Posted in Whathaveyou on May 21st, 2015 by H.P. Taskmaster
After four full-lengths on Small Stone, Swedish heavy rockers Greenleaf will release their next album on Napalm Records. They’ve started to record their next album already. Interested to hear where they go. Their last outing, 2014’s Trails and Passes (review here), seemed to be moving in a different direction than its predecessors, shifting the focus from studio experimentation and guest performers to a more sustainable, stage-ready presentation — something stripped down from the two records before, but that Greenleaf could take on the road. They proceeded to do precisely that after its release, and the lineup of guitarist Tommi Holappa, bassist Johan Rockner, drummer Sebastian Olsson and drummer Arvid Jonsson will head out on tour again June 6 in Europe.
Kudos to the band and to Napalm on the pick. Here’s the announcement from the PR wire:
GREENLEAF SIGN TO NAPALM RECORDS!
Swedish Rockers GREENLEAF are pleased to announce that they have signed a worldwide deal Napalm Records!
GREENLEAF on the signing with Napalm Records: “We’re happy to announce that the next GREENLEAF album will be released on Napalm Records! After many great years with Small Stone Records and especially Scott Hamilton we want to say THANK YOU! With Napalm Records we found the perfect partner to make the next step. It’s an honour to be on the same label as great bands as Monster Magnet, My Sleeping Karma, Brant Bjork, John Garcia and Vista Chino.The progress of recording the first album starts in the end of May. The songs are ready and we’re really stoked about putting it down on tape!”
Sebastian Muench, A&R Napalm Records: “Napalm Records is proud to announce the worldwide signing with GREENLEAF! The 2014 album release of “Trails & Passes” has been celebrated in the Rock/Stoner community as a true masterpiece! If you had not had a chance to see GREENLEAF live than you can catch them share the stage with CLUTCH, WEEDEATER or various other headline shows! Greenleaf will also play Crumble Fight Fest, Stoned From The Underground, Red Smoke Festival, Rock im Wald, Krach am Bach, Lake on Fire and many more! Welcome to the Napalm Family!!”
More news on the upcoming album will be unveiled soon! To shorten the waiting time, find all upcoming shows & summer festivals below!
06.06.15 FR – Crumble Fight Fest / Montaigu 07.06.15 FR – Heretic Club / Bordeaux 09.06.15 LUX – Den Atelier / Luxembourg City 10.06.15 CH -Kinski / Zurich 11.06.15 FR -Le Brin De Zinc / Chambery 12.06.15 FR – Warmaudio / Lyon 13.06.15 FR – Le Volume / Nice 03.07.15 SE – Peace & Love Festival / Borlänge 08.07.15 DE – La Casa / Cottbus 09.07.15 DE – Stoned From The Unerground 12.07.15 PL – Red Smoke Festival / Pleszew 15.07.15 PL – Chmury / Warsaw 16.07.15 PL – Stonamite / Gdansk / Poland 17.07.15 LI – Devilstone Open Air / Anyksciai 24.07.15 DE – Rock im Wald / Neuensee 25.07.15 DE – Krach am Bach / Beelen 07.08.15 AT – Lake on Fire / Waldhausen 08.08.15 CH – Out in Gurin / Sargans 14.08.15 DE – Aquamaria Festival / Plattenburg 29.08.15 SE – Iris Festival / Öland
As for how Scott “Wino” Weinrich came to front Bedemon at the Psycho California fest this past weekend, that — as one might expect coming from the doom outfit who are rightly considered legends despite never having played live before — is something of a long story. Bedemon‘s collection of rare tracks and demos, Child of Darkness, was reissued earlier this year by Relapse, and I guess that’s as good a place as any to start while the band fills in on the rest:
BEDEMON has never performed a single show, ever, with any line-up. When discussion of possibly appearing at Psycho California first came up in November, we were honored. As the months have passed though, determining who would be in the band has proven to be a real challenge on many levels for many reasons. Ultimately, due to prior commitments, neither long-time member bassist Mike Matthews nor current BEDEMON vocalist Craig Junghandel will be able to participate at the Psycho California show. There was some talk about possibly having PENTAGRAM vocalist Bobby Liebling do the set, having appeared on the 70s songs contained on their Child of Darkness: From the Original Master Tapes release which has just been reissued by Relapse Records in both CD and vinyl form, but in the end it was felt that his focus needed to be on PENTAGRAM, who are also appearing at Psycho California and additionally are currently finishing up a new studio album for release later this year.
Yet despite these seemingly insurmountable setbacks, you can’t kill BEDEMON that easily and doomed you will be, Psycho California, as Greg Mayne of PENTAGRAM’s classic 70s line-up will be appearing on bass. Mayne also has BEDEMON ties himself, as he was in the line-up that recorded the 1986 BEDEMON sessions after Mike had moved to Washington state. This will be the first time Mayne and O’Keefe have appeared on stage together in nearly 40 years.
And speaking of Geof O’Keefe, better-known as the drummer for the 70s PENTAGRAM who recorded the original studio versions of “Forever My Queen,” “Be Forewarned,” “Last Days Here” and others, at this show he’ll be playing guitar.
“People not familiar with the early beginning of PENTAGRAM might not realize that when Bobby and I put the band together back in the fall of 1971,” says O’Keefe, “I was originally the guitarist for the first two versions of the band. I’ve actually been playing guitar longer than drums. Not only is this the first time I’ll be playing guitar live on stage but it’s the first time I’ve stepped on a stage in 30 years. I couldn’t be more excited and appreciative to be part of this special and historic experience!”
So with Junghandel and Liebling not singing, who will be handling the BEDEMON vocals? Stepping in on this very special occasion is a rather unique guest and another DC legend in his own right: Scott “Wino” Weinrich! (SAINT VITUS, SPIRIT CARAVAN, THE OBSESSED, PLACE OF SKULLS, SHRINEBUILDER, THE HIDDEN HAND as well as having released a number of great solo projects).
Says O’Keefe of these developments: “While I am really disappointed neither Mike and Craig can perform at this particular show due to prior career commitments, this is an amazing line-up for a very special show. I’m excited to have my old buddy Greg Mayne on board. I haven’t seen him in nearly thirty years and haven’t played with him in forty. And Wino is a DC legend and international star in his own right and it’s an honor to have him guesting on vocals.”
So what becomes of it? Probably nothing. I don’t think we’re going to see Wino fronting a reactivated incarnation of Bedemon anytime soon. One never knows, but Bedemon released their proper debut full-length, Symphony of Shadows (track stream here), in 2012 and seem to be content to do their own thing, and with the Spirit Caravan reunion ongoing and the new Wino & Conny Ochs just out, it seems more likely that if Geof O’Keefe (interview here) was itching to keep the band moving forward, he’d find a situation a little less complex to enter into with a frontman. Though Wino-fronted Bedemon would be pretty badass.
That’s the impression the video below of “Time Bomb” gives, anyhow. Filmed at Psycho California in front of what’s clearly a packed house, Bedemon‘s first show ever featured this track off Child of Darkness and it looks to have been every bit the landmark occasion one might expect.
Posted in Whathaveyou on May 20th, 2015 by H.P. Taskmaster
Making their way back to active status following a stint on the DL, Pennsylvania heavy merchants Backwoods Payback have announced two weekenders set to take place next month that will take them out of their West Chester home and onward to regional outlets in New Jersey, PA, Virginia and Maryland. It’s four shows spread over two weeks, so hardly the heaviest touring they’ve done, but with just periodic appearances under their collective belt since the release of their 2014 EP, In the Ditch (review here), it bodes well for what might lay ahead, and frankly, it’s good to hear anything from them at all.
Backwoods Payback‘s most recent show was May 15, playing the after-party for the Bethlehem, PA, date of the Clutch/Mastodon tour, but prior to that, they also shared the stage with Black Cowgirl, Generation of Vipers and U.S. Christmas at The Depot in York at the end of April, so there have been stirrings leading to these weekenders coming up. The addition of new drummer Pierson Roe (Castle Freak) alongside guitarist/vocalist Mike Cummings and bassist Jessica Baker will no doubt make gigging easier in the months upcoming, and in announcing the shows, the band also teases a possibility of a new album, which would be their sophomore outing following 2011’s Small Stone full-length debut, Momantha (review here).
Most likely that’s a ways off — though I guess they could surprise everybody with a new record tomorrow; anything’s possible — but either way, that they’re starting to get out again is a step in the right direction. Their announcement was quick and to the point:
JUNE DATES! this convoy is heading back out where we belong…on the ROAD!
New shows, new songs, new merch, new drummer, new RECORD???
Backwoods Payback on tour: 06/12 The Meatlocker, Montclair, NJ 06/13 The Funhouse, Bethlehem, PA 06/19 Strange Matter, Richmond, VA 06/20 Guido’s Speakeasy, Frederick, MD
Posted in Reviews on May 20th, 2015 by H.P. Taskmaster
The circumstances by which I found myself in the Tri-State Area were complex enough that I feel no need to recount them, but the point is, if you’re in town anyway, and Ufomammut are rolling through Brooklyn to hit the Saint Vitus Bar on their first US tour ever, supported by Portland’s Usnea and locals Mountain God opening, the obvious choice is to go. Yes, I was at a show in Boston on Sunday, but that seemed like long enough ago that it didn’t matter. It’s fucking Ufomammut. You show up.
I missed the three-piece at Roadburn in 2011, but saw them there in 2009, and even six years later, the impression they left behind was resonant enough that I could see them clearly on the Main Stage bludgeoning the room with their cosmic mastery. The image is vivid. They’ll play Maryland Deathfest this weekend and are out supporting their 2015 Neurot Recordings outing, Ecate (review here), the latest in a line of records a decade long proving their utter supremacy of sound. I felt fortunate to have the planets align in such a way as to allow me to make it to the show.
As I understand it, Mountain God were something of a late addition to the bill. Cool by me. Playing as the trio of guitarist/vocalist Ben Ianuzzi, bassist Nikhil Kamineni and drummer/backing vocalist Ryan Smith (also Thera Roya), they had new material on offer and included two cuts from their 2013 Experimentation on the Unwilling demo (review here), so yeah, sign me up. Their particular brand of atmospheric sludge has only become more visceral over the last couple years, and as expansive as their 2015 single-song Forest of the Lost EP (review here) is, its churn still seems to stir the guts. So it was on stage as well.
Worth noting that for all three bands, the stage was d-a-r-k dark. Most of all for Mountain God and Usnea, but even for Ufomammut the only real light was toward the back of the stage, and there wasn’t much of that. Might as well have been taking pictures in Boston, it was so fucking dark. So it goes. Mountain God‘s new songs, “Nasca Lines” and “Taxidermist,” pushed the limits of their extremity well, Ianuzzi‘s blown-out vocals cutting through his and Kamineni‘s rumbling tonal morass — a heft that would become a theme for the night. The interplay of Ianuzzi and Smith proved especially effective throughout, but either way, ambience remained thick and the effect remained crushing.
They finished out with “Experimentation on the Unwilling” itself, a memorable pummel of a riff at its center, and received greetings and well-earned congratulations at the front of the stage while breaking down their gear to make way for Usnea, touring with Ufomammut from their base of operations in Oregon. It was my first exposure to the death-doom four-piece, who made their debut on Relapse last year with their second full-length, Random Cosmic Violence, and I found they were a completely different band from what I expected them to be. As in, I thought they were another band. It was a pleasant surprise when their ultra-nodding brutality held sway for the duration, both guitars tuned to the key of slow-motion destruction as drums and bass stood center-stage to punctuate and foster feel-it-in-your-stomach resonance. Can’t claim to have known the material, but the first impression was a positive one.
And by positive, I mean overwhelmingly negative — the downer vibes so dense they couldn’t seem to let any light escape. Right on. I knew Ufomammut would be headed for more psychedelic terrain, and indeed they were, so to have Usnea follow Mountain God‘s tectonics with their own lumbering doom was a solid fit and welcome complement to the bill. If I’d had any cash, I probably would’ve picked up a CD of Random Cosmic Violence, but the water bottle I had in my camera bag I bought with quarters and I didn’t think I had that much change on hand. Maybe next time. Their closer was “Detritus,” the 15-minute finisher from their sophomore outing, and it was as vehement an endorsement of their wares as anything I might recount in a review, plodding and stomping en route to a building finish that left nothing else to say when it was done. Many bands would have trouble following it.
Ufomammut, however, are a different breed. I’m almost surprised this was their first US tour. It’s easy to imagine them — as so many of their contemporaries from around Europe did — coming to the States and playing to upwards of 20 people at The Continental in Manhattan a decade ago before any of this stuff caught on and it was suddenly reasonable to be positioned in front of the stage at the Vitus Bar next to a photographer from The New York Times (“Uh, I run a blog,” was my barely-stammered response when she asked who I was shooting for) at a sold-out show. As if the experience wasn’t surreal enough, Ufomammut — guitarist Poia, drummer Vita and bassist/vocalist Urlo arranged left to right — played off a setlist that seemed to be written in code, with notations for synths and the mysterious light-up samplers and effects they had on foot-switches while a video screen projected behind.
Devastatingly heavy? Why yes, they were, but that’s really just one component of the experience. Watching Ufomammut play is like being stirred in a cauldron of something thick and molten. Somehow, it swirls, but on the surface level it doesn’t even seem like it should be able to move at all. Each song seemed to take them deeper into space, the entirety of Ecate rearranged for stage presentation and followed by “Oroboros” from Oro: Opus Alter (review here), “Stigma” from 2008’s Idolum and, finally, “God” from 2004’s Snailking, which was brought to a brutal finish as though the trio were trying to pull apart the remnants of the galaxy on a molecular level, some great cosmic code punched in to result in the end of all things in multi-dimensions. It was like that. Sound as force. Senses colliding, and Urlo headbanging with his entire body the whole time. The further they went the more righteous they became, and the room — sweltering, dark, vibrating — went with them all the while, that great cauldron made flesh. To call it breathtaking would be speaking literally.
There was a moment after they were done that required a return to earth, more of a snap back than a gentle release, and you could feel it from others in the room as much as from yourself. An exhale and realization of the impressionist galaxial scope just witnessed, blurred lines fitting for the summer’s haze that seemed to be settling over the Manhattan skyline on the way into the city. Even having seen the band before, I did it too. People made their way to the bar and out blissfullly stunned, and I did likewise, almost tempted to call Ufomammut‘s arrival on North American shores overdue if they hadn’t rendered things like space and time so irrelevant.
A couple more pics after the jump. Thanks for reading.
Posted in audiObelisk on May 20th, 2015 by H.P. Taskmaster
The line that Stockholm four-piece Sideburn seem so easily content to cross between heavy rock and roll and classic heavy metal on their upcoming fifth full-length, Evil or Divine, might seem strange to American ears, coming from a place where the lines between the two are more drawn in thick, seemingly permanent marker, but the Swedish outfit are part of a long history of stylistic melding that goes back about as far as when the other sprang from the one in the first place. If that’s confusing, think about countrymen acts like Grand Magus or The Awesome Machine and the context might become clearer. Sideburn, who formed in 1997, are contemporaries of these bands, and their latest outing seamlessly pulls together epic grandiosity and heavy grooves, bolstered by strong traditional songwriting and fistpump-ready righteousness.
Evil or Divine see will North American release June 9 via Metalville Records, and it’s the foursome’s first outing for the label and first with Dimitri Keiski on vocals and guitar alongside guitarist Morgan Zocek, bassist Martin Karlsson (also Mangrove) and drummer Fredrik Haake, whose commanding forwardness makes longer pieces like “The Day the Sun Died” and linear-building closer “Presence” all the more engaging. Keiski is a powerful frontman in the Dioist vein, and from the start of opener “Masters and Slaves,” he takes the reins of Evil or Divine and steers the band across flowing movements touching on doom, heavy rock and metal — as much Rainbow as Sabbath, as “Sea of Sins” demonstrates, the “Gates of Babylon” looming large in the distance — finding a niche between and among them while keeping a natural atmosphere as the brooding “When Darkness Calls” and “The Seer (Angel of Death)” play out.
“Sea of Sins” stands as one of the record’s most fervent rockers, a stomping kick drum and winding riff opening into a progression somewhere between shuffle and headbang that seems to capture the vibrancy of both, and gets a late-album complement in “Evil Ways” before the acoustic guitar that starts “Presence” kicks in to set the stage for that drama to unfold. It’s my pleasure today to host the premiere of “Sea of Sins” ahead of the album’s release. You can find the track on the YouTube embed below — if you’re wondering where the Soundcloud is, that site’s weirdo copyright policy will be its undoing as the industry standard for hosting — followed by the PR wire info on the album.
Sideburn, “Sea of Sins”
Stockholm’s own SIDEBURN, featuring Dimitri Keiski (vocals, guitar), Morgan Zocek (guitar), Martin Karlsson (bass, organ), and Fredrik Haake (drums), will release their fifth full-length album titled Evil Or Divine in North America June 9 via Metalville Records.
Mixed/Produced by Jonas Edler with Morgan Zocek and SIDEBURN at B.A.S. Studio and mastered by Mats “Limpan” Lindfors (Meshuggah, Katatonia, Opeth) at Cutting Room studios in Stockholm, with a sound that as much is rooted in the past as it is heading for the future, fans can expect more of what they’ve come to know and enjoy from the band – heavy guitar attacks blended with intense solos backed by a steady rhythm section.
In just under a week’s time, Bordeaux heavy psych rollers Mars Red Sky will make a return trip to South America for shows in Argentina and Brazil. The latter, of course, is where they wound up recording their second album and Listenable Records debut, Stranded in Arcadia (review here), after their original plan to track in the California desert was scrapped by US customs in what I’ve since considered an embarrassing international incident caused by the ignorance of my countrymen to quality fuzz. No doubt somebody went home that day and thought they’d done a good job. Wrong-o, chief.
Those issues are easy enough to put aside because Stranded in Arcadia, which was recorded at Estúdio Superfuzz by Gabriel Zander, turned out so well. The trio of guitarist/vocalist Julien Pras, bassist Jimmy Kinast and drummer Matgaz crafted not only a progressive step froward from their 2011 self-titled debut (review here), but a highly individualized blend of sonic weight and psychedelia, the melodies, the riffs and heft all their own. It was a gorgeous record, whatever the circumstances of its making, and even as they’ve recently announced intentions toward a third album, they’re still supporting Stranded in Arcadia both on the road — that stopover in South America will be followed by another European tour — and with a new video, this one for the opening cut “The Light Beyond.”
It’s one of the most singularly gorgeous tracks on Stranded in Arcadia and the video is their most elaborate production to date. They’re known for sort of compiling clips through manipulated footage, maybe blending live shots with old movie clips and things like that, but “The Light Beyond” is a more traditional music video approach, the band staged on a sandbar as a giant manta ray made of shadow flies over head and a mysterious shaman wanders the desert. Fun note: From what I hear, the drone used for filming the band actually crashed in that lake. Hazards of working with robots, I guess.
As always, hope you enjoy:
Mars Red Sky, “The Light Beyond” official video
Taken from 2014’s critically acclaimed ‘Stranded In Arcadia’ album, the gallic power trio rockers stay true to their roots. Shot on location in France and Australia, ‘The Light Beyond’ features downtuned fuzzed up guitars, blues soaked doom laden riffage, wandering shaman, flying manta rays and deserts as far as the eye can see.
The band will be off for a their « Soviet Attack tour » in South America next week, which will be quickly followed by a full European tour, including a special guest slot in London with Eyehategod at Desertscene Festival, among other nice events this summer:
26.05 BUENOS AIRES (Ar) Uniclub 27.05 PORTO ALLEGRE (Br) Signos Pub 28.05 SANTA MARIA (Br) Boteco do Rosário 29.05 PETROPOLIS (Br) Gypsy Bar 30.05 RIO DE JANEIRO (Br) Rio Rock & Blues 31.05 SAO PAULO (Br) Inferno Club 25.06 CARDIFF (UK) Moon Club 26.06 MILTON KEYNES (UK) Crauford Arms 27.06 LONDON (UK) The Dome (w/ Eyehategod) 28.06 PARIS – Deep #2 – Péniche Antipode 03.07 BRESCIA (It) Somen Fest 04.07 JESI (It) Field Fest 05.07 ROMA (It) Sinister Noise 17.07 MIRAMONT DE GUYENNE (47) Abracada’Sons 18.07 DOUR (Bel) Dour Festival 19.07 NIJMEGEN (NL) Valkhof Festival 29.07 KIEV (Ukr) Open Air 14.08 SAINT NOLFF (56) Motocultor Festival 15.08 VERDUN (55) Musiques & Terrasses 29.08 THONES (74) Backwoods Festival 25.09 SAINT PETERSBURG (RU) Zoccolo 2.0 26.09 MOSCOW (RU) Depressive Fest – Volta
Posted in Whathaveyou on May 19th, 2015 by H.P. Taskmaster
Suffolk, UK, trio Old Man Lizard have signed to Heavy Psych Sounds and will release their sophomore, self-titled full-length through the Italian label this fall. Their debut, Lone Wolf vs. Brown Bear, arrived in Sept. 2014 after a demo, a debut EP, a single and a split with Earthmass and found the band merging sludge, hardcore punk, twanging guitar and bruiser Southern heavy to raise blisters across a nine-track span. In addition to the new album, they’ll be touring with Black Rainbows for five shows in the UK next month.
The PR wire tells it like it is:
HEAVY PSYCH SOUNDS Records is stoked to announce the signing of a new awesome band ***OLD MAN LIZARD*** (UK)
Formed in 2011, Suffolk sludge/stoner outfit Old Man Lizard are Jack Newnham, Gav Senior and Dan Beales.
They sounds like Kyuss, Baroness, Earth, Mastodon and Sleep all in one band!
Shared the stage with bands as Dead Meadow, Dopethrone, Conan plus a mini UK tour with Black Rainbows begin of June 2015, they already toured their country several times, and invited at Desert Fest Belgium and Hard Rock Hell.
Heavy Psych Sounds Records is going to release their second, selftitled album. Six brand new songs slow doomy melodic stoner tunes.
Out mid september 2015 in vinyl, ltd vinyl, cd and digital
Black Rainbows & Old Man Lizard UK tour: Thursday 4th June – Bristol, Stag & Hounds Friday 5th June – Northampton, Labour Club Saturday 6th June – Oxford, The Wheatsheaf Sunday 7th June – Basingstoke, The Sanctuary Monday 8th June – London, The Macbeth
Bio: Formed in Autumn 2011, Old Man Lizard wasted no time in recording and self-releasing a five track EP showcasing their uniquely heavy and majestic sound. Complete with beautiful artwork from Michael Dicken, the EP quickly gathered attention and critical praise leading to a slew of invitations to play venues all over the country – from converted churches to the legendary Underworld, London.
In their short time as a band, Old Man Lizard have shared stages with seminal bands Dead Meadow, Arabrot, and Honky to name just a few, and have already been booked to play alongside heavyweights Conan and Dopethrone this year. Made up of Jack Newnham (also of Meadows – Superfi Records, Head of Crom Records), Gav Senior, and Dan Beales; Old Man Lizard are a power trio in the same vein as Cream or Blue Cheer, but the influences of contemporary bands from Taint to Yawning Man set Old Man Lizard apart from the often crowded and unvaried sludge and stoner scenes. Not content to retread the same old tired ground, Old Man Lizard make exciting and original heavy music without compromising the art of the riff.
Two weeks after the initial announcement of their awaited fifth album’s Summer release date, Dutch heavy rock trio The Machine unveil a new video from Offblast!, for the song “Coda Sun.” Directed by guitarist/vocalist David Eering, it’s a trippy performance clip captured at Elektra in Sliedrecht and is the premiere audio to be made public from the upcoming full-length, which will be out on Elektrohasch and finds the three-piece of Eering, bassist Hans van Heemst and drummer Davy Boogaard grooving easily around a fuzzed-out central riff, watery vocals trailing the turns as a jammy vibe pervades following an initial verse/chorus split, an extended guitar solo taking hold and carrying the track through the better part of its second half before a quick return to the verse provides a neat bookend reminding of the songwriting still at work no matter how far out The Machine are willing to let their wanderings roam.
I’ll have a review of the album at some point soon, but “Coda Sun” is a welcome first look from The Machine, whose evolution beyond 2012’s Calmer than You Are (review here) stands them out from the heavy psychedelic pack in terms of their chemistry and the fluidity of their jams. I don’t at all mind telling you I’ve been looking forward to the album for some time, and between its lengthy jams at the front and back and the flowing earliest Queens of the Stone Age vibes that persist between, it’s one that’s been well worth looking forward to. So, with the June 1 release date solidified and the promise of more to come, please find the video for “Coda Sun” below, and enjoy:
The Machine, “Coda Sun” official video
There were some technical difficulties during the mixing stage (a.k.a. the phasing phase), a number of various things had to be sorted out, band members were having babies, etc. In other words: it took a while but it’s finished. Needless to say, we’re very proud to present you the final details of Offblast!.
Although we had a lot of positive reactions after posting the April Fools version of the artwork, we still decided to proceed with Jakob Skøtt’s beautiful piece. Wait until you see the fold out vinyl cover. Speaking of vinyl: due to a popular demand for wax discs, the production time for the LP will take a couple of months. But hey, it will be summer by then so we’ll take it easy.
The Machine – Offblast! Elektrohasch Records CD – June 1, 2015 LP – August XX, 2015
01 – Chrysalis (J.A.M.) [16:25] 02 – Dry End [03:05] 03 – Coda Sun [05:34] 04 – Gamma [06:48] 05 – Off Course [06:36] 06 – Come To Light [12:11]
Recorded and produced again by David, we’re super happy with the final result. It is by far our best sounding album to date. And we’re most certainly not done yet.