Kadavar Post “Children of the Night” Video

Posted in Bootleg Theater on September 3rd, 2019 by JJ Koczan

kadavar children of the night

Kadavar played at Psycho Las Vegas a couple weeks ago, and in a couple more weeks, they’ll release their new album, For the Dead Travel Fast, which they’ll support beginning in November with a pretty substantial European tour. That’s how it goes. Put out a record and tour. Kadavar, certainly, have done it before.

The difference this time, I guess, is the album itself. I’ll get a review up at some point — mostly because I like writing about Kadavar, rather than the expectation that anyone gives a crap what I have to say about them or that Nuclear Blast is eagerly awaiting my opinion on the record — but it’s a different vibe as Kadavar embark on their fifth album, and the slick modernity that showed itself through 2017’s Rough Times (review here) and 2015’s Berlin (review here) seems to be at least meeting halfway with their more vintage-minded early work, 2013’s Abra Kadavar (review here) and 2012’s self-titled debut (discussed here). The track for which they’re sharing a new video now, “Children of the Night,” brings that pretty clearly to the forefront.

It’s a proto-metallic fuzz crunch in the guitar and an organic sounding bassline that wouldn’t be out of place on an Uncle Acid record were they perhaps dirtied up a bit, but of course guitarist Christoph “Lupus” Lindemann puts his own vocal stamp on it and for my money there aren’t a lot of heavy rock drummers in Europe’s well-populated underground who play with the vitality of Christoph “Tiger” Bartelt, his roll in the ending section of the track matched fluidly by the low-end air-push of  Simon “Dragon” Bouteloup. Less immediately hooky and more dug-in feeling, “Children of the Night” has the mood of For the Dead Travel Fast well summarized, and it’ll be interested to see how the LP is received especially by those fans of their first two records.

But it’s the internet, so people will probably bitch either way. Whatever. I dig it.

They spliced old movie clips together for the video, obviously going for something simpler than the last one. A respite well earned.

Enjoy:

Kadavar, “Children of the Night” official video

After their insanely ambitious spaghetti western video for the “The Devil’s Master”, Berlin, Germany-based rock overlords KADAVAR have released the official music video for the brand new single, “Children Of The Night”. The song comes off the band’s highly anticipated new album, For The Dead Travel Fast.

Get/stream the song here: https://nblast.de/KadavarChildrenOfNight

Pre-order For The Dead Travel Fast and/or accompanying merchandise here!

Recently the band had announced their European headlining tour in support of the album.

KADAVAR – FOR THE DEAD TRAVEL FAST EUROPEAN TOUR 2019
Special Guests: HÄLLAS & PABST
06.11. SE Copenhagen Pumpehuset
07.11. NO Oslo Bla
08.11. SE Göteborg Brewhouse
09.11. SE Stockholm Debaser
10.11. DE Hannover Capitol
12.11. FR Lyon Le CCO
13.11. FR Nantes Le Stéréolux
14.11. FR Paris L’Alhambra
15.11. FR Bordeaux BT 59
16.11. ES Madrid Mon
17.11. ES Barcelona Razzmatazz 2
19.11. FR Strasbourg La Laiterie
20.11. DE Wiesbaden Schlachthof
21.11. DE Nu?rnberg Hirsch
22.11. DE Mu?nchen Backstage Werk
23.11. AT Wien Arena
24.11. DE Dresden Beatpol
25.11. BE Brussels Orangiere at Botanique
27.11. DE Stuttgart LKA Longhorn
28.11. DE Köln Essigfabrik
29.11. DE Hamburg Große Freiheit
30.11. DE Berlin Columbiahalle

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Friday Full-Length: Weltraumstaunen, Weltraumwelt

Posted in Bootleg Theater on August 16th, 2019 by JJ Koczan

Weltraumstaunen, Weltraumwelt (2004)

You might be forgiven if you’ve never heard Germany’s Weltraumstaunen. The band formed in 1998 around Growing Seeds members Andi and Silke Heinrich and Dave “Sula Bassana” Schmidt, then of Liquid Visions, Zone Six and probably 10 or 20 others, and released a self-titled album in 1999. It would be five years, the dissolution of Growing Seeds — in which Schmidt had also taken up the drummer role — and the end of the marriage between Andi and Silke before Weltraumstaunen would issue a second record, Weltraumwelt, as the two-piece of Andi Heinrich and Dave Schmidt. The album is part of the mighty earlier-years catalog of Nasoni Records, along with acts like Vibravoid, Zendik Farm Orgaztra, Liquid Visions, and many others (the label began in 1996), and was made by exchanging recordings via tape — not files, tapes; remember this would’ve been nascent times for broadband speeds — between Berlin and Bayreuth, further south.

That distance, and the fact that the distance mattered, becomes crucial to understanding Weltraumwelt‘s aesthetic and just exactly how Weltraumstaunen wound up where they got in terms of sound. The second album was somewhat more adventurous than the first — though nothing against that record either — and found its strongest moments in a forward-looking kraut and space rock; the swirling effects, hard-strummed funky wah and a steady groove on the title-track indicative of the far-outness to which Weltraumstaunen was aligned, but really just the barest indication of some of the more experimental side of the nine-track/48-minute collection, which showed itself perhaps most of all in the 14-minute anything-goes sprawl of “Farfisadelic.” With steady pulsations of synth emerging amid flourish of backwards guitar and other atmospherics, that cut was by far the deepest journey into cosmic vacuum that the two-piece made, and its anti-apex resolution in an almost-standalone line of piano and effects drift proved clearly that Weltraumstaunen weren’t simply about a linear build or about capturing the rush of space rock. Their five-year mission was more varied in its course, with opener “Black Dove Part I” and closer “Black Dove Part II” dug into a vision of heavy psychedelia that by now feels prescient of what a German band like Samsara Blues Experiment would go on to do in their beginning stages, or even Schmidt‘s own Electric Moon, jam-based as that would be.

Not only that, but the moody prog of “Doors” and the acoustic/electric swirl of centerpiece “Wizard vs. Time” brought a classic feel to the proceedings and offered a grounding effect compared not just to “Farfisadelic” still to come, weltraumstaunen weltraumweltbut to the minimalist drone of “Introfernale” which followed or the earlier bass throb in the freaked out noisemaker “Hoffmans Mahl (The Dwarves of Yore)” and the resoundingly ambient “Floating in Space,” the latter of which gave its earthy, folkish strum a chance to really bring the album to earth at its midpoint, which “Wizard vs. Time” ultimately succeeded in doing, in sound if not theme. They didn’t rush back to ground by any means, rolling through “Introfernale,” “Weltraumwelt” and “Farfisadelic” before finding their way into “Black Dove Part II,” and in the interplay between vocalized and instrumental songs, the openness of the structures and the overall diversity of mood between their tracks, Weltraumstaunen were able to accomplish the rare feat of uniting their material through its very differences, setting the expectation early between “Black Dove Part I” and “Doors” that the band could and would follow their whims wherever they might go. They went, of course, to space. And floated there.

But the connections to classic prog, whether in “Black Dove Part I” or “Wizard vs. Time” and “Doors” — the latter also dipping into a kind of ethereal grunge — were key underpinnings to the more try-it-and-see aspects of Weltraumwelt, and where so many bands seem to commit themselves either to a planned songwriting modus or to outright improvisation, Weltraumstaunen refused to choose one over the other. No doubt the distance between Heinrich and Schmidt helped that too — because it’s hard to jam through the mail — but even through trying and subsequently fleshing out initial ideas, their songs were able to take various shapes brought together by a single creative persona, not just a work of genre, but a work that toiled at the edges thereof and seemed more interested in pushing the limits forward than residing comfortably within them.

But again, maybe you’ve heard it and maybe you haven’t. I know I’ve name-dropped Weltraumstaunen a couple times over the years in talking about other things Schmidt has done — and he’s done plenty — but I’ve never actually written about the band, and though I’ve periodically looked for it in YouTube, it wasn’t until a couple months ago that Weltraumwelt actually showed up, so the opportunity hasn’t really been there before now. It’s another album that turns 15 this year, which is kind of staggering to think about, but it came into my life in a box of vinyl from Nasoni that I got when I was doing college radio, and it’s one to which I’ve returned every now and again ever since, as it captured a genuinely open creativity that it’s hard not to find inspiring, its exchange of ideas and will toward seeing them realized, whatever shape they might take, indicative of the passion behind the collaboration in the first place. It might take you a listen or two to get it, but it’s worth that, at least.

Of course, Schmidt, working as Sula Bassana, has gone on to become a principal figure in Germany’s psychedelic underground, whether it’s running his own Sulatron Records imprint or expanding the space rock universe with Electric MoonKrautzone, the revitalized Zone Six and so on. Less clear on what became of Heinrich after Weltraumwelt, which was the last of Weltraumstaunen‘s releases. By the time 2004 came around, Growing Seeds had been done already — though their 1997 album, Miraculous Journey, is worth seeking out if you can find it — and given the creativity on display throughout Weltraumwelt, it’s somewhat surprising not to have heard from him more in the years since. Crazier things have happened than a band like this reemerging from such parts unknown, but I’m not holding my breath. In the meantime, a reissue through Sulatron would most certainly be welcome, and hopefully capture and inspire a new generation of listeners as well.

As always, I hope you enjoy. Thanks for reading.

New episode of the Gimme Radio show today at 1PM Eastern. You already saw the playlist. Listen here: http://gimmeradio.com, or on their app.

I like the app, but web works too.

This weekend is Psycho Las Vegas. I’m not there, obviously. We’re still doing stuff with the move to NJ from Massachusetts, so yeah, I just couldn’t really get out this time. Next year I’ll do it up properly. But if you’re there, enjoy it. Sick lineup, insane venue, scorching desert heat: the true Psycho experience. Nothing quite like it.

I’m expecting The Pecan up any minute now, so I’ll do my best to keep this short and sweet-ish. At the end (maybe the middle?) of next week we’re back in MA to pick up the last of our stuff. One more truck. One more truck. One more truck. That’ll be CDs and whatnot from our storage unit, stuff from The Patient Mrs.’ office at work, and maybe a shitty table to which I have sentimental attachment from the condo. Right now we’re slated to close on the sale on the 23rd. Keep your fingers crossed for us until then. At that point, we live in NJ. That’s home.

There’s a lot on already for next week, which is nice since the earlier part of this week was a little dead. I’d do notes, but frankly I don’t feel like cutting and pasting and rearranging it, so yeah. Zed review, Swan Valley Heights premiere, Stew premiere, Grand Royale video premiere, Von Detta track premiere, on and on. And that’s just Monday and Tuesday. The rest, who the hell knows.

This move has been stressful because it’s been so drawn out, over months rather than days or weeks. We’re up to our eyeballs in boxes and there are more to come, but it’ll be good longer-term. I’m happy The Pecan will grow up here. People look different, sound different, from each other. People speak different languages. It’s like civilization or something. Plus bagels and pizza. So yeah, civilization.

Please have a great and safe weekend, and please check out the forum, radio stream and merch at Dropout.

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Kadavar Take to the West in “The Devil’s Master” Video

Posted in Bootleg Theater on August 12th, 2019 by JJ Koczan

kadavar the devils master

With a release date set for Oct. 11, Kadavar‘s For the Dead Travel Fast is well on its way to being the Berlin trio’s most complex and atmospheric outing to-date, and yet, at the same time, it’s also kind of a return to the vintage production style of their first two records. No question that Kadavar modernized their initial retro sound over their last couple full-lengths — 2017’s Rough Times (review here) most of all — but as their new video for “The Devil’s Master” shows, they’ve not only grown bolder as songwriters, but they’re willing to once again more fully embrace a sonic naturalism in doing so. It is, as the entirety of the album proves, a winning combination.

“The Devil’s Master,” which combines in the video below with the album-intro “The End,” brings a desert-garage-goth vibe to go with its Spaghetti Western visual thematic — an immediate departure from some of the catchy and uptempo beginnings of LPs past, but immersive just the same, and rich in tone and the vocal melodies of guitarist Christoph “Lupus” Lindemann, who plays one of the three main characters of the cinematic clip, with bassist Simon “Dragon” Bouteloup and drummer Christoph “Tiger” Bartelt filling the other roles, Bouteloup perhaps having the best part, and as usual, the best hat.

I’ll have a full review of For the Dead Travel Fast at some point in the next couple months — hell, with the delayed release, I might even get it posted before it’s out! — but suffice it to say that while “The Devil’s Master” doesn’t necessarily speak for the entirety of the album, it does capture something essential about its spirit, and that Kadavar have never pushed this kind of engagement with their audience so much to the forefront of their approach before. They succeed with the mastery one has come to expect from them.

Preorder info, tour dates — they’re at Psycho Las Vegas this week — and more background follow the video below, all courtesy of the PR wire.

Enjoy:

Kadavar, “The Devil’s Master” official video

Kadavar Release Epic Western Music Video For First Single Off For The Dead Travel Fast

Album Now Available For Pre- Order Here: nblast.de/Kadavar-FTDTF

Berlin, Germany-based rock overlords KADAVAR have released the official music video for the song “The Devil’s Master”, the opening track of the band’s highly anticipated new album, For The Dead Travel Fast. The epic western movie styled music video was shot in Fuerteventura and stars actress Lucie Aron as well as the band’s members Lupus, Tiger and Dragon.

Commented the band:

Lupus: “Fuerteventura was the perfect set for the idea to shoot a small Spaghetti Western. In the story, everyone is fighting everyone: there are cutthroats who don‘t trust each other trying to survive in the desert. They are hunted by their enemy, a violent priest who enslaves a young lady, who both of the cowboys admire. In the end, there won‘t be any winners…”

Tiger: “The song is about the worst ideas of the people, the attraction of horror and the seductive scent of the disreputable. Just as it is all too human to feel at the mercy of his fears, so comprehensible it seems to give way to the fascination of evil in the face of death.”

For The Dead Travel Fast will be released on October 11 (initially September 20), 2019 via Nuclear Blast and is now available for pre-order.

The album will be released in various formats:

Limited Box-Set including limited tri-colored vinyl, limited tri-colored bonus vinyl including 4 previously unreleased tracks, CD/Blu-Ray Digi (including the KADAVAR & THE COSMIC RIDERS OF THE BLACK SUN live show, Berlin 2019), Poster, signed photo card, patch, sticker.
CD/Blu-Ray Digi (including the KADAVAR & THE COSMIC RIDERS OF THE BLACK SUN live show, Berlin 2019)
Vinyl (black, beige, bi-colored, cornetto)

Pre-order »For The Dead Travel Fast« and/or accompanying merchandise here!

Recently the band had announced their European headlining tour in support of the album.

KADAVAR – FOR THE DEAD TRAVEL FAST EUROPEAN TOUR 2019
Special Guests: HÄLLAS & PABST
06.11. SE Copenhagen Pumpehuset
07.11. NO Oslo Bla
08.11. SE Göteborg Brewhouse
09.11. SE Stockholm Debaser
10.11. DE Hannover Capitol
12.11. FR Lyon Le CCO
13.11. FR Nantes Le Stéréolux
14.11. FR Paris L’Alhambra
15.11. FR Bordeaux BT 59
16.11. ES Madrid Mon
17.11. ES Barcelona Razzmatazz 2
19.11. FR Strasbourg La Laiterie
20.11. DE Wiesbaden Schlachthof
21.11. DE Nu?rnberg Hirsch
22.11. DE Mu?nchen Backstage Werk
23.11. AT Wien Arena
24.11. DE Dresden Beatpol
25.11. BE Brussels Orangiere at Botanique
27.11. DE Stuttgart LKA Longhorn
28.11. DE Köln Essigfabrik
29.11. DE Hamburg Große Freiheit
30.11. DE Berlin Columbiahalle

KADAVAR’s latest album, Rough Times, was released in late 2017 to global critical acclaim, including live hits like “Die Baby Die,” “Tribulation Nation” and “Into The Wormhole”.

KADAVAR live:
16.08. F St. Nolff – Motocultor Festival
17-18.08. USA Las Vegas, NV – Psycho Las Vegas

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Quarterly Review: Elizabeth Colour Wheel, Black Lung, Giant Dwarf, Land Mammal, Skunk, Silver Devil, Sky Burial, Wizzerd, Ian Blurton, Cosmic Fall

Posted in Reviews on July 5th, 2019 by JJ Koczan

quarterly-review

Got my laptop back. Turned out the guy had to give me a new hard drive entirely, clone all my data on it, and scrap the other drive. I’m sure if I took it to another technician they’d have said something completely different, either for better or worse, but it was $165 and I got my computer back, working, in a day, so I can’t really complain. Worth the money, obviously, even though it was $40 more than the estimate. I assume that was a mix of “new hard drive” and “this is the last thing I’m doing before a four-day weekend.” Either way, totally legit. Bit of stress on my part, but what’s a Quarterly Review without it?

This ends the week, but there’s still one more batch of 10 reviews to go on Monday, so I won’t delay further, except to say more to come.

Quarterly Review #41-50:

Elizabeth Colour Wheel, Nocebo

elizabeth colour wheel nocebo

A rare level of triumph for a first album, Elizabeth Colour Wheel‘s aesthetic scope and patience of craft on Nocebo result in a genre-spanning post-noise rock that maintains an atmospheric heft whether loud or quiet at any given moment, and a sense of unpredictability that feels born out of a genuinely forward-thinking songwriting process. It is dark, emotionally resonant, beautiful and crushing across its eight songs and 47 minutes, as the Philadelphia five-piece ebb and flow instrumentally behind a standout vocal performance that reminds of Julie Christmas circa Battle of Mice on “Life of a Flower” but is ultimately more controlled and all the more lethal for that. Bouts of extremity pop up at unexpected times and the songs flow into each other so as to make all of Nocebo feel like a single, multi-hued work, which it just might be as it moves into ambience between “Hide Behind (Emmett’s Song)” and “Bedrest” before exploding to life again in “34th” and transitioning directly into the cacophonous apex that comes with closer “Head Home.” One of the best debuts of 2019, if not the best.

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Black Lung, Ancients

black lung ancients

Ancients is the third full-length from Baltimore’s Black Lung, whose heavy blues rock takes a moodier approach from the outset of “Mother of the Sun” onward, following an organ-led roll in that opener that calls to mind All Them Witches circa Lightning at the Door and following 2016’s See the Enemy (review here) with an even firmer grasp on their overarching intent. The title-track is shorter at 3:10 and offers some post-rock flourish in the guitar amid its otherwise straight-ahead push, but there’s a tonal depth to add atmosphere to whatever moves they’re making at the time, “The Seeker” and “Voices” rounding out side A with relatively grounded swing and traditionalist shuffle but still catching attention through pace and presentation alike. That holds true as “Gone” drifts into psychedelic jamming at the start of side B, and the chunkier “Badlands,” the dramatic “Vultures” and the controlled wash of “Dead Man Blues” take the listener into some unnamed desert without a map or exit strategy. It’s a pleasure to get lost as Ancients plays through, and Black Lung remain a well-kept secret of the East Coast underground.

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Ripple Music website

Noisolution website

 

Giant Dwarf, Giant Dwarf

Giant Dwarf Giant Dwarf

This just fucking rules, and I feel no need to couch my critique in any more flowery language than that. Driving, fuzzy heavy rock topped with post-Homme melodies that doesn’t sacrifice impact for attitude, the self-released, self-titled debut from Perth, Australia’s Giant Dwarf is a sans-pretense 35 minutes of groove done right. They may be playing to genre, fine, but from the cover art on down, they’re doing so with a sense of personality and a readiness to bring an individual sensibility to their sound. I dig it. Summery tones, rampant vocal melodies in layers, solid rhythmic foundation beneath. The fact that it’s the five-piece’s first album makes me look less for some kind of stylistic nuance, but it’s there to be heard anyway in “Disco Void” and the bouncing end of “High Tide Blues,” and in surrounding cuts like “Repeat After Defeat” and “Strange Wool,” Giant Dwarf set to the task before them with due vitality, imagining Songs for the Deaf with Fu Manchu tonality in “Kepler.” No big surprise, but yeah, it definitely works. Someone should be beating down the door to sign this band.

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Land Mammal, Land Mammal

land mammal land mammal

Land Mammal‘s debut outing is a 14-minute, proof-of-concept four-songer EP with clarity of presentation and telegraphed intent. Marked out by the Robert Plant-style vocal heroics of Kinsley August, the band makes the most of a bluesy atmosphere behind him, with Will Weise on wah-ready guitar, Phillip PJ Soapsmith on bass, Stephen Smith on drums and True Turner on keys. On opener “Dark with Rain” and closer “Better Days,” they find a pastoral vibe that draws from ’90s alternative, thinking Blind Melon particularly in the finale, but “Earth Made Free” takes a bluesier angle and “Drippin’ Slow” is not shy about nor ashamed of its danceability, as its lyrics demonstrate. For all the crispness of the production, Land Mammal still manage to sound relatively natural, which is all the more encouraging in terms of moving forward, but it’ll be interesting to hear how they flesh out their sound over the course of a full-length, since even as an EP, this self-titled is short. They have songwriting, performance and production on their side, however, so something tells me they’ll be just fine.

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Skunk, Strange Vibration

skunk strange vibration

Even before they get to the ultra-“N.I.B.” patterning of second track “Stand in the Sun,” Skunk‘s Sabbathian loyalties are well established, and they continue on that line, through the “War Pigs”-ness of “Goblin Orgy” (though I’ll give them bonus points for that title), and the slower “A National Acrobat” roll of “The Black Crown,” and while that’s not the only influence under which Skunk are working — clearly — it’s arguably the most forward. They’ve been on a traditional path since 2015’s mission-statement EP, Heavy Rock from Elder Times (review here), and as Strange Vibration is their second album behind 2017’s Doubleblind (review here), they’ve only come more into focus in terms of what they’re doing overall. They throw a bit of swagger into “Evil Eye Gone Blind” and “Star Power” toward the end of the record — more Blackmore or Leslie West than Iommi — but keep the hooks center through it all, and cap with a welcome bit of layered melody on “The Cobra’s Kiss.” Based in Oakland, they don’t quite fit in with the Californian boogie scene to the south, but standing out only seems to suit Strange Vibration all the more.

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Silver Devil, Paralyzed

Silver Devil Paralyzed

Like countrymen outfits in Vokonis or to a somewhat lesser degree Cities of Mars, Gävle-based riffers Silver Devil tap into Sleep as a core influence and work outward from there. In the case of their second album, Paralyzed (on Ozium Records), they work far out indeed, bringing a sonic largesse to bear through plus-sized tonality and distorted vocals casting echoes across a wide chasm of the mix. “Rivers” or the later, slower-rolling “Octopus” rightfully present this as an individual take, and it ends up being that one way or the other, with the atmosphere becoming essential to the character of the material. There are some driving moments that call to mind later Dozer — or newer Greenleaf, if you prefer — such as the centerpiece “No Man Traveller,” but the periodic bouts of post-rock bring complexity to that assessment as well, though in the face of the galloping crescendo of “The Grand Trick,” complexity is a secondary concern to the outright righteousness with which Silver Devil take familiar elements and reshape them into something that sounds fresh and engaging. That’s basically the story of the whole record, come to think of it.

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Ozium Records website

 

Sky Burial, Sokushinbutsu

sky burial Sokushinbutsu

Comprised of guitarist/vocalist/engineer Vessel 2 and drummer/vocalist Vessel 1 (also ex-Mühr), Sky Burial release their debut EP, Sokushinbutsu, through Break Free Records, and with it issue two songs of densely-weighted riff and crash, captured raw and live-sounding with an edge of visceral sludge thanks to the harsh vocals laid overtop. The prevailing spirit is as much doom as it is crust throughout “Return to Sender” (8:53) and the 10:38 title-track — the word translating from Japanese to “instant Buddha” — and as “Sokushinbutsu” kicks the tempo of the leadoff into higher gear, the release becomes a wash of blown-out tone with shouts cutting through that’s very obviously meant to be as brutal as it absolutely is. They slow down eventually, then slow down more, then slow down more — you see where this is going — until eventually the feedback seems to consume them and everything else, and the low rumble of guitar gives way to noise and biting vocalizations. As beginnings go, Sokushinbutsu is willfully wretched and animalistic, a manifested sonic nihilism that immediately stinks of death.

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Break Free Records on Bandcamp

 

Wizzerd, Wizzerd

wizzerd st

One finds Montana’s Wizzerd born of a similar Upper Midwestern next-gen take on classic heavy as that of acts like Bison Machine and Midas. Their Cursed Tongue Records-delivered self-titled debut album gives a strong showing of this foundation, less boogie-based than some, with just an edge of heavy metal to the riffing and vocals that seems to derive not directly from doom, but definitely from some ’80s metal stylizations. Coupled with ’70s and ’90s heavy rocks, it’s a readily accessible blend throughout the nine-song/51-minute LP, but a will toward the epic comes through in theme as well as the general mood of the riffs, and even in the drift of “Wizard” that’s apparent. Taken in kind with the fuzzblaster “Wraith,” the winding motion of the eponymous closer and with the lumbering crash of “Warrior” earlier, the five-piece’s sound shows potential to distinguish itself further in the future through taking on fantasy subject matter lyrically as well as playing to wall-sized grooves across the board, even in the speedy first half of “Phoenix,” with its surprising crash into the wall of its own momentum.

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Cursed Tongue Records webstore

 

Ian Blurton, Signals Through the Flames

Ian Blurton Signals Through the Flames

The core of Ian Blurton‘s Signals Through the Flames is in tight, sharply-executed heavy rockers like “Seven Bells” and “Days Will Remain,” classic in their root but not overly derivative, smartly and efficiently composed and performed. The Toronto-based Blurton has been making and producing music for over three decades in various guises and incarnations, and with these nine songs, he brings into focus a songcraft that is more than enough to carry song like “Nothing Left to Lose” and opener “Eye of the Needle,” which bookends with the 6:55 “Into Dust,” the closer arriving after a final salvo with the Scorpionic strut of “Kick out the Lights” and the forward-thrust-into-ether of “Night of the Black Goat.” If this was what Ghost had ended up sounding like, I’d have been cool with that. Blurton‘s years of experience surely come into play in this work, a kind of debut under his own name and/or that of Ian Blurton’s Future Now, but the songs come through as fresh regardless and “The March of Mars” grabs attention not with pedigree, but simply by virtue of its own riff, which is exactly how it should be. It’s subtle in its variety, but those willing to give it a repeat listen or two will find even more reward for doing so.

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Cosmic Fall, Lackland

Cosmic Fall Lackland

“Lackland” is the first new material Berlin three-piece Cosmic Fall have produced since last year’s In Search of Space (review here) album, which is only surprising given the frequency with which they once jammed out a record every couple of months. The lone 8:32 track is a fitting reminder of the potency in the lineup of guitarist Marcin Morawski, bassist Klaus Friedrich and drummer Daniel Sax, and listening to the Earthless-style shred in Morawski‘s guitar, one hopes it won’t be another year before they come around again. As it stands, they make the eight minutes speed by with volcanic fervor and an improvised sensibility that feels natural despite the song’s ultimately linear trajectory. Could be a one-off, could be a precursor to a new album. I’d prefer the latter, obviously, but I’ll take what I can get, and if that’s “Lackland,” then so be it.

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Cosmic Fall on Bandcamp

 

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Kadavar Announce Euro Tour & New Album Title For the Dead Travel Fast

Posted in Whathaveyou on June 12th, 2019 by JJ Koczan

kadavar

You know, if we’re being honest, I’d probably write this post on another day and be like, “Golly, I wonder what Kadavar‘s new record’ll sound like,” or some overly-wordy equivalent speculation thereof. Truth be told, I don’t care. Not that I’m not looking forward to it or I’m not curious, but after proving their songwriting mettle over four demonstrably different records without falling flat, I think they’ve at least earned the benefit of the doubt to that degree. Wherever they want to go in terms of their sound, I’m willing to trust they know what they’re doing. They might throw in something totally unexpected, they might not. Either way, don’t you just kind of think Kadavar know what they want to do in the studio by now? Hell, it’s even their own studio.

The record, which presumably will be out this Fall in time for their newly-announced European tour, is to be titled For the Dead Travel Fast, and it will see release through the band’s continued partnership with Nuclear Blast, recently reupped.

Details from the PR wire:

kadavar tour

KADAVAR Reveal New Album’s Title & Announce European Tour

Berlin, Germany-based rock overlords KADAVAR have announced the dates of the European tour in support of the band’s forthcoming album, For The Dead Travel Fast.

KADAVAR – FOR THE DEAD TRAVEL FAST EUROPEAN TOUR 2019
Special Guests: HÄLLAS & PABST
06.11. SE Copenhagen Pumpehuset
07.11. NO Oslo Bla
08.11. SE Göteborg Brewhouse
09.11. SE Stockholm Debaser
10.11. DE Hannover Capitol
12.11. FR Lyon Le CCO
13.11. FR Nantes Le Stéréolux
14.11. FR Paris L’Alhambra
15.11. FR Bordeaux BT 59
16.11. ES Madrid Mon
17.11. ES Barcelona Razzmatazz 2
19.11. FR Strasbourg La Laiterie
20.11. DE Wiesbaden Schlachthof
21.11. DE Nu?rnberg Hirsch
22.11. DE Mu?nchen Backstage Werk
23.11. AT Wien Arena
24.11. DE Dresden Beatpol
25.11. BE Brussels Orangiere at Botanique
27.11. DE Stuttgart LKA Longhorn
28.11. DE Köln Essigfabrik
29.11. DE Hamburg Große Freiheit
30.11. DE Berlin Columbiahalle

The band recently re-signed with their long-time label Nuclear Blast after a highly successful 7 year run encompassing three studio albums during which the trio has toured the globe relentlessly.

Commented singer and guitarist Lupus: “When we signed our first deal back in 2012, all of this was just a mere idea. Since then a lot has happened and after 3 records, 2 live albums and quite a few singles, we’re a very happy to continue working with Nuclear Blast.”

The band is currently working hard on the successor to 2017’s Rough Times at their own recording studio in Berlin Neukölln.

Added drummer Tiger: “We’re very creative at the moment, writing new songs on a daily basis. Wir very much loooking forward to completing the album soon. So it’s very nice that we have this new contract!”

KADAVAR’s latest album, Rough Times, was released in late 2017 to global critical acclaim, including live hits like “Die Baby Die,” “Tribulation Nation” and “Into The Wormhole”.

KADAVAR live:
27.06. I Segrate (MI)- Magnolia Stone
29.06. D Ferropolis – Full Force
02./03.08. D Beelen – Krach am Bach
08. – 10.08. D Haldern – Pop Festival
16.08. F St. Nolff – Motocultor Festival
17./18.08. USA Las Vegas, NV – Psycho Las Vegas

https://www.facebook.com/KadavarOfficial/
https://instagram.com/kadavargram/
https://www.facebook.com/nuclearblastusa
http://shop.nuclearblast.com/en/shop/index.html

Kadavar, “You Found the Best in Me” official video

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Samavayo Premiere “Intergalactic Hunt” Video; Dakota Reissue & Tour with The Machine Announced

Posted in audiObelisk, Whathaveyou on June 11th, 2019 by JJ Koczan

samavayo

This October, Berlin progressive heavy rockers Samavayo will head out on tour with Dutch noisemakers-and-sometimes-jammers The Machine, doing a 10-show run that includes stops at Up in SmokeKeep it Low and the Setalight Festival. Hey, it’s a busy season. There are other shows besides, of course, and as Samavayo continue to support last year’s Vatan (review here), they’ve also announced a reissue for the prior outing, 2016’s Dakota (review here), which had also been re-pressed in 2017. As that record was their first as a three-piece, the revisit seems fair enough, and to mark the occasion, the band have a new video for “Intergalactic Hunt” that, well… well… well, it’s just great.

It’s got the band wearing foil hats and using drum hardware like laser guns. There’s a threat of a freak gasoline fight breaking out, and then they do battle with all manner of trashcans, from little R2-D2-looking ones to big ol’ dumpsters in the climax. I won’t spoil the ending, but yeah. It’s all pretty awesome.

You’ll find it at the bottom of the post. Enjoy:

“Dakota” was the first album SAMAVAYO released as a trio. Oriental influences became more and more apparent on this one and for the first time the whole album was recorded all live in analog recording technique – which meant a more organic sound and far more labor involved. With this record the band made a huge step leading to up to the follow up “Vatan” (2018 / Noisolution) that made the band rise from their status as scene-veteran to a true scene highlight.

“Dakota” is and has been sought after now more than ever – which has inevitably led to it being sold out by now. Fear not though: We’ve decided to make this gem available again for you and all fellow fans – and also just in time before the band is back on the road with STONED JESUS and later this year with THE MACHINE.

The special thing about Dakota is the mix of 70s and 90s rock sound that combines progressive instrumental parts and heavy mosh parts with oriental elements and unusual rhythms. The best example is the song „Arezooye Bahar“, which is SAMAVAYO´s 2nd song in Persian language. The Iranian singer, Behrang Alavi, sings about freedom. He himself was a political refugee and experienced bomb attacks at a very young age.

As a former applicant for asylum Behrang reacts to a current European topic that effects him deeply because of his own experiences. To celebrate the second release of “Dakota” there is also a new video to an “old” track: The instrumental “Intergalactic Hunt”. A video resembling a true little Sci-Fi-Crime film well worth seeing while featuring a soundtrack so brute and intergalactically heavy it’s gonna blow your mind right up into space!

Also: The title “Dakota“ stands for the North American native tribe of the same name and translates to „friend, ally“. SAMAVAYO have been playing together for more than a decade which has also made them grow together to musical allies. They are friends who have been creating a musical unity over the years. And to come full circle, that is the translation of SAMAVAYO: „Unity“

Tour dates:
Sat, JUL 20 – TBC, Germany
Sun, JUL 21 – Welcome To The Village Festival – Leeuwarden, Netherlands Antilles
Fri, JUL 26 – Sommerschein Festival – Hofheim Am Taunus, Germany
Sat, JUL 27 – Rock im Wald – Mosbach In Baden, Germany
Fri, AUG 16 – Voice Of Art Festival – Hohenstein-ernstthal, Germany
Thu, OCT 3 – The Machine & Samavayo – Tilburg, Netherlands
Fri, OCT 4 – Samavayo @ Up In Smoke Festival – Pratteln, Switzerland
Sat, OCT 5 – The Machine & Samavayo – Vortex, Siegen, Germany
Sun, OCT 6 – The Machine & Samavayo – Deventer, Netherlands
Mon, OCT 7 – The Machine & Samavayo – Hamburg, Germany
Tue, OCT 8 – The Machine & Samavayo – Kobenhavn, Denmark
Wed, OCT 9 – The Machine & Samavayo – Dortmund, Germany
Thu, OCT 10 – The Machine & Samavayo – Chemnitz, Germany
Fri, OCT 11 – Keep It Low Festival – Munich, Germany
Sat, OCT 12 – Setalight Festival 2019 – Berlin, Germany

https://www.facebook.com/samavayo/
https://www.instagram.com/samavayo/
https://www.samavayo.com/
https://www.youtube.com/user/samavayo

Samavayo, “Intergalactic Hunt” official video premiere

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Heavy Psych Sounds Fest Announces Berlin and Dresden Editions

Posted in Whathaveyou on May 27th, 2019 by JJ Koczan

heavy psych sounds logo

Remember like a very, very short time ago — maybe last week? — when I was talking about how Heavy Psych Sounds was taking over the world, one band, tour and festival at a time? Well here we are with the announcements for four nights in Germany this December that one assumes — but never knows for sure — will round out a busy 2019 for the Italian label/booking agency/one-stop-shop. Monolord, The Sonic DawnWedgeGorilla and 1782 are thus far announced with apparently more to come. No big surprise they’re not done, as it seems increasingly like they’re never done. Did you see the pictures from the West Coast Heavy Psych Sounds package tour? It looked pretty amazing.

I guess that’s what happens when you put everything you have into what you do and what you do kicks ass.

From the PR wire:

heavy psych sounds fest berlin dresden

HEAVY PSYCH SOUNDS announces BERLIN + DRESDEN FEST; featuring MONOLORD, THE SONIC DAWN & more!

Headquartered in Rome, Italy, Heavy Psych Sounds specializes in presenting the best artists in the global heavy psych, doom, fuzz blues and space rock realms, and their Festival- series will be no exception, spotlighting the ever-growing label’s dedication to its craft. While the first HPS Fests were held in Italy, the label has since extended its live reach into the UK, Belgium, Netherlands, Austria and even the USA: The underground cult label is not only THE address for all heavy rock record collectors, but has also become an important live and festival institution; with a brisk participation from heavy music fans all over the world.

Now, Heavy Psych Sounds is set to bring the ROCK to Germany: Dresden and Berlin with the just-announced special shows taking place this December! Each stop of the traveling festival tour will feature diverse line-ups including both genre leaders and fast-rising acts, all ready to prove their place among the world’s best. In cooperation with Greyzone Concerts and ElbSludgeBooking, Heavy Psych Sounds has just revealed the first bands featuring heavy doom weights MONOLORD, psychedelic rockers THE SONIC DAWN and more:

[ artwork by Branca Studio ]

Taking place December 6th and 7th 2019 in Berlin and Dresden, the tickets are now on sale at:

BERLIN
Event: www.facebook.com/events/328145071206018/

DRESDEN
Event: www.facebook.com/events/658161097944810/

https://www.facebook.com/HEAVYPSYCHSOUNDS
http://www.heavypsychsounds.com
https://heavypsychsoundsrecords.bandcamp.com
www.greyzone-concerts.de
www.facebook.com/Elbsludgebooking

Monolord, Rust (2017)

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Desertfest Berlin 2019: Greenleaf, The Shrine, Blackwater Holylight, Worshipper, Mirror Queen, R.I.P., The Great Machine and Lucidvox Added

Posted in Whathaveyou on March 5th, 2019 by JJ Koczan

desertfest berlin 2019 banner

Yes. This. Cool update from Desertfest Berlin 2019, with Greenleaf and The Shrine and The Great Machine along for the ride with LucidvoxR.I.P., BlackWater HolyLightMirror Queen and Worshipper, and the pairings of the last four between RidingEasy Records and Tee Pee Records leads me to wonder if maybe Mirror Queen and Worshipper won’t hit the road together for a bit and if R.I.P. and BlackWater HolyLight won’t do likewise. For all I know, that’s already announced, but it’s speculation as far as my brain and limited, I’m-writing-in-the-car internet connection are concerned, but either way, they all bring something different Desertfest Berlin 2019, and pretty much anywhere Greenleaf goes is someplace you want to be. Man, I’d love to see that band again one of these… years.

Full announcement came down the PR wire:

desertfest berlin 2019 poster

DESERTFEST BERLIN 2019 ADDS THE SHRINE + GREENLEAF + THE GREAT MACHINE + LUCIDVOX + MIRROR QUEEN + WORSHIPPER + R.I.P. + BLACKWATER HOLYLIGHT!

Spring is almost around the corner, which also means DESERTFEST BERLIN is coming close and will be again opening its holy grounds for the annual and 8th festival edition in the heart of Berlin, the Arena, this May. While desert rock fans and riff lovers from all over the globe come together at the leading cult underground festival specialising in all aspects of the Stoner Rock, Doom, Heavy Psych and all its great subgenres soon, today DESERTFEST BERLIN announced the next batch of great names and high class acts to their already eclectic line-up!

If Black Flag, Thin Lizzy and Black Sabbath would have a baby, it would be definitely named THE SHRINE. Hailing straight out of the local rock scene at the Whiskey A-Go-Go in Los Angeles and delivering a breed of heavy, psychedelic, riff based Rock n’ Roll, THE SHRINE will make their long awaited return to DESERTFEST BERLIN this year, and are gonna light it up!

You eagerly asked for them, so you get them! As a most welcome guest and longtime member of the DESERTFEST family, we are thrilled to have GREENLEAF rocking out the Arena stage this year! The Swedish power rock unit will not only present their brand new album live on stage, but as always showcasing some of their finest riffs, haunting melodies to sing along, a unique groove and energetic stage presence the band is known and loved for. Welcome back at DESERTFEST BERLIN, guys!

Furthermore DESERTFEST is proud to confirm THE GREAT MACHINE will be coming all the way from Israel to Berlin! This trio creates a strong psychedelic, stoner rock experience with a heavy dose of the punk rock attitude, join THE GREAT MACHINE on their wild trip into the freedom of heaviest sounds, live at the ARENA Berlin 2019!

With the hints of folk and kraut-rock, LUCIDVOX from Moscow will join to represent full ladies power at this year’s DESERTFEST BERLIN! Sometimes psychedelic rock can extend beyond clichés of shaggy-haired ruffians; LUCIDVOX, the forerunner in a new and burgeoning Russian DIY rock scene, prove that more than well. While the brains behind this Moscowian four-piece, Alina, Nadezhda, Galla and Anna, have played outside of Russia just once, DESERTFEST BERLIN will be their very first show in Germany to date. Please give these killer ladies a very warm welcome!

Cult fuzz rock label Tee Pee Records (home of bands such as Witch, Sleep, High On Fire among many more ) are presenting us two more exciting and up&coming acts from their excellent artist roster: US-based MIRROR QUEEN and WORSHIPPER are currently rising from the psychedelic hard rock underground, both perfectly proving that the soul of melodic heavy music still burns brightly!

After several years of hammering the US west coast with their blunt scythe of street-doom, R.I.P. are about to embark on an extensive tour this Spring with a stop at DESERTFEST BERLIN! The band’s debut “In the Wind”, out on RidingEasy Records, closes the casket on the trends and exhumes the notion that doom isn’t always about how slow and de-tuned you can play, but about fear, death, leather and playing as heavy as possible.

Rounding up today’s announcement with another MUST-SEE tip from the underground, please welcome BLACKWATER HOLYLIGHT to the 8th edition of DESERTFEST BERLIN! The Heavy Psych quintett from Portland, who released their critically acclaimed debut just last year on RidingEasy Records, are currently on their way to the top of the biggest hopes in psychedelic rock music, and we are more than psyched DESERTFEST BERLIN will be part of their journey.

DESERTFEST BERLIN 2019 takes place between May 3th – 5th 2019 at the riverside in the heart of Berlin, the ARENA. The festival will not only provide a new sound-and payment-system on the ground, but also more space PLUS a psychedelic wonderland chillout- and live zone on the ‘Hoppetosse’ boat!

Day- and Weekend passes are selling fast, make sure to grab yours at the following link:
www.desertfest-tickets.de

www.desertfest-tickets.de
www.desertfest.de
www.facebook.com/DesertfestBerlin
www.instagram.com/desertfest_berlin

BlackWater HolyLight, “Wave of Conscience” official video

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