Ancient Lights Premiere Trailer for Self-Titled Debut

Posted in Bootleg Theater on April 17th, 2018 by JJ Koczan

ancient lights photo mark swaffield

I know what you’re thinking: Really? A premiere for an album trailer? Well, it’s six and a half minutes long, so quit complaining.

Unceasingly grim in its atmosphere and honed to murky depths that are equal parts obtuse and hypnotic, the self-titled debut from UK three-piece Ancient Lights tops 70 minutes — comes closer to 90 when you count the CD/DL bonus material — and is set to release in July via Ritual Productions. It is a meandering psychedelic wash, repetition and ambience given priority over structure as the trio of bassist/vocalist/guitarist Adam Richardson, guitarist Ben Carr and drummer Tim Bertilsson combine and in some ways surpass their pedigrees in bands like Ramesses5ive and Switchblade in order to push as far out as possible.

Do they get there? Oh, they get there. “War of Attrition” sounds like it’s being fought against the notion of consciousness itself, while 17-minute pieces like “Against Nature” and “Fallow Year” drift into a willed-into-existence sonic beyond. Immersion: inevitable. To call it hypnotic as above is underselling it both in concept and execution. It’s not just the listener being hypnotized here; it’s the band as well. The feedback-soaked, chant-laden “Asakai Dasa” feels as much about the experience of its creation as the resulting “song.” In this way, Ancient Lights are in communion with themselves, with their audience, and with the moment captured on the recording. This is characteristic of much of Richardson‘s work in Ramesses or 11PARANOIAS — the latter of whom also reportedly have new material in the works — but I’m not sure it’s even been driven to such psychedelic extremes as it is on Ancient Lights.

Because it is a work of extremity. Not in the sense of blastbeats or death metal vocals or anything like that, but in its sheer willingness to delve into its own psychosis, Ancient Lights‘ debut is neither for the feint of heart nor the closed of mind. Its triumph lies not in emerging on the other side of “Fallow Year” unscathed, but in having made the journey through it in the first place, and even shorter pieces like “Orichalcum Eater” (2:57) or the plodding “Miasmaculatum” (3:58) make an offering of swirl with more than enough undertow to pull its audience away from their own being. To put a realistic point on it, it’s a hard record to write about because I keep feeling my mind wander in time to the ensuing nod.

The trailer gives a taste of opener “Decaying Lotus,” the subsequent “Temple Ghosts” and the bonus track “Vessel of Inevitability,” and again, if your concern is that most album teasers don’t give a sense of the substance of the record itself, you’re not wrong. I assure you that’s not the case here. Click play and find out for yourself. PR wire info follows, as usual.

Enjoy:

Ancient Lights, Ancient Lights album trailer premiere

Immerse yourself and preview the tracks ‘Decaying Lotus’, ‘Vessel of Inevitability’ and ‘Temple Ghosts’ from Ancient Lights debut self-titled album, out on Ritual Productions July 2018.

Ancient Lights refuse to tread worn sonic terrain with their debut, instead crafting a dynamic and textured journey that explores pastures of darkness, ambience, radiance and disintegration. Comprised of members of esteemed bands of the heavy palette, the origins of the band came after 13 shadowy years of jammed discourse and psychic plotting between Adam Richardson (11PARANOIAS, Ramesses) and Ben Carr (5ive, INTRCPTR), with the optimal addition of Tim Bertilsson (Switchblade) catalysing the final reality of this band.

Trailer directed by Cristiane Richardson and edited by Sergio Angot.

The band recorded their debut rite at Bonafide Studios, London under the spell of the 2017 summer solstice sky with Dan Miller. Additional recording by Ben Carr and Adam Richardson in June 2017 at XL Recordings Studio. Mixing and mastering by Dan Miller and Adam Richardson in December 2017 at XL Recordings Studio, London.

ANCIENT LIGHTS is:
Tim Bertilsson – drums
Adam Richardson – bass, guitar, vocals & lyrics
Ben Carr – guitar

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Willow Child Premiere Video for “Starry Road”; Paradise & Nadir out May 11

Posted in Bootleg Theater on April 16th, 2018 by JJ Koczan

willow child by Christian Illing

What do we learn in the new Willow Child video? Well, first off, we see that quite literally it’s vocalist/guitarist Eva Kohl driving the band, and while one could make the argument that the totality of the German five-piece’s debut album, Paradise & Nadir — out May 11 on StoneFree Records — works much the same way, it’s not entirely that simple. Kohl is most certainly a forward presence in the band and in the mix of Paradise & Nadir, which was recorded by vintage specialist Richard Behrens (Heat, ex-Samsara Blues Experiment) and features cover art by Harley and J, but the organ work of Jonas Hartmann plays a significant role in “Starry Road” as well as other album cuts like “Eirene” and “Red Wood,” while Eva‘s brother, David Kohl drives languid bluesy grooves there and on the subsequent, progressively-minded “Mayflies,” which not only highlights Eva‘s vocals in its verses, but leaves room for the lead guitar of Flo Ryan Kiss to shine soulfully as it moves through its midpoint while bassist Javier Zulauf adds depth and tonal warmth alike to a spacious soundscape.

willow child paradiseSo while it may be Eva Kohl in the driver’s seat of that classic Chevy truck, don’t take that to mean the band has nothing else going for them. Paradise & Nadir is a quick-turnaround first album — the band’s lineup only solidified last year — but the songs feel older. Not only older-school, but to listen to the jammy break in the seven-minute “Beyond the Blue Fields,” there’s an established feeling between the players that, no matter how tight they are when they go into the recording studio, simply can’t be faked. Maybe that’s a result of the Kohls and Hartmann playing together longer, but whatever the case, Willow Child‘s dynamic isn’t just making an introduction for itself here: it’s showing that the band entered into the process of making their debut with a firm grip on who they are and what they want to accomplish as a band. Opening both sides of the eight-track offering with the longest piece — that’s “Little Owl” on side A and “Beyond the Blue Fields” on side B — they quickly mark out an expansive feel and balance that with structural traditionalism that only enhances the classic heavy rock aspects in their work.

I don’t have any kind of inside track or anything, but I’d hardly be surprised to find Willow Child‘s logo starting to pop up on festival posters come this Fall or even summer, since I think once people get ahold of Paradise & Nadir the band aren’t going to have any trouble ingratiating themselves to the converted among Europe’s continually staggering heavy rock underground. If you’re up for the ride — and some lasers! — you can check out the “Starry Road” video premiere below, followed by more background from the PR wire.

Please enjoy:

Willow Child, “Starry Road” official video premiere

Directed/Edited by: Nicolas Jansky
Lights: Timon Seidl

Jonas Hartmann (organ) and siblings Eva (vocals, guitar) and David Kohl (drums) had been making music together since 2014, when in 2016 bass player Javier Zulauf completed their ranks. A small setback in 2017: Jonas, who up until then had been playing the guitar in addition to the organ, had to focus solely on the organ after injuring his hand and not making a full recovery, which is when Flo Ryan Kiss joined as lead guitarist.

The whole band takes part in the process of songwriting. “One member will come up with a basic idea, whether it’s a chord sequence, a riff, a feeling, a theme or a verse. Then we usually spin the idea around a little, jam to it and just try out whatever comes to mind, and then the pieces of the puzzle usually start coming together. Of course there are exceptions in songs that are written entirely by one band member, but we always manage to blend individual styles into a bigger picture”, says bassist Javier. Flo Ryan adds: “What we love most is locking ourselves away for a weekend and just jamming out in a practice space in our remote hometown. That really puts our ‘real lives’ on hold and we play 10 to 14 hours a day.”

The goals for 2018 have been set: “We’re working really hard on our music and putting a lot of time, energy and money into it“, Flo Ryan Kiss says. “Even if we can’t make a living off music yet, we really value professional structures. They help us grow as a band and leave more room for creativity. We really feel like our debut album is a great foundation for growing our fan base by touring Europe and playing festivals. In the long run, we want to reach people across all borders with our music.”

Line-up:
Eva Kohl (Vocals, Guitar)
Flo Ryan Kiss (Guitar)
Javier Zulauf (Bass)
Jonas Hartmann (Organ)
David Kohl (Drums)

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Friday Full-Length: Volcano, 10,000 Screaming Souls

Posted in Bootleg Theater on April 13th, 2018 by JJ Koczan

I bought this track this morning. According to Bandcamp, the time had come to open my heart/wallet, so for a buck, I figured it was easily worth it. This is Volcano‘s late-2017 debut single, and as they move forward with their first album presumably later this year, you never know what could happen. Releases like this one have a habit of disappearing when “real records” show up. So yeah, for a dollar, “10,000 Screaming Souls” was easily worth the asking price.

The occasion is Roadburn Festival, which, holy crap, is next week. I feel like I’m in no way mentally prepared for what’s happening next week in Tilburg, and therefore I must be. Volcano are playing as one of the slew of acts on the bill. I could’ve closed out the week with Godspeed You! Black Emperor, or Earthless or whoever, but I went with Volcano for two reasons.

First, they represent the San Diego Takeover, which is one of the parts of Roadburn 2018 I’m most excited to see, with bands like Arctic, Harsh Toke — when Harsh Toke jams, you show up — Petyr, Pharlee, and others. The band, who again are new enough only to have released one single a couple months band, is comprised of Zach Oakley from Joy on guitar, Gabe Messer from Harsh Toke on keys and vocals, Billy Ellsworth of Loom on bass, Matt Oakley (brother to Zach) handling drums and Ake Arndt from Operation Mindblow holding down percussion. I’ve done a fair amount of writing about what I’ve come to abbreviate in emails as the “SDT,” and Volcano have become one of the bands I’m most looking forward to seeing thanks to “10,000 Screaming Souls.”

Second is the newness of it. Not only is it a fairly recent release, posted by the five-piece on Dec. 22 last year, but it also brings new ideas to the established stylistic tenets of San Diego’s dominant underground sphere — a penchant for classic heavy rock, touches of psychedelia, a heavy focus on tones, jamming, the word “rad,” connections to skate culture, etc. — with Messer taking on the role of a Fela Kuti-style bandleader telling the story of a jungle leading toward the shout-out hook, “Let the lava flow!” Elements of funk, classic psych, Afrobeat and boogie show themselves quickly on the track, melded into a fluid approach of keys, guitar and driving, ass-shaking rhythm.

If the band isn’t yet signed to Tee Pee Records for their debut album, they probably should be, given both sound and personnel. But the newness factor has another level of meaning as well, specifically as regards Roadburn, which never seems to fail to deliver some kind of surprise or progressive moment from its years past. I know Walter loves his Icelandic black metal, and I’m not going to take away from the maddening intensity of those performances, but something like importing a decent amount of an entire scene and basically saying, “Okay, go jam” — as he’s done with the San Diego Takeover — is pretty special and pretty forward-thinking.

On the off-chance you didn’t catch the above “holy crap,” Roadburn kind of snuck up on me this year in terms of “okay, I have to be at the airport when?” and concerns like that. Still, go ahead and count me in for watching Volcano next Saturday in the Green Room. I’ll let you know how it goes, and in the meantime, I hope you enjoy the track. Let the lava flow, and so on.

Just by way of a note, at six minutes, this is probably the shortest ‘Friday Full-Length’ I’ve done. One song. The idea, of course, is to close out each week with a complete album. Well, think of this time as a full release that just happens to be one song. It’s the whole single. That’s how I got over the hump. I sincerely doubt anyone cares that much — if anyone did, it would probably be me, and I don’t — but there you go anyway.

Time’s pretty limited, so I’ll keep this short. As I write, I’m sitting on the floor in the living room with The Pecan, who’s getting pretty close to rolling over back to front, proto-crawling, etc. Mobility. A whole other animal, I suspect. We just dropped his mother, The Patient. Mrs., off at work and will have to pick her up again shortly, then off to CT for the next two days at least. Been a rough couple nights of sleep. Baby stuff. So it goes.

I leave Tuesday evening for Roadburn. Here’s what’s in the notes for the week anyhow, subject to change pending things falling through, volcanoes, whatever:

Mon.: Mordor track premiere; Willow Child video premiere.
Tue.: Svvamp track premiere; Ancient Lights album trailer premiere.
Wed.: Sun Voyager album stream.
Thu.: Roadburn
Fri.: Roadburn
Sat.: Roadburn
Sun.: Roadburn
Mon.: Travel day

Assuming all goes how it should go, that’s how it’s going to go. We’ll see how it goes. Got that?

Excellent. I wish you the best of weekends. If I’m spotty answering emails or Facebook messages more than usual, it’s because I’m traveling. As always, I’ll do my best to keep up.

Have fun, be safe, and don’t forget to check out the forum and radio stream.

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Mirror Queen Premiere “Inviolate” Video; European Tour Starts Tonight

Posted in Bootleg Theater on April 13th, 2018 by JJ Koczan

mirror queen

This very evening, New York classic heavy/progressive rockers Mirror Queen head out on the European tour that will bring them to Roadburn 2018 after a string of other gigs in Germany, Belgium and the Netherlands. They go ostensibly supporting their 2017 full-length, Verdigris (review here), with frontman Kenny Sehgal joined (I believe) by guitarist Morgan McDaniel (ex-The Golden Grass), bassist James Corallo and drummer Jeremy O’Brien. However, even as they caught their flight the other day — presumably from JFK — and headed across the Atlantic, they went knowing they were about to unveil the new single “Inviolate,” which I’m thrilled to premiere in the video below by Simona Prives.

What will surely and probably shortly wind up as a 7″ single with its B-side, a cover of Scorpions‘ “This is My Song” from 1974’s Fly to the Rainbow, seems to be something of a turn from most of the material on Verdigris. Sure, that record had no shortage of lower-register moments, as on “Sorrow’s End/Dark Kiss of the Sun,” and an undercurrent of proto-metal has never been too far from Mirror Queen‘s sound — the crunch of New York concrete manifest in guitar tones, at least to some degree; it’s not like we’re talking about Unsane here or anything — but “Inviolate” takes a different approach. One can hear it in Sehgal‘s vocals as well, and while I think the heavy ’70s will likely always be where their heart lies, there’s a definitive ’90s-style alt rock spirit to it as well. Not quite grunge, not quite not grunge, the catchy four-and-a-half-minute piece nonetheless manages to avoid aping ’90s-era stoner rock, but the even the slight shift in balance when it comes to decades of influence makes it an immediate standout.

Also, is that a Swedish accent Sehgal is singing in?

Either way, the point is the song is worthy of focus as a single, and its accompaniment underlines the band’s continuing affinity for the titan of early heavy rock. Mirror Queen‘s take on “This is My Song” doesn’t stray that far from the original, but the hippie lyrics and call for universal love certainly take on a new context these 44 years later in the current climate of who-the-hell-knows-what as a general state of being.

Again, I’m pretty sure “Inviolate” will be pressed up for public consumption in good time, so keep an eye out for that, and in the meantime, you can dig into Simona Prives‘ awesome-looking video for the track below, followed by more info and dates off the PR wire.

Please enjoy:

Mirror Queen, “Inviolate” official video premiere

Mirror Queen is proud to unveil the new song ”Inviolate”! The accompanying video was created by NYC based mixed media artist Simona Prives, whose collagist abstractions match the expansive, dreamy, and gritty music; imagery and impressions plucked from the streets of New York and the landscapes of our evermore cluttered minds. The B-Side is a reverent, revved-up version of The Scorpions’ brilliant “This Is My Song”. Release details TBA.

Mirror Queen European tour:
13/4 Onsabrück, DE Westwerk
14/4 Siegen, DE Vortex
15/4 Brussels, BE Magasin 04
16/4 Nijmegen, NL Merleyn
17/4 Tilburg, NL Little Devil
19/4 Tilburg, NL Roadburn Festival @ Cul de Sac

Mirror Queen live:
May 2nd St Vitus, BK, NY w/ Rawhide and Pyrolatrous
June 22 Doomed & Stoned Fest @ Kingsland BK, NY w/ Heavy Temple, Bang, Corky Laing

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Graveyard Post “Please Don’t” Video; Peace out May 25

Posted in Bootleg Theater on April 12th, 2018 by JJ Koczan

graveyard

I’m not saying I don’t dig the new Graveyard track. I’m not. That’s not what I’m saying at all. What I am saying is that for all the hullabaloo surrounding the May 25 release of the Swedish classic heavy rock forerunners’ new album, Peace, listening to “Please Don’t” doesn’t tell us all that much that we didn’t already know. Graveyard can write a hook. Joakim Nilsson is an awesome frontman with an ever-expanding range of melody and expression in his voice. The band rocks. These are all things that Graveyard fans know well. It’s part of the reason there are so many of them around.

So don’t think I’m trying to talk smack on Graveyard as they come back from the hiatus after their graveyard peace2015 album, Innocence and Decadence (review here), that led to guitarist/vocalist Joakim Nilsson, guitarist Jonathan Ramm and bassist Truls Mörck parting ways with drummer Axel Sjöberg and bringing in Oskar Bergenheim to fill that role. Quite the opposite. Listen to that shuffle. Check out that boogie. That bluesy feel. It’s Graveyard alright. As many bands as have come along in the last decade trying to sound like that, nope. Graveyard still own it, vintage production or no.

But that brings us back to where we started. These are already established facts. Graveyard with a boogie track is awesome. It’s not, however, answering the question of whether Peace will follow in the melancholy soul footsteps of Innocence and Decadence, which had its boogie tracks too. It’s giving a solid first impression of Bergenheim on drums, to be sure, but it’s hardly answering the question of how the band’s personality will have invariably shifted with him behind the kit. It’s a full song, but it’s still also just a teaser for what’s invariably a more complete offering than one song could possibly convey.

So satisfying in some ways, leaving some questions in others. I guess that makes it an effective single…

Peace is out May 25 on Nuclear Blast. Album preorder link and more info follow here, courtesy of the PR wire.

Enjoy:

Graveyard, “Please Don’t” official video

Swedish classic rock connoisseurs GRAVEYARD have released the official music video for the first single, “Please Don’t,” off their eagerly anticipated upcoming comeback album, Peace.

Commented the band: ”As you may know, we’ve been doing some traveling lately. In many ways and on many levels. The good thing is that we brought back a few things for you all. Here’s a first souvenir from the road to PEACE.”

The album is now available for pre-order in various formats. The Nuclear Blast Mailorder edition will feature the CD as well as a red 7″ vinyl containing 2 exclusive and previously unreleased non-album tracks (“Headache City” & “Something Else”). Aside of that the album will be available as digipack CD as well as on black, yellow, mint, beige and clear vinyl.

Peace will be released on May 25, 2018 via Nuclear Blast.

Secure your copy via this link: http://nblast.de/GraveyardPeace

Graveyard – Peace – Track List:
01. It Ain’t Over Yet
02. Cold Love
03. See The Day
04. Please Don’t
05. Del Maniac
06. The Fox
07. Walk On
08. Bird Of Paradise
09. A Sign Of Peace
10. Low (I Wouldn’t Mind)

Line-Up:
Joakim Nilsson – vocals, guitar
Truls Mörck – bass
Oskar Bergenheim – drums
Jonatan Ramm – guitar

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Stone Deaf Premiere “Spitshine” Video; Royal Burnout Due May 4

Posted in Bootleg Theater on April 11th, 2018 by JJ Koczan

stone deaf photo Cody Isaman

Made up of a crisply-produced eight tracks of well-sourced heavy rock and roll, Stone Deaf‘s Royal Burnout is set to release on May 4 through Black Bow Records. The album, which is the Denver four-piece’s second behind a 2015 self-titled, is something of a departure for the label, which has to this point specialized in supporting the UK underground in its various forms of sludge, doom and heavy impulses, owned as it is by Conan guitarist/vocalist Jon Davis and affiliated as it often is with his Skyhammer Studio and the recordings done there by Chris Fielding.

Well, Stone Deaf didn’t record at Skyhammer. stone deaf royal burnoutThey tracked with guitarist/vocalist/keyboardist/drummer Dustin Chapin, who also mixed, mastered and had a hand in the design of the album along with bassist/vocalist Cody Isaman. And they don’t play sludge. They play essentially a high-desert version of low desert rock, taking a strong influence from the pop-heavy stylings of Queens of the Stone Age and perhaps imagining what they might’ve become if they’d kept working in the vein of their own debut, with songwriting crystal clear in its structure and intent and an edge of heft in their tones. And hooks. Hooks for days.

Royal Burnout, if it’s got anything, has got that. With Isaman and Chapin sharing vocal duties while Jarron French provides the bounce on drums and Scott Anderson adds further guitar and keys,there’s variety in the songs between a hand-clapper like the closing title-track and the start-stop turns of “Room #240” earlier. “Deathwish 62” crunches up classic desert-punker riffing while “Boozy Spool” engages a more urbane feel, touching on modern pop rock, but at the same time offering some of the album’s heaviest riffing.

There’s a balance to be struck between these various impulses, and Stone Deaf have command enough of their craft to find it. The leadoff cut, “Spitshine,” provides a decent summary of some of the punk and heavy rock vibes Royal Burnout works through, and I’m happy today to be able to premiere Dustin Chapin and Cody Isaman‘s video for it ahead of Royal Burnout‘s release next month. Please find the clip below, followed by more info from the PR wire.

And please enjoy:

Stone Deaf, “Spitshine” official video premiere

Stone Deaf on “Spitshine”:

“Spitshine,” the intro song to Royal Burnout, leads you into a musical freakshow. Like a rusted hardtop filled of strung out carnies and miscreants changing gears down a long desert road, and a roller coaster that guides you through the soundtrack of a fucked up circus. Showcasing fast paced rhythms and black and white melodies, it’s the first song of a tall, downwards spiraling slope, and that’s only the beginning of the show. Welcome to Royal Burnout.

Formed in late 2014 in New Castle, Colorado, STONE DEAF’s approach to music is a timeless fusion of melody and driving rhythms blending solid rock vibes, psychedelic elements, and sludgy low-end riffs. The band released their self-titled debut album in 2015 and has since spent their time fine-tuning their approach and honing their craft on stage while writing their next record, which now comes to life in Royal Burnout.

With eight new jams packed into a thirty-three-minute album, Royal Burnout was recorded produced, recorded, and mastered by Dustin Chapin at The Launch Complex, New Castle, Colorado, with photography by Marin Forcella and design by the band’s Dustin Chapin and Cody Isaman.

Royal Burnout will see release on CD and digital platforms through Black Bow Records on Friday, May 4th. STONE DEAF is booking shows in support of the album, with a short run through the Southwest being organized for mid-Summer. Stand by for audio samples, preorder info, tour dates, and more in the weeks ahead.

STONE DEAF Live:
5/11/2018 Mesa Theater – Grand Junction, CO
6/29/2018 5 Star Bar – Los Angeles, CA
7/01/2018 Yucca Tap Room – Tempe, AZ

Royal Burnout Track Listing:
1. Spitshine
2. Room #240
3. Buzzards
4. Monochrome
5. Boozy Spool
6. Deathwish 62
7. That Lefty Request
8. Royal Burnout

STONE DEAF:
Cody Isaman – bass, vocals
Scott Anderson – guitars, keys
Jarron French – drums
Dustin Chapin – guitar, vocals, keys, drums

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Green Desert Water Premiere “The Deepest Sea” Video

Posted in Bootleg Theater on April 10th, 2018 by JJ Koczan

green desert water

If your ears don’t automatically perk up on hearing the phrases ‘classic-style heavy rockers’ and ‘on Small Stone Records‘ in the same sentence, well, to put it mildly they should. Thus we find Spanish classic-style heavy rockers Green Desert Water making their debut on Small Stone Records with their second album overall, Solar Plexus. Quick to make an impression and earn immediate points with the opener and longest track “Open Your Wings,” the band trio channels earliest AC/DC on the swinging heavy blues of “Souls of the Woodland,” and offers a fluid dose of fuzz in “Chaman,” demonstrating a propensity both for hooks and for adding modern flair to the core heavy ’70s influence. The shuffle that emerges near the midsection of “Chaman,” for example, or the tambourine-laced jam in the penultimate “Mother Moon.” These are well-established methods, but as Small Stone has endeavored in recent years to demonstrate, a balance can surely be struck between the classic and the modern. Green Desert Water do this exceptionally well.

Solar Plexus breaks neatly into two vinyl halves, with three cuts on either side: two longer and one shorter to finish. Side B concludes with the Green Desert Water Solar Plexustitle-track, only about a minute shorter than “Souls of the Woodland” or “Mother Moon” before it, but the difference is more striking on Side A, where “The Deepest Sea,” which is the shortest inclusion overall at 4:44, follows “Open Your Wings” and “Chaman,” both of which are more extended. “The Deepest Sea,” however, is an effective condensation of many of the record’s other impulses, with a strong hook, a perfect tempo, and an easy rhythmic swing that’s neither forced nor overstated. It engages quickly and asks little of the listener in terms of indulgences. These traits it shares in common with its surroundings, and while it may not be as long as “Open Your Wings” or “Mother Moon,” there’s no question the song accomplishes its task and represents the album well for its natural-sounding structure, modern production style and energetic delivery.

The three-piece is comprised of guitarist/vocalist Kike Sanchís, bassist Juan Arias García and drummer/backing vocalist Javi Gonzalez and Solar Plexus is out April 27, once again on Small Stone, which has preorders up now. Below, you can see the video premiere for “The Deepest Sea” and get some more background on the band from the PR wire.

Please enjoy:

Green Desert Water, “The Deepest Sea” official video premiere

After getting their feet wet in a molten pool of heavy blues on their 2012 self-titled debut EP, GREEN DESERT WATER is ready for their next conquest. The Oviedo, Spain-based three-piece have been making a name for themselves as one of the best-kept-secrets of the Iberian heavy underground, and with Solar Plexus – their second LP – they’ve never sounded readier to let the cat out of the proverbial bag. And by “cat out of the bag,” we mean unleashing classic power trio grooves – all primo, all soul, but heavier and thicker and more modern than the first record.

Solar Plexus was recorded and mixed by Pablo Martínez Pérez at Ovni Estudio, mastered by Kike Sanchís at Green Desert Mastering and comes wrapped in the cover art of Héctor Castañón. The six-track offering will see release on CD, digital, and limited edition vinyl formats on April 27th via Small Stone.

GREEN DESERT WATER:
Juan Arias García – fuzz bass
Javi González – drums, percussion, backing vocals
Kike Sanchís – guitars, vocals
Additional guitar on “The Deepest Sea” by Pablo Martínez Pérez.

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The Atomic Bitchwax Premiere Video for “Hippie Speedball”

Posted in Bootleg Theater on April 9th, 2018 by JJ Koczan

the atomic bitchwax

There’s a moment at about 1:40 into the 2:26 ‘Hippie Speedball’ where founding bassist/vocalist Chris Kosnik of The Atomic Bitchwax lets loose this quick run that will absolutely, 100 percent knock you on your ass. Should you be surprised? Hells bells, no. Shifting their audience out of an upright position — i.e., relocation to “on ass” — has become standard practice for the long-running New Jersey trio of Kosnik, guitarist/vocalist Finn Ryan and drummer Bob Pantella. Ever since their 2011 riff-splurge, The Local Fuzz (review here), and most definitely once they came around to 2015’s more aggressive Gravitron (review here), they’ve been recharged and completely on the attack. Late 2017’s Force Field (review here) is just the latest manifestation of this impulse that’s been at the heart of the band since their 1999 debut.

It may, however, also be the most badass manifestation. The Bitchwax have been around long enough that given fans are going to have given favorite records. Hey, that’s cool. But as the three-piece move forward with Force Field and get ready to hit the road supporting The Sword — funny, I recall seeing the two bands together in Jersey opening for Kyuss Lives! and The Atomic Bitchwax had Dave Witte filling in on drums; Black Cobra also played that night; weird show, but awesome — they do so at their most progressive moment. They seem at this point not only to be challenging themselves physically, as in, “Can we possibly play faster than this?,” but also as songwriters: “Can we write songs that speed by listeners in a blur but are still somehow memorable?” The answer, at least on Force Field, is a resounding yes.

To wit, “Hippie Speedball” is an unbridled beast of a track. Placed right at the open of Force Field it’s primed to shake even the least shakable of posterior chains, and the new video for the track, with clips out of old sci-fi movies, the band jamming out and good fun all around, could hardly do more to represent some of what works best about the record as a whole: excellent band, all cylinders, killer tune, hitting the road. How could you call that anything but a win?

I consider pretty much any time I get to post about The Atomic Bitchwax a favor to myself, so I’m extra thrilled today to be able to host the premiere of the “Hippie Speedball” clip, which you’ll find on the player below. The tour dates with The Sword and more info off the PR wire follow.

Enjoy:

The Atomic Bitchwax, “Hippie Speedball” official video premiere

Recorded at the Freakshop in Keyport, New Jersey, mixed at The Panic Room in Ocean, New Jersey and mastered by Alan Douches (CHELSEA WOLFE, TOMBS, THE OBSESSED), “Force Field” sees THE ATOMIC BITCHWAX’s high energy, scale-based guitar mangling hitting astronomical levels, with full stack amps pushing out dangerous levels of blown-out metallic mayhem. An awe-inducing tumult of head-down forward drive and top tier hard rock, “Force Field” mashes sci-fi and hi-fi, rocketing THE ATOMIC BITCHWAX into the outer reaches of the modern-day heavy music universe.

The Atomic Bitchwax w/ The Sword:
6/07 Albuquerque NM @ Launchpad
6/08 Tucson AZ @ 191 Toole
6/09 San Diego CA @ Belly Up
6/11 Portland OR @ Wonder Ballroom
6/12 Bellingham WA @ Wild Buffalo
6/13 Vancouver BC @ Venue
6/15 Calgary AB @ Marquee
6/16 Edmonton AB @ Union Hall
6/17 Regina SK @ The Exchange
6/18 Winnipeg MB @ Pyramid
6/19 Chicago IL @ Thalia Hall
6/20 Cincinnati OH @ Bogart’s
6/22 Pittsburgh PA @ Mr Smalls Theatre
6/23 Washington DC @ Rock N’ Roll Hotel
6/24 New York NY @ Irving Plaza
6/26 Johnson City TN @ Capone’s
6/27 Nashville TN @ Exit/In
6/29 Hot Springs AR @ Maxine’s

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