Kadavar Post “Tribulation Nation” Video; Tour with Mantar & Death Alley Starts Tomorrow

Posted in Bootleg Theater on October 11th, 2017 by JJ Koczan

kadavar

I admit I’m a little behind in posting the latest video from Berlin-based heavy rock magnates Kadavar. Do you think anyone noticed? Nah. The band’s been too busy reaping rightful praise for their just-issued stunner of a fourth album, Rough Times (review here), which follows the modernization of vibe that took place on 2015’s Berlin (review here) with a darker-overall sense of mood driven, no doubt at least in part, by the woes engendered across the sphere of current events. At least that’s the impression a track like “Tribulation Nation” gives, anyhow.

Ever mindful of their audience, Kadavar don’t necessarily pass outward judgment in the song, however, and the spirit of the track is more one of coming to terms with, attempting to understand the world than trying to critique or correct something so very screwed up about it. I try to keep it out of posts on this site — because, well, why make yourself mad if you don’t have to? — but I’m a pretty politically-minded guy and I think if you hang around here long enough you can get a sense of where my sensibilities lie in that realm if you want one, and I can’t help but wonder if part of the reason Kadavar don’t push their level of criticism farther is because of the generalized feeling of hopelessness of the progression of the world’s situation. What’s to be done? If there was going to be an answer, is it so unreasonable to think someone would’ve stumbled on it by now?

The three-piece hit the road tomorrow to start the touring cycle proper for Rough Times, which if past is prologue will likely keep them on the road through the end of 2018 and then some — they kind of go, go, go perpetually — and they go in the company of Mantar and the revamped lineup of Death Alley. Maybe that’s the answer. You just keep going. Because that’s all you can do is move forward. Hit the road. Take care of yours and try not to be a dick to everyone else. I don’t know if that’s the message here or not, but as takeaways go, at least it’s not “make riffs great again.”

Video and tour dates follow, as well as more info from the PR wire.

Enjoy:

Kadavar, “Tribulation Nation” official video

kadavar tour dates

Arguably the hardest working band in the current European rock scene, Kadavar made their entrance in 2010 with a vintage, retro style of heavy rock ‘n’ roll that called for comparisons to greats like Black Sabbath and Led Zeppelin. The band quickly stood out amongst their peers with straightforward, no frills approach to their signature brand of rock that features classic song structure with a gritty contemporary edge.

Kadavar’s previous record, Berlin, set the scene ablaze, charting in both Germany and the U.S., and made them a household name among rock fans around the world. Now armed with their follow-up, Rough Times, the band seeks to reclaim their title as one of the best rock has to offer.

Guitarist/singer Lupus comments: “The album is finally out and we’re really happy. Last week, we quickly recorded a video for ‘Tribulation Nation’ in the studio. I think this song underlines how complex our new record is. Thanks to everyone for the support.”

KADAVAR w/ MANTAR, DEATH ALLEY
12.10. D Essen – Zeche Carl
13.10. D Hamburg – Markthalle*
14.10. D Leipzig – Conne Island
15.10. B Antwerp – Desert Fest
17.10. F Strasbourg – La Laiterie Club
18.10. F Paris – Le Trabendo
19.10. F Rennes – L’Ubu
20.10. F Bordeaux – La Krakatoa
21.10. E Madrid – But
22.10. E Barcelona – Bikini
24.10. F Lyon – Feyzin
25.10. CH Monthey – Pont Rouge
26.10. CH Aarau – Kiff
27.10. D Munich – Backstage
28.10. A Vienna – Flex
29.10. A Graz – PPC
30.10. HR Zagreb – Mocvara
01.11. H Budapest – A38
02.11. PL Warsaw – Progresja
03.11. PL Krakow – Kwadrat
04.11. CZ Prague – Nová Chmelnice
05.11. D Nuremberg – Hirsch
07.11. NL Amsterdam – Paradiso Noord
08.11. D Hanover – Capitol
09.11. DK Copenhagen – Pumpehuset
10.11. S Stockholm – Debaser
11.11. N Oslo – Bla
12.11. S Gothenburg – Pustervik
13.11. NL Deventer – Burgerweeshuis
15.11. D Cologne – Bürgerhaus Stollwerck
16.11. D Wiesbaden – Schlachthof
17.11. D Stuttgart – LKA Longhorn
18.11. D Berlin – Columbiahalle
*no MANTAR

KADAVAR live:
20.12. D Bremen – Tower
21.12. D Mannheim – Alte Feuerwache
22.12. D Münster – Sputnikhalle
28.12. D Chemnitz – AJZ Talschock
29.12. D Siegen – Vortex

Kadavar on Thee Facebooks

Kadavar on Twitter

Kadavar on Instagram

Nuclear Blast on Thee Facebooks

Nuclear Blast webstore

Tags: , , , , ,

Quarterly Review: Nibiru, The Ditch and the Delta, Cyanna Mercury, Surya Kris Peters, Golden Bats, Blind Hen, The Black Wizards, Low Flying Hawks, Brother Sister Hex, Cold Insight

Posted in Reviews on September 28th, 2017 by JJ Koczan

the obelisk quarterly review

Ready for round three of the Fall 2017 Quarterly Review? I hope so, because it’s a doozy. Things get pretty weird and pretty rockin’ in this batch, and at the risk of being completely honest, I much prefer it that way. It’s a varied group — maybe the most diverse in terms of sound throughout the entire week, though there’s stiff competition still to come — and as we hit the 30th review, that brings us to the halfway point of the Quarterly Review itself, which if all keeps proceeding according to plan will wrap up on Monday with a grand total of 60 done. Let’s hope no pianos fall on my head between now and then, literally or figuratively. Onward.

Quarterly Review #21-30:

Nibiru, Qaal Babalon

nibiru qaal babalon

The fourth full-length from Italian sludge ritualists Nibiru, Qaal Babalon (on Argonauta) is an encompassing, 57-minute grind comprised of four extended tracks, the longest of which is opener (immediate points) “Oroch” at 19:07 – a song whose depths run dark and cruel and which, even when the tempo pushes upward from its initial slow crawl, still feels massively slow. Still, the spirit behind “Oroch” as well as the following and much faster “Faboan” (10:51), the buzzsaw noise cutting avant insanity of “Bahal Gah” (16:40) and full-drone rite of “Oxex” (11:05) is less directly about the punishment itself than about the exploration enacted thereby. That is, Nibiru aren’t just heavy for heaviness’ own sake and they’re not just assaulting their listenership without reason. Though I won’t take away from its raw sonic impact, Qaal Babalon’s greatest asset is its atmospheric impression and the experimentalism it brings to bear, which moves Nibiru into a terrifying place sound-wise that they seem to have all to themselves.

Nibiru on Thee Facebooks

Argonauta Records website

 

The Ditch and the Delta, Hives in Decline

the-ditch-and-the-delta-hives-in-decline

Hailing from the unlikely heavy hotbed of Salt Lake City, Utah – though where better for a counterculture to emerge? – sludge rocking trio The Ditch and the Delta made their debut earlier in 2017 with the seven-song Hives in Decline via Battleground Records before being picked up by Prosthetic for this reissue. Comprised of bassist/vocalist Kory Quist (see also: Making Fuck), guitarist/vocalist Elliot Secrist and drummer Charles Bogus, the three-piece pummel handily throughout early cuts like opener and longest track (immediate points) “Hives in Decline” “Fuck on Asphalt” and the nodding “Sleeping Dogs,” but with the instrumental interlude “Dry Land,” they tap into post-Across Tundras heavy Americana and in that brief two-minute stretch deeply affect the mood of the release overall. They’re back to angular noise rock turns soon enough on “Till Body Quits” and the Remission-era-Mastodon-style “Mud” before alternating between lurching crush and airier prog/post-rock on closer “Dread Spectacle,” but by then the secret’s out of their underlying complexity, and rather than offset the sense of drive in the prior cuts, one finds them only enhanced by the later unfolding. Intense, and very much in the process of sorting through these impulses, but loaded with potential.

The Ditch and the Delta on Thee Facebooks

The Ditch and the Delta at Prosthetic Records

 

Cyanna Mercury, Archetypes

Cyanna-Mercury-Archetypes

From Greek dialogue in “Hermes” to the Nick Cave-style piano balladry of “Apollo” to the organ-and-handclaps Mediterranean pop underscoring “Lilith”’s boogie and the spoken verses and explosive hook of “Snake” ahead of moody closer “There will be a Time,” Cyanna Mercury’s debut long-player, Archetypes, seems to leave no sonic stone unturned. The Athens-based five-piece hone a thoroughly progressive approach across the 10-track/40-minute (plus a CD bonus track) outing, touching on heavy psych in opener “Horse Dark as Night” and injecting a darker theatricality into centerpiece “Ode to the Absent Father” and the later “Nothing We Can Do,” but refusing to relegate themselves ultimately to one sound or another. Elements of folk, heavy rock, psychedelia, classic prog, pop and more besides show themselves across what’s a legitimate head-trip of a record, and though it’s hard to get a grip on where Cyanna Mercury are ultimately headed with this sonic brew already so potent and already so much their own, they seem to be completely in control of how it all plays out in arrangement and songwriting, and they work quickly to earn the listener’s trust via a resonant overarching flow that renders Archetypes truly immersive. Will fly under most radar, but a stunningly creative debut.

Cyanna Mercury on Thee Facebooks

Cyanna Mercury on Bandcamp

 

Surya Kris Peters, 2nd Chances

surya-kris-peters-second-chances

Numerically-titled three-song EP 2nd Chances is – since we’re going by the numbers – the third release of 2017 from Surya Kris Peters, behind the synth-driven Dream Exit EP digitally-issued this past summer and January’s Holy Holy Holy (review here) full-length. With it, Samsara Blues Experiment frontman Christian Peters further expands the contextual breadth of his solo work, revisiting songs from his prior outfit Terraplane in the Mellotron-infused melancholy of “Smalltown Blues” and the quick, folkish rambling instrumental “Dark Euphoria” while also covering Jefferson Airplane’s “Come up the Years” between. All told, it’s only 10 minutes long, but Peters brings a particularly progressive psychedelic folk vibe to the tracks, and from the shimmering guitar lead that takes hold in “Come up the Years” and the intimate feel of “Smalltown Blues” despite an arrangement of keys, vocals, multiple layers of guitar and effects, an emotional and sonic resonance is still very much achieved. One never wants to guess what Peters will do next, but if he had a full-length of this kind of thing out at some point, you wouldn’t be likely to find me complaining.

Surya Kris Peters on Soundcloud

Electric Magic Records on Bandcamp

 

Golden Bats, Residual Dread

golden-bats-residual-dread

An underlying mournfulness pervades Golden BatsResidual Dread, or maybe that’s just the Brisbane-based solo-project of multi-instrumentalist/vocalist/engineer Geordie Stafford living up to the title chosen for the album on “Nothing.” Elsewhere, Residual Dread takes on guitar-as-keyboard plotted soloing in 11-minute closer “The Crows Build a Fire” and find a place between black metal and doomly roll, and add piano to tapped Godflesh-style programming on opener “Trouble in the Sewers” and bring organ to the relative bounce of “Eye Juices” as far-back echoing shouts provide the vocal presence. Setting elements against each other would seem to be a core aspect of Stafford’s intent, and the feel on Residual Dread is more about the smashing them together and seeing what happens than trying to gently meld one idea from two or three. That lends a raw, experimentalist sensibility to the lumber of “Outer Body” and “Into the Silver Valley” that serves them well, like a Large Hadron Collider driven by riffs and thickness of tone.

Golden Bats on Thee Facebooks

Haemorrhage Records webstore

 

Blind Hen, Life

blind-hen-life

In its first two minutes, Blind Hen’s “As a Monster” moves from electronica-style Euro dance rock to heavy-riffed progressive metal. Then it turns back. This is just the start of the Finnish four-piece’s four-track/21-minute Life EP, and “Titanic” follows stylistic suit with an even more intense thrust early before moving into psychedelia in its second half with an underlying tension in its beat to contrast the melodic wash overtop. The chugging “The Maze” is more guitar-led and straightforward, but even there, Blind Hen find room for nuance in their vocal arrangement, also bringing in acoustics amid the multiple layers of singing, and with a sample at the outset, closer “Catch” moves once again toward the danceability of the earlier fare, if in a via-Mr.Bungle rhythmic restlessness rather than the fusion beatmaking. Weird, weird, weird. What draws Life together is the fact that Blind Hen cross this aesthetic swath with stuck-in-your-head choruses as a constant, essentially giving the audience something to grasp onto while they go wherever they want in terms of sound. It is appreciated to say the least, and shows the band to be all the more attuned to their craft, even when they seem at their most unhinged.

Blind Hen on Thee Facebooks

Blind Hen on Bandcamp

 

The Black Wizards, What the Fuzz!

the-black-wizards-what-the-fuzz

If you’ve got 68 minutes, Portuguese four-piece The Black Wizards are ready to have a heavy blues shindig on their second 2LP full-length, What the Fuzz!, and I do believe we’re all invited. The nine-song outing emphasizes the vocals of guitarist Joana Brito, who emerges on post-intro opener “Freaks and Geeks” with a prominent kind of trilling in her voice of the sort Parker Griggs brings to Radio Moscow that holds for the duration as a steady presence. Joined by guitarist Paulo Ferreira, bassist/acoustic guitarist B and drummer/backing vocalist Helena Peixoto, Brito leads the way through the fuzzy rollout of the nine-minute “The Story of an Hopeless Drummer” (sic), stepping back to let the guitar/bass have a righteously nodding moment late in the track, but holds firm in a forward position on the short, twanging “Just Not Today” as well as the early going of the prior subdued-blues-smoker highlight “Floating Blues.” “Build Your Home,” “I Don’t Wanna Die” and the particularly-classic-sounding “Fire” revive the classic heavy rock spirit of “Freaks and Geeks,” and 16-minute finale “Everything is Good Until Trouble Comes” uses its extra runtime for a satisfying and patient execution with an expanded arrangement including choral vocals, organ and additional guitar effects. You might be boogied out by the time they’re done, but as The Black Wizards crash through their big finish, they sound like their party’s just getting started.

The Black Wizards on Thee Facebooks

The Black Wizards on Bandcamp

 

Low Flying Hawks, Genkaku

low-flying-hawks-genkaku

One might expect that with all the Melvins affiliation going on in the second Magnetic Eye Records full-length from L.A. duo Low Flying Hawks, Genkaku would sound, you know, more like the Melvins, but despite working with bassist Trevor Dunn, drummer Dale Crover and producer Toshi Kasai, and despite bringing in Buzz Osbourne for guest vocal spots on eight-minute opener/longest track (immediate points) “Smile” and side B leadoff “Space Wizard,” initials-only multi-instrumentalists EHA and AAL follow their 2016 debut, Kofuku (review here), with a sound even more their own, balancing between thick riffy rollout and post-rock atmospherics. Of course, they weird out a bit on “Smile” and the lumberingly spacious “Uncool” and “Virgin Witch,” but whether it’s the later mournfulness of “Hallucination” or “Twilight” toying with noisy fuckall while seeming to mock heavy rocker burl ahead of the melodic payoff in closer “Sinister Waves,” there’s more EHA and AAL in Low Flying Hawks than the prominent pedigree of their collaborators might lead you to believe. All the better for what becomes a richly satisfying 43-minute listen rife with depth, patience, and yes, personality.

Low Flying Hawks on Thee Facebooks

Magnetic Eye Records on Bandcamp

 

Brother Sister Hex, End Times

brother-sister-hex-end-times

Coherent songwriting rests at the core of what Denver’s Brother Sister Hex bring to their five-song third EP, End Times, which darkens up Queens of the Stone Age-circa-Songs for the Deaf vibing on its title-track (also a bit of Kyuss’ “El Rodeo” in there for good measure) before delving into more ambient fare on the centerpiece “Confessions.” Vocalist/guitarist Colfax Mingo demonstrates SubRosa-style vocal command there, but the context is more rock-based, uptempo and straightforward as she, guitarist Patrick Huddleson, bassist Drew Hicks and guest-drummer Jordan Palmer (Plastic Daggers) meld traditionalist structures with atmospheric moodiness. Opener “Hey” offers a suitable greeting through hook and groove, and the shuffle of “Sweet and Sleazy” and the rumbling fuzz (Hicks makes it a highlight) of closer “News Feed” wraps with another grunge-style QOTSA melody efficiently drawn, shouting the question “what have we done?” as it thuds into its second half. Uh, you’ve made a professional-sounding, excellently-constructed EP that shows you’re more than ready to embark on a debut full-length, permanent drummer or no. So yeah, get on that.

Brother Sister Hex on Thee Facebooks

Brother Sister Hex on Bandcamp

 

Cold Insight, Further Nowhere

cold-insight-further-nowhere

As progressive as it is brutal, Further Nowhere is ostensibly the debut release from Paris’ Cold Insight. The material seems to date back at least to 2013, if not earlier than that, when band-spearhead Sébastien Pierre (also of Enshine, Fractal Gates, and others) first issued what’s now tagged as a “pre-production album” version, but it’s hardly as though the lush, growling, melodeathly doom sounds dated. With sonic likenesses throughout to bands like Amorphis, Dark Tranquility and Paradise Lost, Cold Insight – on which Pierre, who also did the artwork, is joined by drummer Christian Netzell while Jari Lindholm adds lead guitar – hit on a very particular, very European style, and not an unfamiliar one as displayed in the righteously driving “Distance,” but the find-the-beauty-in-darkness spirit behind “Close Your Eyes” and songs like “Even Dies a Sun” and the more uptempo later piece “I Will Rise” help ensure that the formidable 12-song/66-minute run of Further Nowhere never gets too bogged down in its melancholy. It may have been a while in the making, and one hopes a follow-up won’t take as long to arrive, but the precise execution Pierre hones in these songs and the depths to which he can bring a willing audience are a fitting payoff for the years of work that went into their construction.

Cold Insight on Thee Facebooks

Cold Insight on Bandcamp

 

Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Scream of the Butterfly Premiere Video for “Solid Ground Shaking”; Ignition out Sept. 29

Posted in Bootleg Theater on September 25th, 2017 by JJ Koczan

scream of the butterfly

Berlin heavy rockers Scream of the Butterfly work just a tinge of grunge into the instant-sing-along two-stage hook of the new single from their upcoming debut album, Ignition. Set for issue this week via Burning Wax Productions — a new collaboration between Heavy Psych Sounds and Subsound Records — the full-length is led off by “Solid Ground Shaking,” and as you can hear/see in the video below for the track, the four-piece find a place for themselves between methods classic and modern, organ playing a central role amid creatively-drawn vocal layers, forward rhythmic drive and traditionalist swing that ensures Ignition‘s subsequent tracks are led into in such a way as to suitably evoke the record’s title. If this is Scream of the Butterfly taking flight, well, at least it sounds like it.

scream-of-the-butterfly-ignitionApart perhaps from that grunge-era influence, it should be noted that the band has just about nothing in common with the Acid Bath song from which they take their name or that group’s general filth-covered methodology. Rather, working with producer Richard Behrens (Heat, ex-Samsara Blues Experiment), they bring a sharp and straightforward tack that, going by “Solid Ground Shaking,” asks little more of the listener than perhaps a bit of well-earned boogieing. I haven’t heard the full album yet, so it could be that Scream of the Butterfly totally prog out at some point or other, but they’re also streaming the somewhat punkier “Turning Me Loose” which you can hear at the bottom of this post, and to put it mildly, that song as well keeps its chorus front and center, boding well for the rest of Ignition to follow.

Preorders have already started for the Sept. 29 release, and you can dig into those links and more info from the PR wire under the premiere of the clip for “Solid Ground Shaking” below, which captures the band performing amid a psychedelic lightshow and a haze that in no way affects the obvious clarity at root in their approach.

Please enjoy:

Scream of the Butterfly, “Solid Ground Shaking” official video premiere

Music video by Scream Of The Butterfly performing ‘Solid Ground Shaking’, off the album IGNITION. New album will be released September 29th via Burning Wax Productions. Presale starts September 15th. Released in LTD Colored Vinyl, Black Vinyl, CD and Digital.

Ignition” marks a ferocious kick start of the Berlin based band Scream Of The Butterfly into the crazy world of rock’n’roll. Powerful guitar riffs, a tight rhythm section and versatile melodies topped with a portion of vintage hammond organ will please the fans of classic 70s rock as well as grunge and contemporary rock lovers. The eight songs, recorded by Kadavar sound-engineer Richard Behrens, are well picked and balanced to deliver the audience some high energy rock tunes combined with a road trip feeling and the solid power of massive riffs closing with an emotional but still powerful ballad.

Roughness, drive and attitude of “Ignition” became visible with the stunning cover-artwork by Branca Studio.

Video credits: Jan Bauer / Scream Of The Butterfly

Tracklisting:
1. Solid Ground Shaking 05:35
2. Turning Me Loose 03:43
3. Missed The Brake
4. Living Doll
5. City Of Splendours
6. Liqour Store
7. Evil Feelings
8. I Can’t Go Back

Scream of the Butterfly is:
Glauco – drums
Sergej – bass
Rich – vocals, keys
Mazz – guitar

Scream of the Butterfly, “Turning Me Loose”

Scream of the Butterfly on Thee Facebooks

Scream of the Butterfly on Instagram

Scream of the Butterfly on Bandcamp

Scream of the Butterfly website

Burning Wax Productions on Thee Facebooks

Burning Wax Productions website

Tags: , , , , ,

Desertfest Berlin 2018 First Announcements: Monster Magnet, Nebula, Eyehategod, Jex Thoth, Planet of Zeus & The Necromancers

Posted in Whathaveyou on September 25th, 2017 by JJ Koczan

Desertfest Berlin 2018 made its actual first announcement the other day when it unveiled that it was moving from its traditional home at Astra Kulturhaus to Arena Berlin. I’m not familiar with the space, but one assumes the move is at least in part to accommodate the gradual upping of scale that Desertfest as a whole has undertaken over the last few years.

As ever, Desertfest Berlin will apparently share a decent amount of lineup with the London incarnation of the fest, and fair enough — that’s kind of the idea — but in addition to headliners Monster Magnet and the confirmations for EyehategodNebulaJex Thoth and Planet of ZeusDesertfest Berlin 2018 will also feature The Necromancers, who’ve yet to be added to London if they will be at all, and so we see the German event beginning to cast its own shape as well.

More to come, of course. Here’s what came in on the PR wire so far:

DESERTFEST BERLIN ANNOUNCES FIRST BANDS & HEADLINER FOR 2018

Tickets On Sale Now!

Desert rockers! It’s about time to unveil the first bunch of bands for next year’s Desertfest Berlin, which will take place between May 4th – 6th 2018 at the ARENA BERLIN!

Ladies & gentlemen, breath in deep, as this first line-up news will come to revive your spirit: We’re more than thrilled to announce that the Spacelord, Dave Wyndorf will hit our main stage in 2018. MONSTER MAGNET comes as the first headliner we can proudly present to you today! With their hazed heavy sound on groundbreaking records such as ‘Tab’, ‘Spine Of God’, ‘Dopes To Infinity’ or ‘Powertrip’, MONSTER MAGNET transformed themselves into the Olympus of modern power rock and became the godfathers of psychedelic and stoner rock.

More big news are coming ahead, Desert Rockers! We are extremely happy that LA´s legendary psych stoner outfit NEBULA will celebrate their Re Union at our stages!!! Formed in 1997 by Fu Manchu member Eddie Glass, NEBULA have been on indefinite hiatus since early 2010 but have not broken up. We are much looking forward to welcome Eddy Glass and his gang at Desertfest Berlin 2018!

Oh and for all of you dear Sludge rockers, don’t worry we haven’t forgot about you. What about a heavy dose of mighty EYEHATEGOD in 2018? Yes, you have heard right. The kings of Sludge from New Orleans, who emerged from the Nola Metal scene since 1988 belong to the most influencing bands. Heavy, detuned, and bluesy guitar riffs, combined with walls of feedback and tortured vocals to create a harsh misantrophic vibe, EYEHATEGOD will make sure to take over our new home at the ARENA BERLIN!

Next on the bill we’re very proud to inform you, that the queen of darkness JEX THOTH will bring the Doom and Psychedelic Rock as its finest to Desertfest Berlin. Fronted by the eponymous Ms. Jessica Thoth, the Wisconsin- based 5 piece band delivers delicate tones that are soaked in mystery and aura as well as generate astounding depth atop a musical landscape of intelligently constructed Sabbath-ian blues vibes and fuzzy distortion.

Athen’s rumbling heavy rock machine PLANET OF ZEUS will set the stage on fire with their outstanding live performance. Last but not least in this announcement we are welcoming THE NECROMANCERS! This young band from France raised a lot of attention with the release of their outstanding debut album a few weeks ago.

We hope you all like this first bunch of bands and be sure there are many more exciting acts and news to follow soon! In 2018 we will break new grounds and preparing for an unforgettable Desertfest Berlin experience.

Join us in the capital of the almighty riff – DESERTFEST BERLIN 2018!!!

Limited amount of early birds avaialble now!
85 € ( + 7.-€ service fee)

Head over and make sure to get yours right HERE: https://www.desertfest-tickets.de/produkte/150

www.desertfest.de
www.facebook.com/desertfestberlin
www.facebook.com/events/128298847822160

Desertfest Berlin 2018 first announcements teaser

Tags: , , , , , , , , ,

Samavayo Announce Dakota Reissue; Premiere Bonus Track “Justify”

Posted in audiObelisk, Whathaveyou on September 21st, 2017 by JJ Koczan

samavayo

Germany-based heavy rockers Samavayo are getting ready to move forward from their 2016 album, Dakota (review here). That record, their fifth overall, has served as a high-water mark for the Berlin trio as they’ve continued to refine their approach within driving riffage and Middle Eastern-inflected stylistic flourish. They have a handful of dates left for this year and then they’ll settle in and begin the writing process anew. At the risk of giving you my actual opinion on the matter, I think Samavayo are underrated as songwriters and so the idea of another record and another step forward from them is exciting. They’ve only grown more progressive over time.

Before they get down to the nitty-gritty of constructing new material — which they’ll do with an eye toward a samavayo justifyFall 2018 release according to guitarist/vocalist Behrang Alavi, who’s joined in the band by bassist/vocalist/Moog-ist Andreas Voland and drummer/percussionist/vocalist Stephan VolandSamavayo will oversee a second pressing of Dakota, and it’s to mark this occasion today that you’ll find the premiere of the previously-unreleased cut “Justify” below. Recorded at Big Snuff Studio by Richard Behrens, its central riff a little bit speaks to the upbeat shove one finds from the likes of Red Fang, but even to this Samavayo can’t help but lend their own personality.

Full in tone and righteous in hook, “Justify” is one more example of the edge Samavayo bring to classic-style structures and the kind of rhythmic drive that will hopefully find its way into their new stuff as well. Alavi offered some background on the song which you can read under the track itself below, followed of course by the tour dates.

Please enjoy:

Behrang Alavi on “Justify”:

“Justify” was recorded in the same 11-day session as Dakota at Richard Behrens’ studio in Feb. 2016. We didn’t put the song on the album like our previously-released “To The Ground” because we wanted to have that as a clear, homogeneous heavy psych stoner album. We planned to release them later, but by then we didn’t have a plan how. Now we release the track with the second edition (500 pieces) of the Dakota CD after the first edition has sold out (only few few copies left).

As we did with the second edition of our first album death.march.melodies, we again changed a detail on the second edition to make it something special. In the case of d.m.m., we changed the artwork of the CD print. On Dakota, the artwork is unchanged but we added a bonus track at the end of the CD.

This month we also started writing songs for the next album planned for autumn 2018. We have a few shows left this year in Germany and Switzerland. If progress remains positive, we will record the album in spring 2018 while we play few shows. Next year we will be playing festivals where we are going to put some of the new songs into set list and then have the main tour with the new album in autumn. We are considering looking for a new label after many years releasing on our “home”-label, Setalight.

Samavayo live:
Oct 03 Forum, Bielefeld, Germany supporting Brant Bjork
Oct 12 Hirscheneck Basel, Switzerland
Oct 13 Böröm Pöm Pöm Oberentfelden, Switzerland
Oct 14 Jazzkeller Hofheim Am Taunus, Germany
Nov 18 Lindenpark Potsdam, Germany
Dec 01 Finsterwalde, Germany

“Justify” at Samavayo’s Bandcamp

Samavayo on Thee Facebooks

Samavayo website

Setalight Records website

Tags: , , , , , , ,

Kadavar, Rough Times: To Chronicle

Posted in Reviews on September 6th, 2017 by JJ Koczan

kadavar rough times

It feels like every time Kadavar release a new album, it’s a crucial moment for the band. On some level, this has to be because the standard of quality they’ve set for their work continues to seem impossible to maintain over the longer-term. Not that they haven’t earned respect as a special group in more than just their haircuts and fashion sense through their songwriting, constant touring, and three full-lengths to-date —  2015’s Berlin (review here), 2013’s Abra Kadavar (review here) and 2012’s self-titled debut (discussed here) — just that the echelon of craft at which they’ve worked for the last half-decade is exceedingly rare and even more rarely maintained over a stretch of years and releases. Yet, with the arrival of their fourth long-player and third for Nuclear BlastRough Times, one doesn’t at all anticipate the three-piece of guitarist/vocalist Christoph “Lupus” Lindemann, drummer Christoph “Tiger” Bartelt and bassist Simon “Dragon” Bouteloup will fail to meet the expectations of their massive fanbase.

Indeed, if Berlin proved anything at all about the band’s sound in the clearer, more modern, less vintage-minded production approach it brought forth, it’s that Kadavar‘s sonic and aesthetic reach is even greater than anyone could’ve anticipated from the warm, ’70s-fueled sounds of their earliest work. Rough Times, with 10 songs and 44 minutes divided over two distinct LP sides, is no less brazen in pushing even further. Side A cuts like “Into the Wormhole” (video posted here) and “Skeleton Blues” turn the crispness of Berlin on its head with the outright heaviest low end the band has ever conjured and a gnarled-out fuzz in the guitar — see “Into the Wormhole” after about 2:45 especially — that maintains the modernity of the preceding offering and most importantly, the memorable songwriting Kadavar have proffered all along, but is nonetheless immediately distinguished from the rest of their work in intention and execution. They’re a big enough band at this point that opinions on anything they do will be divided, but in listening to Rough Times, the band make their mission clear and accomplish it with poise and purpose alike. If you were anxious, rest easy. Kadavar have done it again.

About that mission, though. The chief clue would seem to be right there in the title Rough Times. Through the initial tumbling chaos of the opening title-track, the key-laced weirdness of “Into the Wormhole,” the “fake news” reference in the nod-stomp of “Skeleton Blues” and even the later drift of “The Lost Child,” Kadavar seek to capture something essential about the moment in which we live. As an American hearing songs like “Skeleton Blues” and the thrust-laden urgency of side B opener “Tribulation Nation,” my mind immediately turns to politics, and for Germans whose home country has been called the last and best hope for stewardship of the European Union, the case may or may not be the same, but Rough Times avoids direct engagement with the issues of the day in favor of a more general impression of the confusion and pessimism engendered thereby.

That’s not to say there’s no hope, which one readily finds in the penultimate romance of “You Found the Best in Me” — though it’s only fair to be skeptical of sentiment coming from Kadavar after “Pale Blue Eyes” (video posted here) from Berlin turned out to be an inside joke written by Lindemann about Bartelt in a dress — but especially as the first half of Rough Times proceeds into the horrors of “Die Baby Die” and “Vampires,” the impression is unquestionably the darker than any of Kadavar‘s prior output. And it’s supposed to be. That’s the point.

kadavar

Particularly through “Rough Times,” “Into the Wormhole,” “Skeleton Blues,” “Die Baby Die” and “Vampires,” with flourish of keys in and out among the guitar bass and drums, varied tonality, still-righteous hooks and melodicism from Lindemann on vocals, Rough Times channels the turbulence of 2017 — and thankfully, it does so with none of the exhausting despair that each week seems to bring. Instead, even “Vampires” keeps an uptempo swing behind its midsection solo, and “Die Baby Die” stands among the catchiest tracks Kadavar have ever written. Likewise, as “Tribulation Nation” and “Words of Evil” begin to transition into side B, the former with perhaps the most direct political theme here in its lyrics, they mark the starting point of an expansion that will push outward in multiple directions until atmospheric, French-language spoken word closer “À L’Ombre du Temps” (“to the shadow of the times”) brings Rough Times to its end.

The turn that commences with “Tribulation Nation” is key, since while “Into the Wormhole” and “Die Baby Die” and “Skeleton Blues,” etc., certainly have their mood and ambient aspects, the rhythm of the side B opener is practically space rock in its approach, and each song that follows — “Words of Evil,” “The Lost Child,” “You Found the Best in Me” and “À L’Ombre du Temps,” in that order — offers something different from its surroundings. In the case of “Words of Evil,” that’s a motor-ready chug of a riff feeling in conversation with the post-Priest vibe of Berlin‘s “Into the Night,” brought to bear over a quick-running three and a half minutes light on frills other perhaps than some echo on Lindemann‘s vocals and a winding groove that feels likely to build momentum on stage as well as it does leading into “The Lost Child,” which immediately turns again. An intro of keys lead the way to softer tom hits as part of a subdued verse topped with eerie crooning, and though the chorus will bring a swell of volume and tone, the longest track on Rough Times at 5:52 shifts just before its fourth minute into acoustic-strummed, whistle-inclusive Spaghetti Westernism, ending with sampled waves to set the stage for Tiger‘s drum intro to fluidly begin “You Found the Best in Me,” on which Kadavar marry Beatlesian pop hooks with Skynyrd-derived Southern rock in a way that, after the reaches of the previous track and the morose spirit of some of the other material surrounding, is a welcome moment of relief.

The message in the context of the rest of the album? Whatever or whoever the song is actually about, it would seem to be that we’ve still got each other. And fair enough. “You Found the Best in Me”‘s classic feel is the strongest tie on Rough Times to Kadavar‘s first two records, but while its roots are classic, there’s precious little about it looking to retread either their own or anyone else’s past. Instead, like “The Lost Child” before and “À L’Ombre du Temps” after, it finds the trio once again in new territory, and as its finish moves into the keys, background drones and whispers of “À L’Ombre du Temps,” the flow of side B is only further emphasized — all the more a masterful realization given the range — and the quiet epilogue comes across as no more out of place than any of the brash stylistic changes before it.

Granted, “À L’Ombre du Temps” isn’t without a spiritual predecessor either — a cover of Nico‘s “Reich der Träume” was included as a bonus track on the last album — but still, as an original piece and in its place as the last statement on Rough Times, it stands out in a way very much intended to be striking, and it is. One might take it as a last-minute confirmation of the fact that, four LPs deep into their tenure, Kadavar are able to go where they please in theme and sound alike, but as relates to the rest of Rough Times surrounding, the closer is one more example of the strength of their songwriting and their ability to work within multiple contexts to create not just landmark individual singles like “Die Baby Die” or “Tribulation Nation,” but an album as an entirety that’s strengthened by the various sides of personality shown throughout. In this, Kadavar prove once more why they’ve become one of the most crucial heavy rock acts currently going, and as they engage with the roughness of our times in theme and sound, they almost can’t seem to help but make the days a little easier to endure.

Kadavar, “Into the Wormhole” official video

Kadavar, “Die Baby Die” official video

Kadavar on Thee Facebooks

Kadavar on Twitter

Kadavar on Instagram

Nuclear Blast on Thee Facebooks

Nuclear Blast webstore

Tags: , , , , ,

Kadavar Post “Into the Wormhole” Video; Rough Times out Sept. 29

Posted in Bootleg Theater on September 1st, 2017 by JJ Koczan

kadavar photo joe dilworth

I’ve got Kadavar‘s new album, Rough Times, slated for review next week, so you’ll pardon me if I don’t say too much about it here while I’m still gathering my thoughts for the inevitable brainsplurge to come, but suffice it to say that when I think about the record, this song plays a big role in the overarching impression I get from it. Like their preceding video for “Die Baby Die” (posted here), this one for “Into the Wormhole” speaks to the more metallic tonality on display in Rough Times‘ earlier cuts, whether it’s the opening title-track or the surprisingly thickened “Skeleton Blues.”

Though that’s only part of what the full record ultimately has on offer before moving into the classically motoring “Words of Evil” and the Southern-tinged “You Found the Best in Me” on side B, the cynical worldview (and why not?) and harsher approach is new ground for Kadavar, who even in modernizing their production style across 2015’s Berlin (review here) after positioning themselves are retro-rock forerunners with their first two albums, 2013’s Abra Kadavar (review here) and 2012’s self-titled debut (discussed here), didn’t come nearly as close to anything quite so aggressive in tone as they do in “Into the Wormhole.”

But as the title says, these are Rough Times. There’s a ton or two of PR wire info included with the video — tour dates and all that — and again, with the review coming up, I’m going to leave it there, but the moral of the story is that if you thought after Berlin you knew what Kadavar were all about or where they were headed in terms of sound, “Into the Wormhole” will very likely make short work of that notion.

Enjoy:

Kadavar, “Into the Wormhole” official video

Berlin, Germany-based rock overlords KADAVAR have released the official music video for the brand new song “Into The Wormhole”. The track comes off their eagerly awaited fourth studio album, Rough Times.

The video was shot at Sphaèros Art Cave in Paris, France, directed by Luizo Vega (Studio V). The video starring actor AQUA NEBULA OSCILLATOR singer David Sphaèros follows a concept by drummer Tiger.

Commented Tiger: “The darkness that surrounds us when reality seems like a big black hole, those times when we try to turn around trying to escape the gravity of modern life looking for the shortcut to a more pleasant one, our biggest wish is that wormholes do exist and can take us to another dimension. A place where our thoughts are not poisoned and our souls can resonate freely. Playing music together has always been an attempt to enter this rare state of mind where everything is fine for just a second. While ‘Into The Wormhole’ is rather slow and possibly the heaviest song we have ever written, it philosophies about the shortcuts to enter the state of bliss at speed of light, the WORMHOLE.

Our history with our french buddies in AQUA NEBULA OSCILLATOR, goes far behind and each of us has tried in their own way to find salvation through music. This is why I’ve had the idea to ask singer and main brain David Sphaèros to open the doors to his infamous caves in the Parisian underground for us to collaborate for this video. Being able to get Luizo Vega on board as a director, who has just worked on Dracula’s Not Dead, pushed the whole thing just in the right direction.”

The pre-orders for Rough Times and brand new merchandise can be viewed here.

Rough Times will be released on September 29 via Nuclear Blast.

KADAVAR live:
30.09. UK London – The Dome
01.10. UK Sheffield – HRH Doom vs. Stoner
20.12. D Bremen – Tower
21.12. D Mannheim – Alte Feuerwache
22.12. D Münster – Sputnikhalle
28.12. D Chemnitz – AJZ Talschock
29.12. D Siegen – Vortex

w/ MANTAR, DEATH ALLEY
12.10. D Essen – Zeche Carl
13.10. D Hamburg – Markthalle*
14.10. D Leipzig – Conne Island
15.10. B Antwerp – Desert Fest
17.10. F Strasbourg – La Laiterie Club
18.10. F Paris – Le Trabendo
19.10. F Rennes – L’Ubu
20.10. F Bordeaux – La Krakatoa
21.10. E Madrid – But
22.10. E Barcelona – Bikini
24.10. F Lyon – Feyzin
25.10. CH Monthey – Pont Rouge
26.10. CH Aarau – Kiff
27.10. D Munich – Backstage
28.10. A Vienna – Flex
29.10. A Graz – PPC
30.10. HR Zagreb – Mocvara
01.11. H Budapest – A38
02.11. PL Warsaw – Progresja
03.11. PL Krakow – Kwadrat
04.11. CZ Prague – Nová Chmelnice
05.11. D Nuremberg – Hirsch
07.11. NL Amsterdam – Paradiso Noord
08.11. D Hanover – Capitol
09.11. DK Copenhagen – Pumpehuset
10.11. S Stockholm – Debaser
11.11. N Oslo – Bla
12.11. S Gothenburg – Pustervik
13.11. NL Deventer – Burgerweeshuis
15.11. D Cologne – Bürgerhaus Stollwerck
16.11. D Wiesbaden – Schlachthof
17.11. D Stuttgart – LKA Longhorn
18.11. D Berlin – Columbiahalle
*no MANTAR

Kadavar on Thee Facebooks

Kadavar on Twitter

Kadavar on Instagram

Nuclear Blast on Thee Facebooks

Nuclear Blast webstore

Tags: , , , , ,

Cosmic Fall Post New Jam “A Calmer Sphere”; Announce New Guitarist

Posted in Bootleg Theater on August 29th, 2017 by JJ Koczan

cosmic fall

Not so far removed from their Summer 2017 split with Aphodyl (review here) or their last video-based jam-unveiling for the trippy ‘Haumea’ (posted here), and still just months out from their second full-length, Kick out the Jams (review here) behind their 2016 debut, First Fall (discussed here), prolific, hit-the-ground-running psych improvisateurs Cosmic Fall have posted yet another fresh work, in the form of “A Calmer Sphere,” a new clip and instrumental piece to coincide. The title and the soothing fluidity of the jam itself — and make no mistake, it is a jam; basic structure be damned, let’s-go-a-wanderin’-style — may be somewhat aspirational on the part of the three-piece, who would seem to be mired in a bit of drama with their former guitarist, domain name ownership, rights to prior releases, etc., all in flux at the moment, but clearly bassist Klaus and drummer Daniel still have their subtly funkified hearts in the right place when it comes to getting down to the heart of the sun itself, and as they welcome new six-stringer Martin to the fold, it’s not without a hopeful future ahead.

For example, they’re still working quickly, and “A Calmer Sphere” — at 12 minutes long as presented in the clip below of dim-lit performance footage accompanied by sundry suitable B-roll well-fitting to the effects-laced noodling, warm low end and steady-holding drum punctuation — is as much its own destination as its journey. Martin steps forward in a volume swell after the five-minute mark, but the molten vibe of the piece overall is inescapable, and neither are Cosmic Fall trying to escape it. Indeed, if anything has typified the still-and-once-again-nascent trio’s work to date (and I say “once again” because one doesn’t simply swap out members in a band like this where dynamic is everything; it’s a big change and a musical conversation that has to develop in a natural chemistry, more than just bringing in someone to play parts written for them), it’s their utter willingness to dive headfirst into their own explorations, and Martin‘s lack of holding back in the extended lead section, which recedes before “A Calmer Sphere” hits its 10th minute, bodes exceedingly well for how he, Klaus and Daniel will fare moving forward.

The drama, yeah, that’s kind of a bummer. But sometimes those kinds of growing pains happen. Some you win, some you lose, and I can’t imagine it’ll be all that long before Cosmic Fall have a slew of new diggables loaded up on their Bandcamp for the space-hungry masses in their building following. At least not if the pace they’ve worked at so far is anything to go by. Till they get there, you can enjoy “A Calmer Sphere” below, followed by the latest update from the band:

Cosmic Jam, “A Calmer Sphere”

We want to welcome Martin to the band, he’s our new guitar player and now everything is finally working out again! If you haven’t already, you can hear his cosmic guitar playing on this new jam video.

(at the end of the week, we will put this jam together with another one up on bandcamp for free download)

So now we can explain some things to you. Our old guitar player doesn’t allow us to sell our albums on bandcamp anymore, so we were forced to take everything down. We also had to delete all of the videos, photos and downloads on amazon, spotify, itunes and so on. But if you’re interested in buying a CD or Vinyl of our albums, write us an e-mail to: cosmicfallband@gmail.com

He also doesn’t want to give us the domain cosmicfall.com, so we’re not responsible for what happens there, our homepage is: https://cosmicfallband.tumblr.com.

This also means, that our first 3 releases will never be reissued! But don’t worry, the vinyl of “Kick Out The Jams” will come, we will post an update with the details, soon. Now we just want to look ahead and make new music with Martin.

Much love – Dan and Klaus

Cosmic Fall on Bandcamp

Cosmic Fall on Thee Facebooks

Cosmic Fall Tumblr

Tags: , , , , ,