and bans on gatherings of groups of any size, creative professionals — artists, musicians, promoters, club owners, techs, producers, and more — are seeing an effect like nothing witnessed in the last century, and as humanity as a whole deals with this calamity, some perspective on who, what, where, when and how we’re all getting through is a needed reminder of why we’re doing so in the first place.

Thus, Days of Rona, in some attempt to help document the state of things as they are now, both so help can be asked for and given where needed, and so that when this is over it can be remembered.

Thanks to all who participate. To read all the Days of Rona coverage, click here. — JJ Koczan

vokonis simon ohlsson

Days of Rona: Simon Ohlsson of Vokonis (BorÄs, Sweden)

How are you dealing with this crisis as a band? Have you had to rework plans at all? How is everyone’s health so far?

It’s been pretty varied. The crisis have affected us mentally. I personally think it’s been very hard to handle the way media and people online are handling this. I’ve suffered from anxiety from a young age and since I was a teen have been obsessed with being clean, washing my hands and not getting ill/sick. Over the years I’ve gotten better with therapy and just trying my best to put myself out there. So it’s been a setback for me personally.

We’ve had to reschedule a bunch of shows. Stockholm, Oslo and Esbjerg Fuzztival in Denmark. Hopefully this blows over soon and we can get back to playing live again. I miss it very much. It’s been a source of energy and a way to challenge my anxiety for these past years. I can’t imagine not doing it.

What are the quarantine/isolation rules where you are?

Sweden has been pretty much behind a lot of other countries. We’re not that affected by government restrictions yet. It feels like it’s gonna crash down soon though.

How have you seen the virus affecting the community around you and in music?

It’s been a source of connectivity online for sure. I think it’s always going to be strengthening people. We managed to play a show just before all of this really broke out and that felt awesome. To be able to give some matter of relief to people in these troubling times gave a lot of perspective not really being offered online.

What is the one thing you want people to know about your situation, either as a band, or personally, or anything?

That we’re still going strong. We try to keep motivated as we’re working on a new album. It’s been a great thing to be able to create right now. Not getting immersed in all of the negativity and trying to keep your head leveled above the water.

Due to us having to reschedule shows we’ve had a massive dent in the band’s economy though. Hopefully we’ll get out there again so the new album won’t be set back due to us not getting money. But know that over on the other side of all this, there lies a new Vokonis album!

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Esbjerg Fuzztival 2020 First Lineup Announcement: Vokonis, Vinnum Sabbathi, Hazemaze & Vestjysk Ørken Announced

Posted in Whathaveyou on November 26th, 2019 by JJ Koczan

esbjerg fuzztival 2020 banner

I’ve been through Denmark’s airport, so while my passport has the stamp — and the last time I was there, the guy at the customs counter had some very nice things to say about the photo from 2013 as relates to my current look; they almost always comment or at least give me a second look — I can’t really claim to have ever been there. If I was going to go, a smaller-ish festival like Esbjerg Fuzztival 2020 would be the reason why. The event, put together by members of Vestjysk Ørken, will feature not only that band for another go in its third incarnation, but also Vokonis and fellow Swedes Hazemaze as well as Mexico’s Vinnum Sabbathi, who one assumes will be announcing a European tour any minute now or at very least sometime in the next couple months — you know, before they fly over. That’s usually how these things work. But yeah, even from here I can feel this one being all about the vibe, being chill but heavy, and everyone there being laid back and having a good time.

2019 looked like an utter blast. I’d expect no different from 2020 once it’s finished being built up. Hell, this already looks like fun.

To wit:

esbjerg fuzztival 2020 first poster

ESBJERG FESTIVAL 2020 – FIRST BAND ANNOUNCEMENT!

We are very proud to present the first 4 bands on the poster for 2020!

VOKONIS will travel across the shallow waters from Sweden with a style that ranges from the heavy riffage and vocals of heavy bands such as Baroness to utterly clean Pink Floydish soundscapes, they aim to completely immerse you!

All The way from Mexico Vinnum Sabbathi merges heavy walls of sound with samples from science and sci-fi to create a unique sonic experience!

Also from Sweden Hazemaze will give you all the Sabbath riffs you could ever hope for and so much more! Today also marks their second full album release!

As per tradition (3 times IS a tradition!) we welcome back Vestjysk Ørken to open the festival for us on Friday!

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Vestjysk Ørken, Live at Esbjerg Fuzztival 2019

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Review & Full Album Stream: Vokonis, Grasping Time

Posted in audiObelisk, Reviews on September 3rd, 2019 by JJ Koczan

vokonis grasping time

[Click play above to stream Vokonis’ Grasping Time in full. Album is out Sept. 6 on The Sign Records.]

Swedish trio Vokonis continue to show the kind of band they’ll become even as they become it. Grasping Time is their third long-player in the last four years, following 2017’s The Sunken Djinn (review here) and 2016’s Olde One Ascending (review here), and serves as their first offering through The Sign Records after releasing through Ripple and Ozium Records, respectively — even the 2015 demo tape Temple (review here) that they released under their old moniker had label backing, from BTNKcllctv in Malaysia. Recorded in 2018, the eight-track/44-minute Grasping Time also marks the final release to feature drummer Emil Larsson, who has since been replaced by Peter Ottoson in the BorĂ„s-based lineup with guitarist/vocalist Simon Ohlsson and bassist/vocalist Jonte Johansson. That change feels significant, but as Larsson still features in these songs, it’s hard to know how it will ultimately affect the band’s dynamic.

It is that dynamic, incidentally, that is the story of Grasping Time. Not literally, of course, as the lyrics tell their own tale, but in terms of the sound of the record — captured like its predecessor at Studio Underjord in Norrköping by Joona Hassinen — from the head-down drive that launches opener “Antler Queen” through the post-Elder sway and chug in the finale of the capper “Fading Lights” and the brief guitar contemplation thereafter, the three-piece demonstrate their evolving approach in its latest incarnation as a more progressive and continually growing outfit. Ohlsson and Johansson share vocals effectively throughout the tracks, patient in the melodic delivery in the verses at the outset of “Sunless Hymnal” and gruff as that build kicks into its payoff shortly before the halfway point of the 9:57 longest track. I won’t take away from the breadth Vokonis bring to Grasping Time in “Embers” or even the shorter title-track, which serves as the penultimate inclusion ahead of “Fading Lights,” but “Sunless Hymnal” is an effective summary unto itself of who Vokonis are at this stage in their growth, and reveals the conscious execution with which they’re working.

If Olde One Ascending was where the direction was charted and The Sunken Djinn brought new levels of intensity to the proceedings, then Grasping Time is where Vokonis unveil a new level of ambition. It’s not that they didn’t have progressive aspects to their sound all along, and certainly putting “Antler Queen” first emphasizes the fact that they’re still plenty aggressive when they want to be. What’s shifted is the balance of elements. A greater interplay between Johansson and Ohlsson on vocals brings fresh persona to Vokonis‘ delivery, as even “Antler Queen” demonstrates, moving from its extended quiet break into a low-end-heavy doom roll topped with screams and, yes, a finish of post-rock-style airy guitar. In addition, the songs themselves mirror the duality of their sonic take, complementing each other as the brashness of “Antler Queen” leads into the sweeter beginning of “Sunless Hymnal” and the High on Fire bruiser riffing of the open and close of “I Hear the Siren” bookends a melodic dreamscape all the more resonant with the percussive force and solo shred of the two-minute instrumental “Exiled,” which follows to close out side A.

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And in case you’re not of the camp who believes format matters, the midsection of Grasping Time provides a suitable counterargument. Taken in halves, “Exiled” finishes side A as noted, and the also-just-about-two-minute, also-instrumental “Ashes” launches side B, dropping a few choice basslines beneath some proggy guitar noodling as it does. Fair enough. But in a linear format like CD/DL, the difference is striking. Essentially what happens is Vokonis shift into an instrumental hypnosis mode, with the charged end of “I Hear the Siren” — that last minute or so — gives way to the solo-topped shove of “Exiled,” which culminates with a crash but picks up fluidly in “Ashes” with a brief quiet intro before the full brunt kicks in, and then leads directly into the beginning of “Embers,” the two songs obviously meant to be taken as a pair given their respective titles. Varied and engaging as it is, the intro for “Embers” is another two minutes without vocals, so essentially what happens is Grasping Time has a stretch of about seven of its total 44 minutes, across four different tracks, without a word either from Johansson or Ohlsson.

What that shows is not only their ability to entrance the listener — which that stretch does — but their willingness to follow whatever impulse is going to lead to the best flow for the album as a whole. And the payoff for that is the smack in the face when Ohlsson and Johansson return on “Embers” for the most direct duet-ing they’ve yet done. “Embers” patiently drifts into a lumbering finish and feels something like an apex for Grasping Time, but the title-track continues to broaden the reach of the LP overall, and, again, manifest the progression of Vokonis even as it hints toward future direction for their meld between bruising and soothing impulses, not so much creating a conflict between them, banging them together and seeing what happens, but utilizing both to a singular expressive purpose.

Further proving the whole-album case for Grasping Time is the mirror that “Fading Lights” gives to “Antler Queen” with the return of the harsher screaming later in the track as it finishes its careening run. It underscores the consciousness and intent in the band’s craft, in terms of songwriting as well as structuring the LP, and across the album’s not insignificant span, the control behind Vokonis execution only makes it more impressive how far their reach has expanded in what’s still a relatively short amount of time. Their work has hit the point where one might not feel comfortable predicting where a fourth album might go in terms of sound, other perhaps than to say Vokonis continue to come across with more of an individualized take, whatever influences they may be taking from the modern sphere of heavy around them. With the lineup change bringing in Ottoson, there’s bound to be some shift in approach as a result, intentional or not, but as they prove with Grasping Time, there’s an entire stylistic spectrum they’re able to take and use as a frame for their songwriting. I’d only hope to see that frame’s borders continue to expand as they have thus far.

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The Obelisk Show on Gimme Radio Recap: Episode 10

Posted in Radio on February 18th, 2019 by JJ Koczan

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Yeah, this episode was cool except for the goober hosting it. I recorded the voice breaks pretty early in the day on Friday, and I don’t know if I wasn’t awake or what, but I just couldn’t get it together. I think I did the middle break in two takes and that was about as good as it got. I’d still like to go back and get another shot at the opening one. And by the time I actually got to the end of the show, I was so damned afraid of screwing it up again that I basically sprinted for the stop button to finish recording. They can’t all be gold, I guess.

The good news is the playlist itself was awesome. As I tried repeatedly and failed to explain during the show itself, this episode wound up being a pretty vast international swath of acts, and that was something that just happened out of the blue. I didn’t even realize it until afterward. Sweden, Greece, the US, Italy, Norway, Australia, Germany. It’s a broad mix of stuff from a variety of places, and I like that. it’s a lot of new music and I like that too. Really, it’s just the sound of my own voice I could do without. Ha.

I’ll get ’em next time, or something.

Playlist follows. Thanks for reading and/or listening.

The Obelisk Show – 02.17.19

Warp Out of My Life Warp*
Automaton Talos Awakens TALOS*
The Munsens Dirge (For Those to Come) Unhanded*
BREAK
Vokonis Grasping Time Grasping Time*
Terras Paralelas Bom PressĂĄgio Entre Dois Mundos*
The Pilgrim Peace of Mind Walking into the Forest*
SÂVER I, Vanish They Came with Sunlight*
REZN Quantum Being Calm Black Water*
BREAK
Colour Haze Love Colour Haze
Aver Disorder Orbis Majora*
Troll Legend Master, Book I: Proverbs of Hell Legend Master*
BREAK
Mammoth Weed Wizard Bastard The Spaceships of Ezekiel Yn Ol I Anwnn*
Monovine Throw Me a Bone D.Y.E.*
Demon Head The Night is Yours Hellfire Ocean Void*
Old Mexico Past the Western Wall Old Mexico*

The Obelisk Show on Gimme Radio airs every other Sunday night at 7PM Eastern, with replays the following Tuesday at 9AM. Next show is March 3. Thanks for listening if you do.

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The Obelisk Show on Gimme Radio Recap: Episode 08

Posted in Radio on January 21st, 2019 by JJ Koczan

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This was my 2019 preview… of sorts. By which I mean that it in no way encompassed everything coming out this year and that some of it was basically me being like, “golly, it sure would be nice if BAND X put out a record in the next 12 months.” Still fun, but I think definitely well earning that “of sorts” tag.

I keep notes with a running list of things like albums coming out and best records of the year, artwork, EPs, etc., and in my notes for what’s coming out in 2019 I have over 50 bands listed so far. Here they are, cut and paste-style:

Cities of Mars, Mr. Peter Hayden, Curse the Son, High Fighter, No Man’s Valley, Destroyer of Light, Year of the Cobra, Buffalo Fuzz, Zaum, The Sonic Dawn, Alunah, Candlemass, Elepharmers, Grandier, Dorre, Abrahma, Mars Red Sky, Eternal Black, Elephant Tree, Atala, No Man’s Valley, Sun Blood Stories, Crypt Sermon, The Riven, Hibrido, Snail, Red Beard Wall, 11Paranoias, Dead Witches, Monte Luna, Captain Caravan, Swallow the Sun, Oreyeon, Motorpsycho, Vokonis, Hexvessel, Saint Vitus, Mammoth Weed Wizard Bastard, Kind, Mastiff, Shadow Witch, Kings Destroy, Lo-Pan, Samsara Blues Experiment, Papir, Conan, Green Lung, BUS, Worshipper, Volcano, Mos Generator, Earth, Nebula Drag, Elder, Daxma, BesvĂ€rjelsen, Bellrope, The Sabbathian,

Some of that has been officially announced, some hasn’t, and some is rampant speculation, but many of these, and there’s always the contingency that expected releases can be delayed owing to recording and tour schedules, pressing concerns, pianos falling on heads, and so on, but I wouldn’t be surprised to find a bunch of those records on my year-end list in December. Whoopee.

What’s more important to stress, however, is that this is by no means the be-all-end-all list of things coming out. It’s a long year, and it’s January right now. There will be offerings in September and October that no one knows now are even in the works, and still more that aren’t. That’s why the list ends with a comma and a space instead of a period. There’s more to be added.

That said, this is a damn good show and I stand by it. Some of the inclusions could/would/will be among the year’s best albums — the new Worshipper is fantastic, and the new Kings Destroy owns my soul — but I wanted to put some stuff in here that the Gimme audience, which I tend to think of as being more metal though I have absolutely nothing to base that on, isn’t familiar with. Curse the Son, Snail, Sun Blood Stories.

It’s fun to talk about new albums coming out — I had a particular blast mentioning how annoyed I am at the universe for there being a new Sun Blood Stories album and I haven’t heard it yet — and even if some of it is speculative, that’s a good time too.

If you missed the show last night, it’s on tomorrow at 9AM at: http://gimmeradio.com.

The Obelisk Show Ep. 08 – 01.20.19

 

Lowrider Lameneshma Ode to Io (Deluxe Edition) 0:04:57
Kings Destroy Smokey Robinson Kings Destroy 0:04:03
BREAK
Mammoth Weed Wizard Bastard The Master and His Emissary Totems (Split w/Slomatics) 0:12:02
Snail Born in Captivity Feral 0:05:00
Motorpsycho The Tower The Tower 0:08:41
Mars Red Sky Friendly Fire Apex III (Praise for the Burning Soul) 0:04:51
BREAK
Sun Blood Stories Step Softly Ghost It Runs Around the Room with Us 0:04:48
Elephant Tree Dawn Elephant Tree 0:04:12
Curse the Son Aislamiento Isolator 0:07:13
Alunah Awn Amber & Gold* 0:05:50
Worshipper Night Child (The Oath cover) Mirage Daze 0:04:19
Hexvessel Old Tree All Tree* 0:03:40
Vokonis Rapturous The Sunken Djinn 0:06:09
Mr. Peter Hayden We Fly High Eternal Hayden 0:07:13
BREAK
Kind Rabbit Astronaut Rocket Science 0:03:49
Om Haqq al-Yaqin Advaitic Songs 0:11:29
Samsara Blues Experiment One with the Universe One with the Universe 0:15:07

The Obelisk Show on Gimme Radio airs every other Sunday night at 7PM Eastern, with replays the following Tuesday at 9AM. Next show is Feb. 3. Thanks for listening if you do.

Gimme Radio website

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