The Road Miles Premiere Video for “The Third Man”; Ballads from the Wasteland out Oct. 23

Posted in Bootleg Theater on October 16th, 2017 by JJ Koczan

the road miles

Athens-based rockers The Road Miles are preparing to release their new full-length, Ballads for the Wasteland, later this month. Their second long-player, it’s also the second offering from new imprint Archaeopia Records, which just last month introduced itself with the limited compilation The Sun, The Moon, The Mountain: A Passage Through Greek Psychedelia (review here). You might recall The Road Miles were featured on that release as well and made an immediate impression with their track “600 Miles.” That song shows up among the seven inclusions on Ballads for the Wasteland too, and proves to be part of an overarching narrative drawing from Western storytelling traditions and specifically the otherworldly thematic of Stephen King’s The Dark Tower.

That focus makes the role of frontwoman Afroditi Tavoulari all the more central to the band’s aesthetic. Atop creative arrangements of guitar from Epameinondas 

the-road-miles-ballads-for-the-wasteland

Koutsoumpas and Michael Chrysos, Yannis Efthymiou‘s bass, Alex Darmis‘ keys and Anargiros Pantazis‘ drums, it’s Tavoulari who takes on the task of narrating the storyline progression that crosses through tracks like “Where I was Born, There I Will End,” “The Last Western Myth” and “Filthy Air,” serving as a steady presence in a vast soundscape of organ-laced classic heavy Western-style psych blues. Blink and you’re out in the desert amid some lost nighttime ritualism. The immersion happens quick with “Where I was Born, There I Will End” as the leadoff and longest track (immediate points), but it only builds from there across the record’s flat, sandy span, and under imagined stars, The Road Miles conjure demons a-wanderin’ and put spurs to the listener to charge deeper into the moodiness of the semi-title-track “Ballad for the Wasteland’ ahead of “The Third Man,” which provides the apex of the storyline ahead of instrumental epilogue closer “Wolves.”

A tense drum progression, sustained organ notes and jazzy guitar and bass give Tavoulari her backdrop, but come and go and come again effectively through repeated verses as the four-minute cut unfolds, not hurried but a definite pickup from “Ballad for the Wasteland” before it. The rise of a fuzzy guitar at the midpoint signals a move toward the apex to come, and sure enough, just before the three-minute mark, “The Third Man” bursts to life like a snake springing out from its coil and caps Ballads for the Wasteland with a brief but effective crescendo that would seem to deliver its poison well enough to let the audience know why exactly the “Wolves” are showing up at the end and just whose bones it is being picked.

Today I have the pleasure of hosting the premiere of The Road Miles‘ new video for “The Third Man,” which you can see below, followed by more info from Archaeopia Records via the PR wire about Ballads for the Wasteland, which again, should be out by the end of this month.

Please enjoy:

The Road Miles, “The Third Man” official video premiere

“The Third Man” is the sixth track in order from The Road Miles sophomore album “Ballads from the Wasteland”.

Composed//Arranged//Lyrics by: The Road Miles
Produced by: Alex Bolpasis
Engineered//Mixed by: Alex Bolpasis @Artracks Studios
Mastered by: Yiannis Christodoulatos @ Sweetpot Studios
Video written and directed by : Danai Simou

Here lies The Road Miles’ sophomore album. The roots of its narrative can be found somewhere between the deathly Mid-World of The Dark Tower, the mystifying Thebes of Oedipus Rex and the cursed Clarksdale Crossroads where Robert Johnson sold his soul to the devil.

Ballads for the Wasteland tracklisting:
1. Where I was Born, There I Will End
2. The Last Western Myth
3. 600 Miles
4. Filthy Air
5. Ballad for the Wasteland
6. The Third Man
7. Wolves

In their sophomore album, The Road Miles adopt an almost cinematic approach to their sound, transferring the auditor straight to the heart of that very desert. Here, every twist and turn of a desert travelogue can be experienced through music: the wearing route, the mortal hazards, the otherworldly delusions. Skillfully maneuvering from electrifying blues to nostalgic Americana and explosive heavy psych to wistful spoken word, the band perfectly captures the feeling of being adrift in such vast wastelands, in a psychedelic loop of fantasy and death.

With Ballads for the Wasteland, The Road Miles unveil their own distinctive narrative. A thrilling narrative, developed through seven heartfelt, esoteric mantras. A narrative of hollow outbursts and deafening silences. A narrative built with the same raw materials as every western myth: a gun, the dust and the open horizon.

The Road Miles is:
Afroditi Tavoulari / Vocals
Alex Darmis / Keys
Anargiros Pantazis / Drums
Epameinondas Koutsoumpas / Guitar
Michael Chrysos / Guitar
Yannis Efthymiou / Bass

Produced, engineered and mixed by Alex Bolpasis at Artracks Studios
Mastering by Yannis Christodoulatos at Sweetspot Studios
Artwork/Layout by George Gkousetis www.goographix.com/semitonelabs
Recorded during the summer of 2016 at Artracks Recording Studios in Athens, Greece

The Road Miles on Thee Facebooks

The Road Miles on Instagram

The Road Miles on Bandcamp

The Road Miles website

Archaeopia Records on Thee Facebooks

Archaeopia Records on Twitter

Archaeopia Records on Bandcamp

Archaeopia Records website

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Desertfest Athens 2017: Black Rainbows & Mos Generator Added to Lineup

Posted in Whathaveyou on August 23rd, 2017 by JJ Koczan

desertfest athens 2017

An already formidable bill for Desertfest Athens 2017 only becomes more so with the additions of Italian heavy psych mavens Black Rainbows and US-based heavy rock purveyors Mos Generator. The two acts join the ranks of headliners Graveyard and Saint Vitus, as well as native Greek acts like Planet of ZeusMahakalaBusSadhusPuta VolcanoAllchiria and Krause, who along with stalwarts Orange GoblinChurch of MiseryStoned Jesus and Colour Haze will comprise the two-day event at Iera Odos early in October. More bands are reportedly still to be announced, so stick around.

In the meantime, Black Rainbows and Mos Generator would seem to have plenty in common at this point. Both have issued new singles this year — the former’s “The Red Sky Above” (posted here) landed as part of a Heavy Psych Sounds compilation, and the latter’s “The Dance of Red” (posted here) combining Mahavishnu Orchestra and King Crimson — and both have spent much of the last couple years banging out as many records and as many tours as possible. To wit, Mos Generator may or may not have a new full-length in the can that’s set for an early-2018 release, and though Black Rainbows frontman Gabriele Fiori is currently at work on the second LP from his offshoot project Killer Boogie, he’s been known to multitask before, and thankfully a new Black Rainbows release is never too far off. Again, stick around.

You might recall as well that Mos Generator‘s appearance at Desertfest Athens 2017 was hinted at when it was confirmed they’d support Saint Vitus‘ upcoming European tour (dates here). Nice to know for sure, either way. Announcement from the fest follows here:

BLACK RAINBOWS for their sophomore appearance at Desertfest Athens 2017!!! Do not miss them !!!

Mos Generator are coming to take over Desertfest Athens 2017!!!!

The two-day program of Desertfest Athens 2017 is:

Day1
Saint Vitus
Orange Goblin
Church of Misery
Stoned Jesus
Black Rainbows
Mos Generator
Mahakala
Bus

Day2
Graveyard
Planet of Zeus
Color Haze
Radio Moscow
Sadhus
Puta Volcano
Allochiria
Krause

Ticket prices are as follows: one-day tickets cost 30 euros and two days 55 euros until September 2.

Soon, many more names will be announced from Desertfest Athens 2017.

tickets
Single day: 30 Euro (up to 2/9)
Doubleday: 55 Euro (up to 2/9)

https://www.viva.gr/tickets/music/acro/desertfest-athens-2017/
https://www.facebook.com/events/141861139680368/
https://www.facebook.com/Desertfest-Athens-189161564797514/

Black Rainbows, “The Red Sky Above”

Mos Generator, “The Dance of Red”

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Quarterly Review: Ecstatic Vision, Norska, Bison, Valborg, Obelyskkh, Earth Electric, Olde, Deaf Radio, Saturndust, Birnam Wood

Posted in Reviews on July 14th, 2017 by JJ Koczan

quarterly-review-summer-2017

It turns out that, yes indeed, I will be able to add another day to the Quarterly Review this coming Monday. Stoked on that. Means I’ll be trying to cram another 10 reviews into this coming weekend, but that’s not exactly a hardship as I see it, and the stuff I have picked out for it is, frankly, as much of a bonus for me as it could possibly be for anyone else, so yeah, look out for that. In the meantime, we wrap the Monday-to-Friday span of 50 records today with another swath of what’s basically me doing favors for my ears, and I hope as always for yours as well. Let’s dig in.

Quarterly Review #41-50:

Ecstatic Vision, Raw Rock Fury

ecstatic-vision-raw-rock-fury

Hard touring and a blistering debut in 2015’s Sonic Praise (review here) quickly positioned Ecstatic Vision at the forefront of a Philadelphia-based mini-boom in heavy psych (see also: Ruby the Hatchet, Meddlesome Meddlesome Meddlsome Bells, and so on), and their Relapse-issued follow-up, Raw Rock Fury, only delves further into unmitigated cosmic swirl and space-rocking crotchal thrust. The now-foursome keep a steady ground in percussion and low end even as guitar, sax, synth and echoing vocals seem to push ever more far-out, and across the record’s four tracks – variously broken up across two sides – the band continue to stake out their claim on the righteously psychedelic, be it in the all-go momentum building of “You Got it (Or You Don’t)” or the more drifting opening movement of closer “Twinkling Eye.” Shit is trippy, son. With the echoing-from-the-depths shouts of Doug Sabolik cutting through, there’s still an edge of Eastern Seaboard intensity to Ecstatic Vision, but that only seems to make Raw Rock Fury live up to its title all the more. Still lots of potential here, but it’ll be their third record that tells the tale of whether they can truly conquer space itself.

Ecstatic Vision on Thee Facebooks

Ecstatic Vision at Relapse Records website

 

Norska, Too Many Winters

norska-too-many-winters

Issued through Brutal Panda, Too Many Winters is the second full-length from Portland five-piece Norska, and its six tracks/48 minutes would seem to pick up where Rwake left off in presenting a progressive vision of what might be called post-sludge. Following an engaging 2011 self-titled debut, songs like the title-track and “This is Why We Can’t Have Nice Things” churn and careen through Sourvein-style abrasion, vaguely Neurosis-style nod and, in the case of the latter or closer “Fire Patience Backbone,” soundscaping minimalism that, in the finale, is bookended by some of the record’s most intense push following opener “Samhain” and the subsequent “Eostre.” That salvo starts Too Many Winters with a deceptive amount of thrust, but even there atmosphere is central as it is to the outing as a whole, and a penultimate interlude in the 2:22 “Wave of Regrets” does well to underscore the point before the fading-in initial onslaught of “Fire Patience Backbone.” Having Aaron Rieseberg of YOB in the lineup with Jim Lowder, Dustin Rieseberg, Rob Shaffer and Jason Oswald no doubt draws eyes their way, but Norska’s sonic persona is distinct, immersive and individualized enough to stand on its own well beyond that pedigree.

Norska on Thee Facebooks

Norska at Brutal Panda Records website

 

Bison, You are Not the Ocean You are the Patient

bison-you-are-not-the-ocean-you-are-the-patient

Think about the two choices. You are Not the Ocean You are the Patient. Isn’t it the difference between something acting – i.e., an object – and something acted upon – i.e., a subject? As British Columbian heavy rockers Bison return after half a decade via Pelagic Records, their fourth album seems to find them trying to push beyond genre lines into a broader scope. “Until the Earth is Empty,” “Drunkard,” “Anti War” and “Raiigin” still have plenty of thrust, but the mood here is darker even than 2012’s Lovelessness found the four-piece, and “Tantrum” and closer “The Water Becomes Fire” bring out a more methodical take. It’s been 10 years since Bison issued their debut Earthbound EP and signed to Metal Blade for 2008’s Quiet Earth, and the pre-Red Fang party-ready heavy rock of those early works is long gone – one smiles to remember “These are My Dress Clothes” in the context of noise-rocking centerpiece “Kenopsia” here, the title of which refers to the emptiness of a formerly occupied space – but if the choice Bison are making is to place themselves on one side or the other of the subject/object divide, they prove to be way more ocean than patient in these songs.

Bison on Thee Facebooks

Bison at Pelagic Records website

 

Valborg, Endstrand

valborg-endstrand

With its churning, swirling waves of cosmic death, one almost expects Valborg’s Endstrand (on Lupus Lounge/Prophecy Productions) to be more self-indulgent than it is, but one of the German trio’s greatest assets across the 13-track/44-minute span of their sixth album is its immediacy. The longest song, “Stossfront,” doesn’t touch five minutes, and from the 2:14 opener “Jagen” onward, Valborg reenvision punk rock as a monstrous, consuming beast on songs like “Blut am Eisen,” “Beerdigungsmaschine,” “Alter,” “Atompetze” and closer “Exodus,” all the while meting put punishment after punishment of memorable post-industrial riffing on “Orbitalwaffe,” the crashing “Ave Maria” and the noise-soaked penultimate “Strahlung,” foreboding creeper atmospherics on “Bunkerluft” and “Geisterwürde,” and landmark, perfectly-paced chug on “Plasmabrand.” Extreme in its intent and impact, Endstrand brings rare clarity to an anti-genre vision of brutality as an art form, and at any given moment, its militaristic threat feels real, sincere and like an appropriate and righteous comment on the terrors of our age. Fucking a.

Valborg on Thee Facebooks

Valborg at Prophecy Productions website

 

Obelyskkh, The Providence

obelyskkh-the-providence

Probably fair to call the current status of German post-doomers Obelyskkh in flux following the departure of guitarist Stuart West, but the band has said they’ll keep going and their fourth album, The Providence (on Exile on Mainstream) finds them capping one stage of their tenure with a decidedly forward-looking perspective. Its six-song/56-minute run borders on unmanageable, but that’s clearly the intent, and an air of proggy weirdness infects The Providence from the midsection of its opening title-track onward as the band – West, guitarist/vocalist Woitek Broslowski, bassist Seb Fischer and drummer Steve Paradise – tackle King Crimson rhythmic nuance en route to an effects-swirling vision of Lovecraftian doomadelia and massive roll. Cuts like “Raving Ones” and 13-minute side B leadoff “NYX” play out with a similarly deceptive multifaceted vibe, and by the time the penultimate “Aeons of Iconoclasm” bursts outward from its first half’s spacious minimalism into all-out High on Fire thrust ahead of the distortion-soaked churn of closer “Marzanna” – which ends, appropriately, with laughter topping residual effects noise – Obelyskkh make it abundantly clear anything goes. The most impressive aspect of The Providence is that Obelyskkh manage to control all this crunching chaos, and one hopes that as they continue forward, they’ll hold firm to that underlying consciousness.

Obelyskkh on Thee Facebooks

Exile on Mainstream Records website

 

Earth Electric, Vol. 1: Solar

earth-electric-vol-1-solar

Former Mayhem/Aura Noir guitarist Rune “Blasphemer” Ericksen leads breadth-minded Portuguese four-piece Earth Electric, and their devil-in-the-details Season of Mist debut, Vol. 1: Solar, runs a prog-metal gamut across a tightly-woven nine tracks and 35 minutes, Ericksen’s vocals and those of Carmen Susana Simões (Moonspell, ex-Ava Inferi) intertwine fluidly at the forefront of sharply angular riffing and rhythmic turns from bassist Alexandre Ribeiro and drummer Ricardo Martins. The organ-laced push of “Meditate Meditate” and “Solar” and the keyboard flourish of “Earthrise” (contributed by Dan Knight) draw as much from classic rock as metal, but the brew Earth Electric crafts from them is potent and very much the band’s own. “The Great Vast” and the shorter “Set Sail (Towards the Sun)” set up a direct flow into the title cut, and as one returns to Earth Electric for repeat listens, the actual scope of the album and the potential for how the band might continue to develop are likewise expansive, despite its many pulls into torrents of head-down riffing. Almost intimidating in its refusal to bow to genre.

Earth Electric on Thee Facebooks

Earth Electric at Season of Mist website

 

Olde, Temple

olde-temple

After debuting in 2014 with I (review here), Toronto’s Olde return via STB Records with Temple, proffering sludge-via-doom vibes and a center of weighted tonality around which the rest of their aesthetic would seem to be built, vocalist Doug McLarty’s throaty growls alternately cutting through and buried by the riffs of guitarists Greg Dawson (also production) and Chris “Hippy” Hughes, the bass of Cory McCallum and the rolling crashes of drummer Ryan Aubin (also of Sons of Otis) on tightly constructed pieces like “Now I See You” and the tempo-shifting “Centrifugal Disaster,” which reminds by its finish that sometimes all you need is nod. Olde have more to offer than just that, of course, as the plodding spaciousness of “The Ghost Narrative” and the lumbering “Maelstrom” demonstrate, but even in the turns between crush and more open spaces of the centerpiece title-track and the drifting post-heavy rock of closer “Castaway,” the underlying focus is on capital-‘h’ Heavy, and Olde wield it as only experts can.

Olde on Thee Facebooks

STB Records webstore

 

Deaf Radio, Alarm

deaf radio alarm

Based in Athens and self-releasing their debut album, Alarm, in multiple vinyl editions, the four-piece of Panos Gklinos, Dimitris Sakellariou, Antonis Mantakas and George Diathesopoulos – collectively known as Deaf Radio – make no bones about operating in the post-Queens of the Stone Age/Them Crooked Vultures sphere of heavy rock. To their credit, the songwriting throughout “Aggravation,” “Vultures and Killers” and the careening “Revolving Doors” lives up to that standard, and though even the later “Oceanic Feeling” seems to be informed by the methods of Josh Homme, there’s a melodic identity there that belongs more to Deaf Radio as well, and keeping Alarm in mind as their first long-player, it’s that identity that one hopes the band will continue to develop. Rounding out side B with the howling guitar and Rated R fuzz of the six-minute “…And We Just Pressed the Alarm Button,” Deaf Radio build to a suitable payoff for the nine-track outing and affirm the aesthetic foundation they’ve laid for themselves.

Deaf Radio on Thee Facebooks

Deaf Radio on Bandcamp

 

Saturndust, RLC

saturndust rlc

The further you go into Saturndust’s 58-minute second LP RLC, the more there is to find. At any given moment, the São Paulo, Brazil-based outfit can be playing to impulses ranging from proggy space rock, righteously doomed tonal heft, aggressive blackened thrust or spacious post-sludge – in one song. Over longform cuts like “Negative-Parallel Dimensional,” “RLC,” “Time Lapse of Existence” and closer “Saturn 12.C,” the trio cast a wide-enough swath to be not quite genreless but genuinely multi-tiered and not necessarily as disjointed as one might expect in their feel, and though when they want to, they roll out massive, lumbering riffs, that’s only one tool in a full arsenal at their apparent disposal. What tie RLC together are the sure hands of guitarist/vocalist Felipe Dalam, bassist Guilherme Cabral and drummer Douglas Oliveira guiding it, so that when the galloping-triplet chug of “Time Lapse of Existence” hits, it works as much in contrast to the synth-loaded “Titan” preceding as in conjunction with it. Rather than summarize, “Saturn 12.C” pushes far out on a wash of Dalam’s keyboards before a wide-stomping apex, seeming to take Saturndust to their farthest point beyond the stratosphere yet. Safe travels and many happy returns.

Saturndust on Thee Facebooks

Saturndust on Bandcamp

 

Birnam Wood, Triumph of Death

birnam wood triumph of death

Massachusetts doomers Birnam Wood have two prior EPs under their collective belt in 2015’s Warlord and a 2014 self-titled, but the two-songer single Triumph of Death (kudos on the Hellhammer reference) is my first exposure to their blend of modern progressive metal melody and traditional doom. They roll out both in able fashion on the single’s uptempo opening title-track and follow with the BlackSabbath-“Black-Sabbath” sparse notemaking early in their own “Birnam Wood.” All told, Triumph of Death is only a little over nine minutes long, but it makes for an encouraging sampling of Birnam Wood’s wares all the same, and as Dylan Edwards, Adam McGrath, Shaun Anzalone and Matt Wagner shift into faster swing circa the eponymous tune’s solo-topped midpoint, they do so with a genuine sense of homage that does little to take away from the sense of individuality they’ve brought to the style even in this brief context. They call it stoner metal, and there’s something to that, but if we’re going on relative balance, Triumph of Death is more doom-stoner than stoner-doom, and it revels within that niche-within-a-niche-within-a-niche sensibility.

Birnam Wood on Thee Facebooks

Birnam Wood on Bandcamp

 

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Desertfest Athens 2017 Announces Church of Misery, Stoned Jesus & Mahakala for Lineup

Posted in Whathaveyou on June 6th, 2017 by JJ Koczan

desertfest-athens-2017-banner

Desertfest Athens 2017 continues to take shape on its own terms, adding to its quality-plus-quantity lineup with Japanese/American doomers Church of Misery, Ukrainian trio Stoned Jesus and hometown metallers Mahakala. The three acts vary pretty widely between them, as does the bill of the second Desertfest Athens overall, with the legendary doom of Saint Vitus, the boogie-thrust of Radio Moscow (who’ll have a new album out, remember), the groundbreaking heavy psych of Colour Haze, the hooch-swilling pummel of Orange Goblin and the revamped soul of Graveyard at the top of the lineup, but one could hardly accuse it of not making sense. The more the merrier, and with Greek outfits like Puta Volcano, Sadhus and Allochiria already included, it seems like the fest as a whole is only getting bigger this time around.

Which, if you’ve been paying attention for the last half-decade or so, you already know is how it goes with Desertfests. That’s been the tale of Berlin and London all along, and Belgium too. As the youngest incarnation of the festival, Athens has its work cut out for it in getting to the point where the others find themselves, but Greece has one of the most active heavy undergrounds in Europe right now and I’ve no doubt that with a lineup as strong as this one already is, they’ll absolutely get there.

Fest is set for Oct. 6 and 7. Here’s the latest:

desertfest-athens-2017-new-poster

2ND DESERTFEST ATHENS

ACRO
06-07.10.2017

Graveyard
Colour Haze
Orange Goblin
Radio Moscow
Saint Vitus
Church of Misery
Stoned Jesus
Mahakala
Sadhus: The Smoking Community
Allochiria
Puta Volcano

Stoned Jesus are back in Greece!!!! They will join this year’s edition of Desertfest Athens!! Here come the Robots!!

Mahakala, Satan’s finest, will deliver their sophomore album, “The Second Fall”, in front of the Desertfest Army!!! Beware!!

Church of Misery Official live at Desertfest Athens!!! The Japanese Doomsters are the last announcement for today, but at the same time one of the most exciting additions to this year’s line up!!!

Early-bird tickets are exhausted. Now only two-day tickets are sold for 50 euros.

https://www.viva.gr/tickets/music/acro/desertfest-athens-2017/
https://www.facebook.com/events/141861139680368/
https://www.facebook.com/Desertfest-Athens-189161564797514/

Stoned Jesus, “Here Come the Robots” official video

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Black Hat Bones Sign with Total Volume Booking

Posted in Whathaveyou on May 26th, 2017 by JJ Koczan

Greek heavy rockers Black Hat Bones released their second album, Born in a Thunder, in March, and it looks like they’ll soon enough be taking to the streets to support it. The Athens-based four-piece have inked a deal to work with Total Volume Booking (Geezer, Naxatras, Green Yeti, etc.) to bring their crisp energy to stages around Europe, and while dates haven’t been announced yet, the band hasn’t exactly been shy about getting out in Greece, playing Desertfest Athens last year and more besides.

If you didn’t hear Born in a Thunder, it’s basically a parade of high-energy hooks served straight up like a cold shot of AC/DC-style songwriting, and it’s streaming in full at the bottom of this post from their Bandcamp, so, you know, dig in.

From the PR wire:

black hat bones

Black Hat Bones (GR) joining forces with Total Volume

Hailing from Sparta, but currently residing in the Greek capital, we present to you Black Hat Bones!

If highly energetic performances, screaming solos, growling bass and a vocalist from which you can’t get your eyes off, are your kind of thing, then you’re in for a treat! After partying in well-known stages throughout Greece, but also taking part in notable festivals like Rockwave Festival, Desert Fest Athens, Fuzztastic planet, as well as the upcoming Ejekt Festival, it’s time for these dudes to cross the borders and spread their high-energy rock ‘n’ roll to the masses!

With their latest work, “Born in a Thunder”, already released in both digital and physical format through the band’s bandcamp, get ready to witness a, what now the guys call, “adrenaline fueled POP music party”.

Bio:

We are Black Hat Bones, a high energy / heavy rock band from Sparta(Greece) formed back in 2009. Since 2011, we moved to Athens(Greece) and we managed to release our first Ep, a digital single and our debut full length album “High Gain Devil Rockers” through Trailblazer Records. All these received some incredible feedback (zines, blogs, radio / tv stations ) from all over the world (Canada to France, UK, Italy , Poland, Netherlands, Sweden, Greece). Our latest album called “Born in a Thunder”is out now in digital & physical format (vinyl 180gr) and we’re currently touring Greece spreading rock ‘n’ roll to the masses, looking forward to cross the borders!

Long story short, we’ve been rockin’ this place for quite some time now, and we’re looking forward to come to your place! So, if you’re still reading this, press one of the links below, and let’s book a show so we can meet, dance, drink, and headbang!

https://www.facebook.com/BlackHatBones/
https://www.instagram.com/blackhatbones/
https://blackhatbones.bandcamp.com/album/born-in-a-thunder-2017
https://www.facebook.com/totalvolumebackline/
http://totalvolumeagency.com/

Black Hat Bones, Born in a Thunder (2017)

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Green Yeti: Preorders for Desert Show Start June 2

Posted in Whathaveyou on May 23rd, 2017 by JJ Koczan

If you’ve been following along the saga of Athenian heavy rockers Green Yeti this Spring, you already know that the three-piece signed to Cursed Tongue Records earlier this month to issue their second album in as many years, Desert Show, on vinyl, merely days after giving it an independent digital release on April 21 and merely days before embarking on their first-ever round of tour dates on May 3. It’s been a busy time, to put it mildly.

The story looks set to continue into summer as Cursed Tongue has set an Aug. 21 release for the Desert Show LP and will launch preorders for the limited vinyl on June 2. There are three editions available that you can see in the banner below, and if you’re wondering, Central European Time is five hours ahead of Eastern US Daylight Time. Just in case you didn’t want to Google “what time is it?”

Here’s all the info I’ve got:

GREEN YETI PREORDERS

We are launching pre-orders for CTR-003 that is Green Yeti – Desert Show vinyl lp on June 2nd via our bigcartel store. Slated release date is August 21.

Vinyl pressing has been ordered and we are awaiting the TP’s within few weeks.

Once again remastered for vinyl by Tony Reed who has done a stellar job making everything really pop.

People familiar with the genres should already be more than acquainted with this green, Greek super nugget of a stoner monster and know what to expect from the Green Yeti band, namely deep fat bass lines, slow pounding cave-man drumming seasoned with intelligent spaced out guitar playing and memorable riffs and hooks.

Stay tuned for further info very soon as this vinyl release will be here before you know it.

Please welcome Green Yeti to the CTR-family and now let us have a good time! Kick back, grab a green (leaf or bottle), indulge in the Yeti’s second march and enjoy the desert show.

Green Yeti is:
Bass: Danis Avramidis
Guitar & Vocals: Michael Andresakis
Drums: Giannis Koutroubis

https://www.facebook.com/greenyetiband/
https://twitter.com/GreenYetiBand
https://greenyeti.bandcamp.com/album/desert-show
https://www.facebook.com/CursedTongueRecords/
http://cursedtonguerecords.bigcartel.com/

Green Yeti, Desert Show (2017)

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audiObelisk Transmission 061

Posted in Podcasts on May 15th, 2017 by JJ Koczan

the obelisk podcast 61

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Yes! A new podcast! Are you stoked? I’m stoked. If you’re not, you will be when you look at the list of bands included. In any case, let’s be stoked together, because rock and roll, and heavy psych and good music and, well, yeah. That’s pretty much stuff to be stoked about. It’s been absurdly long since the last time we did one of these. Too long. I don’t really have an excuse other than… gainful employment? Don’t worry, though. That’ll be over soon enough. Then it’ll be podcasts out the ass.

There’s some killer goods here though. Yeah, I decided to do a “Yeti” double-shot with Green Yeti into Telekinetic Yeti. That’s my version of me being clever. But both bands are righteous, and if you haven’t heard the Savanah record, or that new Tia Carrera jam, or the Cachemira or Big Kizz or Yagow or Vokonis or the Elder — oh hell, frickin’ all of it — it’s worth your time. That Emil Amos track just premiered the other day and I think will surprise a lot of people, and I liked the way it paired with the dark neofolk of Hermitess. And of course we get trippy in the second hour, as is the custom around here. But first a moment of prog clarity from the aforementioned Elder. That’s a good time as well.

As always, I hope you enjoy.

Track details follow:

First Hour:

0:00:00 Vokonis, “The Sunken Djinn” from The Sunken Djinn
0:06:47 Tia Carrera, “Laid Back (Frontside Rock ‘n’ Roll)” from Laid Back (Frontside Rock ‘n’ Roll)
0:16:33 Supersonic Blues, “Supersonic Blues Theme” from Supersonic Blues Theme / Curses on My Soul
0:19:28 Emil Amos, “Elements Cycling” from Filmmusik
0:22:28 Hermitess, “Blood Moon” from Hermitess
0:26:24 Savanah, “Mind” from The Healer
0:34:22 Yagow, “Non-Contractual” from Yagow
0:42:35 Big Kizz, “Eye on You” from Eye on You
0:45:53 Cachemira, “Jungla” from Jungla
0:52:05 Green Yeti, “Black Planets (Part 2)” from Desert Show
0:58:02 Telekinetic Yeti, “Stoned and Feathered” from Abominable

Second Hour:

1:02:10 Elder, “The Falling Veil” from Reflections of a Floating World
1:13:20 Riff Fist, “King Tide” from King Tide
1:24:15 Cavra, “Montaña” from Cavra
1:39:18 Causa Sui, “A Love Supreme” from Live in Copenhagen

Total running time: 1:55:53

 

Thank you for listening.

Download audiObelisk Transmission 061

 

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Desertfest Athens 2017: Saint Vitus and Radio Moscow Join Bill with Graveyard, Colour Haze, Orange Goblin and More

Posted in Whathaveyou on May 11th, 2017 by JJ Koczan

desertfest athens 2017 banner

Hard to argue with what Desertfest Athens 2017 has put together thus far for this October. The second incarnation of the Greece-based brand extension of the Desertfest — see also London, Berlin, Antwerp and no doubt more to come; just by way of naming cities off the top of my head, Barcelona, Rome, Los Angeles/San Diego and Stockholm all seem like ripe, yet-unexplored ground that might be worth trying out — enters itself into what will no doubt become a considerable Fall fray of fests if last year was anything to go by. Successive weekends, one after the other, sometimes two on at the same time. It was sheer madness. Will it be again? Yeah, probably.

I’ll be honest, it was hard to keep up with in 2016 for what was happening when, but the good thing was it put a whole buttload of bands on tour and gave them huge shows to anchor between slews of club and theater gigs, so I can’t think it was anything but a win all around for the groups involved. You can see from the lineup so far below for Desertfest Athens 2017 that it no doubt will be as well for anyone who makes the trek out to actually see the show. Been a while since I caught Colour Haze, Orange Goblin, Saint Vitus or Radio Moscow, and golly, it sure would be awfully nice to tick all those boxes over the course of two days. Ah, to daydream.

Full lineup and latest announcement follows. I’ll be keeping up with this one going forward as best I can, so stay tuned for more:

desertfest athens 2017 poster

2ND DESERTFEST ATHENS

ACRO
06-07.10.2017

Graveyard
Colour Haze
Orange Goblin
Radio Moscow
Saint Vitus
Sadhus: The Smoking Community
Allochiria
Puta Volcano

+ more names tba

The announcements from Desertfest Athens 2017 continue. After the six bands already announced (Graveyard, Color Haze, Orange Goblin, Sadhus, Allochiria, Puta Volcano), two extraordinary names are added to the line-up: the legendary Saint Vitus and Radio Moscow.

The name Saint Vitus is synonymous with doom metal, as they are among the bands that created the idiom with their recordings in the SST record label in the 1980s. Extremely influential, they remain a reference point for metal sound and feature at the major festivals of the genre.

With their famous debut (produced by Dan Auerbach of The Black Keys) released in 2007, psychedelic blues rockers Radio Moscow burned hearts. Ten years later, Parker Griggs’s prominent trio remains one of the hardest working bands in the world, with significant discography and unstoppable touring.

Soon we will be announced many names from the line-up of Desertfest Athens 2017.

Early-bird tickets are exhausted. Now only two-day tickets are sold for 50 euros.

https://www.viva.gr/tickets/music/acro/desertfest-athens-2017/
https://www.facebook.com/events/141861139680368/
https://www.facebook.com/Desertfest-Athens-189161564797514/

Saint Vitus, “Zombie Hunger” Live in Portland, OR, 10.16.16

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