“When the fuzz hits, it lands heavy…” – The Obelisk
The Obelisk is currently hosting an exclusive stream of “Yayoi Kusama” from Savona, Italy-based psychedelic fuzz rock unit BLACK ELEPHANT. The groove-laden track comes off the band’s Seven Swords full-length, set for release next month via Small Stone Records.
Seven Sword delivers an addictive assortment of classic-minded, heavy rocking tunes, picking the best the ’70s, ’90s, and ’00s had to offer in riffery and melding spacey blowouts with desert-hued hooks.
Writes The Obelisk in part, “When the fuzz hits, it lands heavy…,” noting that the songs comprising Seven Swords, “flow together with deceptive ease, loud parts moving into quiet, jams solidifying, liquefying; backs and forths that sound easier than they are because they’re executed so smoothly… a record that’s so likely to put its audience in a trance without losing itself in the process.”
Adds the band of the latest single, “This song is dedicated to the contemporary artist Yayoi Kusama and to the fine line that divides art, insanity, and life”
Read more and stream “Yayoi Kusama,” now playing at The Obelisk, at THIS LOCATION.
Seven Swords was recorded and mixed by Giulio Farinelli at Green Fog Studio in Genoa, mastered by Farinelli at Everybody On The Shore Studio in Milan, Italy, and mastered by Chris Goosman at Baseline Audio Labs in Ann Arbor, Michigan.
BLACK ELEPHANT’s Seven Swords will be released on August 21st on CD and digitally via Small Stone as well as limited edition vinyl via Kozmik Artifactz. For preorders and to sample opening track, “Berta’s Flame,” visit the Small Stone Bandcamp page at THIS LOCATION.
Whether it’s the scorching leads of “Yayoi Kusama” or the conscious wink-and-nod of “Red Sun And Blues Sun” a short time later — just ahead of the bluesy “Seppuku” and the near-nine-minute stretch of closer “Govinda” — BLACK ELEPHANT bring their finest work to-date in an efficient seven-track, thirty-three-minute stretch, building not only on what they accomplished on Cosmic Blues, but also what their prior two full-lengths — 2014’s Bifolchi Inside and 2012’s Spaghetti Cowboys — were building toward. This is a band coming into their own, wasting neither their time nor yours in the process. Fuzz pedals preach on, the sky cracks, and the riffs themselves seem to lock bellies in sumo battles, so what the hell? The world’s ending anyway. You might as well have some fun with it.