Review & Track Premiere: Tuna de Tierra, Tuna de Tierra

Posted in audiObelisk, Reviews on June 27th, 2017 by JJ Koczan

TUNA DE TIERRA SELF TITLED

[Click play above to stream ‘Morning Demon’ from Tuna de Tierra’s self-titled album, out Sept. 22 on Argonauta Records and available now to preorder.]

A booming Italian heavy rock underground marks yet another win in the self-titled debut from Napoli rockers Tuna de Tierra. Signed to Argonauta Records following a formative but engaging first short offering in 2015’s self-released EPisode I: Pilot (review here), the heavy psych-infused trio of guitarist/vocalist Alessio de Cicco, bassist Luciano Mirra and Marco Mancaniello (who came aboard in place of Jonathan Maurano warm their skin in sun-baked desert influences across the offering’s seven-track/47-minute run, finding a natural-sounding position between jamming and structuring and shifting fluidly between one or the other. Songs like “Morning Demon” seem to speak directly to the heavy rock tonal traditionalism born in the wake of Sweden’s Lowrider, but the later drift of “Raise of the Lights” brings to mind a dreamier take on the psych-blues proffered by All Them Witches, particularly with Mirra‘s bouncing bassline and the handclap-laden semi-interlude “Long Sabbath’s Day” preceding.

Broken into two sides with an intro for each, Tuna de Tierra‘s Tuna de Tierra gracefully builds on what the EP accomplished in setting forth on an aesthetic path, but perhaps most satisfies in the level of growth and expansion throughout its tracks. That is, they sound like a band who really learned from the experience of making their first release and set about writing an even richer and more complex set of songs from which to craft a full-length album. The progression doesn’t sound forced, either, and through extended jams like the jangly 10-minute “Out of Time” and nine-minute “Laguna” — which close side A and B, respectively — Tuna de Tierra immerse the listener in a pretense-free depth of vibe that continues to expand as the album plays out.

That linear flow — and I use “linear” pretty loosely for something that seems to delight so much in the occasional bit of jazzy, post-Causa Sui meandering — is the key element of Tuna de Tierra‘s presentation. Effective dips and swells of volume, particularly when they kick into fuller fuzz, as in the Kyuss-referential burst at the beginning of the second half of “Laguna” or the slower-grunge march that emerges in “Raise of the Lights” or even in the manner in which “Morning Demon” seems to cast out its sunrise — or perhaps welcome its demon — circa the 3:30 mark, give the listener a sense of dynamic and of the chemistry taking shape within their sound, and the drums do well to hold together these free-flowing changes, allowing exploratory moments their breadth but keeping the listener grounded in the experience even by something so simple as a tap on the ping ride amid a running bassline and airy guitar after that thrust in “Morning Demon.”

An undertone of progressive sensibility is foreshadowed in the 2:46 intro “Slow Burn,” but subtly, and the primary, first impression the long-player makes is in the guitar fuzz and the ease with which Tuna de Tierra seem to unfurl their first rollout and lead directly into the rest of what follows. Nonetheless, that progressive flourish is essential and comes through again and again in the low end and in some of de Cicco‘s more post-rocking stretches of guitar, or vocally in the penultimate “Mountain,” which finds him matching notes with the noodling bassline over tense tom work, speaking on some level perhaps to Lateralus-era Tool. Of critical importance is the way in which Tuna de Tierra meld these aspects together so that, while “Long Sabbath’s Day” marks a turning point in its position as the centerpiece track leading to the bluesier, proggier, jammier second half of the record, it’s not like it’s coming out of nowhere in doing so. There’s no interruption to the overarching smoothness occurring song-to-song.

tuna de tierra

And if there were, frankly, the album would fall flat in its mission. That it doesn’t signals an underlying consciousness on the part of the band, and one can’t help but wonder how Tuna de Tierra was composed, as a concept/thematic record or simply as a collection of songs that happened to fit together in this way, but in any case, as the “Long Sabbath’s Day” sets up the bluesy liquefaction of “Raise of the Lights,” the hardest turn Tuna de Tierra will make is pulled off with seeming ease. And once they’re there, de CiccoMirra and Mancaniello likewise have no apparent trouble in establishing themselves within the patient and spacious context that defines side B. Vocals don’t delay in arriving in “Raise of the Lights,” which owes some of its beginning tone to “Out of Time” before it — less directly fuzzed until the swaggering lead hits, but still laid back to the extreme — but the mood is casual all the same thanks to the light swing of the rhythm. Once again, a thrust of more driving riffery hits in the midsection, but though its arrival is willfully sudden, the transition back out to the track’s more serene ending portion, while nothing more then a clicking-off of a pedal, benefits from the hypnosis cast prior.

Same could be said as “Mountain” picks up from the solo-topped march-out in that final section, and though its atmosphere is slightly more brooding, the build that seems to be underway after the first minute actually restrains itself and Tuna de Tierra successfully avoid redundancy, instead allowing for a more organic exploration of the meditative feel “Mountain” elicits. One might be tempted to call it minimal, especially as the guitar gently fades to bring in the soundscaping launch of “Laguna,” but there’s actually a good deal of movement taking place. All the better, since “Laguna” follows suit, finding itself working in three stages as it gradually heads toward the payoff for the full-length as a whole. Following an initial uptick in pace and volume after 4:20 in that leads to a righteously winding solo and some particularly fuzzed bass, a stop just before the six-minute mark and a quick roll from the toms announces the push that will cap Tuna de Tierra, already noted for its Kyuss-ism.

As with the rest of its surroundings however, it’s worth emphasizing about that last segment that Tuna de Tierra do remarkably well in recontextualizing their influences, making the style their own, and that as they may be playing off the past, they’re doing so in the direction of their own future. Like the EP before it, this self-titled demonstrates marked potential in setting the band apart from the increasingly crowded sphere of the Italian underground, but more importantly, it does this by virtue of the organic presentation of the band itself, rather than some hey-look-at-us attention grab playing toward a flawed notion of uniqueness. In further casting Tuna de Tierra‘s stylistic vision and giving hints at where their ongoing development might take them, Tuna de Tierra proves to be one of 2017’s strongest debut full-lengths, and its effectiveness as such only seems to grow on repeat listens.

Tuna de Tierra on Thee Facebooks

Tuna de Tierra on Bandcamp

Tuna de Tierra on Argonauta Records

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Forming the Void: Relic Vinyl Available to Preorder

Posted in Whathaveyou on June 22nd, 2017 by JJ Koczan

forming the void

Next month will see the official vinyl release of Forming the Void‘s 2017 album, Relic (review here). Initially offered on CD via Italian imprint Argonauta Records, the Louisiana natives’ sophomore outing is available now to preorder through Lonestar Records in full-platter form, and one can hardly say it doesn’t earn the honor both in its aural and visual presentation. Guitarist/vocalist James Marshall recently took some time out for a Six Dumb Questions interview (posted here) to discuss the band’s development between their 2015 debut, Skyward (review here), and the new record, and in so doing cited vinyl as a particular goal for their latest work, so kudos and cheers to the band on seeing that come to fruition.

If you haven’t heard Relic yet — and yeah, I know you have, because you’re up on it like that — you can find the full thing streaming below. Preorder info and links follow here as well:

forming-the-void-relic

Forming the Void vinyl release date – July 28th

Following the release of last year’s impressive Skyward album, Forming the Void, originally formed in 2013 in Lafayette, Louisiana, has gained an impressive reputation for raising underground rock into realms of the previously unknown. Atmospheric, heavy and progressive yet losing none of these earnest qualities at volume, they layer their ambitions as thickly as the riffs that help transmit their visions. Newly signed to Italian label Argonauta Records, this March will see the release of their third album Relic. Like Skyward before it, it draws on one hell of a colossal sound. Summoning the towering hard rock riffs and progressive influence of bands like Mastodon, Baroness and Torche, Relic finds the four piece illustrating their bold and adventurous ideas in the most vivid of colours.

PRE-ORDER! Release: 28th of July 2017!

Coke-bottle clear vinyl is limited to 500 copies!
https://www.lonestar-recs.de/you-got-the-choice/shop/

Forming The Void:
James Marshall – Guitar/Vocals
Shadi Omar Al-Khansa – Guitar
Luke Baker – Bass
Jordan Boyd – Drums

https://www.facebook.com/formingthevoid/
https://twitter.com/forming_thevoid
https://formingthevoid.bandcamp.com/
http://www.argonautarecords.com/shop/music-/191-forming-void-relic-cd.html
https://www.facebook.com/ArgonautaRecords
https://www.facebook.com/Lonestar-Records-142216302478941

Forming the Void, Relic (2017)

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Witch Charmer Post “Copernicopia” Video

Posted in Bootleg Theater on June 14th, 2017 by JJ Koczan

witch charmer

Maybe it’s my heavy metal roots, but I remain a sucker for some good wordplay. Accordingly, the title of UK five-piece Witch Charmer‘s new track/video immediately caught my eye. Well, maybe not immediately. I had to read it twice, but once it sunk into my lizard brain, I got a legit chuckle out of “Copernicopia” — it’s like a cornucopia of Copernicus! — and the doomers back up that weighty song name with a rolling riff and trades between ethereal themes and burly delivery in the verses and choruses, so all the better. I guess when you decide to call something “Copernicopia” you have to make extra sure it doesn’t suck. Fair enough.

I hope someone will correct me if I’m wrong, but I believe “Copernicopia” is the first new material to come from Witch Charmer since the band’s 2014 full-length debut, The Great Depression (review here), which makes the track all the more of an event. Frontwoman Kate McKeown and drummer Dave McQuilan share vocal duties, first in call and response as the former brings a sensibility to the early going not unlike what Sharie Neyland did for The Wounded Kings during her time with that sadly-defunct outfit, and the latter answering with a gruff dudeliness of the sort found throughout London’s busy heavy rock underground, eventually taking the fore over an uptempo section in the second half.

The video was recorded live, and presumably the same applies to the audio, so I don’t know if Witch Charmer have a new studio release in the works or where they might be in that process, but they’re clearly been putting together songs, so however they might show up, you won’t hear me complain.

Check out “Copernicopia” below, followed by more info/background on the band. Hope you enjoy:

Witch Charmer, “Copernicopia” live Blank Slate Session

Witch Charmer perform ‘Copernicopia’

Camera/Editor: Graeme Baty. Camera: Kenzie Cairns. Sound: David Curle First Ave Studios, Newcastle, Heaton

Witch Charmer are a five piece that play a unique blend of stoner rock, doom, metal & blues to create a rich tapestry to tell stories of darkness and depression about this world gone mad.

Euphoric Curse was the band’s first EP. It was self released on Bandcamp.com as a free or ‘name your price’ Mp3 download, as well as 2 pressings of 100 CDs. It received a great response from the underground stoner rock and doom scene. The response to Euphoric Curse invited a few interested record labels, Witch Charmer decided to work with Italy’s Argonauta Records to release their debut album ‘The Great Depression’ on CD & Mp3 worldwide in September 2014. The Great Depression was also released on Limited Edition cassette by Hevisike Records.

Witch Charmer is:
Kate McKeown – Vocals
Dave McQuillan – Drums & Vocals
Len Lennox – Guitar & Vocals
Adam Clarke – Guitar & Vocals
Richard Maher – Bass

Witch Charmer on Thee Facebooks

Witch Charmer on Bandcamp

Witch Charmer on Twitter

Argonauta Records website

Argonauta Records on Thee Facebooks

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Nibiru to Reissue Debut Album Caosgon Next Month

Posted in Whathaveyou on June 5th, 2017 by JJ Koczan

Italian hypnotists Nibiru released their Caosgon album in 2013 as their first outing. It’s a work of darkened swirl that doubtless owes some of its pulsating cosmic intensity to synth-sludge countrymen forebears Ufomammut but that set the three-piece on a course toward their own identity within atmospheric extremes that they’d continue to develop across offerings like 2015’s Padmalotus and last year’s Teloch, working as part of the diverse and perpetually-growing lineup of Argonauta Records. That same label has stepped forward and will reissue Caosgon next month in an expanded “2017 Edition” with a new tracklist, cover and master, including an unreleased song from the original sessions, “Invokation III : L.S.D.”

You can hear the original version of the record at the bottom of this post. It’s trippy as hell, and one expects the update wouldn’t be any less so given the work the band has done since. You’ll also pardon me, I hope, if as I take the time to dig into the blackened swirl of “Invokation IV: Heru, Khentan, Maati” I also pause to reflect in horror at the fact that the “next month” referred to in the headline above is July, and the implications of that for how quickly this year is going by so far. Doom is slow, time is fleeting. The madness is a lot to keep up with.

Speaking of madness:

nibiru caosgon

Thrilled to announce Argonauta Records will release an extended edition of the stunning 2013 album by Italian psychonauts Nibiru.

CAOSGON is actually a milestone of the ritual sludge scene, been praised by awesome reviews and by massive feedbacks all across the board.

Now the album will benefit of a completely new artwork, new master and a bonus track from the original recording sessions, previously unreleased!

NIBIRU “Caosgon – 2017 Edition” will be released in CD/DD and available from July 7th, 2017. Preorders run here: http://bit.ly/2rfb3su

TRACK-LIST:
1) Invokation I: the Acid skull
2) Smashanam, the Crematorium Ground of Kali
3) Aster Argos
4) Invokation IV: Heru, Khentan, Maati
5) Umbra Venefica
6) Invokation III : L.S.D

Argonauta Records | NeeCee Agency

Nibiru is:
Ardath | Guitars, Percussions and Vocals
Ri | Bass, Drones and Synthesizers
L.C. Chertan | Drums

https://www.facebook.com/nibiruritual/
https://nibiru666.bandcamp.com
http://www.nibiruritual.com/
http://www.argonautarecords.com/
https://www.facebook.com/ArgonautaRecords/

Nibiru, Caosgon (2013)

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Hollow Leg to Release Crown: Murder Edition for June Tour

Posted in Whathaveyou on May 29th, 2017 by JJ Koczan

hollow-leg-Photo-Pamela-Bendezu

What’s that you say? You’re pretty sure I’ve already posted these Hollow Leg tour dates for their June run up the East Coast that includes a stop at Maryland Doom Fest at Cafe 611 in Frederick on June 24, where they’ll share the stage with BangWo FatEarthrideSerpents of SecrecyThe WatchersHeavy TempleKing BisonThe WellWitches of GodBlack Tap Prophet and Conclave? Oh, most definitely.

Why do so again? Because Hollow Leg are frickin’ awesome live and they it’s not like they spend seven months out of the year on the road, so if you get the chance to see them, you should do so. They’ll be bringing a new Argonauta Records reissue of their 2016 album, Crown (review here), with them that includes the 2017 Murder EP (review here) as bonus material — as well as tapes of the EP pressed by Southern Druid Records and some snazzy-looking new shirts for the merch table — and even if you’re not in their path this time around, you can preorder that release now from Argonauta ahead of its official arrival on June 30.

Info (and dates!) follow here, as culled from the wilds of social media:

hollow leg june tour

Hollow Leg – Crown: Murder Edition & June Tour

In addition to CD reissue of CROWN with Murder EP as bonus tracks, our friends at Southern Druid have been so good to release the Murder EP in cassette format…purple tinted tapes look super cool! And we will have these in addition to the “Murder edition” Crown CDs next month on our run up and down the coast and return stop at Maryland Doom fest.

3 weeks til we pack up for our first piece of touring in the last year, 4 weeks til we breach Winston-Salem for the first time, can’t wait to get back out, see all your beautiful faces, and consequently melt them.

HOLLOW LEG Northeast Migration tour:
06/17 Jacksonville FL Nighthawks
06/19 Atlanta GA 529
06/20 Raleigh NC Slim’s
06/21 Richmond VA 25 Watt
06/22 Boston MA O’Brien’s
06/23 New London CT 33 Golden Street
06/24 Frederick MD Maryland Doom Fest Cafe 611
06/25 Winston-Salem NC The Test Pattern
08/18 Las Vegas NV Psycho Las Vegas Hard Rock Hotel & Casino

https://www.facebook.com/events/257151751359592
https://www.facebook.com/hollowlegfl/
https://twitter.com/hollowlegfl
http://hollowleg666.bandcamp.com/
http://www.argonautarecords.com/shop/music-/209-hollow-leg-crown-murder-edition-cd.html
http://southerndruidrecords.storenvy.com/products/20174882-hollow-leg-murder-ep

Hollow Leg, “Raven” official video

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Ephedra Premiere Video for “Coco Mango Soup”

Posted in Bootleg Theater on May 23rd, 2017 by JJ Koczan

ephedra

Swiss instrumentalists Ephedra released their second album, the quizzically-titled Can’-Ka No Rey — it’s from The Dark Tower — earlier this year via Argonauta Records, and as their new video premiering today shows, one of their aims with the record is to evoke an emotionally resonant form of heavy post-rock. They never quite go for Isis-style push in “Coco Mango Soup,” the track in question, but they’re not ultimately far off from some of the varied ground covered by the likes of Russian Circles, including the metallic undertone one finds in the late use of double-kick in this track.

The Zofingen four-piece, comprised of guitarists Andy Brunner and Roman Hüsler, bassist Kilian Tellenbach and drummer Tomi Roth, made their self-titled debut in 2013. Elsewhere on Can’-Ka No Rey, they build on the first record’s heavy rocking sonic ideology in cuts like “Mother Stone” and the shuffling-‘n’-strumming “Moonshiner,” which comes paired with closer “Southern Love.” These songs are pretty far removed in personality from “Coco Mango Soup” or a song like “Metamorphosis Calypso,” which precedes it, but I have a hard time holding the fact that they show multiple faces sound-wise against a band, particularly when they seem to shift fluidly from one side to another as Can’-Ka No Rey plays out. Still, it makes for a striking front-to-back.

We see the band in the video below playing as silhouettes — dimly lit in the heavy post-rock tradition — as a coinciding sad-lady narrative plays out wordlessly as penned apparently by Brunner, who also directed and produced. You should probably note that I’ve watched the clip a couple times through now and at no point have I seen anyone prepare or consume any soup, of the coco-mango or any other variety. Might call that a missed opportunity, but otherwise it pretty much rocks.

Hope you enjoy:

Ephedra, “Coco Mango Soup” official video

Official music video for ‘COCO MANGO SOUP’ by Ephedra off the new album Can’-Ka No Rey.

Director: Andy Brunner
Script: Andy Brunner
Production Company: www.mrandy.ch
Producer: Andy Brunner
Camera: Jonas Schneider
Light: Michael Hugi
Actresses: Samantha Brunner / Amélie Tellenbach

Ephedra is a stoner rock band from zofingen (switzerland). The sound they describe as “river rock”. Low tuned guitars, a generally bassy setup, driving beats on the drums with a very small pinch of metal. The band has no singer.

Ephedra are:
Roman Hüsler (Guitar)
Andy Brunner (Guitar)
Kilian Tellenbach (Bass)
Tomi Roth (Drums)

Ephedra on Thee Facebooks

Ephedra on Instagram

Ephedra on Bandcamp

Argonauta Records website

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Dee Calhoun Posts Cover Art, Info and Teaser for Go to the Devil

Posted in Whathaveyou on May 19th, 2017 by JJ Koczan

dee calhoun

Go to the Devil, the second second solo album from Iron Man vocalist Dee Calhoun, is set to release later this year via Argonauta Records. The record was first announced here in the early hours of 2017, but more info has started to surface about the answer to last year’s Rotgut (review here) debut outing, including the cover art and a teaser clip that features multiple tracks which would seem to find the acousti-metal style of Calhoun‘s prior outing, informed by country and folk blues as it was, well intact. Of course, the power of his voice goes without saying at this point, or at least it should for anyone who’s heard his work with Iron Man or who caught wind of the first outing.

Of further note is bringing Iron Man bassist Louis Strachan into the studio as he’s become a regular accompaniment for Calhoun on stage, and I should probably also mention that it’s only been days since Calhoun‘s new project, Thee Iron Hand, was announced, which brings him together with members of The Hidden HandIronboss and Lifetime Shitlist. More info on that is here. The current status of Iron Man seems to be somewhat up in the air.

Argonauta sent this down the PR wire:

dee-calhoun-go-to-the-devil

DEE CALHOUN reveals new album teaser and cover artwork

“Screaming Mad” Dee Calhoun, the voice of doom legends Iron Man, is nearing completion of his sophomore solo release, entitled Go to the Devil. The album, which will be released via Argonauta Records later this year, is the follow-up to Dee’s 2016 solo release Rotgut.

Dee will be joined on this album by Iron Man bandmate Louis Strachan on bass. Dee will handle vocal, acoustic guitar, and percussion duties.

Go to the Devil, like Rotgut before it, is being recorded in Dee’s home studio The Dustbuster. Mastering will be handled by Doug Benson at Commodore Recording Studio in Thurmont MD.

The track listing for Go to the Devil is as follows:

Common Enemy
Bedevil Me
Born (One-Horse Town)
The Final Stand of the Fallen
Go to the Devil
Me Myself and I
The Lotus Field is Barren
Jesus, the Devil, the Deed
The Ballad of the Dixon Bridge
Your Face
Dry Heaves & Needles

The album’s cover is by Dee Calhoun, based upon his own concept.

www.screamingmaddee.com
https://www.facebook.com/screamingmaddee/
www.argonautarecords.com

Dee Calhoun, Go to the Devil album teaser

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Six Dumb Questions with From Oceans to Autumn (Plus Full Album Stream)

Posted in Six Dumb Questions on May 5th, 2017 by JJ Koczan

from oceans to autumn

[Click play above to stream Ether / Return to Earth by From Oceans to Autumn in its entirety. Album is out today, May 5, via Argonauta Records.]

After debuting in 2013 with the full-length A Perfect Dawn, North Carolinian heavy post-rock outfit From Oceans to Autumn return with the sophomore outing Ether / Return to Earth on Argonauta Records — a broad-scoped two-disc vision of experimentalist textures and weighted progressive crunch. Led by founding multi-instrumentalist and engineer Brandon Helms, the band seeks to convey precisely what it references in the two-part title, which is the duality between the nonphysical and the physical, the ether and the earth.

This comes through in a methodological split between the two sections of Ether / Return to Earth, the first disc of which is comprised of four tracks, three of which are over 13 minutes long, that conjure a patient and often drumless ambient wash, resonant drones emerging, existing, subsiding in succession as each piece develops, culminating with the 19-minute “Stratus/Vapor” as a singular moment of immersion that cuts on the second part of the record like “Visible Light” and “Isle” seem to directly counteract with their heavier thrust. Of course, there’s still plenty of atmospheric depth to Return to Earth as well, as From Oceans to Autumn show in “Reconnect” or even the latter stages of opener “Arrival,” but there can be no question they’re working from a foundation that is, fittingly enough, more grounded in creating it.

All told, this huge undertaking of mood and exploration comes close to hitting the two-hour mark, so it’s safe to say it’s legitimately two albums put together. I wanted to talk to Helms about how the concept fed into the construction of the material itself and get a sense of some of his motivations in the making — namely whether where he lives in North Carolina played a role in how Ether / Return to Earth ultimately took shape. As you make your way through the full-album stream above, you’ll find the results of the short Q&A below. How’s that for duality?

Please enjoy the following Six Dumb Questions:

from-oceans-to-autumn-ether-return-to-earth

Six Dumb Questions with From Oceans to Autumn

Tell me about the recording process for Ether / Return to Earth. It’s been four years since your debut. Was there anything specific you were trying to accomplish here to follow-up on that?

We are always trying to push ourselves in the writing and recording process with each release. We also really wanted an album that had two identities, one more experimental and free flowing with the other more focused and straightforward, at least for us. And I think we accomplished this goal on Ether / Return to Earth.

At over an hour and 45 minutes long, Ether / Return to Earth is massive, but that hardly captures the sprawl of the tracks themselves. What goes into writing a song like “Stratus/Vapor” for you? How much is based on studio experimentation as opposed to being thought-out or planned beforehand? What about “Visible Light II” or “Keep a Watchful Eye?”

Honestly a lot of Ether was experimented while in the studio recording. “Stratus/Vapor” is a perfect example of studio experimentation. “Visible Light II” was recorded very much like “Visible Light” on our last album, A Perfect Dawn. It’s more heavy noise/distortion than anything else on the album. “Keep a Watchful Eye” was actually written a few years ago and revamped and rerecorded for this album. It was never released prior to now. Funny thing is we recorded an entire album in 2014-2015 that featured this song that was never released!

What is the difference in mindset for you between the two discs of the album? How do you feel each represents its title, and how intentional was that going into the project?

Ether is more ambient/experimental in nature. The songs are more drawn out and free flowing. Return to Earth is heavier, more straightforward in nature. Together they are opposites of each other.

Tell me about where you’re from in North Carolina. For music so atmospheric, did the physical landscape surrounding you play into the songwriting at all? Do you take inspiration from your surroundings, or is it more just about the musical exploration?

We are from Charlotte, NC, right between the Blue Ridge Mountains and the Atlantic Ocean, hence our name. Both landscapes offer a huge amount of inspiration while writing and coming up with ideas. It also inspires us musically to experiment more with different sounds.

Where do you see From Oceans to Autumn developing from here? Will you continue the Pareto Analysis series, and what is the concept behind that? Do you see future works developing along a thematic line like Ether / Return to Earth?

Pareto Analysis series is now complete and available for download on our Bandcamp page. We are currently working on rerecording parts, remixing and remastering our last album, A Perfect Dawn. We also are mixing and mastering an album we recorded last fall, some of it has been released in the form of demos but the final version will sound nothing like it!

Any other plans or closing words you want to mention?

Thanks for having us!

From Oceans to Autumn on Thee Facebooks

From Oceans to Autumn on Twitter

From Oceans to Autumn on Bandcamp

From Oceans to Autumn at Argonauta Records

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