Review & Full Album Stream: Abrahma, In Time for the Last Rays of Light

Posted in audiObelisk, Reviews on May 22nd, 2019 by JJ Koczan

abrahma in time for the last rays of light

[Click play above to stream Abrahma’s In Time for the Last Rays of Light in its entirety. Album is out Friday on Small Stone Records and Deadlight Entertainment.]

It has been an especially long four years since France’s Abrahma released their second album, Reflections in the Bowels of a Bird (review here). As early as 2016, the topic of a new full-length had been broached, and they revealed recording plans in consecutive Junes across 2017 and 2018. The latter took. By the time they got there, guitarist/vocalist and principle songwriter Sébastien Bismuth was the lone remaining original member of the band, with a changing lineup around him that contributed in no small part to the delay. In the end, it was by absorbing the entirety of the band Splendor Solis that Bismuth was able to construct Abrahma as a five-piece and enter Orgone Studios to record with Jaime Gomez Arellano, known for his work with Paradise Lost, GhostDream DeathOrange Goblin, etc., and the resulting LP, In Time for the Last Rays of Light, harvests cohesion from the tumult of its making.

With Bismuth joined by guitarist/synthesist/noisemaker Benoît Carel, guitarist/vocalist Florian Leguillon, bassist/vocalist Romain Hauduc and drummer/vocalist Baptiste Keriel, the eight tracks and 49 minutes of the record play out with a fullness and a patience that undercuts the basic idea that this is a completely new lineup — perhaps the fact that CarelLeguillonHauduc and Keriel were a band previously helps — and builds on the atmospheric impression Abrahma made on their second LP with a greater focus on songwriting patience and telling a story with the songs front to back. The operating theme is coping with mental illness, specifically depression, and whether it’s the wailing guitar of “Lost. Forever.” or the turns between massive chug and harmonized vocals of the penultimate “Eclipse of the Sane Pt. 2: Fiddler of the Bottle,” Bismuth and company hold firmly to that focus across the record’s span. Methodical pacing and tonal weight lend depth to the mood of the material, and while there’s certainly a creative range at play, the songs serve the purpose of conveying that theme regardless of arrangement or other factors.

Those who remember Abrahma‘s 2012 debut, Through the Dusty Paths of Our Lives (review here), might be surprised at just how metal some of the guitars sound throughout In Time for the Last Rays of Light, be it at the end of 8:41 third and longest cut “Eclipse of the Sane Pt. 1: Isolation Ghosts” or in the six-minute side B leadoff “Last Epistle,” which emerges from a short intro “Dusk Contemplation” with what would be the album’s most intense spirit — capping in some unabashedly death metal-style chugga-chug in the fadeout accompanied by double-kick drum that’s only too appropriate — were it not for the subsequent “Wander in Sedation,” which swirls in on a dark severity of tone and resolves its lumbering progression in a culminating stretch of blastbeats, echoing those earlier of “Lucidly Adrift” on side A, which takes hold from side A and marries together heavy post-rock with these more extreme impulses.

abrahma

What actually keeps Abrahma from being full-tilt metal is their melodic sensibility and the overarching groove of In Time for the Last Rays of Light. There are moments certainly where one might call out a doom-rooted sense of theatricality, as on closer “There Bears the Fruit of Deceit,” in which a complex arrangement of multiple vocalists — or at least multiple layers — brings mournful resolution to the turbulence preceding, going so far as to have some shouting behind Bismuth in a call-and-response in the pre-chorus, touching on a vibe that would nod to Arellano‘s work with Paradise Lost in its general atmosphere, but working from a foundation of heavy rock instead of classic doom. Still, Abrahma make the lines between styles blurrier on In Time for the Last Rays of Light than they ever have before, and that in itself is something of a victory when it comes to establishing their sound on their third record. They are their most progressive here and their most sonically bold, from the memorable lead line of “Lost. Forever.” setting the downer course for what follows through the last march of “There Bears the Fruit of Deceit” into its fading ringout.

In keeping with that, Bismuth‘s presence as a frontman has never been so palpable. His vocal melodies range further than they have before, and with the others surrounding him at various points throughout, it leads to a more complete and more engaging experience, contrasting the instrumental thrust at times, but finding a foothold in that contrast. And maybe that’s the idea of the record as a whole — exploring or at least trying to come to an understanding of that dynamic and finding a place within it from which to express the emotionality at the core of In Time for the Last Rays of Light. Depression is not an easy to talk about. If it were, it would probably be less pervasive. But Abrahma do not shy away from saying what they want to say about it, and while they don’t go so far as to offer some clichéd hopeful ending, they do manage to craft something beautiful out of the darkened foundations from which they work. The inevitable question, then, is what it will lead to, and how indicative In Time for the Last Rays of Light ultimately will be of where the band are headed, creatively as well as in the simple reality of the players involved.

I don’t know if Abrahma‘s lineup woes are done or not, but listening to “Last Epistle,” “Lucidly Adrift,” “Eclipse of the Sane Pt. 2: Fiddler of the Bottle” and each of the other tracks that make it, it’s clear In Time for the Last Rays of Light was an album that the band needed to make, almost to exorcise it from their collective system. It is a record of striking instrumental purpose and expressive intent. It not only moves their sound forward from where it was four years ago, but it changes the narrative of the group’s function and that of Bismuth as a bandleader and songwriter. What might come next, I won’t speculate, but for the way it lays bare the personal and pushes Abrahma to places they’ve never been, it is an achievement worthy of the obvious pains taken to make it.

Abrahma website

Abrahma on Thee Facebooks

Small Stone Records website

Small Stone Records on Thee Facebooks

Small Stone Records on Bandcamp

Deadlight Entertainment website

Deadlight Entertainment on Thee Facebooks

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Le Guess Who? Festival Announces Initial Lineup with 87 Artists

Posted in Whathaveyou on May 22nd, 2019 by JJ Koczan

LE GUESS WHO 2019 BANNER

Granted, not everything here really applies, but between the extensive curated programs and the general lineup of 87 frickin’ artists, if you can’t find something to dig, I dare say that’s on you and not Le Guess Who? Festival, the 2019 edition of which will take place Nov. 7-10 in Utrecht, the Netherlands. The lines of genre very clearly mean nothing here, and I respect the hell out of that, but I can’t help it if my eyes are immediately drawn to the lines of Träden, Godflesh, Prana Crafter, Mythic Sunship, Earth and other familiar entities. Still, this is the kind of thing where, if you go, you obviously go ready to be surprised and willing to be wowed by the experience.

And if you’re fortunate enough to go, you should know that this is the initial lineup of 87 artists, which means that, yes, there’s more to come. Sounds overwhelming in the best sense of the word.

Dig in:

le guess who question mark

Le Guess Who? reveals initial line-up for 2019 edition

First 87 acts announced, including very rare performances by Asha Puthli, Ustad Saami, and Ayalew Mesfin & Debo Band, as well as first names for curated programs

Le Guess Who? is a festival that is dedicated to boundary-crossing music from all over the world. In 2019, the festival takes place from 7-10 November in Utrecht, The Netherlands, and celebrates curated programs by Jenny Hval; The Bug; Patrick Higgins; Moon Duo; Fatoumata Diawara; and Iris van Herpen & Salvador Breed. Now, Le Guess Who? presents the first of these curated programs as well as several special performances, and the initial artists for the general line-up of the festival.

Special performances

Pakistan’s Ustad Saami is the last living khayál master, a precursor of the ancient, Islamic devotional music of qawwali. Even under threat of Islamic fundamentalists, the 75-year old master has spent his life as a dedicated practitioner of a vanishing art–one that has been passed on from generation to generation since the 13th century. Saami will give a very rare live performance at Le Guess Who? 2019.

From award-winning avant-garde jazz vocalist to international pop star to space disco icon, Asha Puthli is one of the first recording artists to successfully merge traditional Indian influences with Western pop. Puthli’s sultry voice adorned Ornette Coleman’s avant-jazz masterpiece Science Fiction, her songs have been sampled by a.o. Notorious B.I.G. and Jay-Z, and her early admirers include Andy Warhol, Diana Vreeland and Salvador Dali.

Ayalew Mesfin is a quintessential Ethio-groove performer, but like many of his contemporaries, he struggled against obscurity amidst political turmoil in his home country. Distributing 4000 cassettes for free in the 1970s–later becoming collector’s items– led to several months in jail for Mesfin. Last year, the compilation album Hasabe (My Worries) was released, leading to renewed recognition of the artist. Le Guess Who? celebrates this legendary artist with an exclusive European performance featuring the Debo Band, who formed in 2006 to keep the spirit and craft of Ethiopia’s golden age of pop alive.

Curated programs
Each of the curators of Le Guess Who? 2019 will present their own program, featuring a range of inspirations and like-minded artists, including both established performers and new, up and coming acts.

Psychedelic/kraut mystics Moon Duo invite a.o. Nivhek, the new project of Grouper’s Liz Harris; Swedish prog/psych/counterculture trailblazers Träd, Gräs och Stenar (Träden); the dreamlike, cinematic nocturnes of sound artist Michele Mercure; and cosmic jazz travelers Idris Ackamoor & The Pyramids.

Shape-shifting electronic producer The Bug brings us King Midas Sound’s gloom-ridden dub, spoken word and ambient; juggernaut industrial/metal outfit Godflesh; the world premiere of a collaboration between Kevin Richard Martin and Japanese artist Hatis Noit; Jah Shaka, an essential figure within the British dancehall and dub scenes of the 70s; and the transformative experience of ZONAL featuring Moor Mother.

Norwegian multi-disciplinary artist Jenny Hval hosts Lolina, the project of Alina Astrova (Inga Copeland, Hype Williams); Sarah Davachi performing live with church organ and electronics; French sound sculptor Félicia Atkinson; and Oslo-based collective DNA? AND?, where children with special needs play improvised music with professional musicians, creating some of the most original, carefree and unfiltered music ever produced. Jenny Hval herself will present the new performance ‘The Practice of Love’ together with a multi-national ensemble including experimental musicians, vocalists, dancers and video artists.

New York avant-garde composer Patrick Higgins curates composer and electronic innovator Tyondai Braxton (formerly of Battles); pianist Conrad Tao, hailed by New York Magazine as “the kind of musician who is shaping the future of classical music”; Miranda Cuckson, with her dexterous mastery of the violin and the viola; and piano virtuoso Vicky Chow, who has reinvigorated pieces by Steve Reich, John Cage, and Bryce Dessner.

The curated programs of Fatoumata Diawara and Iris van Herpen & Salvador Breed will be announced at a later date.

General line-up

Le Guess Who? also announces the first performing artists within the general line-up of the festival: Atlanta art-punks Deerhunter; Makaya McCraven, regarded as one of Chicago’s most versatile and in-demand drummers, moving between genres like jazz, hip-hop and funk at lightning speed; The Raincoats, one of the most inventive bands spawned by the late 70’s punk explosion; nurse-turned-musician Doug Hream Blunt whose lo-fi brand of soul, funk and R&B was rediscovered by David Byrne’s Luaka Bop label; Dur-Dur Band with vibrant Somali funk music; fabled Japanese collective Acid Mothers Temple and their deep devotion to improvised music; from the outskirts of the small Mexican town of Texcoco, the fantastical and healing music of La Bruja de Texcoco; the playful lyricism and inventive pop melodies of Welsh avant-pop songwriter Cate Le Bon; the 10-piece big band Minyo Crusaders, who infectiously rework traditional Japanese folk with Latin, African and Caribbean rhythms; and the oracle that is Angel Bat Dawid, with her futuristic and spiritual jazz vision.

The full outline of confirmed artists can be found below.

Tickets

Day tickets for Le Guess Who? are on sale now. Tickets for the Thursday program are €43; tickets for Friday, Saturday and Sunday are €48. 4-Day Festival Passes are available for €148. All prices include service costs.

Le Guess Who? cooperates with The Dutch Council for Refugees for the ‘Grant an Entry’ initiative, which gives visitors the option to buy an additional day ticket for a refugee residing in The Netherlands who would like to visit Le Guess Who? but does not have the financial means to do so.

More info via www.leguesswho.com.

________________________________________________________________________________________

Initial line-up for Le Guess Who? 2019:

curated by Moon Duo
Bbymutha
Bridget Hayden
Idris Ackamoor & The Pyramids
Mary Lattimore
Michele Mercure
Moon Duo
Nivhek
Prana Crafter
Sonic Boom
TENGGER
Träd, Gräs och Stenar (Träden)

curated by The Bug
Caspar Brötzmann Massaker
Drew McDowall’s Time Machines
Earth
Godflesh
Jah Shaka Sound System
JK Flesh & Goth-Trad
Kevin Richard Martin & Hatis Noit
King Midas Sound
LOTTO
Mala
Mark Ernestus’ Ndagga Rhythm Force
Rabih Beaini
Robert Aiki Aubrey Lowe
Slikback
ZONAL feat. Moor Mother

curated by Jenny Hval
DNA? AND?
Felicia Atkinson
Haco
Jenny Hval’s The Practice Of Love
Lasse Marhaug
Lolina
Lone Taxidermist presents BodyVice
Moon Relay
Oorutaichi
Richard Youngs
Sarah Davachi
Sofia Jernberg
Vilde Tuv
Vivian Wang
Zia Anger’s My First Film

curated by Patrick Higgins
Conrad Tao
Leila Bordreuil
LEYA
Mariel Roberts
Miranda Cuckson
Stine Janvin
Tyondai Braxton
Vicky Chow

General line-up
Acid Mothers Temple
Angel Bat Dawid
Arp Frique presents IMPROVISED SUITES FOR ANALOG MACHINES
Asha Puthli
Ayalew Mesfin & Debo Band
Cate Le Bon
Deerhunter
DJINN
Doug Hream Blunt
Dur-Dur Band
Eiko Ishibashi
Faten Kanaan
Föllakzoid
Gruff Rhys
Gyedu-Blay Ambolley & His Sekondi Band
Joseph Shabason
Khana Bierbood
La Bruja de Texcoco
Lakha Khan
Lalalar
Los Pirañas
Makaya McCraven
Melissa Laveaux
Minyo Crusaders
Mohamed Lamouri
Mythic Sunship
Negativland
Nídia
Oiseaux-Tempête & Friends
Petbrick
Prison Religion
Surfbort
The Raincoats
Ustad Saami
Visible Cloaks, Yoshio Ojima & Satsuki Shibano
Y?N Y?N
Yves Jarvis

More artists to be announced.

https://www.facebook.com/events/2338322109573864/
https://www.leguesswho.nl/
https://www.facebook.com/leguesswho/
https://www.instagram.com/le_guess_who/

A Taste of Le Guess Who? 2018

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The Obelisk Presents: Lo-Pan, Steak & Elephant Tree UK/European Tour Dates

Posted in The Obelisk Presents on May 22nd, 2019 by JJ Koczan

There are still a couple dates TBA, but it feels like a win nonetheless announcing the two weeks-plus that Lo-Pan will spend on the road in the UK and parts of Europe this Fall. It’s October, which coincides with their previously-announced festival appearance at Up in Smoke and will also see them at Keep it Low 2019 and the Setalight and Into the Void festivals. There’s another fest on that Oct. 19 date that’s still unannounced, and while I don’t know what’s planned for it — I’ll emphasize that while there’s an Obelisk logo on the poster, I have zero inside information — I wouldn’t be surprised to find the run stopping through there either.

Either way, Lo-Pan of course head abroad in support of their 2019 album, Subtle (review here), which is yet another powerhouse offering from the four-piece despite lineup changes since their last offering, and Elephant Tree, who’ll open the run, are set to release their second album hopefully in time to coincide with the tour (that’d be just dandy as far as I’m concerned, though if they wanted to send it to me earlier, I’d take that too, hint hint). I’m not sure if Steak have a record in the works — their last one came out in 2017, so it’s certainly possible — but as I’ve noted a couple times already since, they killed at Desertfest New York recently.

Here are the thus-far confirmed dates for the tour. Gonna be a good one, and I’m insanely proud to have this site involved in presenting it:

lo-pan steak elephant tree tour

30.09.19 TBA
01.10.19 Bristol | The Old England (UK)**

02.10.19 Swansea | The Bunkhouse (UK)**
04.10.19 Paris | Gibus (FR)
05.10.19 Pratteln | Up In Smoke Festival (CH)
06.10.19 Salzburg | Rockhouse (AT)
08.10.19 Linz | Stadtwerkstatt (AT)
09.10.19 Freiburg | Slow Club (DE)
10.10.19 Leipzig | Werk2 (DE)
11.10.19 Berlin | Setalight Festival (DE)
12.10.19 Munich | Keep it Low Festival (DE)
14.10.19 Wiesbaden | Schlachthof (DE)
15.10.19 Cologne | Helios 37 (DE)
16.10.19 Hamburg | Hafenklang (DE)
17.10.19 Bremen | Zollkantine (DE)
18.10.19 Leuwaarden | Into the Void Festival (NL)**
19.10.19 TBA | TBA
** Lo-Pan only

LO-PAN is:
Jeff Martin – vocals
Skot Thompson – bass
Jesse Bartz – drums
Chris Thompson – guitar

http://www.lopandemic.com
http://www.facebook.com/lopandemic
http://www.aqualamb.org
http://www.aqualamb.bandcamp.com
http://www.facebook.com/aqualambrecords
https://www.facebook.com/Soundofliberation/

Lo-Pan, “Ten Days” official video

Steak, No God to Save (2017)

Elephant Tree, Elephant Tree (2016)

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Psychic Hit Sign to DHU Records; Fortune’s Wheels EP Coming Soon

Posted in Whathaveyou on May 22nd, 2019 by JJ Koczan

The Fortune’s Wheels EP by Psychic Hit can be streamed in full through the band’s Bandcamp page. Formerly known as Promo 2018 and released on tape, the four-song outing will be pressed in an ultra-limited edition of 66 copies in what DHU Records is calling an “exclusive press.” I won’t quibble with that, but I can’t help but think that especially given the band’s traditionalist aesthetic that “private press” wouldn’t work just as well. No, not everything in the universe needs to be retro, but I mean, imagine 40 years from now trying to hunt down and original copy of this edition of this EP. Doesn’t “private press” just seem right for whatever bragging you’d end up doing for the rest of your life at having encountered such a thing?

Just saying.

Here’s the announcement from the PR wire:

psychic hit

Psychic Hit sign to DHU Records

DHU Records is extremely excited to announce the signing of Oakland, CA Proto Metal Sweethearts Psychic Hit to release their debut EP “Fortune’s Wheels” (DHU038) (previously known as “Promo 2018”) on extremely Limited Edition vinyl!

In a new series of releases by DHU Records known as an Exclusive Press, 66 copies will be pressed on Crystal Clear 180Gr Lathe Cut vinyl through Royal Mint Records.

Oakland, CA based hard rockin proto-metal sweetheart band, Psychic Hit, was formed in 2017 by guitarist Andrea Genevieve (Queen Crescent, Purple Rhinestone Eagle) and vocalist/violinist Ariana Jade (Hedersleben, Nik Turner’s Hawkwind). Having met through the thriving Bay Area rock n roll network, the tenacious pair began to dream up a project that fused their wide-ranging tastes in music. What resulted was a band that would combine the raw power of early Judas Priest and Scorpions, the melodic sensibilities of Fleetwood Mac, and the esoteric appeal of lesser known acts such as Lucifer’s Friend and Flower Travellin’ Band.

In 2018, the duo was joined by bassist Melanie Burkett (Ovvl) and drummer Justin Divver (Funeral Chant). With the talented rhythm section locked in, the four musicians began to embark on a songwriting enterprise that resulted in their first, self-recorded demo in the fall of that year. After the demo was recorded, the band welcomed fifth member, Jake Palladino (Pins of Light, Hightower), to join Andrea Genevieve on guitar.

Although Psychic Hit’s sound is heavily influenced by both 70s greats and rarities, the band is anything but an anachronism. Like modern contemporaries such as Kadavar, Lucifer, and Hällas, Psychic Hit seeks to recast rock music in their own image, rather than to just simply imitate eras past. In an age where the dark forces of monotony and monocracy loom large on the horizon, Psychic Hit appeals to their listeners to embrace the regenerative, communal power of rock n roll.

Exclusive Press
Limited to 66 copies
Single Sleeve w/ 3mm Spine
Black flood inside
Double sided full color inlay
Black polylined innersleeves
Artwork by Caitlin Mattisson
Housed in a PVC sleeve
Comes on 180Gr Crystal Clear 12″ Lathe Cut vinyl

Side A:
A1. The Fool
A2. Fortune’s Wheels

Side B:
B1. Plateau
B2. The Whip

Pre order and release date coming soon…

Psychic Hit
Ariana Jade (vocals, violin, synthesizer)
Andrea Genevieve (lead guitar, synthesizer)
Melanie Burkett (bass guitar, acoustic guitar)
Justin Divver (drums)

https://www.facebook.com/psychichit/
https://www.instagram.com/psychic_hit/
https://psychichit.bandcamp.com/
https://www.psychic-hit.com/
https://www.facebook.com/DHURecords/
https://www.instagram.com/dhu_records/
https://darkhedonisticunionrecords.bandcamp.com/
darkhedonisticunionrecords.bigcartel.com/

Psychic Hit, Promo 2018

Psychic Hit, “Plateau” official video

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The Progerians Premiere “Destitute” Video; Crush the Wise Men Who Refuse to Submit out Friday

Posted in Bootleg Theater on May 22nd, 2019 by JJ Koczan

the progerians

Whatever else might be going on in The Progerians‘ second album, there’s plenty of crushing to be had. The Belgian four-piece will issue Crush the Wise Men Who Refuse to Submit this Friday, May 24, through Mottow Soundz, and as its willfully unmanageable 62-minute run is set out across four sides of a double-LP, the band bask in a more atmospheric roll lent an immediately socio-political context through from the album’s title. I won’t claim to know where the band stands the right-left spectrum — they’re not wearing yellow vests in their press shot, so that’s something, I guess — but the cover art depicting industrialists as devils, the title and the lumbering atmospheric noise rock that pervades the album itself certainly speak to a given perspective, and though they seem to be treading a fine line in the album’s aesthetic as regards Europe’s history of who takes the blame for such things, delving into that particular discrimination does not necessarily automatically follow from an anti-capitalist stance.

Opening cut “Frankie Leads to Death” and the subsequent “Destitute” set the tone for the rest of what follows in a viscous groove and moments of harsher bite, shouted vocals presaging some of the more spoken approach on “Hold Your Cross” The Progerians Crush the Wise Men Who Refuse to Submitbefore the drift of “Oceania” on side B. The most intense moment is reserved for the early going of the semi-title-track “Crush the Wise Men,” but The Progerians demonstrate on the whole a rich take that moves beyond the foundations of noise rock into more complex territory, trading off volume and thrust throughout “Hello World” and “Netjeret” while continuing to stay within the central aggressive mood of “Frankie Leads to Death” — which liquor might be called “Frankie?” — and “Destitute” back on side A. As the album unfolds, it successfully builds a linear course on this, leading to the closer “Your Manifest,” which feels extra weighted despite its melodic vocals and lead guitar cutting through the low-end morass.

Is it very, very heavy? Why yes, it is. Thank you for asking.

And it’s timely, not just for the prior-alluded unrest among Europe’s working populace, but also for the manner in which it presents its take, emphasizing heft and groove but not forsaking melody any more than it wants to in order to do so. It is a consuming offering that by the time it digs into the foreboding layering of guitar in “Hello World” and the subsequent near-mathy chug and big chorus of “Graven” on side C makes its presence felt in a way that would almost seem to indicate The Progerians have outgrown their moniker — they started out as The Fabulous Progerians for their 2015 debut (discussed here) — or at least that they would have were they still not so gosh darn progressive in their approach.

Dig the satisfying brutal blend for yourself on “Destitute” by checking out the video premiere below, followed by more album info from the PR wire.

And please enjoy:

The Progerians, “Destitute” official video premiere

Formally known as ‘The Fabulous Progerians’ and ‘The Mighty Progerians’, the band’s first official release in 2012 was the 6-track EP, Degeneration (Hannibal’s Records). Over the years they worked to hone their sound into a unique sonic signature, one which was crystalized forever more on their 2015 debut album, The Fabulous Progerians. Widely known for their powerful live performances, following the critical success of their debut the band were invited to perform at legendary festivals across Europe, appearing on bills at DesertFest and Roadburn.

Fast forward to 2019 and with the help of Mottow Soundz – another Belgian rock institution and home to heavyweights like My Diligence and cult rockers, La Muerte – The Progerians will serve their second and most ambitious record to date. Standing on the shoulder of sheer ambition, Crush The Wise Men Who Refuse To Submit, invites listeners on a hour-long journey, deep into the depths of spirit and substance in an attempt to sever all ties with inner demons. In no uncertain terms, it’s a devastating record and one you’d be crazy to miss.

Crush The Wise Men Who Refuse To Submit, the brand new album from The Progerians is released on 24th May 2019 on Mottow Soundz and can be pre-ordered here – https://www.mottowsoundz.com/music/progerians-vinyl

THE PROGERIANS:
Fabe – Vocals, Guitar
Piotr – Vocals, Bass Guitar
Thomas – Vocals, Drums
Barto – Guitar

The Progerians on Bandcamp

The Progerians on Thee Facebooks

Mottow Soundz website

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Acid King Announce Busse Woods 20th Anniversary Tour and Reissue

Posted in Whathaveyou on May 21st, 2019 by JJ Koczan

acid king

Fuck yes. Acid King. Playing Busse Woods. 20th anniversary. Reissue on RidingEasy Records. Fuzz. “Electric Machine.” The whole bit. What the hell is going to be better than that? Whatever else you had planned, can it. Get yourself to where you really need to be and nod yourself into oblivion. Seriously. This is going to be fucking incredible. Desert island record.

The reissue is out Aug. 30 with modified art and a new master, which is fine because it’s probably going to make it louder and that’ll be just great thank you kindly.

Is the show in your calendar yet? It should be. I just added it. Might have to trek down to Philly for two in a row… Hmm…

Looky looky:

Acid King busse woods tour poster

Acid King announce Busse Woods reissue on RidingEasy Records and 20th anniversary tour

San Francisco stoner-rock trio touring with support from Wizard Rifle and Warish

San Francisco trio Acid King announce the 20th Anniversary reissue of their 1999 sophomore album Busse Woods to be released on RidingEasy Records. The reissue is in conjunction with an extensive North American tour commemorating the landmark album. Please see dates below.

The tour features support from Wizard Rifle and RidingEasy label mates Warish.

Originally released via Frank Kozik’s groundbreaking Man’s Ruin Records in 1999, Busse Woods will be remastered, with updated artwork for release via RidingEasy Records.

Busse Woods will be available on LP, CD and download on August 30th, 2019 via RidingEasy Records.

ACID KING ‘BUSSE WOODS’ 20TH ANNIVERSARY TOUR 2019:
09/20 Portland, OR @ Star Theater – Hesh Fest *
09/21 Seattle, WA @ Highline *
09/23 Denver, CO @ Marquis Theater *
09/24 Omaha, NE @ Slowdown *
09/25 Chicago, IL @ Reggies *
09/26 Indianapolis, IN @ Black Circle *
09/27 Cleveland, OH @ Grog Shop *
09/28 Buffalo, NY @ Mohawk Place *
09/29 Boston, MA @ Sonia *
09/30 New York, NY @ Knitting Factory *
10/01 Philadelphia, PA @ Johnny Brenda’s *
10/02 Richmond, VA @ Richmond Music Hall *
10/03 Raleigh, NC @ Kings *
10/04 Asheville, NC @ Mothlight *
10/05 Atlanta, GA @ The 529 *
10/06 New Orleans, LA @ One Eye Jack’s *
10/07 Dallas, TX @ Gas Monkey *
10/09 Albuquerque, NM @ Sister *
10/10 Mesa, AZ @ Club Red *
10/11 Los Angeles, CA @ Satellite *
10/12 San Francisco, CA @ Chapel *

* w/ Wizard Rifle, Warish

Acid King is:
Lori S. – Guitar & Vocals
Rafa Martinez – Bass
Bil Bowman – Drums

www.facebook.com/AcidkingSF
https://www.instagram.com/acidkingrocks/
www.acidking.com
ridingeasyrecs.com
http://www.nanotear.com/
https://www.facebook.com/Nanotear/

Acid King, Busse Woods 20th anniversary tour video

Acid King, Busse Woods 2004 reissue

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Brant Bjork to Reissue Jalamanta Sept. 13 on Heavy Psych Sounds

Posted in Whathaveyou on May 21st, 2019 by JJ Koczan

What, you thought Heavy Psych Sounds was going to embark on a series of Brant Bjork reissues and not do the one that started it all? Of course not. Originally released in 1999 through Man’s Ruin Records, Jalamanta (discussed here) is top-five all-time pivotal desert rock releases, if not top three, and its enduring relevance not only to Bjork‘s work but for the slew of others he’s influenced speaks for itself. Presented with a new mix by Bjork and Tony Mason and a fresh master from John McBain, as well as new cover art, it’s just one of the best records ever to come out of the Californian desert. That’s all. No big deal.

Except it is a big deal. Preorders start later this week, as the PR wire tells it:

brant bjork jalamanta reissue

*** BRANT BJORK – JALAMANTA *** Reissue for the 20th Anniversary – remastered/remixed version

RELEASE DATE: SEPTEMBER 13th
PRESALE STARTS: MAY 23rd

It’s been 20 glory years when desert rock icon, BRANT BJORK, released his first solo album Jalamanta.

2019 will see the Kyuss and Fu Manchu- legend celebrate his 20th anniversary in style, when he will re-release his pathbreaking, cult album Jalamanta on September 13rd with Heavy Psych Sounds Records!

Recorded by Tony Mason at Rancho De La Luna, Joshua Tree, California, in February 1999 and produced by BRANT BJORK, Jalamanta still belongs to the most distinctive desert rock records of all time.

“Jalamanta was a life changing record for me. It’s the record that launched my journey as Brant Bjork.“ he comments. “Listening to the tapes 20 years later was amazing. Tony Mason and myself were transported back to that moment in time. Jalamanta was a first for both Tony and myself. My first record as a solo artist and his first record as an engineer. We didn’t think twice about re-mixing it. With our combined experience over the years, we knew we could take Jalamanta to the place we always wanted it to go. And we did. Dig it.“

Jalamanta has been re-mixed by Tony Mason, with a freshly baked re-master by John McBain at JPM Mastering, San Francisco. New cover art by Branca Studio. Heavy Psych Sounds is proud to start the pre-order of this timeless classic on May 23rd, in the following available album formats:

RELEASED IN DOUBLE GATEFOLD VINYL IN :
45 ULTRA LTD TEST PRESS VINYL
250 LTD WHITE SPLATTER RAINBOW VINYL
250 LTD WHITE MARBLED PURPLE VINYL
600 SOLID YELLOW VINYL
BLACK VINYL
DIGIPAK
DIGITAL

TRACKLIST
1. Lazy Bones
2. Automatic Fantastic
3. Cobra Jab
4. Too Many Chiefs… Not Enough Indians
5. Sun Brother
6. “Let’s Get Chinese Eyes”
7. Toot
8. Defender Of The Oleander
9. Bones Lazy
10. Low Desert Punk
11. Waiting For A Coconut To Drop
12. Her Brown Blood
13. Indio
14. Take Me Away ( Blue Oyster Cult cover )

Brant Bjork live:
19.06.19 – Nuremberg | Hirsch (DE)
20.06.19 – Netphen | Freak Valley Festival (DE)
21.06.19 – Nijmegen | Doornrosje (NL)
22.06.19 – Tunbridge Wells | Black Deer Festival (UK)
23.06.19 – Izel | La Fete De La Musique (BE)
24.06.19 – Aachen | Musikbunker (DE)
25.06.19 – Darmstadt | Centralstation (DE)
26.06.19 – Hannover | Musikzentrum (DE)
27.06.19 – Saarbrücken | Garage (DE)
28.06.19 – Düdingen | Bad Bonn (CH)
29.06.19 – Salzburg | Rockhouse (AT)
30.06.19 – Korinthos | Under The Sun Festival (GR)
02.07.19 – Thessaloniki | Eightball Club (GR)
04.07.19 – Viveiro | Resurrection Festival (ES)

Brant is still promoting his 13th solo album, “Mankind Woman”, which will was released via Heavy Psych Sounds in September.

https://www.facebook.com/BrantBjorkOfficial
https://www.instagram.com/brant_bjork
https://twitter.com/brant_bjork
http://www.brantbjork.com
https://www.facebook.com/HEAVYPSYCHSOUNDS
http://www.heavypsychsounds.com
https://heavypsychsoundsrecords.bandcamp.com

Brant Bjork, Jalamanta (1999)

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Cable Announce New Album Take the Stairs to Hell out July 26

Posted in Whathaveyou on May 21st, 2019 by JJ Koczan

cable

By the time they get around to releasing Take the Stairs to Hell on July 26, Cable will be a month shy of a full decade since they last issued an album. The new record marks the return of one of New England’s most furious bands, who always managed to temper their aggression with a methodical kind of approach that only made their groove deadlier. They’d almost have to give a sample of audio to, you know, prove the album actually exists, and to that end, they’re streaming “Rivers of Old” even as preorders are live through Translation Loss Records, which previously worked with the band for 2004’s Pigs Never Fly, their fifth LP. It was five years between that and 2009’s The Failed Convict, and I recall that seemed like a long time back then. Honestly, I didn’t imagine they’d ever have another record out. Shows what I know.

The announcement came through the PR wire as follows:

Cable Take the Stairs to Hell

Connecticut heavyweights CABLE release new song + announce new full-length

It’s been almost a decade since Connecticut heavyweights CABLE released new material. Today, they announce “Take The Stairs To Hell”, due for release on July 26th via Translation Loss Records.

Angrier than ever, CABLE are back to show you the hell they’ve been through and that it was worth the wait. CABLE have unleashed a brand new song titled, “Rivers Of Old”, the first single from “Take The Stairs To Hell.” About the announcement, bassist/vocalist Randy Larsen commented, “Take The Stairs To Hell” is about anger, hatred, depression, and negativity. It was born out of songs I wrote as far back as 2014 and as recent as 2018. The album its a slow decent into my own personal hell. Larsen continues, “We put our blood, sweat and tears into this one. Enjoy the venom. It’s time to set the river straight.”

Pre-order is available now via Translation Loss Records. Album artwork, track listing, and info is below.

CABLE
“Take The Stairs To Hell”
Official Release Date: July 26, 2019

Album credits:
Recorded, mixed at Mystic Valley by Alex Garcia-Rivera
Mastered by Brad Boatright at AudioSiege
Album artwork by Mark Rudolph

Track Listing:
1. Forest Dream (Intro)
2. It Cost Me Everything
3. Black Medicine
4. Low Man
5. Rats On Fire
6. Eyes Rolled Back
7. Rivers Of Old
8. Take The Stairs To Hell
9. Come Home (Outro)

Cable is:
Randy Larsen – Bass,Vocals
Bernie Romanowski – Guitar
Chris “Fish” Harding – Guitar
Peter Farris – Vocals
Alex Garcia-Rivera – Drums

Promo photos by Jason Hellmann

http://www.instagram.com/cabletheband
https://translationlossrecords.bandcamp.com/
http://translationlossrecords.bigcartel.com/

Cable, “Rivers of Old”

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