The Melvins, Lysol (1992)

Would you believe I’ve never closed out a week with the Melvins? Granted, I’m not the hugest fan of the band in the world, but you’d think it would’ve happened one way or another at some point anyhow, two or three times over, just through the sheer process of elimination. After all, they’re the frickin’ Melvins. If heavy rock and roll has a given, a constant presence, a relentless influence under which it works, it’s theirs. Consider this post correcting an oversight on my part.

In picking one of their 250-or-thereabouts studio offerings to actually feature, I decided to not go the obvious route, which would’ve been 1993’s Stoner Witch, 1994’s Houdini or 1996’s Stag — the three landmark albums they released on Atlantic Records — but instead dig a little deeper. Not much deeper, admittedly. It’s not like I went for Colossus of Destiny or anything, but 1992’s Lysol, with its Flipper and Alice Cooper covers, its drawling riffing from a group who were just about to set the patterns they’d continue to follow for the next 20 years and counting, and its unmistakably off-the-rails songwriting, makes a good fit without necessarily being so totally obvious as to be a Melvins cliché. Or not as much of one anyway. Whatever. You know what I mean. Maybe I just felt like hearing them do “The Ballad of Dwight Fry” and Joe Preston‘s bass on “Sacrifice,” all the songs lumped together as one CD track, apparently for the hell of it because it was a relatively new format then and that was a thing people did as a reaction to track-by-track listening.

Anyhoo, there are way worse manners in which to dispose of half an hour. Boner Records, which originally released Lysol, oversaw a vinyl reissue that came out Jan. 20 that couples the album with 1991’s Eggnog — they have one for Ozma and Bullhead as well — so I guess this wound up being a topical choice without my even realizing it. Whatever your preferred format, hope you dig it and have a good time listening. That’s the whole idea.

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The power stayed on during the blizzard earlier this week, for which I’m thankful. You never really know when you’re in a new place until it either does or doesn’t happen, and I could probably buy 15 houses before I’d think to ask, “So hey, does every wind over five miles an hour knock out the electricity?” We had some good gusts to go with the circa-two-feet of snow that came down — a little more earlier today, and more to come on Monday just in case I missed my shot to put on sad-era Anathema or that brilliant Sólstafir record from last year; I didn’t — and still, the lights persisted. I’ll take that. If you have to be snowed in, having a working charger for the laptop helps.

My big news this week, in case you missed it: I’m going back to Roadburn in April, and this site is six years old. Thanks to you for reading, because that’s the only reason either happened.

I had wanted to review Black Moon Circle‘s Andromeda LP this afternoon, but after doing the Radio adds, I’m good and burnt out and the record deserves better than to have me search Dict.org for synonyms for the word “lysergic.” Should be able to pick up with that on Monday, and next week also look out for reviews of Killer Boogie and Abbot. Elder is next after that, but I’m not sure I’ll get there by next Friday. We’ll see how it goes. Also trying to set up a premiere of one sort or another for that Garden of Worm record that was reviewed today, because it hit me hard enough that I think it’s worth featuring again. I’ll keep you posted. A Lords of Beacon House video premiere is set for next Friday, too.

I also spoke to Mario Lalli of Fatso Jetson and Yawning Man yesterday and I’m going to try really, really hard to have that posted by the end of next week as those bands head over to Europe soon to tour and I don’t want to miss my chance. Currently seeking an intern to transcribe interviews if anyone’s in need of some college credit. Yes, I’m serious, and yes, you can work remotely.

The Patient Mrs. promised sushi takeout to celebrate the site’s anniversary, so I’ll be taking her up on that and clearing out my overtaxed sinuses with wasabi. Stoked.

Whatever you might be up to, I hope you have a great and safe weekend. Please check out the forum and radio stream.

The Obelisk Forum

The Obelisk Radio

The Obelisk Radio server, which I’ve taken to calling the “main computer core,” was down most of last week after some kind of unknown surge in the EPS conduits, so with the data stream running on auxiliary power (yes, I’m using Star Trek science lingo; I’ll stop) it didn’t make much sense to do a round of adds. No one would hear the stuff anyway amid all the Sabbath, Kyuss, Goatsnake, Electric Wizard, etc. Sometimes I really like that backup server, but after a few days of listening, a change is welcome. I was pretty happy when we got the primary box back online.

And by “we,” I mostly mean Slevin, to whose technical expertise I am perpetually indebted. While I wouldn’t dare go much farther than doing so, I’m fortunate enough to be able to add files to the server on my own — I’m sure if you gave him five minutes he’d come up with a more efficient method — so we’ll give that a shot, and if the whole thing doesn’t come crashing down, we can consider it a win. Here goes.

The Obelisk Radio adds for Jan. 30, 2015:

Sumac, The Deal

Sumac start out high-profile thanks to the lineup of guitarist Aaron Turner of Isis and Old Man Gloom and drummer Nick Yacyshyn of Baptists and the fact that Russian Circles bassist Brian Cook recorded the low end for their Profound Lore debut, The Deal, but I think even if they were a trio of out-of-nowhere unknown entities, this record would turn some heads. Coated in feedback, blisteringly heavy — in the tradition of older Isis but more assured in its purpose — its six tracks breathe dense tonal life into the pallid post-metal vibe, songs like “Hollow King” (12:21) and “The Deal” (13:41) sounding as complex as they do crushing, wanting nothing in impact or atmosphere. “Spectral Gold” (3:18) and “Thorn in the Lion’s Paw” (8:55) begin The Deal on an ambient note, and the sprawl-drone of “The Radiance of Being” ends it likewise with five minutes of solo guitar from Turner, but in between “Hollow King,” “Blight’s End Angel” (10:17) and “The Deal” work quickly to win over even skeptical ears. Yacyshyn‘s performance is of particular note. Where it would’ve been all too easy to fall into Isis-style patterning to complement Turner‘s riffs, he holds firm to his own personality and The Deal is that much stronger for it. It is a startling and potential-laden debut. Almost enough to make up for the needless dickery Old Man Gloom pulled last year sending a fake record to the press, assuming what I’ve heard from Sumac is actually the real thing. Sumac on Thee Facebooks, at Profound Lore.

—

Garden of Worm, Idle Stones

Tampere, Finland, trio Garden of Worm make their debut on Svart Records via Idle Stones, their second album following 2010’s Garden of Worm (review here) on Shadow Kingdom. Comprised of four songs alternating between shorter and longer before arriving at 19:49 closer “The Sleeper Including Being is More than Life,” the sophomore outing is a richer, more progressive affair, with bassist SJ Harju and guitarist EJ Taipale combining their vocals effectively at the fore of the mix on “Summer’s Isle” (10:13), which follows the rolling opener “Fleeting are the Days of Man” (5:35). With a style that ultimately owes more to Witchcraft‘s tonal understatement than Reverend Bizarre‘s genre-defining traditionalism, they nonetheless shirk the trap of retroism and make an individual showing with a feel both loose and purposeful throughout. The brighter guitar work of “Desertshore” (7:01) makes it a highlight, along with the persistent crash of drummer JM Suvanto, and the freakout that emerges in “The Sleeper Including Being is More than Life” gracefully and boldly flows across the rarely-bridged gap between doom and heavy psychedelia with a naturalness that very much makes me hope it’s not another half-decade before we hear from Garden of Worm again. Garden of Worm on Thee Facebooks, at Svart Records.

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Carpet, Riot Kiss 7″

Story goes that German progressive heavy rockers Carpet started writing for their third album, to follow-up on 2013’s Elysian Pleasures (review here), which was released by Elektrohasch, and wound up with some material that didn’t quite fit the concept they were going for. Since they dug it and didn’t want to just toss it, the Riot Kiss b/w Song of Heartship 7″ was born. Two songs, both a little over four minutes long, reaffirm the Augsburg four-piece’s commitment to forward-thinking textures, with “Riot Kiss” as the space-prog A-side and the quieter, atmospheric-but-still-clearheaded “Song of Heartship” emphasizing Carpet‘s range on side B, the cuts having more dynamic between them than many bands show in their career. I don’t know what Carpet — the lineup of Sigmund Perner, Jakob Mader, Hubert Steiner and Maximilian Stephan — are shooting for with their third record that these songs didn’t jibe with, and I guess we won’t know until that album arrives, but Riot Kiss is a stopgap of considerable substance that showcases Carpet‘s ability to present progressive ideas in ways not only palatable but deeply engaging. Carpet on Thee Facebooks, Elektrohasch Schallplatten.

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Sporecaster, See Through Machine

An experimental drone/psych duo comprised in half by Ron Rochondo of Boston’s Ice Dragon, Sporecaster‘s debut release, See Through Machine, is four tracks/26 minutes of exploratory drone given natural breadth through use of didgeridoo and percussion. The outing was tracked at Ron’s Wrecker Service and has a lo-fi feel despite its spaciousness, and chants out its hypnotism early, opener “Invocation or Incantation” (4:20, by astounding coincidence) wrapping itself around consciousness like some kind of psychedelic serpent, only to have the whistle-blowing “Things are Not What they See” (3:21) and tribal-ish drummed “The False Light” (5:46) push deeper into the moody ambience laid out at the beginning. Closer “You are Transparent” (12:45) makes me wonder what Sporecaster might do working in even longer forms, its drone-out having room for both a jammy drum progression and a continuation of the earlier experimental and improvisational feel. As an early showing of their intent, though, See Through Machine makes it clear that Sporecaster‘s creative process is wide open. Sporecaster on Thee Facebooks, Ron’s Wrecker Service.

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The Devil and the Almighty Blues, The Devil and the Almighty Blues

The slow-rolling “The Ghosts of Charlie Barracuda” (7:46) begins the self-titled debut from Oslo-based five-piece The Devil and the Almighty Blues, released on the upstart Blues for the Red Sun Records. That song picks up gradually in the first of several of the six-song full-length’s satisfying builds, but atmospherically sets a laid back tone that tracks like the subsequent “Distance” (4:11) and more active “Storm Coming Down” (10:17) play off of, the band proving equally comfortable in long- or short-form material, nestling into a neo-heavy semi-retro blues rock more in line with Graveyard‘s overarching moodiness than Witchcraft‘s early-days dooming. Well-balanced lead guitars and crooning vocals serve as a uniting theme, but in a classic dynamic, it’s the rhythm section that makes the swing of side B’s particularly thick “Root to Root” (9:48) and “Never Darken My Door” — the singing especially blown-out on the latter — so irresistibly grooved. Wrapping with the classy fuzz of “Tired Old Dog” (6:28), The Devil and the Almighty Blues will come from a familiar place sonically, but as their debut, The Devil and the Almighty Blues boasts a cohesion worthy of its weighty title. The Devil and the Almighty Blues on Thee Facebooks, Blues for the Red Sun Records.

—

Some of this stuff — Sumac, The Devil and the Almighty Blues, Carpet — was also included in the podcast that went up yesterday, so if you’d like another avenue for getting a sample, that might not be a bad way to go. However you choose to dig in, I hope that you will and hope that you find something that you feel is worth the time and effort.

As always, thanks for reading and listening.

Beginning tonight, New Jersey heavy rock stalwarts Monster Magnet hit the road for a return trip to Europe in support of 2014’s Milking the Stars: A Reimagining of Last Patrol (review here), which took tracks from 2013’s Last Patrol (review here) and twisted them in different directions, whether it was mixing out the guitar, adding Hammond B-3, redoing the vocals, pretending it’s 1968, and so on. Monster Magnet‘s last tour in North America — also their first in more than a decade — was late 2013 heralding Last Patrol and wound up being canceled before it was finished owing to illness on the part of frontman Dave Wyndorf. No word on if they’ll tour again in the States, but Athens is the launch point for a month on the road and it’ll be March by the time these guys get home.

The PR wire invites you to let the circus burn:

MONSTER MAGNET – NOW ON TOUR IN EUROPE!

MONSTER MAGNET is Rock ‘n’ Roll at its best, Rock ‘n’ Roll in its strongest propagation, loud & flashy Psychedelic Rock! Right at the raging psychedelic maze: Front man Dave Wyndorf, is a dazzling figure of light and leading figure in personal union.

MONSTER MAGNET are now on tour all over Europe! Germany, Belgium, UK, Sweden, Norway, Denkmark – to name just a few stops! Catch them live on the road & check all upcoming tour dates here:

30.01.2015 GR – Athens / Stage Volume 1
31.01.2015 GR – Thessaloniki / Principal Club Theater
02.02.2015 CH – Lausanne / Les Docks
03.02.2015 DE – Frankfurt / Batschkapp
04.02.2015 DE – München / Backstage
06.02.2015 AT – Vienna / Szene
07.02.2015 CH – Lyss / Kufa
08.02.2015 DE – Oberhausen / Turbinenhalle
10.02.2015 NL – Deventer / Burgerweeshuis
12.02.2015 BE – Antwerp / Trix
13.02.2015 UK – Nottingham / Rock City
14.02.2015 UK – Glasgow / Garage
15.02.2015 UK – London / Electric Ballroom
17.02.2015 DE – Saarbrücken / Garage
18.02.2015 NL – Eindhoven / De Effenaar
20.02.2015 DK – Arhus / Voxhall
21.02.2015 SE – Gothenborg / Sticky Fingers
22.02.2015 NO – Oslo / Parktheatret Scene
23.02.2015 NO – Stavanger / Folken
25.02.2015 DE – Bremen / Schlachthof
26.02.2015 DE – Hannover / Capitol
27.02.2015 DE – Dresden / Reithalle
28.02.2015 NL – Rotterdam / VanNelle Fabriek

For More Info Visit:
www.monstermagnet.net
www.facebook.com/monstermagnet

Monster Magnet, “End of Time (B-3)” from Milking the Stars (2014)

A lot has changed in the last six years. Not so much my PhotoShop skills, but plenty of other stuff. The first post on this site went up on Jan. 31, 2009. It was a Saturday, like tomorrow. The better part of the few days prior had been spent sorting out a WordPress back end with Slevin, picking a theme, making a header and all that kind of stuff, so I usually just mark the last Friday of each January as the anniversary of the site’s launch. I’m sure there’s a way to figure out the exact time and date it happened, but I’m also sure I have neither any idea nor inclination to find out what it might be. We’ll all live.

My perspective, of course, is skewed, but to me it seems like this site has come to occupy a curious space in the weird, online version of the heavy underground. There are a lot of blogs out there now — more than when I started and there were plenty then as well — and what I think continues to set this one apart is that I have no staff. I doubt everyone who stops by to check out a track stream or whatever or read a press release knows that, but it’s true. Apart from a few tour diaries (and more to come) and a few short-lived columns by others, I’ve done all the writing on this site in the last six years and over 5,800 posts. I’ve been places I never thought I’d go, heard things I never thought I’d hear. It’s become my creative livelihood. If it’s a weekday and I’m not writing, I feel disconnected.

That’s about me, though. I’ve said thanks many times over the years, and I continue to do so without fear of redundancy because it’s important to me on a personal level that you understand how much I appreciate your role in all this nonsense. I’ve thanked readers, my wife, labels, PR firms, Slevin, and many others along the way, but the group I think I probably thank the least is the bands, the people who actually make the music. I’ve also said there are days when The Obelisk is what gets me out of bed in the morning, which is very true, but if the music wasn’t there to start with, if these wonderful people weren’t reaching out to me at a rate that I can in no way keep up with anymore, the impulse would’ve died long ago. Whether it’s your fifth album or your debut EP on Bandcamp, thank you.

And to the rest as well, of course. Readers, both brand new and old enough to be considered friends. EVERYBODY on the forum and EVERYBODY who listens to the radio. The Patient Mrs., who I don’t think really understands this project completely but knows I need it and accepts that, which to me is all the more beautiful. My family for their support, especially this last year. The labels and public relations folk who’ve stuck with me even as my career in print media evaporated one outlet at a time. Slevin for his unending willingness to hold my hand through what must seem like the easiest damn things in the world to him.

The list goes on and is full of names that by now feel pretty familiar, which makes me feel even luckier for the loyalty that implies. If I believed in blessings, I’d call myself blessed. I am instead incredibly fortunate, and this site reminds me of that every single day. Even the weekends.

To six years.

Thank you,
JJ Koczan

 

Of all the albums I didn’t get to hear last year, I think Siena Root hurt the most. There were enough that I could have made a list — one only has so many ears and so much time — but I loved 2009’s Different Realities (discussed here) and did a track stream for the subsequent Root Jam in 2011, and when it came to the release of Pioneers in Nov. 2014 (Cleopatra Records in the US, Gaphals in Europe), I didn’t even know of its existence until after the album was released, and even then it was in some random Facebook post. What a bummer.

“Root Rock Pioneers” is the third video from that record, and in watching and listening, I think you can see why I might be down about missing the boat on the album, what with Siena Root‘s ultra-loose, natural vibe, taking the best parts of heavy rock and ’70s prog and putting them together in a way that both moves easily and demands audience attention. If they’ve created a genre for themselves — one assumes it’s “root rock” instead of “roots rock,” which already exists — they make a good case with the track for their distinction, their organic engagement departs some of the raga-inspired pastoralism of Different Realities in favor of a more rock-band-playing-rock approach that’s well suited to both the stage footage and the psychedelic visuals of the video for “Root Rock Pioneers,” which, true to form, gets a lot done in a little over four minutes.

Siena Root are on tour in Europe this March, and of course Pioneers is available now. It was Gaphals who sent along word of the clip and the tour (credit where it’s due), and you’ll find the PR wire pertinents after the video below. Please enjoy:

Siena Root, “Root Rock Pioneers” official video

Siena Root Root Rock Pioneers video out now!

The third video from Siena Root´s – Pioneers album is a psychadelic journey through Root Rock Land and it captures the bands intense live shows. The band will hit mainland Europe in March 2015 in support of their newly released and highly acclaimed “Pioneers” album.

Root Rock Pioneers is taken from Siena Roots album Pioneers released by Gaphals.
LP/CD: http://smarturl.it/2lmuam
Itunes: http://smarturl.it/t6o06m
Spotify: http://smarturl.it/1bmjti

Produced by Siena Root & Sascha Steinbach
Visuals by Maria Puentes Campos
Live footage by Macabre Pariah Productions
Editing by Sascha Steinbach
Words & music by Siena Root

“Pioneers” European Tour 2015
04.03.2015 – DE Rostock, Mau Club
05.03.2015 – DE Hannover, Mephisto
06.03.2015 – DE Jena, Kulturbahnhof
07.03.2015 – DE Berlin, Bassy Cowboy Club
08.03.2015 – DE Dresden, Beatpol
09.03.2015 – AT Wien, Arena
11.03.2015 – IT Padova, Circolo Mame
12.03.2015 – IT Milano, Lo-Fi
13.03.2015 – DE Esslingen, Hell Over Esslingen
14.03.2015 – DE Frankfurt/M., Das Bett
17.03.2015 – ES Donosti, Dabadaba
18.03.2015 – ES Zaragoza, La Ley Seca
19.03.2015 – ES Gijon, Sala Acapulco
21.03.2015 – ES Burgos, Estudio 27
22.03.2015 – ES Barcelona, Rocksound
23.03.2015 – FR Chambery, Brin De Zinc
24.03.2015 – CH Zürich, Kinski
25.03.2015 – DE Fürth, Kofferfabrik
26.03.2015 – DE Köln, Yard Club
27.03.2015 – BE Leuven, Sojo
28.03.2015 – DE Osnabrück, Westwerk

Other livedates:
05.06.2015 – DE Netphen, Freak Valley Festival
06.06.2015 – DE Dornstadt, Wudzog Open Air
02.08.2015 – DE Breitenbach, Burg Herzberg Festival

Siena Root is one of the most original bands in the European rock scene. The Swedish band is now releasing their fifth studio album, “Pioneers”. With over 25.000 albums sold and over four hundred packed shows performed, Siena Root is once again back from the studio with eight new tracks of pure root rock. The album is released 3th of November the Nordic Countrys, Belgium and Holland, Italy, Polen, Czech Rep, Ukraine and 7th of November in Germany, Switzerland and Austria.

The record ”Pioneers” is characterized by a tasteful combination of genuine songwriting and captivating improvisations, enjoyable for anyone who wants music to be “well done”. In the spirit of keeping it real, all eight tracks are a hundred percent analog-produced, using all-vintage instruments and equipment. The music itself will remind listeners of the great rock era, yet putting a new perspective on the retrospect. Regardless if you like classic rock hits, trippy psychedelia or swinging blues, ”Pioneers” by Siena Root will be one of your favorite records!

Siena Root is well known for their variety of appearances, with many great guest artists, broad musical range and different interpretations of rock music. The various shapes of Siena Root over time can be heard on the previous albums, which each has its own unique line up.

Siena Root on Thee Facebooks

Siena Root website

Gaphals website

I’m not sure where I got the idea, but for some reason I was thinking that Blackout‘s forthcoming debut on RidingEasy Records was a reissue of their 2013 EP, We are Here (review here). It’s not. It’s a new album, a full-length. I’ll be damned. Had I been correct to start with, there’s no way I wouldn’t have included Blackout‘s first LP in my 2015 most anticipated list, having so thoroughly dug that EP and the Converse-sponsored EP (review here) that followed it in 2014. Sometimes it takes me a minute to catch up on stuff, though, so better late than never.

Following the album’s release on March 31, Blackout will head west in May for a slot as part of the Psycho California fest’s dream-team lineup (info here). They’ll be in good company.

The PR wire makes sure we’re all on the same page:

Blackout announce release of new album via RidingEasy Records in March

This March Brooklyn’s self-proclaimed “pillars of rock and roll righteousness” will release their new, self-titled album through Los Angeles’ equally badass record label RidingEasy Records.

Blackout was initially formed by guitar player/vocalist Christian Gordy and drummer Taryn Waldman at Gordy’s July 4th cookout in the Bushwick neighborhood of Brooklyn, New York back in 2011. Waldman, a former Hooter’s waitress turned big time commercial film editor and Gordy; a one-legged bartender/artist/BBQ enthusiast were (by their own admission) something of an oddball couple for NY’s rigid metal scene. Yet with no direction and zero discussion both connected instantly and instinctively began banging out massive caveman jams against a patriotic backdrop of food, alcohol and the stars and stripes.

In fact as far as names go, choosing Blackout – suggesting a power crash, sudden and temporary loss of consciousness or a mob hit on an entire family – was a total no brainer.

In the months that followed the pair recruited close friend Justin Sherrell on bass duties, and as things began to get louder and considerably heavier in November 2012 the trio entered Vacation Island Studio with engineer and producer Rob Laakso (Diamond Nights, Swirlies, Kurt Vile) to record their debut release We Are Here. Choosing to self-release the album on vinyl in early 2013 it garnered plenty of acclaim from some of the hottest blogs du jour and was praised for its Melvins-esque ferocity and pounding Sleep-like groves.

Following an extensive gigging regime in, around and way beyond New York’s city limits with acts like Acid King, Weedeater and Trouble the band took to the studio once again in the summer of 2013 to record a body of new songs. Songs that strictly worked off the riffs spontaneously summoned during practice sessions where old material was revived, ideas hashed out and sounds reworked into the record you will soon hear in full. Songs that make up Blackout, the band’s eagerly awaited follow up and soon to be released revelation on RidingEasy Records.

Blackout by Blackout will be released worldwide on RidingEasy Records on 31st March 2015.

blackout666.bandcamp.com
facebook.com/BlackoutNYC
instagram.com/blackoutband
ridingeasyrecords.com

Blackout, “Cross”

Click Here to Download

 

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I’m happy to report that of all the podcasts I’ve ever put together, front to back, I think this one came together the smoothest. No programs crashed, no uploads were interrupted halfway through. Unless I click “Publish” and the internet eats this entire site, it’s safe to say this was the easiest time I’ve had putting together a collection of tracks to be featured here. Could it be I’m getting better at it? Nah. Dumb luck all the way. As I recall, last time I said something of the sort, the next month my editing software crapped out and it was a year before I got another program that worked. You’d think I might learn to keep my mouth shut.

Keeping current with this month was something of a concern. It’s hard to fill out 2015 releases since we’re only a month into the year, but even if some of this stuff is 2014, it’s later 2014 for sure, and the vast majority of it did wind up being 2015. The second hour, which has become a sort of psych blissout over the last however-many podcasts, actually gets pretty heavy and doomed this time around. Change is good for the soul. As always, hope you enjoy:

First Hour:
Torche, “Loose Men” from Restarter
Bloodcow, “Crystals and Lasers” from Crystals and Lasers
Elder, “Compendium” from Lore
Lacertilia, “Do Something!” from Crashing into the Future
Ruby the Hatchet, “Tomorrow Never Comes” from Valley of the Snake
Carpet, “Riot Kiss” from Riot Kiss 7”
Black Moon Circle, “Supernova” from Andromeda
Desert Storm, “House of Salvation” from Omniscient
Spidergawd, “Fixing to Die Blues” from Spidergawd II
Bellringer, “Von Fledermaus” from EP
Romero, “Gold for the Hunt” from Gold for the Hunt Single
Brothers of the Sonic Cloth, “Lava” from Brothers of the Sonic Cloth

Second Hour:
Sumac, “Blight’s End Angel” from The Deal
Horsehunter, “Stoned to Death” from Caged in Flesh
The Devil and the Almighty Blues, “Storm Coming Down” from The Devil and the Almighty Blues
Saturndust, “Realm of Nothing” from Saturndust
Sonny Simmons & Moksha Samnyasin, “We are Entering a Place of That” from Nomadic

Total running time: 1:55:50

 

Thank you for listening.

Download audiObelisk Transmission 044

 

Several days ago, Portland, Oregon, doomers Witch Mountain posted the above image on their Facebook page as a way of teasing the fact that they are once again a complete four-piece. Today, the parties joining with founding guitarist Rob Wrong and drummer Nathan Carson have been officially announced as vocalist Kayla Dixon and bassist Justin Brown.

Formerly based in Ohio, Dixon comes to Witch Mountain via Cleveland metallers Demons Within. She steps into the vocalist role in place of Uta Plotkin, who over the course of Witch Mountain‘s three post-reactivation full-lengths on Profound Lore, 2011’s South of Salem (review here), 2012’s Cauldron of the Wild (review here) and last year’s Mobile of Angels (review here), became one of doom’s most recognizable voices, with a soulful, bluesy inflection that has already left an influential stamp on the genre. When Plotkin announced her departure from the band prior to their tour in Sept. with Nick Turner’s Hawkwind, it was a shock but only made the lyrics to Mobile of Angels tracks like “Can’t Settle,” “Your Corrupt Ways (Sour the Hymn)” and “The Shape Turth Takes” even more visceral.

In an interview here last fall, Carson speculated that it could be years before the right voice was found to fill the position. That the band was aware and mindful of the task before them serves as further endorsement of Dixon‘s ability and the potential for their continued progress as a group with her on board. Bassist Justin Brown enters the lineup having spent the last several years in the two-bass/no-guitar trio Lamprey, from whom a follow-up long-player to 2012’s The Burden of Beasts EP (review here) is expected sometime this year, its coming heralded by a recent video for the track “Iron Awake” that was featured here.

Witch Mountain are slated to take part in an upcoming Black Sabbath tribute that will also feature Kylesa and Wo Fat, among others, though at this time it’s not clear when their contribution was recorded or who was involved. They have toured extensively in support of each of their three records since returning from a decade’s hiatus, and the first road test of the new lineup will be a run of shows alongside YOB following that outfit’s stint with Enslaved in March. With congratulations to Brown and Dixon on landing what can only be considered as enviable as a gig playing doom can get by playing in Witch Mountain, the tour dates follow here:

YOB + Witch Mountain
3/21 New York, NY @ Gramercy Theatre w/ Enslaved, YOB, Ecstatic Vision
3/22 Philadelphia, PA @ Union Transfer w/ Enslaved, YOB, Ecstatic Vision
3/25 Richmond, VA @ Strange Matter
3/26 Raleigh, NC @ King’s Barcade
3/27 Johnson City, TN @ The Hideaway
3/28 Atlanta, GA @ The Earl
3/29 Memphis, TN @ Hi-Tone
3/30 New Orleans, LA @ Siberia
3/31 Houston, TX @ Walter’s
4/01 Austin, TX @ Red 7
4/03 Albuquerque, NM @ Launch Pad
4/04 Tucson, AZ @ The Flycatcher
4/05 Los Angeles, CA @ Los Globos
4/07 San Francisco, CA @ Golden Bull
4/08 Sacramento, CA @ Press Club
4/10 Seattle, WA @ Victory
4/11 Portland, OR @ Star Theater

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Witch Mountain, Mobile of Angels (2014)