Posted in Questionnaire on August 24th, 2023 by JJ Koczan
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: Joseph Schafer of Colony Drop
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How do you define what you do and how did you come to do it?
I don’t try to define what I do, personally.
As a kid, I wanted to be a “Writer” – whatever that means these days. I must thank my excellent High School teachers, Ms. Forte, Mr. Kinkaid and Mr. Broadway, for fostering that talent in me. I should also thank my writing professor in college, Diane Suess (Pulitzer Prize Winner), for training me.
I don’t think people need to be just “one thing” anymore. Idris Elba is an actor and a rapper, for example. Rhianna is a CEO of a clothing company as much as she is a pop star. Frances Ford Coppola probably makes more money as a wine mogul than as a film director. If all those folks can do many things, why not me, too? The only limitations are my willpower and my circumstances, though those are both significant limitations.
Besides writing, everything else that I now do began by accident. As an events promoter, I just wanted to put a half-decent show on and wound up running a small business. As a musician, I just wanted to yell in a room with my friends, and now I’m in a band, and in that band, I often manage our analytics and booking, so as a band member, my role is much larger than only “musician” and that’s true of every member of Colony Drop. Creativity and enterprise are simply about doing things.
Describe your first musical memory.
My earliest musical memory is being a five-year-old child and going with my parents to see Jurassic Park. I recall being strongly affected by John Williams’ theme in that film. Maybe that’s a bit basic. The first song I remember wanting to hear a second time was “Be Prepared” in the Lion King a year later. That soundtrack was the first cassette I begged my mother for. We wore it out. Pop music, rock music, and extreme metal all came later.
Describe your best musical memory to date.
It’s difficult to pick a ‘best,’ however, in 2005, I saw Nine Inch Nails play the Toledo Sports Arena on the With Teeth tour. That was my first genuinely massive show. I got into the mosh pit as a scrawny teen and was totally ripped away from my friends and thrown way far near the front of the crowd. I was totally alone and could not find them (no cell phones!). I recall I had a sunburn, so the bodies around me were kind of uncomfortable. I had no choice but to give myself up to the stimulation of the lights and sounds and Trent Reznor’s music. That was the first time I truly went into a transcendental or sublime surrender state while seeing live music. I still have a bootleg CD of that show – it was a great set. They played “Dead Souls”!
When was a time when a firmly held belief was tested?
When I was a kid, my parents went all out for Christmas. They were really into making Santa Claus real for me. Dad would get his boots muddy and track them through the house at 4 AM – the works. As a result, I believed in Santa for a while longer than my friends. When I confronted the fact that Santa wasn’t real, that led to an immediate test of my juvenile religious beliefs. Jesus and God went in the trash can probably minutes after that. My apostasy was fast and brutal. Black Sabbath came into my life soon thereafter!
Where do you feel artistic progression leads?
Bankruptcy. But if you’re doing it right, it also leads to community, friendship, and solidarity. Maybe even love – I met my wife through metal.
How do you define success?
Success is when something you’ve taken part in has a tangible effect on someone else’s life. Even if you only bring a spark to one person’s life, that justifies all the labor involved in creative expression. The only value in trying to do music, writing, or art on any kind of large scale is that it gives you the opportunity to have a tangible effect on people more often and more regularly – everything else is just a hoop to jump through.
What is something you have seen that you wish you hadn’t?
I spent too much time on the Something Awful forums in High School; let’s leave it at that. I’m thankful I never followed any of those random acquaintances to 4chan.
Describe something you haven’t created yet that you’d like to create.
I have an as-yet unproduced complete screenplay for a feature-length horror film, as well as a complete manuscript for an epic fantasy novel. I’d love to see those two pieces published.
What do you believe is the most essential function of art?
I subscribe to the theory of creative expression put forth by playwright Lajos Egri – I’m not sure if his theory has a formal name or school of thought, but his basic premise is that art exists to express a worldview and put it up for an audience’s evaluation.
So, for example, the worldview expressed by Metallica on Master of Puppets is “life cannot have value while you’re being controlled by an outside force.” Each song explores one outside force that sucks value out of your life: narcotic addiction, religion, wartime conflict, mental institutions, and so on. The album is such a success because it expresses that worldview so completely without talking down to the audience.
Egri argues for this theory in his excellent books On Dramatic Writing and On Creative Writing. They’re great resources even for songwriters, musicians, or painters. I can’t recommend them highly enough.
Something non-musical that you’re looking forward to?
I’m getting married next month. I’m looking forward to the wedding, but I’m also looking forward to the wedding being over so I can finally get some sleep. Haha!
Posted in Whathaveyou on August 18th, 2023 by JJ Koczan
I’ll admit to being a novice when it comes to black metal. I appreciate more than I like, and there’s a good deal I don’t particularly appreciate, but Wolves in the Throne Room‘s nature-worshiping stylistic innovation on their early work has led to the band exploring different styles and making unexpected sonic shifts that transcend genre anyhow. And anything that pisses off people concerned about ‘genre purity’ is probably good for society in general, so, you know, bonus points there.
They’ve got a big ol’ US tour set to roll out on Sept. 29 in St. Louis, and they’ll head north through the Midwest and into Canada before looping back down through the Eastern Seaboard and cutting inland. It’s a three-plus-week stint, and they’ve got Gaerea, Blackbraid and Hoaxed along with them, so yes, whatever substitute word you want to use for “ripping,” it most certainly will be that. But listen to the new track “Twin Mouthed Spring” with its departure into acoustic guitar and classic charred feel, and the organic nature of tone and presentation that has always underscored Wolves in the Throne Room‘s work — and no, I don’t just mean it sounds crappy, because it doesn’t — is intact, even as they venture beyond blasting in the song itself. I’ll look forward to hearing the rest and other experiments described below.
To the PR wire, then:
WOLVES IN THE THRONE ROOM ANNOUNCE CRYPT OF ANCESTRAL KNOWLEDGE EP OUT SEPTEMBER 29
SHARE NEW SONG “TWIN MOUTHED SPRING”
FALL NORTH AMERICAN HEADLINE TOUR BEGINS LATE SEPTEMBER / OCTOBER
American Black Metal overlords WOLVES IN THE THRONE ROOM announce the Crypt of Ancestral Knowledge EP out September 29! The EP features four new tracks spanning the scope of WOLVES IN THE THRONE ROOM’s cinematic black metal and dark acoustic folk, as well as two atmospheric industrial tracks that take the band into darker sonic territories.
Listen to WOLVES IN THE THRONE ROOM’s new song “Twin Mouthed Spring” on all streaming servicesHERE& on YouTubeHERE.
Additionally, WOLVES IN THE THRONE ROOM begin the Crypt of Ancestral Knowledge North America headline tour this Fall through late September & October! Support throughout the tour will be provided by Blackbraid, Gaerea and Hoaxed. Tickets are on sale now at WITTR.com.
Crypt of Ancestral Knowledge is out September 29 on VINYL/CD/CS/Digital. Pre-Order via Relapse.com HERE. Digital Downloads / Streaming (in US & Canada) HERE.
Crypt of Ancestral Knowledge EP opens with “Beholden to Clan”, a blazing slab of Symphonic Black Metal. Regarding the EP opener, Guitarist Kody Keyworth comments, “Journeying high atop a sacred mountain, the song recalls the importance of the sacrificed king’s cycle of rebirth through ancestral hallucinogenic rights of passage. It’s a wild trip. Hail Othila!” Elsewhere, “Twin Mouthed Spring” follows. This new track features vocals and acoustic guitar performed by founding WOLVES IN THE THRONE ROOM drummer Cedar Serpent who has recently returned to the live stage after a years long hiatus from live performance. He comments, “This song travels to a deep wellspring of passion and creativity. Themes from Celtic Mythology are pulled apart and remade.” Side B of the EP features a different side of the enigmatic band; “Initiates of the White Hart”, an Atmospheric Industrial interpretation of “Spirit of Lightning”, takes this live-set stalwart into deeper dark psychedelic waters while “Crown of Stone”, a ritual dark ambient piece, connects thematically to “Mountain Magic” the lead track on 2021’s Primordial Arcana.
Crypt of Ancestral Knowledge North American Tour w/ Blackbraid, Gaerea & Hoaxed 09/29/23: St Louis, MO: Red Flag 09/30/23: Chicago, IL: Metro 10/01/23: St. Paul, MN: Amsterdam Bar & Hall 10/03/23: Detroit, MI: El Club 10/04/23: Toronto, ON: Lee’s Palace 10/05/23: Montreal, QC: Theatre Fairmount 10/06/23: Boston, MA: Big Night Live 10/07/23: Hamden, CT: Space Ballroom 10/08/23: Brooklyn, NY: Brooklyn Monarch 10/10/23: Philadelphia, PA: Underground Arts 10/11/23: Baltimore, MD: Baltimore Soundstage 10/12/23: Richmond, VA: The Canal Club 10/13/23: Greensboro, NC: Hangar 1819 10/14/23: Atlanta, GA: The Loft 10/15/23: Tampa, FL: Orpheum 10/17/23: Dallas, TX: Echo Lounge & Music Hall 10/18/23: Austin, TX: Come And Take It Live 10/20/23: Albuquerque, NM: Sister 10/21/23: Tucson, AZ: Encore 10/23/23: Salt Lake City, UT: Metro Music Hall 10/24/23: Denver, CO: The Oriental Theater
WOLVES IN THE THRONE ROOM is: Aaron Weaver – Drums/Vocals Nathan Weaver – Vocals/Guitars/Keyboards Kody Keyworth – Guitars
Ah, a Quarterly Review Wednesday. Always a special occasion. Monday starts out with a daunting look at the task ahead. Tuesday is all digging in and just not trying to repeat myself too much. Wednesday, traditionally, is where we hit the halfway point. The top of the hill.
Not the case this time since I’ll have 10 records each written up next Monday and Tuesday, but crossing the midpoint of this week alone feels like an accomplishment and you’ll pardon me if I mark it as such. If you’re wondering how the rest of the week will go, tomorrow is all-business and Friday’s usually a party one way or the other. My head gets so in it by the middle of next week I’ll be surprised not to be doing this anymore. So it goes.
Quarterly Review #21-30:
Khanate, To Be Cruel
Who among mortals could hope to capture the horrors of Khanate in simple words? The once-New York-based avant sludge ultragroup end a 14-year hiatus with To Be Cruel, a fourth album, comprising three songs running between 19-21 minutes each that breed superlative hatefulness. At once overwhelming and minimalist, with opener “Like a Poisoned Dog” placing the listener in a homemade basement dungeon with the sharp, disaffection-incarnate bark of Alan Dubin (also Gnaw) cutting through the weighted slog in the guitar of Stephen O’Malley (also SunnO))), et al), the bass of James Plotkin (more than one can count, and he probably also mastered your band’s record) and the noise free-jazz drumming of Tim Wyskida (Blind Idiot God, etc.), they retain the disturbing brilliance last heard from in 2009’s Clean Hands Go Foul (discussed here) and are no less caustic for the intervening years. “It Wants to Fly” is expansive and wretched death poetry set to drone doom, a ritual made of its own misery, and the concluding title-track goes quiet in its midsection as though to let every wrenching anguish have its own space in the song. There is no one like them, though many have tried to convey some of what apparently only Khanate can. As our plague-infested, world-burning, war-making, fear-driven species plunges further into this terrible century, Khanate is the soundtrack we earn. We are all complicit. All guilty.
Though plenty atmospheric besides, Vancouver heavy fuzz rockers Space Queen add atmosphere to their nine-song/26-minute Nebula EP through a series of four interludes: the a capella three-part harmonies of “Deluge,” the acoustic-strummed “Veil” and “Sun Interlude,” and the finishing manipulated space-command sample in “End Transmission” after the richly melodic doom rock of “Transmission/Lost Causemonaut.” That penultimate inclusion is the longest at 6:14 and tells a story in a way that feels informed by the three-piece of drummer/vocalist Karli MacIntosh, guitarist/vocalist Jenna Earle and bassist/keyboardist/vocalist Seah Maister‘s past in the folk outfit Sound of the Sun, but transposes its melodic sensibility into a heavier context. It and the prior garage-psych highlight “When it Gets Light” — a lighter initial electric strum that arrives in willful-seeming contrast to “Darkest Part” immediately preceding — depart from the more straight-ahead push of opener “Battle Cry” and the guitar-screamer “Demon Queen” separated from it by the first interlude. Where those two come across as working with Alice in Chains as a defining influence — something the folk elements don’t necessarily argue against — the Nebula EP grows broader as it moves through its brief course, and flows throughout with its veering into and out of songs and short pieces. This is Space Queen‘s second EP, and if they’re interested in making a full-length next, they sound ready.
Fasano, Italy’s King Potenaz debut on Argonauta Records with Goat Rider, which conjures raw fuzz, garage-doom atmospherics, and vocals that edge toward aggression and classic cave metal, early Venom or Celtic Frost having a role to play even alongside the transposition of Kyuss riffing taking place in the title-track, which follows “Among Ruins” and “Pyramids Planet,” both of which featured on the trio’s 2022 Demo 6:66, and which set a tone of riff-led revelry here with a sound that reminds of turn-of-the-century era stoner explorations, but grows richer as it moves into “Pazuzu (3:33)” — it’s actually 5:18 — with guest vocals from Sabilla and the quiet three-minute instrumental “Cosmic Voyager” planet-caravanning into the 51-minute album’s second half, where “Moriendoom (La Ballata di Ippolita Oderisi)” and the even doomier “Monolithic” dig into cultish vibes and set up the bleak shuffle of nine-minute closer “Dancing Plague,” departing from its central ’90s-heavy riff into a mellow-psych movement and then returning from that outward stretch to end. Even at its most familiar, Goat Rider finds some way to harness an individual edge, cleverly using the mix itself as an instrument to create the space in which the songs dwell. It may take a few listens to sink in, but there’s real potential in what they’re doing.
With the release of their third album, New World Hoarder, German art-sludgers Treedeon celebrate their first decade as a band. The combined vinyl-with-CD follows 2018’s Under the Manchineel (review here) and proffers raw cosmic doom in “Omega Time Bomb,” crossing the 10-minute line for the first time after the particularly-agonized opener “Nutcrème Superspreader” and before the title-track’s nodding riff brings bassist Yvonne Ducksworth to the fore vocally, trading off with guitarist Arne Heesch as drummer Andy Schünemann crashes cyclically behind. “New World Hoarder” gives over to side B opener “Viking Meditation Song,” which rolls like an evil-er version of Goatsnake, and “RHV1,” on which Heesch and Ducksworth share vocal duties, as they also do in 12-minute closer “Läderlappen” — a shouting duet in the first half feels long in arriving, but that’s how you know the album works — as the band cap with more massive chug following an interplay of melody and throatier fare. They’re right to ride that groove, as they’re right about so much else on the record. Like much of what Exile on Mainstream puts out, Treedeon are stylistically intricate and underrated in kind.
There are a couple different angles of approach one might take in hearing Orsak:Oslo‘s In Irons full-length. The Norway/Sweden-based instrumental troupe have been heretofore lumped in with heavy post-rock and ambient soundscaping, which is fair enough, but what they actually unveil in “068 The Swell” (premiered here), is a calming interpretation of space rock. With experimentalism on display in its late atmospheric drone comedown, “068 The Swell” moves directly into the more physical “079 Dutchman’s Wake (Part I),” the languid boogie feeling modern in presentation and classic in construction and the chemistry between the members of the band. The drums sit out much of the first half of “069 In What Way Are You Different,” giving a sense of stillness to the drone there, but the song embraces a bigger feel toward its finish, and that sets up the feedback intro to “078 The Mute (Part II),” which veers dreamily between amplifier drone and complementary melodic guitar flourish. Taking 17 minutes to do it, they close with “074 Hadal Blue,” which more broadly applies the space-chill of “068 The Swell” and emphasizes flow and organic changes from one part to the next. Immersive, it would be one to get lost in if it weren’t so satisfying to pay attention.
Fuck. Yes. As much grind as sludge as electronics-infused hardcore as it is furious, unadulterated noise, the 12-song/50-minute onslaught that is Boss Blades arrives via Modern Grievance at the behest of Jon Weisnewski, also of Sandrider, formerly of Akimbo. If Weisnewski‘s name alone and the fact that Matt Bayles mixed the self-recorded debut LP aren’t enough to pull you into the tornado of violence and maddening brood that opener “Boss Blades” uses to open — extra force provided by one of two guest vocal spots from Dave Verellen of Botch; the other is on “Lasers in the Jungle” later on — then perhaps the seven-minute semi-industrial march of “Obsolete Food” or the bruising intensity of “Poorly Made Pots” or the minute and a half of sample-topped drone psych in “Guitart,” the extreme prog metal of “Eat Meth” or “Manifest Piss Tape” will do the trick, or the nine-minute near-centerpiece “Many Knives” (which, if there’s a Genghis Tron influence here generally — and there might be — is more the last record than the older stuff) with its slow keyboard unfolding as a backdrop for Dust Moth‘s Irene Barber to make her own guest appearance, plenty of post-everything cacophony mounting by the end, grandiose and consuming. I could go on — every track is a new way to die — but suffice it to say that this is what my brain sounds like when my kid and my wife are talking to me about different things at the same time and it feels like my skull is on fire and I have an aneurysm and keel over. Good wins.
Sometimes harsh but always free, 2022’s Chapter 4 from Croatian instrumentalist double-guitar five-piece Mycena — guitarists Marin Mitić and Pavle Bojanić, bassist Karlo Cmrk, drummer Igor Vidaković and synthesist/noisemaker Aleksandar Vrhovec — brings three tracks that are distinct unto themselves but listed as part of the same entirety, dubbed “Dissolution” and divided into “Dissolution Part 1” (17:49), “Dissolution Part 2” (3:03), and “Dissolution Part 3” (18:11), and it may well be that what’s being dissolved is the notion that rock and roll must be confined to verse/chorus structuring. Invariably, Earthless are a comparison point for longform instrumental heavy anything, and given the shred in “Dissolution Part 1” around five minutes deep and the torrent rockblast in the first half of “Dissolution Part 3” before it melts to near-silence and quietly noodles its way through its somehow-dub-informed last 11 or so minutes, building in presence but not actually blowing up to full volume as it caps. While totaling a manageable 39 minutes, Chapter 4 is a journey nonetheless, with a scope that comes through even in “Dissolution Part 2,” which may just be an interlude but still carries a steady rhythm that seems to reorient the band ahead of their diving into the extended final part, the band sounding natural in making changes that would undo acts with less chemistry.
Filthy tone. Just absolutely nasty. Atlanta’s Bog Monkey tracked Hollow, their self-released debut LP, with Jay Matheson at The Jam Room in South Carolina, and if they ever go anywhere else to try to capture their sound I’d have to ask why. With seven cuts totaling 33 minutes play-time and fuzz-sludge blowouts a-plenty in “Facemint,” the blastbeaten “Blister” and the heads-down largesse-minded shove-off-the-cliff that is “Slither” at a whopping 2:48, Hollow transposes Conan-style shouted vocals on brash, thickened heavy, the bass in “Tunnel” and forward-charging leadoff “Crow” with its thrash-riffing hook is the source of the heft, but it’s not alone. Spacious thanks to echoes on the vocals, Hollow crushes just the same, and as the trio plunder toward the eight-minute “Soma” at the end, growing intense quickly out of a calmer intro jam and slamming their message home circa 3:40 with crashes that break to bass and guitar noise to establish the nod around which the ending will be based, all you can really do is look forward to the bludgeoning to come and be glad when it arrives. Don’t be fooled by their generic name, or the silly stoner rock art (which I’m not knocking; it being silly is part of the point). Bog Monkey bring together different styles in a way that’s thoughtful and make songs that sound like they just rose out of the water to fucking obliterate you. So go on. Be obliterated.
Punkish in its choruses like the title-track or opener “Sports,” the four-song Dead Nature EP from South Africa’s The Man Motels is the latest in a string of short releases and singles going back to their 2018 full-length, Quit Looking at Me!, and they temper the urgency of their speediest parts with grunge-style melody and instrumental twists. Bass and drums at the base of “Young Father” set up the sub-three-minute closer as purely punk, but sure enough the guitar kicks in coming out of the verse and one can hear the Nirvana effect before it drops out again. Whether it’s a common older-school hardcore influence, I don’t know, but “Sports” and “Young Father” remind of a rawer Fu Manchu with their focus on structure, but “The Fever” is heavier indie rock and culminates in a tonally satisfying apex before cutting back to the main riff that’s led the way for… oh, about three minutes or so. All told, The Man Motels are done in 15 minutes, but they pack a fair amount into that time and they named the release after its catchiest installment, so there. Maybe not the kind of thing I’d always reach for in my own listening habits, but I’m not about to rag on a band for being good at what they do or showcasing their material with the kind of energy The Man Motels put into Dead Nature.
With a couple short(er) outings to their credit, Bayonne, New Jersey, three-piece Pyre Fyre present seven songs in the 18 minutes of their self-titled, which just might be enough to make it a full-length. Hear me out. They start raw with “Hypnotize,” more of a song than an intro, punkish and the shortest piece at 1:22. From there, the Melvins meet Earthride on “Flood Zone” and the range of shenanigans is unveiled. Produced by drummer/noisemaker Mike Montemarano, with Dylan Wheeler on guitar, Dan Kirwan on bass and vocals from all three in its hithers and yons, it is a barebones sound across the board, but Pyre Fyre give a sense of digging in despite that, with the echo-laced “Wyld Ryde” doled out like garage thrash, while “Dungeon Duster/Ice Storm” sounds like it was recorded in two different sessions and maybe it was and screw you if that matters, “Don’t Drink the Water” hits the brakes and dooms out with stoner-drawl vocals later, “Arachnophobia” dips into a darker, somehow more metal, mood, and the fuzzy “Cordyceps” ends with swagger and noise alike in just under two and a half minutes. All of this is done without pretense, without the band pausing to celebrate themselves or what they just accomplished. They get in, kick ass, get out again. You don’t want to call it an album? Fine. I respectfully disagree, but we can still be friends. What, you thought because it was the internet I was going to tell you to screw off? Come on now.
Welcome to day two of the Summer 2023 Quarterly Review. Yesterday was a genuine hoot — I didn’t realize I had packed it so full of bands’ debut albums, and not repeating myself in noting that in the reviews was a challenge — but blah blah words words later we’re back at it today for round two of seven total.
As I write this, my house is newly emerged from an early morning tornado warning and sundry severe weather alerts, flooding, wind, etc., with that. In my weather head-canon, tornados don’t happen here — because they never used to — but one hit like two towns over a week or so ago, so I guess anything’s possible. My greater concern would be flooding or downed trees or branches damaging the house. I laughed with The Patient Mrs. that of course a tornado would come right after we did the kitchen floor and put the sink back.
We got The Pecan up to experience and be normalized into this brave new world of climate horror. We didn’t go to the basement, but it probably won’t be the last time we talk about whether or not we need to do so. Yes, planet Earth will take care of itself. It will do this by removing the problematic infection over a sustained period of time. Only trouble is humans are the infection.
So anyway, happy Tuesday. Let’s talk about some records.
Quarterly Review #11-20:
Bell Witch, Future’s Shadow Part 1: The Clandestine Gate
Cumbersome in its title and duly stately as it unfurls 83 minutes of Billy Anderson-recorded slow-motion death-doom soul destroy/rebuild, Future’s Shadow Part 1: The Clandestine Gate is not the first longform single-song work from Seattle’s Bell Witch, but the core duo of drummer/vocalist Jesse Shreibman and bassist/vocalist Dylan Desmond found their path on 2017’s landmark Mirror Reaper (review here) and have set themselves to the work of expanding on that already encompassing scope. Moving from its organ intro through willfully lurching, chant-topped initial verses, the piece breaks circa 24 minutes to minimalist near-silence, building itself back up until it seems to blossom fully at around 45 minutes in, but it breaks to organ, rises again, and ultimately seems to not so much to collapse as to be let go into its last eight minutes of melancholy standalone bass. Knowing this is only the first part of a trilogy makes Future’s Shadow Part 1: The Clandestine Gate feel even huger and more opaque, but while its unrelenting atmospheric bleakness will be listenable for a small percentage of the general populace, there’s no question Bell Witch are continuing to push the limits of what they do. Loud or quiet, they are consuming. One should expect no less in the next installment.
Some records are self-titled because the band can’t think of a name. Plainride‘s Plainride is more declarative. Self-released ahead of a Ripple Music issue to accord with timing as the German trio did a Spring support stint with Corrosion of Conformity, the 10-song outing engages with funk, blues rock, metal, prog and on and on and on, and feels specifically geared toward waking up any and all who hear it. The horns blasting in “Fire in the Sky” are a clear signal of that, though one should also allow for the mellowing of “Wanderer,” the interlude “You Wanna…” the acoustic noodler “Siebengebirge,” or the ballady closer “The Lilies” as a corresponding display of dynamic. But the energy is there in “Hello, Operator,” “Ritual” — which reminds of Gozu in its soulful vocals — and through the longer “Shepherd” and the subsequent regrounding in the penultimate “Hour of the Mûmakil,” and it is that kick-in-the-pants sensibility that most defines Plainride as a realization on the part of the band. They sound driven, hungry, expansive and professional, and they greet their audience with a full-on “welcome to the show” mindset, then proceed to try to shake loose the rules of genre from within. Not a minor ambition, but Plainride succeed in letting craft lead the charge in their battle against mediocrity. They don’t universally hit their marks — not that rock and roll ever did or necessarily should — but they take actual chances here and are all the more invigorating for that.
Massachusetts doomers Benthic Realm offer their awaited first full-length with Vessel, and the hour-long 2LP is broad and crushing enough to justify the wait. It’s been five years since 2018’s We Will Not Bow (review here), and the three-piece of bassist Maureen Murphy (ex-Second Grave, ex-Curse the Son, etc.), guitarist/vocalist Krista Van Guilder (ex-Second Grave, ex-Warhorse) and drummer Dan Blomquist (also Conclave) conjure worthy expanse with a metallic foundation, Van Guilder likewise effective in a deathly scream and melodic delivery as “Traitors Among Us” quickly affirms, and the band shifting smoothly between the lurch of “Summon the Tide” and speedier processions like “Course Correct,” the title-track or the penultimate “What Lies Beneath,” the album ultimately more defined by mood and the epic nature of Benthic Realm‘s craft than a showcase of tempo on either side. That is, regardless of pace, they deliver with force throughout the album, and while it might be a couple years delayed, it stands readily among the best debuts of 2023.
Cervus follow 2022’s impressive single “Cycles” (posted here) with the three-song EP Shifting Sands, and the Amsterdam heavy psych unit use the occasion to continue to build a range around their mellow-grooving foundation. Beginning quiet and languid and exploratory on “Nirvana Dunes,” which bursts to voluminous life after its midpoint but retains its fluidity, the five-piece of guitarists Jan Woudenberg and Dennis de Bruin, bassist Tom Mourik, keyboardist/guitarist Ton van Rijswijk and drummer Rogier Henkelman saving extra push for middle cut “Tempest,” reminding some of how The Machine are able to turn from heavy jams to more structured riffy shove. That track, shorter at 3:43, is a delightful bit of raucousness that answers the more straightforward fare on 2021’s Ignis EP while setting up a direct transition into “Eternal Shadow,” which builds walls of organ-laced fuzz roll that go out and don’t come back, ending the 16-minute outing in such a way as to make it feel more like a mini-album. They touch no ground here that feels uncertain for them, but that’s only a positive sign as they perhaps work toward making their debut LP. Whether that’s coming or not, Shifting Sands is no less engaging a mini-trip for its brevity.
On their third album, Where’s the Ground?, Portuguese experimentalists Unsafe Space Garden tackle heavy existentialist questions as only those truly willing to embrace the absurd could hope to do. From the almost-Jackson 5 casual saunter of “Grown-Ups!” — and by the way, all titles are punctuated and stylized all-caps — to the willfully overwhelming prog-metal play of “Pum Pum Pum Pum Ta Ta” later on, Unsafe Space Garden find and frame emotional and psychological breakthroughs through the ridiculous misery of human existence while also managing to remind of what a band can truly accomplish when they’re willing to throw genre expectations out the window. With shades throughout of punk, prog, indie, sludge, pop new and old, post-rock, jazz, and on and on, they are admirably individual, and unwilling to be anything other than who they are stylistically at the risk of derailing their own work, which — again, admirably — they don’t. Switching between English and Portuguese lyrics, they challenge the audience to approach with an open mind and sympathy for one another since once we were all just kids picking our noses on the same ground. Where’s the ground now? I’m not 100 percent, but I think it might be everywhere if we’re ready to see it, to be on it. Supreme weirdo manifestation; a little manic in vibe, but not without hope.
Guitarist/vocalist Henning Schmerer reportedly self-recorded and mixed and played all instruments himself for Neon Burton‘s third full-length, Take a Ride. The band was a trio circa 2021’s Mighty Mondeo, and might still be one, but with programmed drums behind him, Schmerer digs in alone across these space-themed six songs/46 minutes. The material keeps the central duality of Neon Burton‘s work to-date in pairing airy heavy psychedelia with bouts of denser riffing, rougher-edged verses and choruses offsetting the entrancing jams, resulting in a sound that draws a line between the two but is able to move between them freely. “Mother Ship” starts the record quiet but grows across its seven minutes to Truckfighters-esque fuzzy swing, and “I Run,” which follows, unveils the harder-landing aspect of the band’s character. The transitions are unforced and feel like a natural dynamic in the material, but even the jammiest parts would have to be thought out beforehand to be recorded with just one person, so perhaps Take a Ride‘s most standout achievement — see also: tone, melody, groove — is in overcoming the solo nature of its making to sound as much like a full band as it does in the 10-minute “Orbit” or the crescendo of “Disconnect” that rumbles into the sample-topped ambient-plus-funky meander at the start of instrumental closer “Wormhole,” which dares a bit of proggier-leaning chug on the way to its thickened, nodding culmination.
Though pedigreed in a Maryland doom scene that deeply prides itself on traditionalism, Laurel, MD, trio Thousand Vision Mist mark out a progressive path forward with their second full-length, Depths of Oblivion, the eight songs/35 minutes of which seem to owe as much to avant metal as to doom and/or heavy rock. Opener “Sands of Time” imagines what might’ve been if Virus had been raised in the Chesapeake Watershed, while “Citadel of Green” relishes its organically ’70s-style groove with an intricacy of interpretation so as to let Thousand Vision Mist come across as respectful of the past but not hindered by it creatively. Comprised of guitarist/vocalist Danny Kenyon (ex-Life Beyond, Indestroy, etc.), bassist/backing vocalist Tony Comulada (War Injun, Outside Truth, etc.) and drummer Chris Sebastian (ex-Retribution), the band delves into the pastoral on “Love, the Destroyer” and the sunshine-till-the-fuzz-hits-then-still-awesome “Thunderbird Blue,” while “Battle for Yesterday” filters grunge nostalgia through their own complexity and capper “Reversal of Misfortune” moves from its initial riffiness — perhaps in conversation with “We Flew Too High” at the start of what would be side B — into sharper shred with an unshakable rhythmic foundation beneath. I didn’t know what to expect so long after 2018’s Journey to Ascension and the Loss of Tomorrow (review here), which was impressive, but there’s no level on which Thousand Vision Mist haven’t outdone themselves with Depths of Oblivion.
Founded and fronted by vocalist George Chamberlin (Ritual Earth), the named-for-a-Joy–Division-tune New Dawn Fades make their initial public offering with the three-songer Forever, which at 15 minutes long doesn’t come close to the title but makes its point well before it’s through all the same. In “True Till Death,” they update a vibe somewhere between C.O.C.‘s Blind and a less-Southern version of Nola-era Down, while “This Night Has Closed My Eyes” adds some Kyuss flair in Chamberlin‘s vocal and the concluding “New Moon” reinforces the argument with a four-minute parade of swing and chug, Sabbath-bred if not Sabbath-worshiping. If the band — whose lineup seems to have changed since this was recorded at least in the drums — are going to take on a full-length next, they’ll want to shake things up, maybe an interlude, etc., but as a short outing and even more as their first, they don’t necessarily need to shock with off-the-wall style. Instead, Forever portrays New Dawn Fades as having a clear grasp on what they want to do and the songwriting command to make it happen. Wherever they go from here, it’ll be worth keeping eyes and ears open.
According to the band, Aton Five‘s mostly-instrumental self-titled sophomore full-length was recorded between 2019 and 2022, and that three-year span would seem to have allowed for the Moscow-based four-piece to deep-dive into the five pieces that comprise it, so that the guitar and organ answering each other on “Danse Macabre” and the mathy angularity that underscores much of the second half of “Naked Void” exist as fully envisioned versions of themselves, even before you get to the 22-minute “Lethe,” which closes. With the soothing “Clepsydra” in its middle as the only track under eight minutes long, Aton Five have plenty of time to develop and build outward from the headspinning proffered by “Alienation” at the album’s start and in the bassy jabs and departure into and through clearheaded drift-metal (didn’t know it existed, but there it is), the work they’ve put into the material is obvious and no less multifaceted than are the songs, “Alienation” resolving in a combination of sweeps and sprints, each of which resonates with purpose. That one might say the same of each of the three parts that make up “Lethe” should signal the depth of consideration in the entirety of the release. I know there was a plague on, but maybe Aton Five benefitted as well from having the time to focus as they so plainly did. Whether you try to keep up with the turns or sit back and let the band go where they will, Aton Five, the album, feels like the kind of record that might’ve ended up somewhere other than where the band first thought it would, but is stronger for having made the journey to the finished product.
Giants Dwarfs and Black Holes, In a Sandbox Full of Suns
Their second LP behind 2020’s Everwill, the five-song In a Sandbox Full of Suns finds German four-piece Giants Dwarfs and Black Holes fully switched on in heavy jam fashion, cuts like “Love Story” and “In a Sandbox Full of Suns” — both of which top 11 minutes — fleshed out with improv-sounding guitar and vocals over ultra-fluid rhythms, blending classic heavy blues rock and prog with hints and only hints of vintage-ism and letting the variety in their approach show itself in the four-minute centerpiece “Dead Urban Desert” and the suitably cosmic atmosphere to which they depart in closer “Time and Space.” Leadoff “Coffee Style” is rife with attitude, but wahs itself into an Eastern-inflected lead progression after the midpoint and before turning back to the verse, holding its relaxed but not lazy feel all the while. It is a natural brand of psychedelia that results throughout — an enticing sound between sounds; the proverbial ‘not-lost wandering’ in musical form — as Giants Dwarfs and Black Holes don’t try to hypnotize with effects or synth, etc., but prove willing to take a walk into the unknown when the mood hits. It doesn’t always, but they make the most of their opportunities regardless, and if “Dead Urban Desert” is the exception, its placement as the centerpiece tells you it’s not there by accident.
Posted in Whathaveyou on July 6th, 2023 by JJ Koczan
I was hoping we’d get a Kadabra record this year after seeing the Washington-based trio were announced as support for the upcoming West Coast tour of their Heavy Psych Sounds labelmates Bongzilla. The new album is called Umbra — following on from their debut, 2021’s deserved-more-hype-than-it-got Ultra (review here) — and will see release once again via Heavy Psych Sounds on Oct. 6. Preorders are up at the link below, if you’re the type to handle these things early.
A first single called “The Devil” arrives with a video accompanying, and it just straight up rules. I’m not sure any more complex analysis than that is needed. Like the first record, it sees the band cherry-picking aspects of modern heavy to suit the needs of their songwriting. I’d have to check to be certain, but I’m fairly sure this isn’t the first rock song ever written about the devil, even as a metaphor, but Kadabra aren’t trying to tell you otherwise. They revel in the bleak vibe as much as the central riff of the song — and you know there’s some reveling going on there — and a seeming uptick in production clarity and the separation of the instruments seems to be a factor as well, though I’m saying that as I’ve seen the video once and I’m standing on the line for a kiddie rollercoaster at Six Flags on a Wednesday afternoon, so maybe not the best place to really dig in. I guess what I’m saying is if that’s wrong, don’t hold it against me, because I might be talking out of my ass. Which should be a disclaimer for this entire site, come to think of it.
Either way, I’m stoked. Also note that two of the names of songs here, “Mountain Tamer” and “High Priestess,” are also West Coast band names. Put all three acts on a bill and it’d be a fucking killer show. From the PR wire:
KADABRA to release new album “Umbra” on Heavy Psych Sounds this fall; preorder and “The Devil” video available!
Spokane, Washington heavy psychedelic rockers KADABRA announce the release of their new album “Umbra” this October 6th on Heavy Psych Sounds, and unleash their badass new video for “The Devil” right now!
KADABRA formed during the dark days of 2020 and were quickly signed by Heavy Psych Sounds, who released Ultra in the fall of 2021 and established the band’s penchant for delivering crushing doom riffs and haunting vocals accentuated by bursts of psychedelic flair and swampy Americana swagger. And while the chemistry of long-time friends Garrett Zanol (guitar/vocals), Ian Nelson (bass) and Chase Howard (drums) was apparent upon listening to their debut, their bond was further strengthened by relentlessly touring the western United States and completing a month-long tour of Europe.
The trio almost immediately began looking forward, road-testing and crystalizing the songs that would comprise their follow-up, which found the band reuniting with “Ultra” producer Dawson Scholz. The result is “Umbra”: a singular statement that is more focused and cohesive than its predecessor while managing to capture the immersive, free-flowing experience of their live show. For fans of Dead Meadow, The Black Angels, All Them Witches.
Posted in Whathaveyou on July 6th, 2023 by JJ Koczan
Mos Generator releasing a thing can be news even if it’s not really a huge surprise. Led by the e’er prolific Tony Reed — also of Big Scenic Nowhere, Hot Spring Water, Constance Tomb, ex-Stone Axe, on and on — the Port Orchard, Washington, heavy rockers have posted 2022 remasters on their Bandcamp for 2018’s Shadowlands (review here), 2016’s Abyssinia (review here) and 2014’s Electric Mountain Majesty(review here), representing the most productive stretch in terms of full-length records in the band’s career, though along with studio LPs there’s always EPs, singles, and other odds and ends the band have going.
To wit, Heavy Sevens and Spaced Oddities is a compilation of off-album tracks from various releases over a 20-year span. That and a reissue of their latest album, 2022’s Time//Wounds, will be out through Glory or Death Records, deepening an association that’s been in place for several years, as Mos Generator has taken part in tribute releases for the label before — why I don’t write about those whole-album or best-of-whoever tributes more: it just got to be too much, there’s like a zillion of them, and as cool and novel as those are, with the hours in the day that I have, it seems more suitable to me to write about actually-new music — and Reed‘s Hot Spring Water project put out their 2022 album, In Session, via Glory or Death as well.
Release dates? I don’t know. They put up test pressings over the weekend, signed and so on, so I’d imagine there will be more word soon. In any case, one to keep an eye out for:
Greetings all, just letting you know that we have a few things coming out at the end of summer through Glory or Death Records.
First is ‘HEAVY SEVENS & SPACED ODDITIES’. This is a single LP collection of the original songs from our 7″ singles and also a few audio oddities from 2001-2021. Second is the Glory or Death version of our last album ‘Time//Wounds’. This version has different art layout and mastering and will be available in some different variants. Unlike the Music Abuse version which was only available in black vinyl. We will have some standard editions available on our bandcamp but if you would like to pre-order or find all the limited versions please go to: gloryordeathrecords.bandcamp.com www.gloryordeathrecords.com/
Signed test pressing go live Sunday July 2nd @ 12pm CST
Here is the tracklisting for the Heavy Sevens album. Music Abuse will be releasing it on Cd with extra tracks.
– Gus’s Boogie – You Bring the Wine, I’ll Bring the Weather – Step up (7″ Version) – Godhand Iommi – Downer Rock ’89 – Wicked Willow (rsd 7″ Version) – Wroomb – Tracks (tall Bodies)* – Serpent’s Glance – There’s No Return from Nowhere (video Version) – Gamma/hydra (7″ Version) – Nowarning (flexi Mix)
Mos Generator: Tony Reed: guitar/vocals/mellotron Jono Garrett: drums Sean Booth: bass
Posted in Whathaveyou on June 21st, 2023 by JJ Koczan
I guess if you don’t follow Merlock on the social medias — and I would encourage you to do so — you might look at the below all about ‘tru zoinked warriors’ and a crusade against ‘Big Riff,’ and have no idea what’s going on. The best advice I can give you is roll with it. The band, and particularly founding guitarist/vocalist Taylor D. Waring, have dug out a kind of niche-language about cranked mids — I actually had to look up what that means, it’s a guitar-recording thing — and I tried to join their Facebook group but I think they called me a cop, so I left because I’m insecure. Whatever ‘Big Riff’ is, I have no doubt I’m more part of the problem than the solution. So it goes.
But, Merlock released their debut album, Onward Strides Colossus (review here), earlier this year, and it remains among the best first-records I’ve heard in 2023, so their doing a West Coast tour to support it is right on, regardless of my constabular status (still testing negative for being a cop, by the way). If you didn’t hear that mids-cranked sludgebeast of a long-player, it’s down below because you can do that in the future — used to be way less of an option; ask me about it sometime and I’ll tell you a grandpa story about physical media — and because it’s worth hearing if you haven’t. If you can make it to a show, so much the better. They’ll be out with Robots of the Ancient World, who are also awesome.
From Facebook:
Tru Z0inked Warriors!!! Soon, we ride again to crank our mids and battle the sound-cops in YOUR town (assuming you live in one of nine West Coast locations).
But wait, there’s more! We’ll be joined by fellow warriors Robots of the Ancient World in our CRUSADE against Big Riff.
We trust we will see you there.
MERLOCK live: 07/15 Olympia WA Cryptatropa 07/16 Eureka CA Sirens Song 07/17 TBA 07/18 Las Vegas NV The Griffin 07/19 Tempe AZ Yucca Tap Room 07/20 Oceanside CA Pour House 07/21 San Francisco CA Thee Parkside 07/22 Crescent City CA Enoteca
MERLOCK is: Taylor D. Waring – Guitar / Vox Andrew Backes – Bass Lucas Barrey – Drums
Posted in Whathaveyou on June 14th, 2023 by JJ Koczan
Nice when a plan comes together. Seattle three-piece Sorcia will head out on a West Coast run just one week after the release of their second full-length, Lost Season (review here), which is out July 21 through Desert Records. The route will head south down the Pacific Coast and loop back north inland, hitting Denver and Salt Lake City en route to a still to-be-announced date in Boise that will close. If you’re in Boise, you could be a hero. Yes, booking shows is largely thankless work and the second you become a ‘promoter’ you sign up for at least 75 different shades of bullshit to hit you all at once, but, you know, heroism.
No doubt you’ll note their appearance at Burque Rock City Fest in Albuquerque on Aug. 5. There they’ll share the bill with the likes of Weedeater, Matt Pike, Brant Bjork, Fatso Jetson, Belzebong and many others. Sure to be a highlight of the run, though that’s not taking away from the rest of the shows, which I’m sure will also be cool. This tour was first announced with the review/track premiere linked above, but the venue seems to have dropped out of that Boise show, so an update seemed reasonable. If you didn’t check out the single from Lost Season, “Miss Ann Thrope,” it’s on the Bandcamp player below, where you can also preorder the album.
In support of their new album ‘Lost Season’ Sorcia hit the road on a summer west coast tour with a stop at Burque Rock City Festival!
Supporting their highly anticipated new album Lost Season, Sorcia embark on their biggest your yet hitting 12 major cities of Western US. Lost Season is the bands their heaviest and most eclectic offering to date and they are ready to unleash it in a live setting.
As part of their tour, Sorcia will take the stage at Burque Rock City Festival. They will play along side some of the Titans of Stoner and Doom, Weedeater, Matt Pike, Dead Meadow, Brant Bjork Trio, Yawning Balch and so many more.
Lost Season will be available July 21st through Desert Records!
SORCIA – WESTERN US TOUR 2023 07.28 Seattle WA Substation 07.29 Portland OR Kenton Club 07.30 Eugene OR Old Nick’s Pub 07.31 Eureka CA Siren’s Song Tavern 08.01 Oakland CA Golden Bull 08.02 Los Angeles CA Knucklehead 08.03 San Diego CA Til Two Club 08.04 Tempe AZ Yucca Tap Room 08.05 Albuquerque NM Burque Rock City Fest 08.06 Denver CO The Crypt 08.07 Salt Lake City UT Aces High Saloon 08.08 Boise ID TBD
