Posted in Whathaveyou on October 26th, 2023 by JJ Koczan
Beginning this weekend at Heavy Chicago in, yup, Chicago, heavy psych heroes Acid King will begin to wind down a busy 2023 executed successfully after several years of restructuring. Founding guitarist/vocalist Lori S. remade and arguably reimagined the band at least partially ahead of this Spring’s Beyond Vision (review here) LP, which if it isn’t a contender for album of the year is only proof of the dumbassery behind those lists in the first place. Forever in short supply are acts who’ve been together in one form or another for 30 years and are still exploring new ideas. Acid King not only did that in 2023, but righteously expanded their base aesthetic as part of the process.
I just had a whole rant here going on about how crucial Beyond Vision is for how it grows Acid King‘s sound, opening stylistic doors to synth, meditative psych, etc., but let me say this instead. These are some badass shows, and if you’ve ever seen Acid King before or you haven’t, the imperative of the moment is here. As someone who was lucky enough to do so this August, I urge you to see Acid King for this album, playing these songs (plus classics, of course). Yeah, it’s select-shows rather than 28-gigs-in-30-days or whatever, but if you’re on the West Coast of the US or can put yourself there without much difficulty, I promise you have valid reason to do so.
That’s all for now. From the PR wire:
ACID KING on tour this fall!
Following their recent European and South American live takeovers, US psychedelic doom trailblazers ACID KING have just announced their final string of shows for 2023, as they keep supporting the release of their widely acclaimed comeback album “Beyond Vision” on Blues Funeral Recordings.
Released in the spring of 2023 as part of Blues Funeral Recordings’ PostWax series, ACID KING’s new album “Beyond Vision” sees the band venturing into epic sci-fi-inspired territory, the result of a collaboration between Acid King founder, guitarist and vocalist Lori S., guitarist Jason Landrian (Black Cobra), bassist and keyboardist Bryce Shelton (Hawkwind) and drummer Jason Willer (Charger, Jello Biafra). Breaking a new record in the international heavy scene by reaching #96 on the Billboard Top Albums chart, the anticipated followup to 2015’s “Middle of Nowhere, Center of Everywhere” has garnered unanimous press from critics and fans alike, bringing ACID KING to the doom and heavy metal scene’s forefront with their thundering, swinging and trip-inducing heavy psychedelia.
Following their extensive summer European tour and shows in South America, the mighty trio is now set to come full circle with a string of West Coast shows as well as an appearance at Chicago’s Heavy Chicago Festival this fall.
ACID KING ON TOUR — Tickets on sale at this location Oct 28 – Chicago, IL – Heavy Chicago Festival (w/ Trouble, Bongzilla, November’s Doom) Nov 3 – Portland, OR – Mississippi Studios (w/ Abronia, Simple Forms) Nov 4 – Seattle, WA – Substation (w/ Simple Forms, Sorcia) Nov 17 – Los Angeles, CA – The Belasco (w/ John Garcia Band, Mondo Drag, HTSOB) Nov 18 – San Diego, CA – Brick by Brick (w/ Mondo Drag, Nebula Drag) Dec 9 – Bellingham, WA – Structures Brewery 8th Anniversary (w/ Kadabra, Dark Meditation)
Posted in Features, Reviews on August 11th, 2023 by JJ Koczan
08.10.23 – Thu. – Festival grounds
Before show
Day one. Also night one. There’s about two hours until Desert’smoke kick things off on Stage 3, but I got here early I guess basically to start writing and scope out where shade could be found. It’s not egregiously hot — I suspect the fact that the ocean is just over the large sand dune behind me has something to do with that, and the breeze is pleasant. I got a water bottle that I’ll keep all weekend barring disaster and sat down under an umbrella by one of the row of food trucks off to the side of the grounds, adjacent to the third stage.
I’ve had four espressos in about the last three hours, and so count myself as awake. There is a little cafe next to where I’m staying that has been very kind, though I think the guy running the hotel suspects I’m hiding more than one person in the room and walking back in with two tiny paper cups, which he definitely noticed, probably didn’t help my case. Nobody else, dude. Just trying to pry my eyes open.
Slept about six hours and got up, showered, grabbed coffee, finished the review of last night correcting a bunch of typos resulting from writing on my phone and no doubt missing many others. For some reason every time I try to swipe the word ‘album’ it thinks I’m talking about someone named Alvin. As you might imagine, it comes up regularly. These are the crosses to bear on a long rock and roll weekend in coastal Europe with the sun shining and the breeze blowing. To be sure, I’ve had it far worse.
Checked in on The Patient Mrs. and The Pecan to see how they were getting on, and of course they were doing just fine in the early morning at home. Today is long — I’ll still be here 12 hours from now, again barring disaster — and a quick video chat felt good to touch ground before spending the rest of the day in an ether cloud of riffs and volume. I’m curious to see how I hold up, but right now I feel pretty okay, if I can dare to say so. I’m here, which is amazing in itself.
Here’s the day:
Desert’smoke
Groovy and spacious, Lisbon instrumental four-piece Desert’smoke eased the afternoon open with warm heavy psychedelic meandering offset by moments of heavier, riff-led roll and a bit of noisier slide guitar in the end. I wouldn’t call the sound groundbreaking, but I don’t think they’re trying to be. The material they played had character though in how smoothly it shifted from one stretch to the next, solos traded between the two guitars reaping applause along the way, and the crowd in front of the third stage was into it for more than just the shade under the tent where all sets to this point have taken place. An easy nod to get lost in, which means they’re doing it right, as 2019’s Karakum (discussed here) will attest, with some lighter touches of prog to complement the trippier aspects and the grounded riffs. If you’re the type to close your eyes at a show and figure out where the music takes you, they’d be a perfect candidate for that.
—
Etran de L’Aïr
First band on the main stage — Stage 2, as it happens, which is on the left as you walk into the festival site — and they had the crowd dancing, mixing West African and rock musics together with an emphasis in rhythmic fluidity and extra-tasteful bass working in kind with the twisting guitar and the uptempo drums. Their home country of Niger recently saw its government overthrown, which is a hell of a thing to happen while you’re on tour in Europe. But as the soon-to-be 5,000-someodd people attending SonicBlast this weekend continued to trickle in, they were greeted by an engaging presence and a reminder of the often overlooked history of African rock, and psych rock particularly. You could find room to move up front, maybe even a bit of shade if you were lucky — I have a spot near a shaded fance and even a chair to sit in while writing this, so feel like I’m risking almost too much luxury, but it’s still early in the day. And by the time they were finishing up, the place was packed. Good. I hope they get home safe.
—
Mythic Sunship
Coming from Copenhagen, instrumentalists Mythic Sunship played in the likely-coveted 4:20 slot, swapping with Death Valley Girls for some yet-unknown reason. Their 2022 LP, Light/Flux (review here), was released through Tee Pee Records, and they brought a similar purposeful-in-the-jam sensibility to the live set. Humble heavy-prog? I guess that was a thing bound to happen. After Etran de L’Aïr, they came across thicker in tone as they would, but the guitar was able to float above the sharp turns of bass and drums beneath, the two sides coming together for well-placed peaks and valleys. It was fun to watch the audience shift over to the other main stage. “Okay, everybody take 35 steps to your right!” But while they were a surprise in that timeslot, Mythic Sunship by daylight was an unabashed joy and heavy to boot — though they had me wondering if it’s weird to play in front of a giant photo of yourself projected onto a screen — with runs of less guitar woven through the songs and a sensibility able to burst into a rock riff and drive that point home, not quite shape-shifting but making transitions that not every band could while sounding sure-footed and explorational at the same time, tipping into psych here and there but with clear direction in mind. I should probably buy that CD. Maybe a couple of them. Their last song was a particular burner and you could hear cheering before they were even done.
—
Sasquatch
That finish was as much a lead-in as L.A.’s Sasquatch could ever hope for, and 10-minute changeovers between bands — which you can do when you have the entire set on the stage next door to load out and in and get everything set up — assures forward momentum. I had been saying hi to the Sasquatch guys earlier, and seeing guitarist/vocalist Keith Gibbs writing out the setlist, took my phone out and snapped a picture as a goof. Bad call. He got mad, grabbed his Sharpie and pieces of paper, and was gone before I could even apologize. I felt pretty bad about it, despite the assurances of bassist Jason “Cas” Casanova and drummer Craig Riggs that it was fine, he was pissed about other stuff, etc. So yeah, stupid for even adding to whatever frustration existed prior. I was just kidding around. That photo got deleted off my phone and I’m never looking to invade privacy. One more reason I’m best sitting in front of a laptop. Lesson learned. Again.
They had some technical issues that caused them to begin upwards of two minutes late, but once they started, they were every bit the force they’ve come. I don’t know how you leave a Sasquatch set not thinking of them as one of the best currently active pure heavy rock bands from America, Gibbs paying homage to guitar gods of yore and belting out new and old material with a delivery the reach of which has only grown over the 20-ish years of the band, Cas and/or Riggs backing at various points, all three locked in solid for the duration. There were not a lot of people milling around while they played. Dinner could wait, and so it did. Crowd surfing out front as they chugged Jack Daniels. A new album next year, maybe, would be a thing to look forward to. They did have new stuff in the set, a song called “This Heart is So Lonely,” and that’s always a good sign; you might recall when they were interviewed here earlier this year, they said they were recording in May. They’re the kind of band that gets people into this music in the first place. And then they (completely unnecessarily) shouted me out before “Destroyer,” said a few very nice things, which just about obliterated me, never mind floored. Thanks guys. And sorry again. We’re all heart emojis forever as far as I’m concerned. I went to the merch tent after they played and many sweaty hugs were exchanged. It’s a high bar to set but I’m gonna see if I can go the second half-plus of this day without making an ass of myself.
—
Crippled Black Phoenix
It’s been so long since the last time I saw Crippled Black Phoenix, I had to stop what I was doing and look it up. You know when it was? 2019, at Roadburn (review here). So not actually terrible unless you count the fact that the span of 2020-’21 was eight years long. Still, that’s two Crippled Black Phoenix records ago; their latest is Banefyre (review here), the bleak brilliance of which made hearing it an act of emotional labor. They’re a challenging band anyway, expansive goth metal that’s all of those things and not really any of them. For an intro to one of their songs they had the same tune the ice cream truck by my house does, and there was definitely a part of me that perked up because I knew if my kid heard it she’d be chasing it down running in the middle of the street. Nope, just Crippled Black Phoenix adding atmosphere to atmosphere, as they will. I didn’t see any sad shuffle-dancing, but that doesn’t mean it didn’t happen, and it continues to be incredible how much this band exist in their own world in terms of style, and how that manages to be true even though they have a different lineup every time I see them, this one with two keyboardists, two lead singers, three guitars, one bass, one drums, and to their credit, they were nowhere near too much, and the rhythm section stood up to the task of pushing all that weight. Tonal and existential. And I would say it was weird seeing them by daylight, but the truth is it didn’t matter. They bring their own clouds.
—
Spy
A not-insignificant landing to stick, going from Crippled Black Phoenix’s ultra-brood to the darkly thrashy hardcore metal of Spy, who are the most outwardly aggressive act thus far into the fest, and who plied their wares with persistent intensity. They had a circle pit going, were nastier than Scatterbrainiac last night for residing on the same genre spectrum, and actually, the more I think about it, the more sense their place on the bill makes, and the more every band today has been up to something of their own. They finished 15 minutes early, as a hardcore band might do here, but figure if you slowed their songs down to the average speed around here, they might’ve hit the mark, temporal mechanics notwithstanding. For sure they got their point across. I don’t think anyone was arguing with the chance to grab a bite to eat, a beer and so forth, but they did well with a crowd that’s at least somewhat not their own. Sometimes you want that kind of catharsis. I ain’t arguing.
—
Acid King
Ah, Acid King. A balm for my sunburnt skin. “Mind’s Eye” from this year’s stellar Beyond Vision (review here) followed by “Coming Down From Outer Space” from 2015’s Middle of Nowhere, Center of Everywhere (discussed here, review here) and “2 Wheel Nation” from III (discussed here) a decade prior. What a starting three to leave you on the doorstep of “Electric Machine” from the stoner rock omega that is 1999’s Busse Woods (featured here, discussed here) tone dense enough that you could feel the ground shake. Founding guitarist/vocalist Lori S. is joined by the ace-in-sleeve rhythm section of bassist/synthesist Bryce Shelton and drummer Jason Willer, who also played on the latest record, and it was my first time seeing this lineup but they sounded incredible. And as much as Acid King are considered a legendary band in underground heavy, I don’t think they get nearly enough credit for the lessons in grooves, riffs and the ability of a song to be outrageously heavy and still laid back, mellow. “Destination Psych” into “Beyond Vision” into “Color Trails.” That’s a fucking jam. Look. If you wanna pick favorites, Acid King are high on my list and as far as I’m concerned, stoner rock doesn’t exist without them. AND they’re growing as a band after three decades since starting out. There’s not a lot of bands I could listen to any time, regardless of mood or circumstance, but Acid King are always more than welcome in my ears. And with the kind of volume they had at SonicBlast, only more so. It was full across both stages, and they brought the sun down. Glorious.
—
Death Valley Girls
Second band of the day from Los Angeles. Planet Earth is weird. Death Valley Girls took off running at the outset and only really stopped to say thanks and how strange it was for them since their normal singer was stuck in L.A. unless I completely misinterpreted what they were saying between songs, which is possible because I’m old and have hearing damage. I’m not sure the crowd knew the difference. I wouldn’t have if they’d said anything. Nothing seemed missing from their arrangements, with vocals handled by their bassist and another singer with a floor tom — which I wholly support; more floor toms, and I’m not being sarcastic — and they weren’t any looser than their heavy garage psych meets ’90s alt rock vibe warranted. Mostly uptempo but not rushed sounding, they seemed to dare toward fun in a made it almost too perfect they were playing the same day as Crippled Black Phoenix — one of whose six-stringers had an explicit ‘no fun’ sticker on the body of his guitar — and that went over well. I don’t know how familiar the crowd was generally, but I didn’t know them and whatever their situation was lineup-wise that perhaps was the reason why they switched slots with Mythic Sunship, they acquitted themselves well. I’d check out a record, gladly.
—
OFF!
I was neither cool enough nor the right kind of uncool enough to be a punker, but even I know who the fuck Keith Morris is, and he’s my favorite of the various singers Black Flag had during their original run. The First Four Years, man. Their moniker taken from yet another brand of bug repellant, OFF! is Morris (lest we forget to mention Circle Jerks), guitarist Dimitri Coats, bassist Autry Fulbright II and drummer Justin Brown, and the crowd was packed in front of the stage 20 minutes before they went on, buzzing. I had gone to get coffee, and that turned out to be well timed ahead of their set, which made traditionalist hardcore punk sound new in a seemingly impossible way. They put out their first record in eight years (their fourth overall), Free LSD, in 2022, and they’re at the top of the bill tonight to support it, though not playing last by any stretch. They were unipolar in their manic push and gallop, and Morris was very much at the center of the circus. I don’t own an OFF! record and I’m not sure I’ve ever written about them since their inception in 2010 (I checked that and it’s true save for the announcement they were playing here), but having now seen them, I’m glad I did, which puts me in decent company I think with just about everyone here. Stripped down as it would have to be, but holy shit that’s loud.
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Hällas
This was my second time seeing Hällas in about two months, so safe to say their futurist space progressive rock was fresh in mind. They had been warmly welcomed at Freak Valley (review here) and were perhaps more so here, with the crowd at the front of the barricade singing along, fist-pumping and so on. Riffs a-blazin’, keyboard with that gorgeous proggy krautrock sound that’s 50 years old and still ‘The Sound of Tomorrow!’ (to be read in a big booming voice), they were on, though to be honest, this is the third time I’ve caught them live and I’ve never come away disappointed. Are they likely to take over the world with their theatrical heavy space whatnot? Probably no. But in another abrupt aesthetic shift, they followed OFF!’s set with textures and a presence that was no less their own. I think I might like this band. Anything but that! Not another band! Nonetheless, they’ve been at this for at least 12 years now, so while they’re a young band in my head, they’re ab established band, and it seems like maybe it’s time for me to dig into their records for really real and see where I finally stand. 2022’s Isle of Wisdom a good place to start? Guess I’ll find out. I remembered “Star Rider,” which is on their first LP, so that’s something. I’ll figure it out. Party like it’s 1975. I swear I saw meteors steak the sky when they were done. Conjure the perseids.
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Kadavar
It’s been a very long tone (really) since I saw Kadavar last. Three or four records, like. The Berlin-based classic heavy rockers — who in the interim have put themselves on the path to become a classic band as well — added second guitarist and backing vocalist Jascha Kreft to become a four-piece, and hearing them play older songs like “All Our Thoughts” or even “Die, Baby, Die” from 2017’s For the Dead Travel Fast (review here) — I guess it’s all pre-lineup change since it’s not like they’ve done a record since March when Kreft’s joining was announced — but you could hear the difference this six added strings were making in the fullness of their sound, Kreft on a long riser with drummer Tiger while guitarist/vocalist Lupus Lindemann and bassist Simon “Dragon” Bouteloup held it down on the stage, swing and strut to spare. What songwriters they are. Here’s a Kadavar track you haven’t heard in about six years. No worries, you’ll remember it. Their sound has expanded since their early days of vintage worship, but no matter where they go, they bring the songs with them. And with Kreft serving keyboard/synth and backing vocal duties as well, they’ll likely keep growing. That ethic, the memorable craft, the not-tired-of-it-yet performance from all of them; it makes it easy to see them as one of the best heavy rock bands of their generation, with a legacy carved in stone and a refusal to stagnate that exists alongside an ability to blast out “Doomsday Machine” near the end of the set like they just wrote it. Bands like this don’t happen all the time. I already knew I let it go too long without catching a show, so that wasn’t news, but I’m glad as hell not to have missed this one.
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Deathchant
Amp blew in the first song. Maybe second. Early, either way, but they kept it going, got a new head and before much real-time had passed, Deathchant (the day’s third and final L.A. band) were ripping anew with their gritted-up dual-guitar/dual-vocal NWOBHM proselytizing. I won’t lie to you and say I stayed the whole time. It was getting on 2AM and I still had work to do writing and sorting photos, but rest assured they were loud enough that as I walked up toward the beach and off the fest grounds to make my way back to the hotel, I had the urge to put my earplugs back in. I probably should have, but was distracted as I walked out of the light and realized the sky I was standing beneath. To look up and see the Milky Way bifurcating a night’s stars that I don’t know, with the resonant low frequency wub of Deathchant behind me and the illusion of privacy in that very dark little stretch of beach between one boardwalk and the next, separated from everything I might’ve screwed up today and everything I didn’t. Me, neck craned to the cosmos above, riffs echoing in the distance. The only part that was weird was that it was real and I was living it. While Deathchant were kicking plenty of ass and leaving a mark in that regard, I think I’ll probably always associate them with that minute, maybe two, of my existence. Something they were part of that they’ll probably never know about. It’s quite a galaxy.
—
Back to the day’s various successes and failures. I failed at food. Had like three forks of the almond butter I brought from home (not mine; store bought; still good) before going to the fest and more when I got back to the room and that was it. On every level, the wrong choice, and it didn’t really feel like it was one. I’m doing my best.
Success? The day, really. I met more super-nice people, and apart from the misunderstanding with Gibbs from Sasquatch, I think I managed to go the entire 12-hour shift without directly alienating anybody. Maybe. And even that got worked out. I had my sunglasses on. He didn’t know it was me. Indeed, other shit going on. Sometimes you get wound tight and it doesn’t take much to set you off. I felt bad. I still do, but that’s how I roll. But it was a great day. I even saw the Ruff Majik guys again for a bit. They’re staying in the same place I am.
I also took over 1,300 pictures today, which I have to think I might not do if I was a better photographer. Ha. Anyhow, some of those will end up at the bottom here, but I’m not even going to start sorting them tonight because I’m so god damned tired. Good night, thanks for reading and, I promise before this is posted there will be more pics after the jump.
Posted in Whathaveyou on May 18th, 2023 by JJ Koczan
I don’t feel the need to even really say anything here. The lineup speaks for itself. And those who go to this year’s RippleFest Texas will also speak of it, for years, probably in a similar way people now talk about having been at this or that Emissions From the Monolith when that was going on in Ohio. The stuff of legend, in other words. Yeah, you can put on a fest and try to make it cool and fun, or you can do something like this and make it the highlight of everybody who attends’ year.
Kudos to Lick of My Spoon Productions and Ripple Music on a job well done. This will be something special. Bands have been leaked out one at a time at intermittent daily intervals, but the final lineup is out as of today, and it’s stunning. A blend of generations, a reach from on end of the country to the other, and a swath of the heavy underground all rallied in one place for a few days, pre- and after-parties included. Fucking a. If you’re attending, count yourself lucky.
As seen on socials:
Here it is! The full lineup for RippleFest Texas #3! This will be one for the ages with a stacked lineup and lots of special treats in between. Get your tickets now!
Amazing art by @1horsetown
* playing the Pre-Party + playing the Afterparty
King Buffalo, Acid King, Brant Bjork Trio, Sasquatch, Wo-Fat, Fatso Jetson, Mondo Generator, Unida, The Well+, The Atomic Bitchwax, Telekinetic Yeti*, Duel, Forming the Void, Hippie Death Cult, High Desert Queen*, Avon, War Cloud, Rubber Snake Charmers, Spirit Mother+, Kind, Nick Oliveri, Thunder Horse, Royal Sons+, Restless Spirit*, (Big) Pig, Fostermother, Dead Feathers+, Rainbows Are Free, Warlung*, Sun Voyager, Red Mesa, Dunes, Tia Carrera+, Mr. Plow, The Heroine*, Michael Rudolph Cummings, The Absurd+, GoodEye*, Red Beard Wall, God Damn Good Time Band+
Plus a “Legends of the Desert and Friends” jam session to close out Saturday night!
And as always, the visuals by The Mad Alchemist Liquid Light Show
All-Access passes are SOLD OUT! All we have left are 2 Day Passes and Pre/Afterparty tickets available. Many more bands to be announced! Get your tickets now before the full lineup is revealed and the ticket price goes up!
Some of the best heavy rock records of all time were released through Man’s Ruin Records. We’re talking about pivotal, genre-defining releases that continue to resonate some 20-plus years later, which in rock and roll time is an eternity. Some bands are still active and contributing, and some have left it behind, but in light of the sudden passing last week of artist and label-founder Frank Kozik, it felt right to take a look at that portion of his life he spent fostering bands and some of the impact that music has had on, at this point, two subsequent generations of heavy.
I’ve told this story before, but maybe in 2004, I was at SXSW in Austin, Texas, meandering off 6th St. in order to find a show happening in a record store. Went under the highway bridge and all that to get to Snake Eyes Vinyl. I don’t think it’s there anymore, but at the time they were hosting bands as part of the whole SXSW thing. They moved bins and so on to make room for amps, or had artists play outside; I sat on a hill and saw Kylesa on the back of a trailer on a sunny afternoon; Drunk Horse and Saviours shared the ‘stage’ inside, etc.
The narrative in my head is that I was waiting for either Drunk Horse or Saviours — I honestly don’t remember — to go on, did some shopping in the interim, and stumbled on a motherlode of Man’s Ruin CDs. Some I had, many I didn’t, but with the label defunct two years prior, the stuff was already becoming rare and, on eBay, not cheap. I grabbed a stack that was no fewer than 10 discs — including Drunk Horse — and made my way to the counter to pay, only to find out that they belonged to Becca, the woman who ran the store. She was visibly sad to be parting with them.
I said that it was okay, I would give them a good home and take care of them. And I did. I still have them the better part of two decades later. It tells you the kind of connections that listeners made to the music that Kozik put out that, even when she had decided to sell them in her shop, it was hard to let go of those albums. Kozik’s work with Man’s Ruin was special, and the heavy underground has worked on a label-as-hub model since, whether it’s imprints like Small Stone, Ripple Music, Heavy Psych Sounds, and so on. Not only is Kozik’s output through Man’s Ruin still relevant aurally and visually, but it continues to shape the structure of heavy rock’s promotional and distribution apparatus. One does not generally think of a small business as influential.
Yet here we are. Some of the below was hoisted from social media, and some folks I hit up direct or through PR, but through it all, the spirit of thankfulness is palpable, and I’ll add my thanks to that, because there’s no way I’d be sitting here writing this sentence right now if not for Frank Kozik and Man’s Ruin Records. Heavy music owes him a debt it can never repay.
Thanks to all who took part in this, and thanks as always for reading.
Lori S. from Acid King:
Wow (#128558#)(#128546#). Um…. Don’t know what to say . Man’s Ruin and Frank were a huge part of my life and always will be . Thank you for releasing our records creating a scene that didn’t exist and for the endless amount of cool artwork that will be on planet earth way longer than all of us R.I.P.
Sometime like, 94-96 I went to visit my friend, Tim Moss in San Francisco. While running around we stopped at Man’s Ruin where he introduced me to Frank Kozik and Frank being the nice guy that he is, let me grab a bunch of posters. I was freaking out. His label opened my ears to so many bands who later would become family. His art has always been a part of my life. Below is one of the prints he let me take and it was the very first piece of art we hung at Jackalope. Oh shit and then that amazing Man’s Ruin fest at the Troubadour w/ Scott Carlson, Lori Joseph, Rich Hay, Scott Reeder and lord can only remember who else (#128514#). Thanks for everything, Frank. Rest easy.
Fatso Jetson:
Our music and art scene has lost a true godfather, Frank Kozik believed in the unique music from our desert and was responsible for some of the most influential recordings, all were released on his Man’s Ruin label. From Kyuss to Queens of the Stone Age, Brant Bjork, the Jack Saints, Desert Sessions….the list goes on and on. We are so grateful and honored to be part of his history. Thank you Frank …Fatso sends love to you and your family brother. God Speed.
Brant Bjork (Kyuss, Ché, Fu Manchu, solo):
I was having dinner with Frank Kozik one night in SF and he asked me if it was true that I was going to record a solo record. I said yes. He said he wanted to put it out. The result was Jalamanta. That was in 1999 and it was my first solo release. I had no idea then I’d still be releasing solo records 24 years later. Thank you Frank for believing in me and all the other artists and bands you believed in. It takes one to know one. Frank was, still is and will always be… a true artist. ❤️BB
Eddie Glass of Nebula:
Frank was such a cool dude and played a legendary part in the scene when it was coming up. It was so cool being on his label because he would design the covers and the Sun Creature EP came out perfectly. He will be dearly missed.
Amanda Topaz from Begotten:
Frank Kozik was a friend at a time in my life when it was really hard to be my friend. His unexpected death makes me incredibly sad an my thoughts are with his wife Sharon. Although I Haven’t seen him in twenty years I am so grateful for his generosity. I don’t think cats now realize the extent of what he gave us because now the Spotify AI Algorithm picks out what you listen to every day, AI makes your music videos for you, for all I know AI is generating your riffs for you too. But back then in New York, finishing up music school where I was lucky enough to have one of Coltrane’s bass players as a teacher – and he would tell us – We can teach you how to play the music but you have to understand that it’s the soul of our generation – we created it in the streets and in the clubs -. Imagine then as a lost child hearing THE MELVINS for the first time – this sound from the Bay Area all the way across the country – for the first time at 1 in the morning from some cd bought in an underground record shop in a back alley with a group of friends. Or the desert sessions. Or Acid King / Kyuss / Nebula/ High on Fire. It was life-changing. This was the sound of OUR generation. Kozik handed it to us on a Man’s Ruin platter. Didn’t make a dime off it – he supported the company with poster and art sales as far as I know. And he was nice enough to give our big ugly maroon 89 Chevy van the name, “La Guappa”.
Lou Gorra of Solarized (also Halfway to Gone):
Frank was a brilliant artist. We all know that. I was so incredibly humbled when one of my favorite artists of all time signed my dopey little band to one of the coolest labels of the twentieth century. My time making records for Man’s Ruin was short lived, but the memories I made during that time will remain with me for the rest of life. I’m so incredibly sad that there will be no more new Kozik art for the world to love, but I’m tearfully grateful that my music can be referenced in his monolithic legacy, even in the most minuscule way. Thank you Frank. RIP
Darryl Shepard (ex-Roadsaw, currently Kind, etc.):
Seeing as how Craig and I were both in Roadsaw and we both play on this record, I feel this should be posted here as well: Not enough can be said about Frank Kozik. His artwork defined a subculture. His record label Man’s Ruin kickstarted the global stoner rock underground into high gear. The heavy underground rock scene would not exist the way it does now without his involvement. That is not hyperbole. Roadsaw was fortunate enough to release a 7” on Man’s Ruin. We went to his art studio in San Francisco while on tour and met him while he was screen printing the covers. We played the Bottom of the Hill that night and he personally dropped off the records at the club so we’d have some to sell. An absolute legend in the art and music worlds. R.I.P. Mr. Kozik. And thank you.
Sergio Ch. of Los Natas (currently Ararat, Soldati, solo, etc.):
Frank gave me the opportunity of my life. He believed in my work and shared it to the world. Got me into the big leagues just trusting some guys from Argentina and their love for music. I wouldn´t be standing where I am right now if not for is help, art and determination. I remember after recording album Ciudad de Brahman, back in San Francisco 1999, we piled into his truck and took a ride, just pumping the album’s mix cassette tape into the car’s player. He looked at me right into my eyes in a stop light and told me, almost breaking in tears, “Sergio, your music has spirit. Never give up. I am old and tired but you must keep doing what you do.” A few [years] later, Man’s Ruin Records announced their closeup and I got a huge UPS box right at my home in Argentina, including the one inch tapes from Natas’ Ciudad de Brahman album. along with a release rights letter from Frank. What a gentleman. Will miss you Boss, thanks and love foreva.
Erik Larson of Alabama Thunderpussy:
I didn’t know Frank Kozik as well as I would have liked to, but the fact that I knew him at all is nothing short of fantastic. When we met, I was just some Metal-Punk from Virginia, and yet the man showed me and Alabama Thunderpussy nothing but encouragement throughout the years we had a working relationship. I could always count on a no bullshit opinion from him. Frank didn’t seem to tolerate bullshit. His whole approach to Man’s Ruin Records seemed to be a testament to that viewpoint, and a ‘pay attention to what’s important right now’ attitude that kept things exciting, challenging and precarious all at once. I think it is safe to say Alabama Thunderpussy would never have achieved as much as we have, had it not been for that first opportunity Frank Kozik gave to us. I’m forever grateful to him for that.
Jim Hogan of Solarized (currently Defiance Engine):
When Frank Kozik ran Man’s Ruin Records, he helped our band, Solarized, more than any other label we ever dealt with. He offered a 50% profit split, made us store posters, and he made custom screened posters for when we toured. Eventually the label folded, but he helped hundreds of bands, and he and his crew released a whole lot of great albums. His poster art, his custom vinyl toys, and his record label were nothing short of amazing. He was the only guy we ever knew who got interviewed by Newsweek. He was an outstanding human being and he is truly a brother lost.
Reg Hogan of Solarized (currently Defiance Engine):
We send our heart felt condolences to Frank’s family and friends…Frank did more to elevate scene awareness, with his passion and love for the music, than most of the music industry. We are grateful he took a shine to our brand of Jersey swamp rock.
Arthur Seay of Unida:
Was an honor to have Frank release our Unida record ‘Coping with the Urban Coyote’, which really put us on the map and allowed us to tour Europe and caught the attention of the majors lol. He was a true artist, gifted, talented and crazy as fuck.
Jason Casanova of Tummler (currently Sasquatch):
Frank was the man. Not only for his art, but his vision for Man’s Ruin and the music scene that it created. I can’t thank him enough for giving my old band Tummler a shot at putting out a record back in the heyday. The smoking bunny will live on forever. RIP dude. You rule. – C
Johan Rockner of Dozer:
RIP Frank Kozik ❤️
He signed us back in ’98 and released our two first albums In the Tail of a Comet and Madre De Dios. He was one of those who believed in us, which we are forever thankful for. Without him Dozer would not be were we are. We met him in Stockholm at his exhibition “the Stockholm job”, a really cool and down to earth kind of guy.
Ben Ward of Orange Goblin:
Sad news this morning that the legendary artist Frank Kozik has passed away. Frank did some great artwork for Orange Goblin over the years and his label, Man’s Ruin Records, was responsible for some of the coolest releases in various genres from the mid to late ’90s. His artwork lives on forever and Frank will be remembered as a kind, funny, intelligent and humble man with a very unique style and he will be missed. Condolences to his family and friends. Thank you Frank, RIP.
Sons of Otis:
RIP Frank Kozik(#128128#) Mad visionary. The ONLY label that ever paid us.
Posted in Whathaveyou on March 27th, 2023 by JJ Koczan
This past Friday was the release date for Acid King‘s stunner of a new record, Beyond Vision (review here), and to mark that happy-for-the-universe occasion, they and their Euro booking agency Sound of Liberation — US is Nanotear — announced that in accordance with a couple already-unveiled fest appearances at SonicBlast, Hoflärm, and so on, they’ll be connecting those map dots with a string of headlining tour dates.
Two reasons why this matters. Okay, three. First is the album they’re touring for, which is a career accomplishment with a more expansive and psychedelic sound than they’ve fostered in their 30 years. Second, that 30-year anniversary, which is this year, should be more than enough to motivate asses from couches, especially in light of the fact that (third), unless Beyond Vision — and yes I’m going to plug the review again, because I worked really hard on it — suddenly sells through 100,000 copies (not to say it shouldn’t or couldn’t), or outdoes Stoned Jesus in YouTube plays, or meets whatever measure of “is a massive popular success” defines that right now, they’re probably not going to be on the road for months at a stretch. See them while you can, is what I’m saying to you.
And considering they’re fucking Acid King, that’s probably all I need to say about that, as much as I needed to say anything The album was made as a four-piece but Acid King will travel as a trio, and word of the tour follows as per the PR wire:
ACID KING “BEYOND VISION’ TOUR + NEW ALBUM
USA‘s iconic doom institution ACID KING celebrate the release of their new album. „Beyond Vision“ is out now!
And what’s the best way to celebrate a new album?
Exactly. By going on TOUR!
Sound of Liberation proudly presents: ACID KING – BEYOND VISION TOUR 2023
You know what to do. Grab your copy of „Beyond Vision“, grab your ticket for the concert near you. And with the ticket in your hand you can headbang in front of your record player until you can finally headbang in the front row.
Posted in Reviews on March 23rd, 2023 by JJ Koczan
It is both a seeing-beyond and a beyond-seeing, this Beyond Vision. It at very least is a vision beyond anything Acid King have ever done on their four prior albums, as founding guitarist/vocalist Lori S. revamped the group in collaboration with Jason Landrian (also Black Cobra) on guitar and songwriting, bringing on the rhythm section of bassist/synthesist Bryce Shelton (also Nik Turner’s Hawkwind) and drummer Jason Willer (Jello Biafra’s Guantanamo School of Medicine). In the now-30-year history of the band, nothing under their name has attempted this magnitude of sound. They’ve never been so psychedelic or atmospheric, and they’ve been both for a long time, most recently on 2015’s under-lauded Middle of Nowhere, Center of Everywhere (discussed here, review here), but Beyond Vision takes the terrestrial grooves of their past output and launches them into the ethereal. And from the moment they set forth through space into the roll of “One Light Second Away” and on through the first guitar solo, there is a fluidity to Beyond Vision that’s refreshed while still definitively Acid King. It’s like they got a reboot and that means something more than just it’s too dark to see what’s happening in the episodes.
That’s before you step into the “Mind’s Eye” and get to the fact that “90 Seconds” is just under five minutes long while the later interlude “Destination Psych” is just over 90 seconds and the bending of time required there or the Author & Punisher-plus-organic-drums thud and earth-shake at the launch of “Electro Magnetic”; the stunning realization there, before it goes so deep and far into standalone guitar that even the arrival of the also-standalone-guitar at the beginning of the title-track seems like a respite, never mind the nod or airy float of the vocals or the utter gorgeousness of the bassline. On and on they ooze through ground familiar and new, through not ground at all, the latter emphasized on the kraut-via-Clockwork–Orange intro to closer “Color Trails,” which is followed by plodding toms and a riff presented in tone worthy of Tony Iommi himself (I mean that), a full instrumental breadth and a dramatic finish around that same thud, the long-established partnership with producer/engineer Billy Anderson once again resulting in a malleable and thoughtful mix, spacious enough to be the band’s own world while still able to account for the largesse of riff that remains a core aspect of their style, even as the context surrounding has evolved toward atmospheric intangibility.
Collecting seven tracks with a runtime of just over 42 minutes, Beyond Vision builds on the less-terrestrial aspects of Middle of Nowhere, Center of Everywhere, but its reach and the purposeful use of synth give it a character that still feels like a departure. Crucial to the telling is “One Light Second Away,” which even as the bass rumbles early in the fading-up ambience does a lot of the work in placing the listener where the band wants them. Some lightly foreboding swells of melodic keys coincide with organic bass and undulating waveforms of amplifier hum, and when the first strum hits at two minutes in, it’s a moment of clarity clearing away the surrounding murk. But while the entire six-minute stretch is important in terms of how it introduces the mood and dimensionality of the material that follows while also conveying the instrumentalist focus, those barely-there-at-first beginning two minutes are even more essential to Beyond Vision; a call to abandon consciousness and be absorbed. To get lost and trust the radiating currents of matter, energy, fractured molecular detritus, etc., to carry you from the start to see what resides at the end.
By 2:30, guitar, bass, drums and synth are all nodding, but Acid King claim their place in a mellow-psych movement they helped create even as they seem exploratory in their build, an echoing lead emerging over a welcoming sans-vocal chorus before the march resolidifies, reminding of Om‘s meditations but setting up a more straight-ahead guitar solo that carries them into the song’s final minute and a repeat of that rise-and-fall guitar hook. Synth is given room in the mix (there’s plenty) to become no less of a contributing factor than any other instrument in moving toward the last residual noise that transitions from “One Light Second Away” into “Mind’s Eye,” a strum and lead-note answer from the guitars willfully slow in the first minute as Acid King for the first time prioritize resonance over impact while offering both. Amid full fuzz buzz and a progression that feels constructed in part to answer that last stretch of “One Light Second Away,” “Mind’s Eye” assures there’s a guiding hand here, and still benefits from the soothing motif of what’s come before as it touches ground and rolls decisively forward. The first words on the album, delivered of course by Lori, are the invitation to “Step into the mind’s eye,” and though nearly a quarter of the runtime has passed before that verse starts — almost 10 minutes of a 42-minute LP, so not quite 25 percent but pardon the fuzz-tone math and take it as a signal of Beyond Vision‘s instrumental emphasis — that it exists at all is something of a snap to reality, even as the verse-ending line “You are on your way…” has rarely seemed so true.
Atop consistent ping-ride and crash and kick from Willer, the riff changes to more of a twisting bridge before smoothing out again on the interplay of big-hug-chug and fuzzy pepper-notes, shifting easily into and through a solo before going back to the verse, layered in the word “eye,” only one line changing from the first time through. The lyrics are hardly an afterthought — they’re the guide — but are intended to be taken as a piece of the entirety rather than a separate element, and as much as they provide a (literal and figurative) human communication from within so much nebular f0g, they serve the double-function of setting and enhancing the otherworldly motif of Beyond Vision as a full LP and become part of the flow that leads from one movement to another, less predictable as the record plays out because they might not always be there. “Mind’s Eye” rings out on a held guitar note that shifts into subtly churning synth and melodic hum in the intro to “90 Seconds,” the shape of which is revealed gradually with a verse over the low-end rumble, a kind of Lori-as-chant effect taking hold whether through layering or effects before the drums crash in just past the two-minute mark, a cavernous psychedelic doom soon resolved in lush melody ahead of a section of final crashes and a sweep into the noted synthesizer-plus-drums thud “Electro Magnetic.”
At 8:17, “Electro Magnetic” is the longest single inclusion on Beyond Vision and a key manifestation of Acid King‘s goals in moodcraft and instrumentalist contemplation. At the same time, the procession across the first half of the song in sparse guitar, timekeeping tom work, and synth-led nod reminds of “Carve the Five” from the band’s 1999 landmark second album, Busse Woods (featured here, discussed here, etc.), and so both reaffirms that Lori has dwelled in these kinds of spaces before even as the manner in which she and the rest of the band do so has changed (let alone the personnel), and grown more patient. The triumph of “Electro Magnetic” is declared at 4:02 as the drums mark the turn into the central riff of the song — which would remind tonally of Shrinebuilder if Shrinebuilder hadn’t been reminding of Acid King — and the march through a crescendo wash of fuzz and airy soloing, more severe than most of what’s landed thus far but not at all out of place for its obscured familiarity. After six minutes in, they shift back to the synth and drum repetitions, guitar complementing more than leading, and slowly begin to deconstruct, leaving the guitar as the last thread to depart, having said not an actual word but conveyed much, both answering and expanding on “One Light Second Away” as they course into side B’s subsequent molten ceremony.
Likewise instrumental, but more guitar-based at its core, the title of the 1:36 safe-to-call-it-an-interlude “Destination Psych” is referenced repeatedly in the lyrics of the penultimate “Beyond Vision,” though whether psychedelia is the destination of your journey or it’s “Destination Psych” like a destination-wedding, where the psych is happening in this place and you need to get there, I’m not certain. One way or the other, “Destination Psych” is the lead-in for the final movement of Beyond Vision, which encompasses it, the title-track that follows, and “Color Trails” at the end. It is the last track with vocals — three of seven, the final tally — and no less dug-in than anything prior, with a standout bassline from Shelton that feels like a call to prayer for those who’d worship Black Sabbath, starting after the languid solo turns into the final verse and makes its presence felt as “Beyond Vision” moves into its final minute, more active but not overblown in its payoff, the crash and rumble held for a long fade into the transitional buzz before the stark guitar and bass notes start “Color Trails” with a sense of comedown that’s undercut righteously by the mounting intensity of the piece as it moves into the section of riffing mentioned above, Lori answering the bass with her own Sabbath moment soon met by Willer‘s drums, which start on cymbals and kick but shift into increasingly furious tom fills, circular in their pattern as they’d almost inevitably be, but stretched for one last forward push.
Some of “Color Trails” bring to mind a song like “Laser Headlights” from Middle of Nowhere, Center of Everywhere, or the buzzing leads of “Silent Pictures,” but the proportion has changed, and as Acid King return to that headspinner of a drum stretch, this time punctuated with cymbals and double-kick and, eventually, snare, the sense is that they’ve pushed as far as they can push and the only thing to do is end it, which they do as the guitars cut out and threaten a return, sweeping back in not to begin anew but to pull the drums down with them this time, leaving heavy silence and an echo in the mind of the listener of the scope of their accomplishment. Though it might sound like it on first blush because it’s so utterly entrancing, Beyond Vision does not meander. It is not sloppy, or haphazard, or unaware of itself. Instead, it is exactly what the band, particularly Lori and Landrian as songwriters — though it seems fair to imagine Lori has final say on everything they do — want it to be, and it manifests a new degree of immersion matched in wholeness of craft and boldness of sound that makes it a career album perhaps even more special because it’s not Acid King‘s first. They may not release records every year or two or five — though to be fair, they did offer Live at Roadburn 2011 (review here) in 2022 — but they’ve yet to put one out and have it not feel like a landmark.
What happens after Beyond Vision is anyone’s best guess. I won’t speculate, and neither will I feign impartiality about the band’s efforts here or in general. I’m a fan. There. And in the interest of full disclosure, I’ll mention the liner notes I wrote for the PostWax release of the album, for which I was compensated, but if you think I was working the long con covering the band for the last 14 years to start raking in cash one time or that I’m somehow hyping up their work for my own financial interest, well, I’m not, and I’m pretty sure that money doesn’t exist even if I wanted it. The horrifying truth is that Acid King have thrown open creative doors with Beyond Vision and stepped into a new era for them as a band. Not just because there’s some synth or industrial beats, but because they’ve dug deep enough into their sound that they’ve uncovered new facets of it, dreamlike and sublime, memorable and sprawling. It was already long past time to start thinking of Acid King among the greatest acts heavy rock and roll has ever produced. Beyond Vision brooks no argument in sealing their place among these giants. Recommended.
Acid King, Beyond Vision (2023)
Acid King, “Destination Psych/Beyond Vision” official video
Posted in Radio on February 3rd, 2023 by JJ Koczan
Yeah, I realize that I say the same shit every time I post a Gimme Metal playlist, but this is a good god damn show. New Simple Forms to start, new Sandrider, Merlock, Acid King, Polymoon, REZN, some WyndRider and Strider — both reviewed in the last week or so — then on to Enslaved as a shift into meaner fare with Tribunal, These Beasts, They Grieve, Fuzzy Grapes and Mammoth Caravan touching on various points in gruff doom and sludge before I come on again to mouthfart or whatever it is I do around saying ‘thanks for listening’ and turn it over to an 18-minute finish from Clouds Taste Satanic, who’ll head to Europe this Spring to support the 2LP record they released today on Majestic Mountain. Good god damn show.
There’s a flow to it that I like, from the Pacific Northwestern takes of Simple Forms and Sandrider at the outset to the lumbering of Mammoth Caravan before that last voice track, it has a groove. Because it airs at 5PM on a Friday evening, I’m not always able to blast out the show while I try to keep up with the chat — that’s Sesame Street time, these days, and all volume conflicts are resolved by my being yelled at and turning down the music, putting my phone on the lowest volume and holding it to my left ear or stepping out to the back yard to get stoned and listening there for a bit — but Dean Rispler, who actually assembles the thing from the playlist I turn in, is a genius and I always know that he’s got it down when it comes to conveying the flow from one song to the next. I rely on that, and he nails it every time. It honestly makes me look forward to these Fridays more.
If you listen, I hope you dig it. Thanks for reading either way.
The Obelisk Show airs 5PM Eastern today on the Gimme app or at: http://gimmemetal.com.
Full playlist:
The Obelisk Show – 02.03.23 (VT = voice track)
Simple Forms
Unprecedented Uncertainty
Unprecedented Uncertainty
Sandrider
Alia
Enveletration
Merlock
Onward Strides Colossus
Onward Strides Colossus
VT
Acid King
Beyond Vision
Beyond Vision
Polymoon
Set the Sun
Chrysalis
REZN
Possession
Solace
WyndRider
Creator
WyndRider
Strider
Midnight Zen
Midnight Zen
Enslaved
Forest Dweller
Heimdal
Tribunal
The Path
The Weight of Remembrance
These Beasts
Code Name
Cares, Wills, Wants
They Grieve
Wither
To Which I Bore Witness
Fuzzy Grapes
Sludge Fang
Volume 1
Mammoth Caravan
Petroglyphs
Ice Cold Oblivion
VT
Clouds Taste Satanic
Flames and Demon Drummers
Tales of Demonic Possession
The Obelisk Show on Gimme Metal airs every Friday 5PM Eastern, with replays Sunday at 7PM Eastern. Next new episode is Feb. 17 (subject to change). Thanks for listening if you do.
Posted in Whathaveyou on January 17th, 2023 by JJ Koczan
This shit’s so good. So good. As a result of doing the liner notes for the PostWax release of Acid King‘s Beyond Vision, I’ve been fortunate enough to live with the record for a while, and it remains a pleasure. A completely revamped lineup — a four-piece that has founding guitarist/vocalist Lori S. joined by Black Cobra‘s Jason Landrian on guitar/synth, as well as Bryce Shelton on bass and Jason Willer on drums. They’ve got a video up, and it’s just a beautiful thing to behold, the way so much of Acid King‘s sound is still there, but it’s been expanded on in this batch of songs, the contributions Landrian brings in, the unflinching groove on which it’s all based. It’s a gorgeous record.
I think Postwaxers got their download codes already, if not their vinyl — and I’m not gonna tell you to subscribe to a thing or not; especially not something that’s paid me to write (the liner notes, that is; I’d be writing this shit anyway) — and to the general public, Beyond Vision will see the light of day on March 24. It’s one of 2023’s best, just so you know in advance. Also, I’m gonna get me one of those t-shirts come payday.
From the PR wire:
Stoner metal icons ACID KING announce new album “Beyond Vision” on Blues Funeral Recordings; first video and preorder available now!
ACID KING, the pioneering heavy rock band fronted by the inimitable Lori S., return with “Beyond Vision” this March 24th on Blues Funeral Recordings, an album that sees the iconic San Francisco-based band lean into psychedelia and the avant-garde. Watch the video for “Destination Psych/Beyond Vision!”
The 7-song, 43-plus-minute collection was recorded to two-inch tape courtesy of Dead & Company at Sharkbite Studios in Oakland, California. Acid King founder and guitarist/vocalist Lori S. worked hand in hand with Black Cobra guitarist/vocalist Jason Landrian, with the pair sharing writing and production credits. The band is rounded out by Bryce Shelton (Nik Turner’s Hawkwind) on bass and synthesizer, and Jason Willer (Charger, Jello Biafra) on drums.
On the new direction, Lori explains: “The band was never really that psychedelic, but this is definitely more trippy because we’ve got keyboards and synthesizers. That’s something we’ve never had before on Acid King records. The songs really have no beginning or end — they all just flow into each other. It’s meant to be listened to as one piece. The whole point was to have the listener feel like they’re on a journey. If you put headphones on, it’ll take you to whatever places you’d like to go to.”
About the concept of “Beyond Vision”, she adds: “The record is based on the journey of life. Jason [Landrian] and I were having these heavy pandemic conversations at the practice space for two years, talking about all the stuff you go through being in bands, touring, your relationships in life, all that stuff. You think this trip is supposed to go one way, but it goes in very different ways that you can never imagine.”
It’s not just life on Earth she’s talking about. “Beyond Vision” contemplates life on Mars, life on the moon, and death in the furthest reaches of space. Kubrick’s 2001: A Space Odyssey was a key influence. Then there was the mesmerizing 2019 documentary Apollo 11: “I was hugely inspired by that documentary. I absolutely love the soundtrack Matt Morton did for that. I’ve probably listened to it a million times. I really loved the journey it took me on, even without the movie. It just made me ponder life.”
Pre-orders for ACID KING’s new album “Beyond Vision” are available now from Blues Funeral Recordings on a variety of limited edition vinyl and cassette formats, as well as CD and digital.
