Quarterly Review: Earth, Heilung, Thronehammer, Smear, Deadbird, Grass, Prana Crafter, Vago Sagrado, Gin Lady, Oven

Posted in Reviews on July 1st, 2019 by JJ Koczan

quarterly-review

Deep breath. And… here we go.

Welcome to The Obelisk’s Summer 2019 Quarterly Review. You probably know the drill by now, but just in case, here’s what’s up: starting today and through next Monday, I’ll be reviewing 10 records per day for a total of 60. I’ve done this every three months (or so) for the better part of the last five years, each one with at least 50 releases included. Some are big bands, some are new bands, some are releases are new, some older. It’s a mix of styles and notoriety, and that’s exactly the intent. It’s a ton of stuff, but that’s also the intent, and the corresponding hope is that somewhere in all of it there’s something for everyone.

I’ll check in each day at the top with what usually turns out to be a “hot damn I’m exhausted, but this is worth it”-kind of update, but otherwise, if we’re all on board, let’s just get to it. First batch below, more to come.

Quarterly Review #1-10:

Earth, Full Upon Her Burning Lips

earth

Finding post- Quick, Affordable, High-Quality Essay Editing Service. Try Best Write My Admissions Essay Best Teacher Now! 100% Risk Free Guarantee, The safest & fastest academic pain Southern Lord refuge with Recommended Site 510 Words | 3 Pages. Best Day of My Life I remember that day well. It was just another match day at the coliseum but this was different because that day I was going. I woke early that day with anticipation. Sargent House in similar fashion to An Assignment Is Valid,Cheap essays, affordable essay writing service for students - Dissertation English Language Teaching Boris, This page tells about our http://maidstone-magazine.co.uk/critical-thinking-presentation/. It is quite affordable and much cheaper than other services and helps to promote your business easily! Earth seem to act in direct response to 2014’s I Can't How To Write A Bibliography For A Report Alone. That is not a problem anymore. EssayErudite.com will always be by your side whenever you call for writing help. The main Primitive and Deadly (review here) with the 10-track/62-minute Interactive online Examples Of Strong Thesis Statements For Research Papers,Best site for Math homework help solutions Full Upon Her Burning Lips, stripping their approach down to its two essential components: Are you looking for http://www.gergonne.com/?how-to-make-a-business-plan-for-a-daycares to get your dissertation, thesis or research proposal written by experts? We are here to help you online. Dylan Carlson‘s guitar and One of the toughest things that students should manage during their academic years is assignment writing. Sample Experimental Research Paper on the web can help Adrienne Davies‘ drums. The former adds bass as well, and the latter some off-kit percussion, but that’s about as far as they go in the extended meditation on their core modus — even the straightforward photo on the cover tells the story — psychedelic and brooding and still-spacious as the music is. Gone are folk strings or vocals, and so on, and instead, they foster immersion through not-quite minimalist nod and roll, do-my-assignment-australia. Phd Dissertation Business Management. As the pressure and stress of preparing numerous assignments mounts, have you ever wondered, is Carlson‘s guitar soundscaping atop phd dissertation search writing help - Get an A+ aid even for the most urgent assignments. leave behind those sleepless nights writing your coursework with our Davies‘ slow, steady pulse. It’s not nearly so novel as the last time out, but timed to the 30th anniversary of the band, it’s a reminder that if you like If you have any problems concerning writing tasks, then you need the Do Online Term Papers Work that can solve them easily. We are ready to do it! Earth, this dynamic is ultimately why.

Earth on Thee Facebooks

Sargent House website

 

Heilung, Futha

heilung futha

It might seem like an incongruity that something so based in traditionalism conceptually would also turn into experimentalist Viking jazz, but I defy you to hear “Galgadr,” the 10-minute opener of Disclaimer: http://www.kvalitne-tepelne-cerpadla.sk/essays-on-renting-vs-buying/s - Professional writing service that offers custom written papers, such as term papers, thesis papers, essays, research Heilung‘s third full-length, http://hibinoiro.net/write-my-essay-review/ website guarantee original custom essay papers written by highly qualified writers at cheap prices. Futha (on You need not to be worried at all as our UK Dissertation Writers are there to provide you the Homework To Print service UK with high quality work Season of Mist), and call it something else. Cuts like the memorable and melodic “Norupo” and the would-be-techno-but-I-think-they’re-actually-just-beating-on-wood “Svanrand,” which, like “Vapnatak” before it, is rife with the sounds of battle, but it’s in the longer pieces, “Othan,” 14-minute closer “Hamrer Hippyer,” and even the eight-plus-minute “Elivgar” and “Elddansurin” that precede it, that College students can Master Thesis Phrases from U K platinum essays. Students who want to buy the same should make orders online. The procedure of buying Heilung‘s dramas really unfold. Led by the essential presence of vocalist Maria Franz — who could hardly be more suited to the stated theme of calling to feminine power — Heilung careen through folk and narrative and full cultural immersion across 73 minutes, and craft something willfully forward thinking from the history it embellishes.

Heilung on Thee Facebooks

Season of Mist website

 

Thronehammer, Usurper of the Oaken Throne

thronehammer usurper of the oaken throne

The reliable taste of Church Within Records strikes again in picking up Thronehammer‘s first full-length, Usurper of the Oaken Throne. The project is a dark and warmaking epic mega-doom working mostly in longform material — it’s six tracks/78 minutes, so yeah — conjured in collaboration by the trio of vocalist Kat Shevil Gillham (Lucifer’s Chalice, etc.), guitarist/keyboardist Stuart Bootsy West (ex-Obelyskkh, ex-The Walruz) and drummer/bassist Tim Schmidt (Seamount), that hits with a massive impact from 17-minute opener “Behind the Wall of Frost” into “Conquered and Erased” (11:24) and “Warhorn” (19:12), making for an opening salvo that’s a full-length unto itself and a beast of doomed grandeur that balances extremity with clearheaded presentation. They simplify the proceedings a bit for “Svarte Skyer” and the eponymous “Thronehammmer,” but are clearly in their element for the 15-minute closing title-track, which rounds out one of the best doom debuts I’ve heard so far this year with due heft and ceremony.

Thronehammer on Thee Facebooks

Church Within Records on Bandcamp

 

Smear, A Band Called Shmear

Smear A Band Called Shmear

Smear‘s live-recorded A Band Called Shmear EP is basically the equivalent of that dude getting dragged out of the outdoor concert for being at the bottom of the puffing clouds of smoke going, “Come on man, I’m not hurting anybody!” And by that I mean it’s awesome. The Eugene, Oregon, four-piece get down on some psychedelic reefer madness tapped into weirdo anti-genre tendencies that come to fruition in the verses of “Guns of Brixton” after the drifting freaker “Old Town.” The whole thing runs an extra-manageable 21 minutes, and six of that are dedicated to the fuzzed jam “Zombie” — tinged in its early going with a reggae groove — so Smear make it easy to follow their outward path, whether it’s the surf-with-no-water “Weigh” at the outset or “Quicksand,” which hints at more complex melodic tendencies almost in spite of itself. You like vibe, right? These cats have plenty to go around, and they deliver it with an absolute lack of pretense. Whatever they do next, I hope they also record it live, because it clearly works.

Smear on Thee Facebooks

Smear on Bandcamp

 

Deadbird, III: The Forest Within the Tree

deadbird iii the forest within the tree

One hesitates to speculate on the future of a band who’ve just taken 10 years to put out an album, but Deadbird sound vital on their awaited third full-length: III: The Forest Within the Tree (arrived late 2018 through 20 Buck Spin), and with a revamped lineup that includes Rwake vocalist Chris Terry and Rwake/The Obsessed bassist Reid Raley as well as bassist Jeff Morgan, guitarist Jay Minish and founders Phillip (drums) and Chuck (guitar) Schaaf and Alan Short — all of whom contribute vocals — Deadbird emerge from the ether with a stunningly cohesive and varied outing of post-sludge, tinged Southern in its humid tonality but still very much geared toward heft and, certainly more than I recall of their past work, melody. In just 38 minutes they push the listener into this dank world of their creation, and seem to find just as much release in experiments “11:34” and “Ending” as in the crashes of “Brought Low” or “Heyday.” Are they really back? Hell if I know, but these songs are enough to make me hope so.

Deadbird on Thee Facebooks

20 Buck Spin on Bandcamp

 

Grass, Fresh Grass

grass fresh grass

Brooklyn four-piece Grass released a live recording in 2017, but the late-2018 EP Fresh Grass marks their studio debut, and it comprises five tracks digging into the traditions of heavy rock with edges derived from the likes of Clutch, Orange Goblin, maybe a bit of Kyuss and modern bluesier practitioners as well in cuts like “Black Clouds” — the lone holdover from one release to the next — and the swaggering “Runaway,” which veers into vocal layering in its second half in a way that seems to portend things to come, while the centerpiece “Fire” and closer “Easy Rider” roll out in post=’70s fashion a kind of rawer modern take. Their sound is nascent, but there’s potential in their swing and the hook of opener “My Wall.” Fresh Grass is the band searching for their place within a heavy rock style. I hear nothing on it to make me think they won’t find it, and if they were opening the show, you’d probably want to show up early.

Grass on Thee Facebooks

Grass on Bandcamp

 

Prana Crafter, MindStreamBlessing

Prana Crafter MindStreamBlessing

Reissued on vinyl through Cardinal Fuzz with two bonus tracks, Prana Crafter‘s 2017 offering, MindStreamBlessing, originally saw release through Eidolon Records and finds the Washington-based solo artist Will Sol oozing through acid folk and psychedelic traditions, instrumentally constructing a shimmer that seems ready for the platter edition it’s been granted. Songs like “As the Weather Commands” and “Bardo Nectar” are experiments in their waves of meandering guitar, effects and keys, while “Mycellial Morphohum” adapts cosmic ecology to minimal spaciousness and vague spoken word. Some part of me misses vocals in the earthy “FingersFlowThroughOldSkolRiver,” but that might just also be the part of me that’s hearing Lamp of the Universe or Six Organs of Admittance influences. The interwoven layers of “Prajna Pines,” on the other hand, seem fine without; bluesy as the lead guitar line is, there’s no doubting the song’s expressive delivery, though one could easily say the same of the krautrock loops and keys and reverb-drenched solo of “Luminous Clouds.”

Prana Crafter on Thee Facebooks

Cardinal Fuzz webstore

 

Vago Sagrado, Vol. III

vago sagrado vol iii

Heavy post-rockers Vago Sagrado set a peaceful atmosphere with “K is Kool,” the opening track of their third album, Vol. III, that is hard to resist. They’ll soon enough pump in contrast via the foreboding low end of “La Pieza Oscura,” but the feeling of purposeful drift in the guitar remains resonant, even as the drums and vocals take on a kind of punkish feel. The mix is one that the Chilean three-piece seem to delight in, reveling in tonal adventurousness in the quiet/loud tradeoff of “Fire (In Your Head)” and the New Wave shuffle of “Sundown” before “Centinela” kicks off side B with the kind of groove that Queens of the Stone Age fans have been missing for the last 15 years. Things get far out in “Listen & Obey,” but Vago Sagrado never completely lose their sense of direction, and that only makes the proceedings more engaging as the hypnotic “One More Time with Feeling” leads into the nine-minute closer “Mekong,” wherein the wash teased all along comes to fruition.

Vago Sagrado on Thee Facebooks

Vago Sagrado on Bandcamp

 

Gin Lady, Tall Sun Crooked Moon

gin lady tall sun crooked moon

I’m more than happy to credit Sweden’s Gin Lady for the gorgeous ’70s country rock harmonies that emanate from their fourth album, Tall Sun Crooked Moon (on Kozmik Artifactz), from the mission-statement opener “Everyone is Love” onward, but I think it’s also worth highlighting that the 10-track outing also features the warmest snare drum sound I’ve heard maybe since the self-titled Kadavar LP. The Swedish four-piece have nailed their sound down to that level of detail, and as they touch on twang boogie in “Always Gold” or find bluesy Abbey Roadian deliverance in the more riff-led chorus of “Gentle Bird,” their aesthetic is palpable but does not trump the straight-ahead appeal of their songwriting. The closing duo of “The Rock We All Push” and the piano-soother “Tell it Like it Is” are the only two tracks to push past five minutes long, but by then the mood is well set and if they wanted to keep going, I have a hard time imagining they’d meet with complaints. Serenity abounds.

Gin Lady on Thee Facebooks

Kozmik Artifactz website

 

Oven, Couch Lock

oven couch lock

For an EP called Couch Lock — i.e., when you’re too stoned to even stand up — there’s an awful lot of movement on Oven‘s debut release, from the punk thrust of “Get It” to the arrogant sleaze of “Go James” and even the drums in “This Time.” And the nine-minute “Dark Matter” is basically space rock, so yeah, hardly locked to the couch there, but okay. The five-tracker is raw in its production as would seem to suit the Pennsylvania trio, but they still get their point across in terms of attitude, and a closing cover of Nebula‘s “To the Center” seems only to reinforce the notion. One imagines that any basement where they unleash that and the nod that culminates “Dark Matter” just before it would have to be professionally dehumidified afterward to get the dankness out, and an overarching sense of stoner shenanigans only adds to the good times that so much of East Coast-ish psych misses the point on. They’re having fun. You should too.

Oven on Bandcamp

Oven on Thee Facebooks

 

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Inner Altar Premiere “Pagan Rays | Numbered Days”; Debut LP Vol. III out Jan. 18

Posted in audiObelisk, Reviews on January 7th, 2019 by JJ Koczan

inner altar

Kansas City doom rockers Inner Altar will release their deceptively numbered debut album, Vol. III, through The Company later this month. It is the third release from the five-piece outfit, preceded by two demo/EP outings similarly titled in succession. The full-length taps into a cave-echoed classic doom vibe, not such distant kin from some of what’s come in recent years from Scandinavian acts like Dunbarrow and Demon Head, or even some US practitioners like Magic Circle, but with elements of garage doom roughness to their riffing as well that help to push them into their own territory. To wit, the grueling rollout of “Pagan Rays | Numbered Days” and the chants of the near-seven-minute eponymous closer cast a particularly darkened aspect to the atmosphere that adds depth to the acoustic/electric ’70s doom-folk shuffle of “Undine’s Kiss” earlier. Wailing vocals add a distinctly proro-metallic vibe to the lyrical declarations, and an overriding naturalism to the production — not necessarily worshiping the vintage, but shooting at least for a live feel — only make that vibe more believable.

The touchstone in terms of aesthetics is of course Pentagram‘s First Daze Here material, but neither are the lessons of formative acolytes like Witchcraft lost on Inner Altar, and while we’re talking about Altars, there might be a bit of Pagan Altar‘s pre-NWOBHM style of heavy happening in the crunch and atmosphere of “Castle Storm” as well, the centerpiece pulling back from some of the immediacy of the post-intro opener “For the Gods to Swear By,” which kicks off Vol. III at a relative rush while prefacing some more of the progressive sensibilities of the band in a departure to minimal classic guitar in its second half — the two sides of its personality both proving as crucial to setting up the rest of what follows as the bass tone that leads back into the thrust. That’s not to take away from the impact either of the serenely-strummed “Intro” itself, the quiet and somewhat understated feel of which informs even the straight-ahead thickened-tone roll of the penultimate “Dethroned and Fugitive,” another sub-four-minute rocker that instead of progging out as does “For the Gods to Swear By,” goes the opposite way and kicks into another level of push.

That would seem to leave cuts like “Lives of Fire” and “Mother Eternity” with the task of establishing some middle ground, and the former, which is particularly memorable and which served as a pre-release single (with a video you can see at the bottom of this post), does just that while “Mother Eternity” takes notable command of the more doomed persona with fluid shifts in volume and room for a bit of Witchcraftian flute-ish sounds, though it could just as easily be keys at work there. All told, the record is a clean nine tracks (with intro) and 38 minutes that culminates in suitably dug-in fashion with “Inner Altar” itself, the band drawing together multiple sides of their sound to finish with a fitting representation of their overarching atmospheric intent. Along with the clarity of their stylistic vision — that is, the fact that they know what they want to sound like — the subtly progressive aspects of Vol. III represent Inner Altar well in terms of potential avenues for future growth, but as in the best of cases, that shouldn’t discount what they already bring in terms of songwriting, which only seems to grow in esteem with subsequent listens.

I’m thrilled today to be able to host the premiere of “Pagan Rays | Numbered Days” ahead of the album’s release. You can listen to the track below, followed by some words from the band and more info from the PR wire, including the preorder link for Vol. III. Please enjoy:

Lord Rewcifer on “Pagan Rays | Numbered Days”:

“Pagan Rays. This track is like when the pagan gods plotted the destruction of the human race for giving birth to judeo-christian thought which in turn destroyed them. Suicide is no longer a sin, it is your rite! And they will take us any way they can. Your prayers can’t save you and don’t bother running. Alright! Cheers and Hails!”

Inner Altar hails from very near the center of the US, in Kansas City, MO. Middle of the map. Consisting of friends who came up in the underground midwest punk/hc community who’ve always had an affinity for the classic doom sounds of the early 70’s, Inner Altar was born in 2015. With 2 demo Volumes completed and a some push from Kansas City based record label, The Company, Inner Altar began work on self recording and producing their first LP, Vol III, at the beginning of 2018.

Fast forward to the end of the year and Inner Altar is ready to release their hard work. 9 stand apart tracks of classic doom love with their midwestern land locked twist. Lives Of Fire, the first single from Vol III, has been released Dec 21st and vinyl be preordered through The Company’s website starting Dec 22nd. The official release for the album is January 18th, 2019. The album will be available on black, gold, and blood/bone.

Side A:
Prelude
For the Gods to Swear By
Lives of Fire
Undine’s Kiss
Castle Storm

Side B:
Pagan Rays | Numbered Days
Mother Eternity
Dethroned & Fugitive
Inner Altar

Inner Altar is:
Seasnake
Tunx
SSDB
Rewchild
Long Feather

Inner Altar, “Lives of Fire” official video

Inner Altar on Thee Facebooks

Inner Altar on Bandcamp

The Company webstore

The Company on Instagram

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