Bright Curse Stream New Album Time of the Healer in its Entirety; Out Tomorrow on Ripple Music

Posted in audiObelisk on May 9th, 2019 by JJ Koczan

bright curse

Bright Curse make their return with Time of the Healer tomorrow, May 10, through Ripple Music — almost three years to the day after their 2016 debut, Before the Shore (review here) was released. The time between has been eventful for the band to say the least. The label that put out the first outing, which was preceded by their 2013 self-titled EP (review here), was HeviSike Records, which unceremoniously folded thereafter amidst all kinds of shadiness accusations on the part of multiple parties. Also certainly relevant, Bright Curse are essentially a different band now than they were three years ago, with founding guitarist/vocalist Romain Daut revamping the lineup and moving from a trio to a four-piece now comprised of himself along with guitarist Tommy Foster, bassist Sammy Deveille and drummer Mark Buckwell. Unsurprisingly, there’s been an according shift in sound that’s evident throughout Time of the Healer as relates to Before the Shore, taking on a more weighted tonality — two guitars’ll do that — while exploring progressive textures of funk and jazz early on opener “Smoke of the Past” with start-stops and Peruvian flute.

Across that 11-minute leadoff and two other extended pieces in “Shadows” and the title-track paired as the closing duo with the shorter “Laura” (5:36) and “Une Virée” (3:03) between, Bright Curse find a method of delivery that is at once heavy and spacious without relying too much on effects or echo to make it happen. The mix is natural even as lead guitar emerges at the fore, and they’re able to shift tempo and volume naturally as “Smoke of the Past” progresses, leading to a closing funk jam that moves directly into the blues guitar intro to “Laura,” which works on a linear build toward a trumpet-topped rolling payoff — life is full of surprises; sometimes that surprise is a trumpet — and gives way to its own transitional stretch at the end, letting the French-language (Daut is a France-to-London-to-France transplant) spoken word and quiet guitar and percussion add a jazzy feel that builds off that of “Smoke of the Past” without echoing it directly. A hazy groove ensues until what might be abright curse time of the healer manipulated sample of dogs barking leads the way into “Shadows” and the accordingly bluesy pulse that thrives at its outset.

That transition, which is also presumably where side A ends and side B begins, is particularly interesting since it speaks to Time of the Healer working on more of a linear pattern, intended to be taken as an unbroken entirety. The extended runtimes of some of its tracks speak to a change in mindset as well — Bright Curse have written their share of longer songs, but never before hit the 10-minute mark — and if the intention is that Time of the Healer‘s tracks should be read as pieces of a whole work, movements within something larger, then that sensibility is duly accomplished in the finished product of the album itself. The flow of “Shadows” with its bluesy and grungy nod and brighter lead coming forward like that of “Smoke of the Past” before it doesn’t hurt either in that regard, as Daut‘s vocals lead a transition into more bottom-heavy nod at about seven minutes in. They finish “Shadows” with a slow march and an obscured sludgy clip that’s not really identifiable. When the closer ensues a few seconds later, it’s with a funky rhythm and a full sense of summary for what the album that shares its name has had on offer. There are two departure jams — one with trumpet (hello again) and one more spacious of quiet guitar ambience and percussion and between and after them, Bright Curse get as heavy as they’ve ever gotten, winding up at the finish for one last hit answered by string sounds also of unknown origin.

The message there could hardly be clearer in that Bright Curse, as they’ve done all along here, provide the next song’s intro, only there’s no next song to follow. Bright Curse are saying they’re not done, and frankly, I believe it. If having their label pulled out from under them and completely remaking the band didn’t kill them, I’m not sure anything other than a self-imposed “okay that’s it” can do so. All the better they never got to that point, though, as Time of the Healer shows the ongoing will toward creative growth in its arrangements and general reach that has been a defining factor in the band’s expressive searching, and one hopes that, with such turbulence behind them and this record as the result, they’re able to move forward from here and continue that sonic expansion into parts yet unknown. Time of the Healer does this boldly.

I’m thrilled today to host the premiere of the full album ahead of its proper release tomorrow on Ripple. Please find it below and enjoy:

Romain Daut on Time of the Healer:

It has been an adventure to record and release Time of The Healer. A lot has changed since our last album Before The Shore.

With the departure of Zach and Max, former drummer and bass player, and the whole mess with HeviSike, I wasn’t sure if I wanted to carry on, then I realised that not playing music was not working for me, so I started writing new material, not really knowing if it would get released or not…

Then Sammy offered to come back in the band (He is one of the first 3) and Mark from Chubby Thunderous Bad Kush Masters was up for it too. So we started working, and then recorded the whole thing. I had a daughter, moved back to France.

Everything Bright Curse related takes more time and money, but when you are motivated, it doesn’t matter…

Ripple offered to release the album and I am really happy to work with them now.

Bright Curse is:
Romain Daut: Guitar, Flute, Vocals 
Sammy Deveille: Bass, Double Bass 
Mark Buckwell: Drums, Percussions 
Tommy Foster: Additional guitarsDylan Jones: Trumpet on “Laura” and “Time of The Healer”
Produced By Romain Daut and JB Pilon 
Recorded and Mixed at Buffalo Studio (London UK) 
Mastered at Audiosiege Portland. 

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Bright Curse Set May 10 Release for Time of the Healer; New Song Streaming

Posted in Whathaveyou on March 28th, 2019 by JJ Koczan

bright curse

Bright Curse aren’t screwing around. They could do the teaser thing, and I think there is one out there, but the first track they’re unveiling from their upcoming second album is 10 minutes long, and that’s gotta be a substantial portion of the five-track LP from whence it comes. Now signed to Ripple after the clusterfuckness that befell them as regards their former outlet HeviSike Records, they’ll follow-up 2016’s Before the Shore (review here) and their 2013 self-titled debut EP (review here) with Time of the Healer on May 10, and “Shadows” demonstrates a scope that goes well beyond its extended runtime. I doubt it’s speaking to the entirety of what the record has to offer, but it certainly represents how far Bright Curse have come well and makes for an immersive listen. I look forward to hearing how it ties in with the rest of the release.

Art and info from the PR wire:

bright curse time of the healer

BRIGHT CURSE: Heavy Psych Rockers Return with New Album on RIPPLE MUSIC | Stream and share new song ‘SHADOWS’

Time of the Healer by Bright Curse is officially released 10th May 2019 on Ripple Music

Formed in London in 2012 out of the expatriated ashes of French psychedelic rock band Soul Manifest, heavy psych trio Bright Curse is a band that requires no introduction for anyone that has kept a close ear to the underground in recent years.

Following the release of their self-titled EP in 2013, their debut album Before the Shore (2016) not only showcased the band’s remarkable song writing talents, it proved itself be a hard rock sleeper hit you simply couldn’t ignore. Well known for riffing epic spectrums of dark/light through extended jams and out-and-out doom, the band established themselves on the road, hitting festival stages at Hellfest, DesertFest Berlin and Keep it Low, and touring across Europe with fellow Londoner doom merchants, Elephant Tree.

With the dissolution of their former label, HeviSike Records, last year, the band has since teamed up with chief purveyors of riff-driven heaviness, US label Ripple Music, to ready the release of new album, Time of the Healer this May.

“Working with Ripple is just gonna be rad. Having a label that really cares for its bands, that motivation will make the difference,” explains frontman/guitarist Romain Daut.

Of the upcoming album, he adds, “It’s a come-back to a doomier version of Bright Curse, more like the first EP. The songs are a bit longer and more developed, each relates a story, and all of them work together to create some kind of tale. I didn’t want to just have another heavy album, so we added some exotic instruments and I think it serves the story really well.”

Time of the Healer by Bright Curse is officially released on 10th May 2019 on Ripple Music and can be pre-ordered here at www.ripple-music.com.

BRIGHT CURSE:
Romain Daut – Guitar, Peruvian Flute, Vocals
Sammy Deveille – Bass, Double bass
Tommy Foster – Guitar, Guitar and more Guitar.
Mark Buckwell – Drums, Percussions

TRACKLISTING:
1. Smoke of The Past
2. Laura
3. Une Virêe
4. Shadows
5. Time of The Healer

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Bright Curse Post “Lady Freedom” Video

Posted in Bootleg Theater on December 19th, 2016 by JJ Koczan

bright curse

“Lady Freedom” is the leadoff track from London trio Bright Curse‘s 2016 HeviSike Records debut album, Before the Shore (review here). It was premiered here just before the record cam out in May, and even these months later its chorus still resonates with the driving heavy rock that became the central feature of the record as a whole, the band taking a more terrestrial approach following their 2013 self-titled EP (review here). It took me a while to get my head around that change — sometimes one sets up these expectations for where a given outfit might go — but once I did, it was easy to appreciate the straightforward songwriting they had on offer. Dudes weren’t asking for much; they just wanted to rock out and have a good time.

The vibe of their new video for “Lady Freedom” seems pretty similar. Directed by James Cox, it goes room-by-room through frontman Romain Daut‘s flat — they rock in the kitchen, living room, bedroom, and so on — as a rehearsal for a gig, pack everything up and head out. Along the way, sure enough, are some ladies on motorcycles who it seems pretty safe to assume are pretty free, at least for the afternoon of filming. The clip winds up at The Black Heart in Camden Town — on a personal note, it was a joy to recognize the upstairs space before getting confirmation from the PR wire info below that’s where it was filmed — where Bright Curse get booed off the stage only to have the same ladies step up and kick ass in their place as the song comes to an end.

What’s the lesson? Uh, ladies kick ass? Thought it was kind of a given, but nothing wrong with a bit of reinforcement for the idea, I guess.

Bright Curse are set to play Hellfest next year — nice work, gentlemen — and will have more touring besides, so don’t expect it to be too long before we hear from them again. In the meantime, enjoy the video, followed by copious background from Daut via the PR wire.

Dig:

Bright Curse, “Lady Freedom” official video

London power trio Bright Curse, who are set to play France’s Hellfest in 2017 headlined by rock superstars Deep Purple and Aerosmith, are currently celebrating a successful year; 2016 has seen their debut full-length released to critical acclaim and a relentless touring schedule has allowed them to perform for audiences in the UK and Europe. To top it off, the band has just unveiled a video for album-opener ‘Lady Freedom’.

Regarding the video’s biker theme, guitarist and singer Romain Daut explains “I started riding and following the custom motorcycle scene a couple of years ago and discovered some of the best people in the world; some of the most badass women – and that’s what I wanted in this short film; amazing ladies saving our asses! With the help of Kingdom of Kicks in Hackney and Our Black Heart in Camden, we found those girls!”

Discussing the track Daut states “Lady Freedom was one of the first songs I wrote for the album, a song about how we should respect the opposite sex, how we should embrace the fact that men would not exist without women, how we owe them our freedom…”

“We shot everything in London. It took us three days,” explains the frontman. “That was the first time Bright Curse had to act! You’ll probably notice that it was easier for some of us than others… The video was directed by James Cox without whom nothing would have been possible; the most talented director we know, he made everything so easy and smooth!”

“It was a lot of fun and I think we have a taste for it now, freezing our balls early morning, drink nothing but coffee all day, having the neighbours ringing our bell in the afternoon because they ‘would like us to find an other place to do that’ and telling them they’ll have to live with it… I mean, I’ll play music in my fucking kitchen if I want to, right?!”

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The Obelisk Presents: The Top 20 Debut Albums of 2016

Posted in Features on December 15th, 2016 by JJ Koczan

the obelisk top 20 debut albums of 2016

Please note: This post is not culled in any way from the Year-End Poll, which is ongoing. If you haven’t yet contributed your favorites of 2016 to that, please do.

Of all the lists I do to wrap up or start any given year, this is the hardest. As someone obviously more concerned with first impressions than I am and thus probably better-dressed once said, you only get one chance at them. For bands, that can be a vicious bite in the ass on multiple levels.

To wit, you put out a great debut, fine, but there’s a whole segment of your listeners who’re bound to think you’ll never live up to it again. You put out a meh debut, you sell yourself short. Or maybe your debut is awesome but doesn’t really represent where you want to be as a band, so it’s a really good first impression, but a mistaken one. There are so many things that can go wrong or go right with any LP, but with debuts, the stakes are that much higher because it’s the only time you’ll get the chance to engage your audience for the first time. That matters.

And when it comes to putting together a list of the best debuts of the year, how does one begin to judge? True, some of these acts have done EPs and singles and splits and things like that before, and that’s at least something to go on, but can one really be expected to measure an act’s potential based on a single collection of songs? Is that fair to anyone involved? Or on the other side, is it even possible to take a debut entirely on its own merits, without any consideration for where it might lead the band in question going forward? I know that’s not something I’ve ever been able to do, certainly. Or particularly interested in doing. I like context.

Still, one presses on. I guess the point is that, like picking any kind of prospects, some will pan out and some won’t. I’ve done this for enough years now that I’ve seen groups flame or fade out while others have risen to new heights with each subsequent release. It’s always a mix. But at the same time, it’s important to step back and say that, as of today, this is where it’s at.

And so it is:

KING BUFFALO ORION

The Obelisk Presents: The Top 20 Debut Albums of 2016

1. King Buffalo, Orion
2. Elephant Tree, Elephant Tree
3. Heavy Temple, Chassit
4. Holy Grove, Holy Grove
5. Worshipper, Shadow Hymns
6. Vokonis, Olde One Ascending
7. Wretch, Wretch
8. Year of the Cobra, In the Shadows Below
9. BigPig, Grande Puerco
10. Fuzz Evil, Fuzz Evil
11. Bright Curse, Before the Shore
12. Conclave, Sins of the Elders
13. Pale Grey Lore, Pale Grey Lore
14. High Fighter, Scars and Crosses
15. Spirit Adrift, Chained to Oblivion
16. Bellringer, Jettison
17. Church of the Cosmic Skull, Is Satan Real?
18. Merchant, Suzerain
19. Beastmaker, Lusus Naturae
20. King Dead, Woe and Judgment

Honorable Mention

There are many. First, the self-titled from Pooty Owldom, which had so much weirdo charm it made my head want to explode. And Iron Man frontman Dee Calhoun‘s acoustic solo record was technically a debut. And Atala‘s record. And Horehound. And Mother Mooch. And Domkraft. And Spaceslug. And Graves at Sea? Shit. More than a decade after their demo, they finally put out a debut album. And Second Grave‘s full-length would turn out to be their swansong, but that doesn’t take away from the quality of the thing. There were a lot of records to consider in putting this list together. As always, it could’ve been a much longer list.

For example, here are 20 more: Swan Valley Heights, Arctic, Blues Funeral, Teacher, Psychedelic Witchcraft, Nonsun, Duel, Banquet, Floodlore, Mindkult‘s EP, Mountain Dust, Red LamaRed Wizard, Limestone Whale, Dunbarrow, Comacozer, Sinister Haze, Pants Exploder, Akasava, Katla and No Man’s Valley. That’s not even the end of it. I could go on.

Notes

It was a fight to the finish. There’s always one, and as late as yesterday I could be found kicking back and forth between King Buffalo and Elephant Tree in the top spot. What was it that finally put King Buffalo‘s Orion over Elephant Tree‘s self-titled? I don’t know. Ask me tomorrow and the answer might be completely different.

They had a lot in common. Not necessarily in terms of style — King Buffalo basked in spacious Americana-infused heavy psych jams while Elephant Tree proffered more earthbound riffing and melodies — but each executed memorable songs across its span in a way that would be unfair to ask of a debut. The potential for what both bands can turn into down the line played a part in the picks, but something else they share between them is that the quality of the work they’re doing now warrants the top spots. Orion and Elephant Tree were great albums, not just great first albums.

From there, we see a wide swath of next-generation encouragement for the future of heavy rock, whether it’s coming from Sweden’s Vokonis or Philadelphia’s Heavy Temple, or London’s Bright Curse, or Los Angeles duo BigPig. The latter act’s punkish fuzz definitely benefited from guitarist/vocalist Dino von Lalli‘s experience playing in Fatso Jetson, but one hopes that as the years go on his own multifaceted songwriting style will continue to grow as well.

A few offerings weren’t necessarily unexpected but still lived up to the anticipation. High Fighter‘s EP prefaced their aggro sludgecore well. Ditto that for the grueling death-sludge of Massachusetts natives Conclave. The aforementioned Bright Curse, Merchant, Fuzz Evil, Atala, Bellringer, Holy Grove, Wretch and Worshipper all had offerings of one sort or another prior to their full-length debuts — in the case of Bellringer, it was just a series of videos, while Wretch had the entire The Gates of Slumber catalog to fall back on — but each of those albums offered surprises nonetheless.

It would’ve been hard not to be taken by the songwriting on display from the likes of Holy Grove, Year of the Cobra, Pale Grey Lore and Beastmaker, who between them covered a pretty broad variety of atmosphere but found ways to deliver high-quality crafted material in that. Those albums were a pleasure to hear. Put Boston’s Worshipper in that category as well, though they were just as much a standout from the pack in terms of their performance as what they were performing. Speaking of performance, the lush melodies from Church of the Cosmic Skull and classic progressive flourish were enough to make me a believer. Simply gorgeous. And one-man outfit Spirit Adrift shined, if in that matte-black doom kind of way, on an encouraging collection of modern melancholic heavy that seemed to hint at sprawl to come.

As we get down to the bottom of the list we find Pennsylvania ambient heavy post-rockers King Dead. Their Woe and Judgment was released digitally last year (2015) but the LP came out earlier this year, so I wasn’t quite sure where to place them ultimately. I know they got some mention on the 2015 lists somewhere, but while they’re an act who’ve flown under a lot of people’s radar as yet, I have good feelings about how they might continue to dig into their sound and the balance of bleakness and psychedelic color they bring to their material. They’re slated for a follow-up in 2017, so this won’t be the last list on which they appear in the next few weeks.

Like I said at the outset, putting out a debut album is a special moment for any band. Not everyone gets to that point and not everyone gets beyond it, so while a list like this is inherently bound to have some element of speculation, it’s still a worthy endeavor to celebrate the accomplishments of those who hit that crucial moment in their creative development. Hopefully these acts continue to grow, flourish, and build on what they’ve thus far been able to realize sonically. That’s the ideal.

And before I go, once again, let me reinforce the notion that I recognize this is just a fraction of the whole. I’d like it to be the start of a conversation. If there was a debut album that kicked your ass this year and you don’t see it here, please drop a note in the comments below. I’m sure I’ll be adding more honorable mentions and whatnot over the next couple days, so if you see glaring omissions, let’s have ’em.

Thanks for reading.

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Keep it Low 2016: John Garcia, The Atomic Bitchwax, Fatso Jetson & Bright Curse Added

Posted in Whathaveyou on May 20th, 2016 by JJ Koczan

keep it low 2016 header

Man, I saw Fatso Jetson earlier this year, and let me tell you, wherever they are is where you want to be. They’re one of four bands to join the ranks of Keep it Low 2016 today, along with John Garcia, NJ’s venerable The Atomic Bitchwax and London trio Bright Curse, which only makes an already strong lineup stronger. Interesting that the news from Sound of Liberation mentions a new Garcia full-length. The former Kyuss/Vista Chino singer (along with UnidaHermano, etc.) has made some mention of a new full-band outing to be issued under his name and an acoustic solo record as well, but I haven’t seen concrete word of a release date yet for either. “By the time October gets here” makes for a decent ballpark figure though, so I guess I’ll run with that.

Details from the PR wire:

KEEP IT LOW 2016! Oct. 21st & 22nd… John Garcia, The Atomic Bitchwax, Fatso Jetson & Bright Curse Confirmed!

4 new bands joined the KEEP IT LOW FESTIVAL 2016 line-up this afternoon, bringing the total of bands to 13 so far!

Alongside Colour Haze, Elder, Greenleaf, Monkey3, Toner Low, 1000Mods, Black Rainbows, Duel and Kind, we are stoked to welcome to our 4th edition the almighty John Garcia (coming with his full band, a new album, and surely some Kyuss classics in the set!), legendary US Fuzz Rock Riffmasters The Atomic Bitchwax (still promoting their terrific 2015’s album “Gravitron”), Fatso Jetson (Desert rock godfather Mario Lalli is always welcome at our festival) and Bright Curse (which released their excellent debut album “Before The Shore” last week).

KEEP IT LOW 2016 will happen on October 21st and 22nd in FEIERWERK (Munich) and will greet with 3 stages and around 20 bands, outside beergarden & skatepark. On this upcoming edition we are setting up a cozy and rain protected outside area with food and drink station. We also decided to play already on 2 stages on the Friday night and ending both KIL nights with aftershow parties and Dj Sets (Friday until 3 am and Saturday until 5 am).

Hard Tickets (2-day passes) are available on Woolheads for 65 €! Online tickets are also available on Eventim!

You can purchase tickets on http://woolheads.com/ but be quick! E-Tickets are also available on http://www.eventim.de/

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Fatso Jetson, “Swollen Offering” Live, April 2, 2016

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Bright Curse Premiere “Lady Freedom” from New LP Before the Shore

Posted in audiObelisk, Reviews on May 2nd, 2016 by JJ Koczan

bright curse

London trio Bright Curse release their debut album, Before the Shore, May 13 on HeviSike Records. It’s among the most awaited debuts of the last couple years, the band having made a striking impression with their 2013 self-titled EP (review here) and subsequent Shaman single (review here) while cycling through a couple shifts in lineup that have brought guitarist/vocalist Romain Daut and drummer Zacharie Mizzi together with bassist Max Ternebring for the seven-track/43-minute LP, which was produced by the band and J.B. Pilon at Rock of London Studios with mastering by Jaime Gomez Arellano at Orgone Studios.

Topped off with striking artwork by Adam Burke, it’s also a release that dramatically repositions the group from where they were three years ago stylistically, swapping out the heavy psychedelia of their EP for a more clear-headed approach driven particularly by Daut‘s vocals and a spirit of modernized-sounding classic heavy rock that recalls the clarity in the production of the latest Kadavar without aping that band’s methods otherwise. Bright Curse‘s material is more flowing, more gradual, less directly playing to pop traditions, but a focus remains on songcraft, the bulk of the tracks running in the five-to-six-minute range, with brooding closer “Earth’s Last Song” longer at 8:29.

A rampant emotionalism ties the songs together, from opener “Lady Freedom” to the Graveyardian melancholia of “Candles and Flowers,” but moods nonetheless vary between them, and from front to back, Before the Shore moves smoothly through its course, flourishes like the spoken sample in “Cheating Pain” and the organ in the penultimate highlight “Northern Sky” adding to the context overall. And though they’ve grown into abright curse before the shore more straightforward-sounding act overall, Bright Curse still find room to offer a jammy sensibility in the swinging solo section of “The Shore” and in the bluesy leads of semi-cultish centerpiece “Walking in a Graveyard (Bloody Witch),” which are offset by the album’s most fervent stomp, Mizzi‘s snare punctuating the natural but not vintage tones of Daut and Ternebring as Daut pushes his voice toward and past the breaking point for not the first time.

His stepping forward as a frontman becomes a defining characteristic of Before the Shore, and the command shown in either the quiet stretches of “Cheating Pain” and “Earth’s Last Song” or the more brash thrust of “Lady Freedom” and cowbell-inclusive swing of “Candles and Flowers” is not to be discounted in terms of the overarching impression the record makes. Listening back to the EP, Daut gave a strong vocal performance there as well, but the context was different, the tones surrounding thicker and more encompassing, whereas the crispness in the presentation of Before the Shore really gives him the space to shine in his delivery, somewhat indebted to Magnus Pelander in cadence but continuing to develop in identity as well.

That’s not to take anything away from the chemistry of Bright Curse as a whole, who’ve clearly spent the time since their first outing refining their approach. That shows itself throughout Before the Shore, whether it’s the catchy hooks of “Lady Freedom” and “Cheating Pain” or the more patient builds of “Northern Sky” and “Earth’s Last Day,” which takes a more linear turn where earlier cuts like “Walking in a Graveyard (Bloody Witch)” ebbed and flowed.

The plays in structure and what DautTernebring and Mizzi are able to execute within them, particularly when taking into account that this is their first full-length, remain impressive, and while I’ll allow that part of me misses the psychedelic vibe of the EP — part of me always misses the psychedelic vibe — the flow they conjure here is palpable between tracks and goes a long way toward showing where their progression is headed. It’s a positive direction, and in the interim, Before the Shore marks the arrival of a band clearly ready to stand themselves out from a crowded London heavy rock scene, which, though it’s been a while in the making, means it got here right on time.

I have the pleasure today of hosting the premiere of “Lady Freedom,” which you’ll find below, followed by Bright Curse‘s latest European tour announcement.

Please enjoy:

Stoked to finally unveil our whole upcoming European Tour, in support of our debut album “Before The Shore”, out on May 13th on HeviSike Records! It kicks-off in less than a month! Who’s coming!?

20.05 (F) Lille | El Diablo (w. Space Fisters)
21.05 (F) Caen | Le Bocal
22.05 (F) Bordeaux | Void – Make It Sabbathy (w. Space Fisters)
23.05 (F) Tours | Puzzle Pub – CRYPTE (w. Space Fisters)
24.05 (F) Nantes | Scène Michelet – CRUMBLE FIGHT (w. Space Fisters)
25.05 (F) Paris | L’Espace B (w. Space Fisters)
26.05 (NL) Amsterdam | The Cave
27.05 (D) Cologne | The Odonien
28.05 (B) Arlon | L’Entrepôt
31.05 (F) Strasbourg | Mudd Club (NEW SHOW)
01.06 (F) Dijon | Deep Inside
02.06 (F) Lyon | Les Capucins
03.06 (D) Karlsruhe | Bistro KA
07.06 (CH) Geneva | L’Usine – Kalvingrad
08.06 (F) Reims | L’Appart Café

Events & more info right here: https://www.facebook.com/BrightCurse/events

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Bright Curse Release Before the Shore May 13; Euro Tour Announced

Posted in Whathaveyou on March 17th, 2016 by JJ Koczan

London-based heavy rockers Bright Curse unfold a patient heavy psychedelia as they give the first sample of their forthcoming Before the Shore LP, but “The Shore” isn’t without a corresponding sense of build. Been looking forward to new Bright Curse basically since their 2013 self-titled (review here), and though they offered up the single Shaman (review here) last year, they’ve had a bit of tumult to get them on the path to signing to HeviSike Records for Before the Shore, lineup changes and so on, but whatever got them there, I’ll be excited to hear more when/if should the opportunity arise.

The PR wire brings EU tour dates, album details — no art yet; also interested to see what they have in store for that — and the stream of “The Shore” for instant-gratification-type enjoyment:

bright curse

BRIGHT CURSE sign to HeviSike for release of Before The Shore album | Announce EU tour and stream/share new song

New album Before The Shore by Bright Curse is released on 13th May via HeviSike Records

Formed in London in 2012 out of the expatriated ashes of French psychedelic rock band Soul Manifest, Bright Curse is a band that requires little introduction to anyone that has kept a close ear to the underground in recent years.

This May, the trio – featuring guitar player and vocalist Romain Daut, drummer Zacharie Mizzi and newest member Max Ternebring on bass – will follow up on their 2013 self-titled EP with the release of their full-length debut, Before The Shore, on HeviSike Records. Another rising star and staple of the subterranean/heavy-psychedelic set that has been making a noteworthy name for itself of late with releases from Dead Feathers, Prophets Of Saturn and Elevators To The Grateful Sky.

Recorded and produced by the band with J.B Pilon at Rock Of London Studios and mastered by Jaime Gomez Arellano at Orgone Studios, Before The Shore dives headfirst into the deep and darkened sea of brooding rock ‘n’ roll. Still riffing epic spectrums of dark and light but trading in the extended jams and out-and-out sounds of space rock, doom and metal found on their Bright Curse EP, for a more measured, and ultimately stunning approach. An approach that brings with it the hypnotic soul of David Gilmour-esque guitar solos, blustering Iommi riffs and stirringly effective Deep Purple key sections. All of which pull Bright Curse up through the surface at a rate of knots and out into the open waters of contemporary rock ‘n’ roll greats such as Graveyard, Kadavar and Colour Haze.

Having played live with the likes of Earthless, Naam, Mars Red Sky and Pentagram at festivals such Glad Stone Fest (France), Up In Smoke Fest (Switzerland) and more recently Desertfest (London), Bright Curse hit the road next month as part of a co-op tour with France’s Space Fisters (see dates below) ahead of the release of Before The Shore on 13th May 2016 through HeviSike.

Bright Curse:
Romain Daut – Guitars, Vocals
Zacharie Mizzi – Drums
Max Ternebring – Bass

Live Dates:
20 May – El Diablo (w. Space Fisters) – Lille, France
21 May – Le Bocal – Caen, France
23 May – Make It Sabbathy (w. Space Fisters) – Bordeaux, France
24 May – Venue TBA (w. Space Fisters) – Nantes, France
26 May – The Cave – Amsterdam, Netherlands
2 June – Les Capucins – Lyon, France
3 June – Bistro KA – Karlsruhe, Germany
4 June – Venue TBA – Cologne, Germany
7 June – Kalvingrad, L’Usine – Geneva, Switzerland

https://www.facebook.com/BrightCurse/
https://twitter.com/Brightcurseband
http://brightcurse.com/
http://brightcurse.bandcamp.com/
hevisike.bigcartel.com
https://www.facebook.com/hevisike/

Bright Curse, “The Shore”

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Bright Curse Debut “Shaman” from New Single

Posted in audiObelisk on March 18th, 2015 by JJ Koczan

bright curse (Photo by Oran Tarjan)

London heavy psych rockers Bright Curse will release their new single, Shaman, on March 20. The two-songer arrives two years and two bassists on from Bright Curse‘s 2013 self-titled debut (review here), and while there was discussion of a new EP before their next album as a showcase for where the new lineup are headed sonically, I’m pretty sure the single will be serving that purpose instead. For what it’s worth, it does so readily, finding guitarist/vocalist Romain Daut, drummer Zacharie Mizzi and new bassist Max Ternebring melding raw psychedelia and fuzz with heavier push and grunge elements. Of course, in terms of getting to know the band again, the fact that “Shaman” and “Fear the Lord” top 15 minutes when played back to back helps, but even more telling is the atmospheric focus the band displays in that time.

“Fear the Lord” is the shorter of the two cuts at 6:30 and has some satisfying chug to it, but “Shaman” nears nine minutes in length and is more open sonically, early punch and angularity moving into smoothed-out nod and not taking long before shifting into abright curse shaman consuming exploratory jam, Ternebring leading the way, his bass soon joined by ebow-ish guitar and a pervasive classic-prog feel that only increases as the build mounts, giving way eventually to another verse and the apex of the song. Where “Fear the Lord” is more about its hook, “Shaman” itself indicates at a breadth of songwriting expanding since the debut’s release and brought to life with clarity and passion by this latest incarnation of Bright Curse. The differences in structure alone make it harder to guess where Bright Curse might be headed following Shaman, but both tracks portray the band as coming into their own, and that’s always an excellent place to start.

Bright Curse will embark on a round of Ephel Duath-presented tour dates next month with Elephant Tree to herald the single’s arrival, and you’ll find the shows along with some PR wire info under the player below, on which you can hear the streaming premiere of “Shaman,” which it is my pleasure to host. Hope you enjoy:

New single “Shaman” comes along another song entitled “Fear The Lord”, both being available on the band’s Bandcamp as well as all digital platforms on March 20th. The tracks were recorded in London, and mastered by Tony Reed (Mos Generator, Stone Axe) at HeavyHead Recording studios.

BRIGHT CURSE’s frontman Romain Daut comments on this new material: “We wanted to record a single with our new bass mästare Max to show the evolution in our sound, so we wrote “Shaman” in January and recorded it in February. With this song, we tried to find a way between old school riffs and lumberjack heaviness. Max brings more energy and feeling to the band, and I think it’s all over those two songs. It’s a brand new alchemy for Bright Curse.”

BRIGHT CURSE will head back to the studio later in 2015 to record their second album to date. The trio will hit the road on March 16th for a short Euro tour.

“Shaman” will be available March 20th on all digital platforms. Artwork by Elvisdead.

UPCOMING SHOWS:
16.04 (FR) HÉNIN-BEAUMONT – Végas Café
17.04 (FR) ROUEN – Le 3 Pièces
18.04 (BE) LIÈGE – Péniche InsideOut
19.04 (CH) BASEL – Secret Place
20.04 (FR) TBA
21.04 (FR) TBA
22.04 (FR) TBA
23.04 (DE) GÖTTINGEN – Vinyl Reservat
24.04 (DE) HAMBURG – Bambi Galore

Bright Curse on Thee Facebooks

Bright Curse on Twitter

Bright Curse on Bandcamp

Bright Curse website

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