Kadavar Post “Lord of the Sky” Video as Part of Berlin Visual Album

Posted in Bootleg Theater on June 24th, 2016 by H.P. Taskmaster

kadavar (Photo by Joe Dilworth)

It’s been a little more than a month since German heavy rock forerunners Kadavar posted the last installment of their series of videos for their 2015 third album, Berlin (review here). That clip was for “Filthy Illusion” (posted here) and was a distinct shift in vibe from the preceding “Pale Blue Eyes” (posted here), the band working on the stated intention of releasing a video for every song on the record within the next year. If they include the Nico cover “Reich der Träume” that closed the record, they’re on pace to finish by roughly next March — a year from when they started — so it could legitimately happen. I’ve never undertaken coordinating the logistics of making a music video, but it never struck me as something that would be particularly easy to do.

One has to imagine that when they’re done, Kadavar and director Nathini van der Meer will somehow put together a physical version of the clips to sell, whether it’s part of a deluxe Berlin reissue that Nuclear Blast does (no confirmation on that, this is just speculation) or with a live album, live show or some other kind of DVD release. Nothing against YouTube, but it seems like for as much effort is clearly being put into making these videos — van der Meer again gives a different look with the latest, for “Lord of the Sky” — they deserve some kind of physical issue. Maybe that’s me being old. Actually, no maybe about it. That’s definitely me being old. Not sure that makes me wrong.

I’ve been doing my best to keep up with these as they’ve come out and will continue to do so for the duration, however long that might actually last. If nothing else, it highlights the point of just how front-to-back Berlin was, in that every song on it stood out and was worthy of attention and focus. A year-long reminder of that would seem to be fitting as far as giving the record its due, so long as it doesn’t hold the band back from writing the next one.

Enjoy “Lord of the Sky” below, followed by more info from the PR wire:

Kadavar, “Lord of the Sky” official video

Together with long-time friend and collaborator Nathini van der Meer (http://nathinivandermeer.com), who has created artwork and videos for them in the past, they are working on their first “Visual Album”- 12 short films accompanying each of the albums’ songs, to be released once a month throughout the entirety of the year.

Comments the band: “The song is about freedom, about watching your city and your life from a certain distance – from the bird’s-eye view. Just like we see our city from that perspective when we’re on tour. Problems and tasks just seem to vanish the more you recede from ground. At the same time you need to push your wings against the wind to gain altitude and not get off course. The hopes, memories and expectations with which you leave your city you will always keep.”

“The video is also about things that simply don’t change,” adds Nathini. That’s why we chose to use this old man who’s just doing his thing for like forever. He goes to work every day, does his job and probably doesn’t realize that his surroundings are changing and becoming crazier and crazier. He lives in the bird’s-eye perspective and keeps a certain distance to things.”

Kadavar on Thee Facebooks

Kadavar on Instagram

Nuclear Blast Records

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Soon A.D. Post Video for “Gold Soul”

Posted in Bootleg Theater on June 21st, 2016 by H.P. Taskmaster

soon ad

They were known as Soon just a couple scant months ago when they released their debut album, Vol. 1 (review here), through Temple of Torturous, but apparently sometime between then and now, they’ve added the someone-threatened-to-sue A.D. to the moniker. Thus, Soon A.D. have a new video. Fine. My question here is who the hell owns the word “soon?” Is there another band out there called Soon? Was the Chapel Hill, North Carolina, four-piece just completely tired of being Googleproof? I’d be very interested to know what happened there. Soon A.D., however, seem to prefer being shrouded in mystery.

If you got the chance to hear Vol. 1, there’s a high probability “Gold Soul” was one of the most resonant impressions. Like the bulk of its surroundings, it’s coated in effects and given a melodic depth to match, but its central riff is a particular standout and likely to get in your head and not get out. Soon A.D. wander around here and there during the midsection of the song, but the verses have a kind of lumber to them that usually doesn’t come hand-in-hand with their brand of accessibility. It’s the key blend — heavy, melodic, psychedelic, poppy — that defines Soon A.D.‘s first offering, and it would seem to be the groundwork for future stylistic expansion. At least that’s the hope.

Album is out now. Might be a sleeper, but I think if you take the time to check out “Gold Soul” below, you’re not likely to regret it.


Soon A.D., “Gold Soul” official video

Chapel Hill, North Carolina-based transcendental rock unit, SOON A.D., (formerly Soon), is very pleased to unveil the stunning new video accompaniment to “Gold Soul.”

What SOON A.D. has manifested with Vol. 1 is multifaceted, melodic and adventurous. The Chapel Hill, North Carolina-based quartet pulled from a deep well of influence and experience in crafting its eight-song LP spending a concentrated week of revising and tracking, plus two months of tinkering, at the Greensboro studio Legitimate Business with engineer Kris Hilbert (Torch Runner, Between The Buried And Me, The Body) at the helm.

Soon on Thee Facebooks

Soon on Twitter

Soon at Earsplit Compound

Soon at Temple of Torturous

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Telstar Sound Drone Post Video for “Your Finger Stirs the Liquid Moon”

Posted in Bootleg Theater on June 20th, 2016 by H.P. Taskmaster

telstar sound drone

Far out Danish spacegazers Telstar Sound Drone issued their second record, Magical Solutions to Everyday Struggles (review here), earlier this year on Bad Afro Records, and this September, they’ll play the label’s recently-announced 20th anniversary party in Copenhagen. Perhaps as a means of introducing heads to their next-phase psychedelic drift, the band have posted a new video for the track “Your Finger Stirs the Liquid Moon” that winds up being as drenched-in-reverb lysergic as the title would make one hope. We’re talking like staring-at-the-wall-and-watching-it-breathe hypnotic.

That’s ultimately where Telstar Sound Drone make their most resonant impression — that ability to hook the listener without hooks, to entrance via slow-moving waveform repetitions, expressive and not still but affecting all the same, drawing on drone’s evocative elements without being necessarily tied to a single hum throughout the album’s span. Magical Solutions to Everyday Struggles is the follow-up to their 2013 debut, Comedown, and sees the Baby Woodrose-connected troupe moving into their own sphere of organic, lush psychedelics. As I said when I reviewed it, it’s not upbeat — though parts qualify as active — but it’s an exciting album all the same for what it brings aesthetically forward and how fluidly it moves through its tracks.

If you haven’t heard it, imagine “Your Finger Stirs the Liquid Moon,” but expanding in all directions the way water does when you pour it slowly on a flat surface. The video is pretty dark, but does well to set a mood. You’ll find it below.

Please enjoy:

Telstar Sound Drone, “Your Finger Stirs the Liquid Moon” official video

Video for “Your Fingers Stir The Liquid Moon”, The closing track of the a-side of “Magical Solutions To Everyday Struggles” by Telstar Sound Drone.

VHS-glitches is found material, originating from a collection of VHS artifacts.

Telstar Sound Drone website

Telstar Sound Drone on Thee Facebooks

Bad Afro Records website

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Friday Full-Length: Internal Void, Standing on the Sun

Posted in Bootleg Theater on June 17th, 2016 by H.P. Taskmaster

Internal Void, Standing on the Sun (1993)

Admittedly, I’ve got Maryland doom on the brain. Next weekend is Maryland Doom Fest 2016 at Cafe 611 in Fredrick (info here), and as a part of a stellar lineup that reaches well outside genre confines, Internal Void will put in a rare appearance that includes a guest spot from former drummer Eric Little (see also Earthride and the most recent offering from Church of Misery), marking the first time the complete Standing on the Sun lineup will be on the same stage in nearly a quarter-century.

To listen now to Standing on the Sun, issued in 1993 through Germany’s Hellhound Records, it’s a prototype workingman’s doom that bands around the Frederick area continue to build on to this day. As did concurrent groups like The Obsessed, Revelation, Wretched, Unorthodox and Iron Man, Internal Void set themselves to the task of refining a Sabbathian ethic on sans-frills principles, rolling out bluesy grooves in songs like “Take a Look” after beginning the album with a foreboding chug on “Warhorse” and before creeping their way through the title-track and the acoustic melancholy of the later “Eclipsed.” It’s worth noting that all of the above-listed bands issued albums between 1991 and 1993 via Hellhound, as did Saint Vitus, Pigmy Love Circus, Lost Breed, Count Raven and Year Zero, among others, and though located on a different continent, that label’s contributions to this pivotal formative stage of Maryland doom aren’t to be understated. Internal Void‘s Standing on the Sun remains a prime example of the attitude and aesthetic of Maryland doom, and even 23 years later, its roughed-up-Candlemass vibes ring through loud and clear of a time when doom and metal were in many ways far more interchangeable than they are today.

In addition to Little on drums, the band at the time was comprised of vocalist J.D. Williams, guitarist Kelly Carmichael and bassist Adam HeinzmannWilliams also fronts War Injun, and Carmichael and Heinzmann have done the requisite stints in Pentagram, but Internal Void remains a standout from their contemporaries. After Standing on the Sun, it would be seven years before their second album, Unearthed, arrived in 2000, and four after that for the follow-up, Matricide. They reissued their 1991 Voyages demo in time to sell copies at Roadburn 2012, which was where I last saw them — by coincidence, The Obsessed also played and will be at Maryland Doom Fest 2016 as well — and I’ve seen no indication of future plans past this one-off appearance. The basic operating rule seems to be that if you can see Internal Void, see them, because you never know when the chance will come again.

Hope you enjoy Standing on the Sun. For more on Maryland Doom Fest 2016, click here for the Thee Facebooks page. If you’re going, I’ll look forward to seeing you there.

Getting there will require a bit of travel on my part, but next week is also the Quarterly Review, so keep an eye out for that. 50 reviews between next Monday and Friday. I expect by the end of it I’ll be very much ready to get out and see a show. We start Monday. Have I started putting any of it together yet? No I have not. As I’m also going to New York tomorrow and New Jersey on Sunday, I expect it’s going to be quite a weekend.

I want to thank Diane Farris aka Diane Kamikaze for having me down to WFMU once again for an appearance on her show, The Kamikaze Fun Machine. It was a pleasure and an honor to share the airwaves with her once again for two hours, and thank you as well if you had the chance to tune in. If not, the show is archived and available to check out here: https://wfmu.org/playlists/DK.

Of course, the focus next week is the Quarterly Review and travel to Maryland, but also look out for new videos from Mars Red Sky (along with a cool announcement), KadavarTelstar Sound Drone and Soon A.D., and a bunch of other news as well that I’m already behind on. This was my second week of unemployment before I start my new job at Hasbro, and it was fantastic. Really, this entire period has just completely underscored how ready I am to retire. I mean that. I’m not even kidding.

Gonna go head to the farmer’s market in a bit and get my hair cut, then enjoy a quiet evening with The Patient Mrs. before tomorrow brings its own brand of chaos. I hope you have a great and safe weekend, and thank you for reading.

Please check out the forum and radio stream.

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Baby Woodrose Release New Single in “Open Doors” Video; Freedom out Sept. 16

Posted in Bootleg Theater on June 17th, 2016 by H.P. Taskmaster

baby woodrose

Danish garage-psych masters Baby Woodrose release their seventh LP, Freedom, in September via Bad Afro Records. The Lorenzo Woodrose-led outfit have released a couple compilations in the last few years, but their last proper album was 2012’s excellent Third Eye Surgery (review here), which found Woodrose and company expanding their sonic palette to find a rare balance between lush layers of keys and a still-accessible underlying garage structure. Given their past work, I expect Freedom to be nothing but another step forward, and so consider it high among my most anticipated albums for the rest of 2016. In short, I’m dying to hear it.

The band, who were also recently announced as taking part in Bad Afro‘s 20th anniversary party in September (info here) alongside Telstar Sound Drone and Narcosatanicos and will have a limited-run 7″ single out to mark that occasion, have given a sampling of what Freedom might have in store in a new video for “Open Doors,” the first single from the record. In my looking forward to the new release, I had Third Eye Surgery on yesterday, and “Open Doors” does indeed work in the same sphere somewhat in terms of its overall approach — as it invariably would — but I wouldn’t necessarily count on it to represent the full breadth of the impending offering (the label feels the same, apparently) as Baby Woodrose always tend to have a trick up their collective sleeve.

Video for “Open Doors” follows here, with more info off the PR wire from Bad Afro.


Baby Woodrose, “Open Doors” official video

Baby Woodrose – Open Doors

Open Doors is the first new Baby Woodrose song since the Third Eye Surgery album came out in 2012. It’s also the first single from the upcoming album Freedom due out September 16th on Bad Afro Records. Baby Woodrose is an iconic band on the Danish psych scene who released their debut album Blows Your Mind back in 2001 and Freedom will be their 7th album. Open Doors is the sound of summer and may not really represent the upcoming album that contains a wide range of harder psychedelic sounds.

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Bad Afro Records website

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Truckfighters, Live in London: Brought to Life (Plus Full Album Video Premiere)

Posted in Bootleg Theater, Reviews on June 16th, 2016 by H.P. Taskmaster


[Watch the full-length video version of Truckfighters’ Live in London by clicking play above. 2LP/CD out June 24 on Fuzzorama Records.]

Seems fair to say Truckfighters‘ quest for global fuzz-laden domination has been successful. The Örebro, Sweden-based trio formed in 2001 and particularly since the release of their 2005 full-length debut, Gravity X (discussed here), they’ve put in nearly unparalleled road time as one of the hardest working bands in heavy rock, European or otherwise. Releasing through their own Fuzzorama Records imprint, burning through drummers at a Spinal Tapian pace (an exaggeration, but still), touring the world and bringing an unmatched energy to their performances, Truckfighters are by now a band whose reputation precedes them, but their getting to the point of being a key influence for European heavy rock has been no accident.

One might consider the 77-minute 2LP/CD Live in London (plus a bonus video; debuted above), recorded at the O2 Academy in Nov. 2014, as a victory lap for this triumph. That’s not to assert Truckfighters see it that way or sound at all ready to rest on their laurels, or rest at all for that matter. Both in their on-stage vitality and the creative progression shown on 2014’s Universe (review here) — for which they were touring when Live in London was recorded — they quite clearly still have more to say. But a sense of celebration rings through the 11 tracks of their first live album, and considering it’s the 15th anniversary of the band being founded by bassist/vocalist Oskar “Ozo” Cedermalm and guitarist/backing vocalist Niklas “Dango” Källgren, there would seem to be all the more worth celebrating.

At the time, Ozo and Dango were joined by drummer Axel “Enzo” Larsson. As noted in the 2012 documentary A Film About a Band Called Truckfighters (review here), one of the chief challenges Truckfighters have faced is finding a drummer able to keep pace with their work ethic — Daniel “El Danno” Israelsson of Dexter Jones Circus Orchestra currently holds the position — and the fact that Larsson plays on Live in London emphasizes the one-moment-in-time feel inherent in any such live release. Perhaps the highest compliment one could pay to the outing is that it captures the raw force of Truckfighters on stage. A major portion of how they earned the reputation they have has been by out-rocking rooms one at a time across the world, and Live in London makes a clear demonstration of how they’ve done it, starting with the thick bounce of “Mind Control” and sustaining its impact through the set finale “Desert Cruiser” — which used to open sets, but makes a fitting encore here.

truckfighters collage

But as inclusions like “Last Curfew” from 2009’s Mania (review here), “The Chairman” and “Get Lifted” from Universe, a nine-minute jammy take on “Manhattan Project” from Gravity X or “Traffic” from 2007’s Phi sophomore LP show, Truckfighters‘ catalog offers more than fodder for jumping around while riffing. There’s plenty of that to go around, of course, with “Monte Gargano” or “Atomic” or “In Search of (the),” but Live in London winds up bringing the depth of the band’s approach forward as much as the calisthenic aspect. And rightly so. Without the foundation of songwriting and of course the tones of Källgren and Cedermalm, whose fuzz comes through full and dense in this recording but still able to move when they need it to, the whole affair would fall flat. Needless to say, that’s not how it works out on Live in London.

Rather, with stage-hewn clarity, they establish the full breadth of their dynamic across the live album’s span, finding middle ground in cuts like “The Chairman,” “Atomic” and “Manhattan Project” (before the jam) where they catch their breath before proceeding with the next high-speed forward drive. With Ozo and particularly Dango encouraging the London crowd to get in on the action — shouts that start with “Good evening London!” and continue with various iterations of “Come on!” and “Are you with us?” assure the audience is as into it as the band, or at least as much as they can be without kicking each other — the momentum is established early and holds sway even in quieter or slower moments.

This can’t be easy to do, to go so hard and then pull back like that, but again, Truckfighters have worked at it. That might be what Live in London says most of all, that the band’s efforts to get to where they are haven’t been in vain, and that it’s from years of grinding it out in a van — something directly addressed on “Traffic” — that they’re able to deliver the caliber of performance that they are. Their slogan as a band is that they’re “Quite possibly the best band in the world.” Part of the appeal of that is the wink-and-nod humor behind it, but it also stands as an example of the scope they’ve been aiming for over the better part of the last 15 years. They don’t want to be the best band in Örebro, or Sweden, or Europe. Truckfighters continue to have their sights set on a bigger picture, and Live in London is another example of how their ambition has come to pay off.

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Truckfighters website

Live in London at Fuzzorama Records

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Ironaut Post Video for “Acid Wash”

Posted in Bootleg Theater on June 15th, 2016 by H.P. Taskmaster


Los Angeles burl-riffers Ironaut last week took part in something called the SoCal and NorCal Stoner Metal Summit. It was a show, essentially, with bands from Oakland, L.A., and San Diego, but one could only imagine the issues that would be discussed if it had been a real conference-style event, panels and whatnot asking hard questions like “How much fuzz is too much?” and “What to do when someone calls your stoner band hipster.” Sadly, we don’t live in that world. Also the answer to that fuzz question is never too much.

If you, like me, got sidetracked at the notion of a stoner metal summit, Ironaut‘s “Acid Wash” should bring you duly back to ground with its post-C.O.C. riffing and the dudely delivery of bassist/vocalist Erik Kluiber, joined in the band by guitarist Patrick McHugh and drummer Ivan Najor. What may or may not be a paean to denim fashions of eras gone by, “Acid Wash” was the centerpiece of Ironaut‘s self-titled 2015 debut EP, and boasts a hard-edged tone, plenty doomed in its intent but with a sludge rock push behind it. To call it “stoner metal,” well, if they’re cool with it, I wouldn’t argue.

The “Acid Wash” video brings together performance footage from earlier this year. You’ll notice the Pentagram banner features heavily; Ironaut opened the L.A. date of the doom legends’ recent controversial West Coast run, and even more recently than that shared the stage with The Obsessed and Karma to Burn as they continue to support the Ironaut EP and prepare for the inevitable what-comes-next. Spliced in with the performance footage is old movie clips — O.J. Simpson shows up momentarily — and a host of other space-themed visuals to add atmosphere to the song’s straightforward thrust.

Video follows below. Please enjoy:

Ironaut, “Acid Wash” official video

Acid Wash Official Bootleg Video by Chris D Honoway.

Patrick McHugh – Guitar
Erik Kluiber – Bass/Vocals
Ivan Najor – Drums

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Ironaut on Bandcamp

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No Man’s Valley Post “Kill the Bees” Video

Posted in Bootleg Theater on June 14th, 2016 by H.P. Taskmaster

no mans valley (Photo by Mitchell Giebels)

Dutch heavy psych-blues rockers No Man’s Valley will release their debut album, Time Travel, this summer on Nasoni Records. “Kill the Bees” is the second track on the record after intro “The Man Who Would be King,” and the LP version is a bit longer than that which appears with the band’s new video, but the clip still offers more than enough of a glimpse to give a sense of the atmosphere in which the band is working; a line of heavy blues not dissimilar from The Flying Eyes‘ classic swing and swagger, but of rapidly developing character on cuts like “Sinking the Lifeboat” and the appropriately-howling “The Wolves are Coming.” By the time they get around to the penultimate title-track and piano-laden closer “Goon,” No Man’s Valley have reached beyond where they started out, but they never quite let go of that core of liquefied blues rock that ties the songs together.

And in putting the emphasis on that, “Kill the Bees” starts out Time Travel with a catchy hook and easy swing. As to the bees themselves? Could be the blues, if the video is anything to go by. The prevailing vibe is melancholy but the song doesn’t lack movement by any means, and the clip seems to follow a kind of grueling creative process at work, winding up kind of manic visually but with resolution to that process ultimately. The song, smoothly edited, does likewise, so all the better.

You can find the video for “Kill the Bees” below, followed by the credits for its making.

Please enjoy:

No Man’s Valley, “Kill the Bees” official video

Recorded @ Sputnik Studio (Schoten, Belgium)
Produced by Joes Brands

Mastered @ Spoor 14 (Boxtel, The Netherlands)
Mastered by Wessel Oltheten

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No Man’s Valley on Twitter

No Man’s Valley on YouTube

No Man’s Valley on Instagram

Nasoni Records

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