Review & Track Premiere: Kandodo3, K3

Posted in audiObelisk, Reviews on May 20th, 2019 by JJ Koczan

kandodo k3

[Click play above to stream ‘Everything – Green’s – Gone” from Kandodo3’s K3. Album is out June 21 on Rooster Rock Records.]

Headphones at the ready for the third/fourth-ish full-length from Kandodo, this time incarnated as Kandodo3 and expertly delivering a packed 79 minutes of mostly minimalist psychedelic brainmelt. It’s been dubbed K3, simple enough, and its lengthy run plays out across seven tracks whose far-out sprawl is mitigated only by the distance the imagination of the listener is willing to follow them. At the nexus of all things Kandodo is guitarist Simon Price, also of garage-psych-fuzz scorchers The Heads, but Kandodo is a different bird altogether — not a bird at all, really; a supermarket in Malawi — and even as Price brings aboard The Heads bandmates Hugh Owen Morgan on bass and Wayne Maskell on drums to manifest the ‘3’ in Kandodo3, the identity of the project remains distinctly separate. It’s just something else, even if it’s some of the same people.

But what the three-piece construct, or anti-construct, in these tracks ranges from the 83-second guitar noise experiment of “Lapwinger” through the 39-minute final track “High on Planes/Drifter” that consumes sides C and D of the double-vinyl and finds Price re-teaming on the latter “Drifter” part with John McBain, as last heard in 2016’s dual-speed Lost Chants/Last Chance (review here), a record that itself was an experiment, intended for play at 33 or 45RPM depending on the listener’s preference and also presented as a 2CD with each version on its own disc. K3 doesn’t work with the same kind of meta-conceptual foundation, but its spaciousness in cuts like “Holy Debut,” the straightforward-in-comparison-to-what-follows opener “King Vulture” and of course the its-own-album finale, the record nonetheless weaves its narrative through open creativity and exploratory sensation. Its drone is droning and its layers are layered, but even in the lysergic music-box “Lounge Core” that closes side B and is just one of the two inclusions under six minutes long at 3:39, K3 basks in the unexpected and a vibe of weirdoist bliss that goes beyond “for art’s sake” and is headfirst into passion in the making.

And maybe that’s not immediately apparent in the 13-minute soundscape of “Everything – Green’s – Gone” at the close of side A after “King Vulture” and “Lapwinger,” but there is a joy in the creative process even in that piece’s moodier early stretch, where Price‘s buzzsaw guitar lead seems to be reminding of the forests lost to building empty shopping malls. The underlying low end — presumably that’s Morgan, but one never really knows and that’s part of the fun — gives that track its extra brood, and the drone would be enough to make Earth jealous, but the quiet key-like guitar (or keys), echoes “King Vulture” while foreshadowing “Lounge Core” to come, so even there, there’s some manner of intertwining “Everything – Green’s – Gone” to K3 as a whole. Similarly, “Holy Debut” feeds into “The Gaping Maw,” which is perhaps titled in honor of its spaciousness, in a way that highlights the overarching flow of the material. Not all transitions are so direct, but that change does make the point of how easily K3 has moved from one vibe to the next all along, doing so via long fades into and out of silence and the general open spirit of the material.

kandodo

That is, it sets up the audience so that expectation mirrors breadth. That’s no small feat — putting the listener where you want them, without the aid of catchy hooks or other immediately accessible fare — but neither is this Price‘s first time at this particular dance, and though he seems in places to be willfully giving up command of the songs in the name of aural adventure, whether that’s improv or just putting consciousness to the side for a moment and feeling out where a piece like “Lapwinger” does and doesn’t want to go during its brief run. That in itself is a joyful act, embracing that task of helping a thing make itself, and Kandodo3, despite the obvious shifts in atmosphere throughout, seem to have a sense of when to let go and when to steer the direction more actively — though relativity applies in that regard as much as in everything else.

It’s hard not to think of “High on Planes/Drifter” as a highlight, focal point, whatever you want to call it, and maybe that’s fair enough. At 39 minutes, it’s about half the total runtime, and its droned-out ambience is an achievement apart even from a song like “Everything – Green’s – Gone” or “The Gaping Maw,” oozing out with a fluidity distinct enough to be placed on its own LP and making its way from minimal to minimal-est as it moves toward what one assumes is the near-midpoint transition between its two parts, drums gradually fading in after the arrival of the 23rd minute with a building tension of tom hits, eBow-sounding drone and a rhythmic line floating atop. That thud holds almost maddeningly steady over the next 10-plus minutes, with the arrival of McBain (ex-Monster Magnet, Wellwater Conspiracy, etc.) announced via a fuzzy solo that only adds to the immersion of the track as a whole and helps carry it toward its quieter finish.

With the title reference to High Plains Drifter, there is perhaps unsurprisingly some spaghetti west in the atmosphere, but however it might use a repeating figure, “High on Planes/Drifter” never really fully adopts that specific kind of presentation. Like the rest of the album before it, it almost can’t help but be its own thing. And that thing won’t be for everybody — what’s that you say? experimentalist drone isn’t universally approachable? tell me more! — but whether those who take it on do so for the almost-80-minute blissout or to sit and wade through each subtle turn of Price‘s guitar the various obscure elements as they wade in and out of the mix, K3 nonetheless makes a personal connection with the listener via the intimacy at play beneath its surface and the honest creative whim at its core. So maybe it’s not for everybody. Fine. Those willing to make the connection, however, will find it delivers on engagement to a degree worthy of its vast sonic reach.

Kandodo on Thee Facebooks

Kandodo on Bandcamp

Forte Music Distribution on Thee Facebooks

Forte Music Distribution on Bandcamp

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Kandodo3 to Release K3 June 21; New Video Posted

Posted in Whathaveyou on April 1st, 2019 by JJ Koczan

The last Kandodo-related release was Kandodo/McBain‘s might righteous late-2016 offering, Lost Chants/Last Chance (review here), and god damn it was awesome. New stuff from Simon Price, also of The Heads, is going to be welcome in whatever form it might take, but as Kandodo3 — otherwise known as Price and his The Heads bandmates Hugh Morgan and Wayne Maskell — get ready to issue their third full-length in the form of K3 this June and unveil the video for opening track “King Vulture,” the bliss seems particularly resonant. The only thing you really need to ask yourself is how much psychedelic mastery you can take before you need to quit. It’s okay, everyone has their lines.

Except this music. No lines. All go. Oh, and McBain sits in on “High on Planes/Drifter,” which is apparently enough on its own to consume a second LP. Just in case you needed good news to go with your good news.

Sign me up for wherever this trip is going:

kandodo k3

Kandodo3 – K3

Brand new studio full length from Bristol based sike-o-nauts, orbiting in the Heads’ realm and led by Heads’ Simon Price.

k3 continues the trajectory of outer space excursions found on previous kandodo releases.

Out of focus, relaxed and expansive vibes fuse together into serpentine rivers of minimalist rhythms and echoed tones, drawing the listener into tunnels of sound and scorched sonic landscapes.

It’s one for the headphones at 30,000 feet or late night deserted drives.

k3 finds three heads taking time out to dive into the dronal repetitions of deep space, 3 psychonauts killing time in the only way they know how; head-nodding drumfuzz layered with creamed strings. Guest guitar from fellow sike-head John McBain on the final half of the 40 minute trip which makes up sides 3 and 4.

k3 takes the autobahn, veering left past the sun and heading on till morning. There are no black holes ‘cos we’re in it: just do the half. The colours will come back with the dawn.

Settle in for the long haul and …..

Recorded over the past three years and aided by fellow Heads types H O Morgan and Wayne Maskell, this album was recorded in Bristol and on Price’s 4 track.. Mastered once again at Optimum by Shawn Joseph.

Releases June 21, 2019.

1. King Vulture
2. Lapwinger
3. Everything – Green’s – Gone
4. Holy Debut
5. The Gaping Maw
6. Loungecore
7. High on Planes / Drifter

kandodo3 is:
Hugh Owen Morgan – Bass
Wayne Maskell – Drums
Simon Price – Guitars, vocals

https://www.facebook.com/Kandodo-168305819900725/
https://kandodo.bandcamp.com/
http://www.facebook.com/ForteMusicDistribution
https://fortemusicdistribution.bandcamp.com/

Kandodo3, “King Vulture” official video

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Cegvera Premiere “Fractals (Corrupted)” Live Video; UK Shows Announced

Posted in Bootleg Theater on April 1st, 2019 by JJ Koczan

cegvera

In the time since Bristol, UK-based post-metallers Cegvera completed their tour dates in Mexico last summer, the band has signed a management deal, supported Elder and Mammoth Weed Wizard Bastard — among others — newly begun recording their second album, and most pivotally, made the transition from a trio to a two-piece, saying goodbye to bassist Aaron Scrupps in the process. As one might expect, there have been some changes in their dynamic as a result. The video premiering below for “Fractals (Corrupted)” is the first offering to come from the duo version of Cegvera and in addition to playing in the dark, as will happen, it finds guitarist Gerardo Arias covering more of the low-end in terms of tone where even on last year’s split with Vinnum Sabbathi (review here), he could be heard airing out a bit more post-rock-style drift. Drummer Matt Neicho, at least if the video is anything to go by, seems to relish in the change, and headbangs in time to his own cymbal crashes in a way that looks downright painful to my gentleman-of-a-certain-age self, adding even more force to the push of the rhythm as he goes.

“Fractals” is a song that would seem to have been around for a few years at least, with its roots in the band’s 2016 debut album that shared its name. “Fractals” from Fractals had a longer introduction from the guitar and a longer runtime as a result, but some of the crunch in the video below could also be heard on Cegvera‘s Live at Palíndromo, which was recorded in Guadalajara on the aforementioned Mexican tour and released this past January through LSDR Records, but the two-piece seem to strip it down even more, so that its progression is barely recognizable from the original “Fractals” and “Fractals (Corrupted)” becomes its own entity in this new form. Its post-metallic groove will be familiar to those who’ve been around the style long enough to understand what a “Stones from the Sky”-moment is, but it intrigues nonetheless thanks to the energy of its delivery and its blend of raw aggression and barebones atmosphere.

One has to wonder what might become of Cegvera going forward and how their sound might develop over the longer term with Arias and Neicho working on their own — if they even decide to continue on that route. “Fractals (Corrupted)” shows there’s potential for doing so — a way forward, in other words — and one suspects that after their next recording is done, the live dates below will help them further clarify the path they want to take. The rest of us will just have to wait to discover how it all shakes out, unless, you know, you can make it to a show or something like that.

Enjoy the premiere of “Fractals (Corrupted)” below, followed by more from the PR wire:

Cegvera, “Fractals (Corrupted)” official video

Recorded by Aleks Vezhdarov

Video by On Par http://onparproductions.co.uk/

It is the first time we record anything as a two piece (after aaron the bass player left the band). The session was recorded by Aleks Vezhdarov at University of West England (Bristol), and filmed by Toby Cameron (On Par Productions). It was recorded in a single take and filmed with a single camera.

Last release: the good earth is dying split w/ Vinnum Sabbathi, released by Stolen body records. Following dates:

With Weedruid (Germany):
23- May. Bristol, The cube
24 -May. Sheffield, Delicious Clam
25- May Coventry, The Arches

With Fumata (Mexico):
7- June London, The Dev.
8 – June Leeds, Bad Apples

Cegvera is:
Gerardo Arias – Guitar
Matt Neicho – Drums

Cegvera on Thee Facebooks

Cegvera on Bandcamp

Stolen Body Records webstore

Stolen Body Records on Instagram

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Cegvera Release Live Bootleg on LSDR Records

Posted in Whathaveyou on January 8th, 2019 by JJ Koczan

I’m a big fan of bands doing you-come-here-we-go-there tour trades. In 2017, Vinnum Sabbathi, whose members also stand at the helm of LSDR Records, hit the UK to tour with Cegvera. In 2018, it was Cegvera touring Mexico with Vinnum Sabbathi. They also released a split (review here) late last year through LSDR and would seem at some point to have begun to share Gerardo Arias between both bands, so clearly it’s an association that goes further than simply swapping shows. But all the better, really. The tighter the bands are, the more likely they are to get out together, and clearly it’s a productive partnership on all fronts.

To wit, LSDR Records has been hosting a series of live releases simply titled Live Bootleg, and Cegvera‘s Live Bootleg: Cegvera (Palíndromo) is the latest of them. Recorded while the band was on tour in Mexico this past June, it’s a solid set that showcases their heavy instrumentalism and penchant for atmospherics, captured at Palindromo in Guadalajara at what sounds like it was a pretty killer show. It’s a name-your-price download, so clearly the band and label are just trying to get the music heard by as many people as possible, and I can think of few missions more noble than that.

Info and audio follow:

cegvera palindromo

Cegvera – Live Bootleg: Cegvera (Palíndromo)

During the tour of Cegvera and Vinnum Sabbathi last June we had the opportunity to record the show that rifaron in Palíndromo, Guadalajara.

Like all the entries in the series, you can download this and other live sets of National Underground bands on our bandcamp: https://lsdr.bandcamp.com

Tracklisting:
1. The Great Blackout 06:19
2. Collapse // Aftermath 06:50
3. Natural Threats II 03:55
4. Depletion // Overshoot 07:38
5. Fractals 04:45
6. Rise 07:44

Cegvera (Bristol, UK) live at Palindromo, Guadalajara, June 8th 2018. Released January 6, 2019.

Recorded and edited by Juan Tamayo.
Cover photo by El Güerito Invita.

Cegvera is:
Gerardo Arias: Guitar
Aaron Scrupps: Bass
Matt Neicho: Drums

https://www.facebook.com/cegueraUK
https://cegvera.bandcamp.com/
https://www.facebook.com/lsdrrecords/
https://lsdr.bandcamp.com/
https://www.storenvy.com/stores/823500-lsdr-records-distro

Cegvera, Live Bootleg (2019)

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The Heads Announce UK Live Shows in Nov. & Dec.

Posted in Whathaveyou on July 27th, 2018 by JJ Koczan

Is it a full tour? Nope. Week of UK dates? Nope. One might in Manchester and one night in London? Yuppers. Still, it’s The Heads, so when they announce a weekender like the one below, Nov. 30 and Dec. 1, two nights only, it’s news as far as I’m concerned. Anytime The Heads do just about anything, it’s good for the universe in general, so while I won’t get to see them, I’m still glad they’re getting out. They’re touring in support of the 2CD/3LP compilation RKT! on their own Rooster Rock imprint and are promising more reissues to come, which is fine by me. I wouldn’t mind a new album either, but sometimes people have real lives and that’s a thing that happens instead of recording sessions. For anyone who hasn’t had the pleasure, The Heads are easily among the best live psychedelic acts I’ve ever seen, and should you happen to be in their path for either of these shows, consider yourself lucky.

Dates follow from the PR wire:

THE HEADS

THE HEADS announce two new UK shows!!

Bristol’s Heads set up a brace of UK shows at the end of the year… following on from well received appearances at this years Roadburn, Bristol Psych Fest and others already this year, its time to do a couple of club shows, a first time at the 100 Club and a welcome return to Manchester.

This year also saw the release of the 3LP/2CD set RKT!, which compiled the band’s late 90’s / early 2000 releases for the then fledgling label Rocket Recordings, many of which now fetch ridiculous amounts on various record trading sites.
The Heads are a mainstay of outsider psychedelic rock, they have been together since the early 90s, and constantly buck trends by ploughing their own path.. Britpop tried to thwart them, Stoner rock tried to adopt them.. they just kept turning up their amps and digging deep into a library of obscure kraut rock and early 70’s heavy rock to inspire their riffs and playing.

The four members, Paul Allen, Wayne Maskell, H O Morgan, Simon Price continue playing as the Heads alongside their day jobs, and other band commitments (Anthroprophh, Loop, Kandodo, Karen, etc ). They have taken back control of all of their catalogue and have been working to remaster it all and reissue it on their own label Rooster. In their 25th year together with this line up, it seems the Heads will keep rolling……

The Deaf Institute, Manchester. Friday, 30 Nov 2018
Doors Open: 7:00 PM
Starts: 7:30 PM
£16.50
Buylink: https://www.seetickets.com/event/the-heads/the-deaf-institute/1250899

100 Club, London. Saturday, 01 Dec 2018
Doors Open: 7:00 PM
Starts: 7:30 PM
£16.50
Buylink: https://www.seetickets.com/event/the-heads/100-club/1251017

https://www.facebook.com/The-Heads-282801075465/
https://theheads1.bandcamp.com/

The Heads, “Longest Gone”

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The Heads RKT! Reissue out This Week

Posted in Whathaveyou on May 23rd, 2018 by JJ Koczan

Some day, in some universe, some kind soul will put together a comprehensive discography for The Heads. It will feature all the UK heavy psychedelic pioneers’ releases — albums, splits, EPs, singles, live records, etc. — in the order of their original release, and note the labels, the different versions, the limited editions, the subsequent reissues, and so on, as well as some comment from the band itself on each offering. I expect this would be a book-length project for whatever kind soul took it on, and no doubt it would require a substantial government grant of some sort to happen. And perhaps a team of interns working in shifts.

Until we get to that magical day in that magical universe, we can enjoy The Heads‘ discography for the wonderfully confusing thing it is and perhaps even draw a parallel between their otherworldly and molten sounds and the impenetrable murk that is their catalog. They have a new reissue out this Friday. And the thing about The Heads? They’re amazing.

No, really. Amazing.

From the PR wire:

the heads rkt

THE HEADS latest reissue release “rkt!” on Rooster Records is out next Friday (25th May).

Latest volume in the long running Rooster reissue series, “rkt!” is a timely reissue of the first 3 releases The Heads put out on the ROCKET label.

OUT NEXT FRIDAY (May 25th) in the UK (June 1st in USA) on Limited 3LP format (2CD delayed..sorry..) The Heads – RKT! …(all the stuff they released on Rocket Recordings in the late 90s, in unedited form / one handy package!) And on the digital “sites” for the first time too… Remastered by Simon Price and Shawn Joseph (Optimum Mastering) for sonic dissonance of the highest order…this is bucketbonged sike at its rawest and most enrapturing…

To celebrate that, they have unleashed a “studio” version of live staple “KRT” in its glorious repeato-tripped out 46 minute plus glory…on all the digi places…check it out on the Spotify below…yes, a “Spotify” single from the Heads…tuck in…

Tracklist:
1. Spliff Riff (Conga’d Out)
2. Neu75!
3. Disappear Into Concrete And Meat
4. Filler
5. Jellystoned Loop
6. Planet Suite
7. Longest Gone
8. krt (all of it)

Latest in the long running Rooster (The Heads own label) reissue series, the latest volume is a timely reissue of the first 3 releases The Heads put out on the ROCKET label, from their first split 7” release (with Lilydamwhite) in 1998 to their much lauded SESSIONS 2 freakout 12” from 2002, all long sold out and highly collectable releases in their own rights.

Compiled here by Simon Price and remastered by Shawn Joseph…this release finds the band in fully relaxed glory; The Heads we quite prolific back in the late 90s / early 00’s, and in between the Everybody Knows We Got Nowhere album and Undersided album they released their jams and raw rehearsals via the burgeoning ROCKET Label.

Compiled here with extensive sleeve notes from Rocket founder Simon Healey, this limited 3LP (1000 copies) and 2CD (1000 copies) set captures the band at their most laconic and free…psychedelic sprawling morass of sound and aural distortion grooves akin drawing from their wide influences…also from simply plugging in and letting go…

Spotify KRT stream: https://open.spotify.com/album/0M4gtqM1PcGZ62T11mzgs7

iTunes full album pre-order (and stream for KRT): https://itunes.apple.com/gb/album/rkt/1383320753

https://www.facebook.com/The-Heads-282801075465/
https://theheads1.bandcamp.com/

The Heads, Burning up With… (2016)

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Friday Full-Length: The Heads, Relaxing With…

Posted in Bootleg Theater on April 27th, 2018 by JJ Koczan

The Heads, Relaxing With… (1996)

A little post-Roadburn worship for The Heads, and well earned. Some 22 years after making their debut via Relaxing With…, the UK psych lords remain thoroughly untamed — their sound rife with searing freakouts and a sense of what might’ve happened if the UK had put garage rock on the Voyager probe and then had it return to earth warped by the very fabric of the universe. To listen to the wah attack of “Woke Up” or the bit of ’60s-style boogie thrown into “U33,” it’s clear The Heads — guitarist/vocalist Simon Price, bassist Hugo Owen Morgan, guitarist Paul Allen and drummer Wayne Maskell — at least had some sense of what they were doing at the outset. That’s not to intimate the opposite applies to “Chipped” or “Slow Down” or “Widowmaker,” but just that there’s a decent amount of Relaxing With… that seems to have been purposefully left to chance and that exploration of sound has always been a crucial element of who they are as a band. Don’t believe me? “Coogan’s Bluff.”

Perhaps with the exception of the grungey “Taken too Much,” which is placed right before the closer, almost none of Relaxing With… sounds any more dated than it wants to, and rather than simply adopt the stylistic tenets of space rock, or psychedelia, or heavy rock, or garage, etc., The Heads took all these things and made them their own in a potent sonic brew running a brisk 44 minutes of tripped out, freaked out thrust, like the pent-up energy of a collapsing star about to go nova — one great big “pop” in the galaxy emitting gravity waves that continue to ripple. With Price‘s yeah-I’m-stoned-what’s-the-problem vocals adding a persistent laid back factor over Maskell‘s thud and push and Morgan‘s low end fuzz adding weight to the outward thrust of Price and Allen‘s guitars, The Heads were even in their beginning stages a complete band, each member complementing the others’ work in effort to create a more consuming whole.

That effort pays off all across Relaxing With…, from the wash of noisy swirl that starts opener “Quad” to the switched-on bizarro vibes that persist from there. Was this the birth of what people seem so eager now to dub “neo-psych,” as if psychedelia ever went away? Rest assured, I have no idea, but more than two decades on, The Heads‘ initial salvo of “Quad,” “Don’t Know Yet” and the somewhat thicker “Chipped” still hits like a rogue asteroid in the Russian wilderness. “Slow Down,” appropriately enough, eases on the throttle and brings Price‘s vocals forward but holds onto a threat of explosion in its post-midsection thud, even if what materializes is another verse and some backwards guitar before a couple shouts and the winding final measure of guitar solo arrive. Morgan‘s bass begins “U33” and makes a highlight of it, and at just over two minutes, “Television” scorches out garage fuzz with a punkish intensity and basks in its hookish vocal pattern.

The dirt-poetry of the lyrics is punctuated by the drum stomp, and as the song opened with a “Wow!,” so too does it close with one, a quick sample leading to the freakout of “Woke Up,” which is no less all-go than the preceding cut, but stretches a minute further and takes more of a traditional rock feel, and “Widowmaker” holds to it, despite feeling more molten even in its moments of blasting-forward intensity, which come and go but seem alway to be purking thanks to the tension in Maskell‘s cymbal work. “Widowmaker” is a highlight of the record, paying off in assaulting volume before a long-fadeout toy-piano sample leads into the strum and jangle that starts “Taken too Much,” moving quickly into more drastic quiet/loud tradeoffs marked by the post-Nirvana feel in the low end and the particularly druggy lyrical thematic. Maybe it’s with a bit of irony that “Taken too Much” is positioned right ahead of the “You only pass through this life once, jack, you don’t come back for an encore,” sample that begins “Coogan’s Bluff,” but whatever the intent was, it works.

One of the aspects of Relaxing With… that works so well is that the album happens in quick shots. While modern psych is given to these long, sometimes indulgent excursions, only two of the album’s first nine tracks pass four minutes in length. That makes “Coogan’s Bluff,” which uses every second of its 11:35, all the more a standout. The jam feels all the more massive for the tightness of the songwriting preceding, and as The Heads shove their way through solo after solo, groove on top of groove, they stand tall as new warriors on the edge of time, breathing life into a genre that, again, was thought dead when it never actually was. The dynamic between Allen, Maskell, Morgan and Price is by then long established but perhaps not displayed anywhere else as clearly as it is on “Coogan’s Bluff,” as the band moves ahead into vast reaches yet uncharted and delivers a gradual comedown, hitting the apex in another shit-hot lead that ends in the second half and gives way to consistent toms and noise that lets the listener make their way slowly back to reality, such as it is.

I’m not sure it’s possible for a band to be massively influential, critically lauded, have a consistent loyal fanbase and a number of offshoot projects while still being underrated, but if it is, The Heads are. I’ll say they’re not really a band I got until I saw them on stage and felt the full force of their delivery and volume, how they not only play this music, but execute it on a physical level. I don’t mean they’re thrashing around or anything, just that there are four members of The Heads and the sound they make when they come together is enough of a presence to be counted as a fifth. To think of Relaxing With… as their debut and to imagine hearing it for the first time when it was released before the turn of the century, it’s no wonder they’ve become who they are. Thankfully, that spirit of outward-directed exploration and ongoing creative development has never left them, and they still sound keen to try something new each time, as their hyper-populated and nearly impossible to track discography proves. That only makes them all the more special, and as Relaxing With… was the nexus of that ongoing process, it’s a moment well worth celebrating.

As always, I hope you enjoy.

Interesting week, coming back and coming down from the aforementioned Roadburn fest in the Netherlands — to see all the coverage of Roadburn 2018, click here — and returning to whatever it is that passes for normalcy these days. I’ve had some good baby-time with The Pecan, so that’s been excellent. Six months on, he’s just starting to crawl and getting to the point where he’s more than a glob of human need, so playing has become more than basically showing him things and having him not be able to hold them. I’ve been singing him SubRosa, Anathema and Alice in Chains songs. He can sit up. He’s getting a bit of personality. Seems only a matter of time before he calls me a prick for something or other.

Busy week though. I apparently completely screwed up the scheduling this week on some stuff. That only makes life more difficult for me — also The Patient Mrs., so also me again — but it means I’m doubled up Monday and while I want to take a few days next week and get caught up on reviews I’ve been meaning to write, there’s still a lot going on that needs covering. I’m still getting caught up on news from being away and from before I went away, so I hope you’ll bear with me on that. Here’s what’s in the notes for next week, tentative as ever:

Mon.: Trevor’s Head full stream, Tusmørke track premiere.
Tue.: Sleep review.
Wed.: Grayceon review.
Thu.: Abramis Brama review.
Fri.: Track premiere/announcement from Cursed Tongue Records.

Some stuff still needs to be filled in, but again, I’m way behind on news and I think Amorphis put out another video. I might review that record next Friday and keep with the week’s apparent theme of things I think kick ass, but we’ll see how it goes, how much time there is and whatnot.

Speaking of, I’m pretty limited on time at the moment as the baby has a doctor’s checkup this morning and needs a bath before so he doesn’t show up like a crustpunk, and I still have another news post to put together for today — the one about Yawning Man signing to Heavy Psych Sounds — so I better wrap on the quick, but before I do, I just want to say thanks again if you got to check out any of the Roadburn coverage.

It was a little weird being there this year and missing the baby, and even weirder feeling like I was holding back from talking about that in the posts — what does it mean when I don’t feel comfortable having an open and fully honest conversation in the space that’s supposed to be my sole outlet for such a thing? — but you have to believe me when I say I understand how unbelievably lucky I was to be there in the first place and that it was a gift, as always. I have no doubt that, at the end of 2018, Roadburn will once again have been the center of it.

On that note, I’m out. I have two bios to write this weekend — an update for Kings Destroy and one for Small Stone’s next release that I’m woefully late on — and two reviews to write for Monday as noted above, so yeah, I’ll be around. In the meantime, thanks for reading as always and have a great and safe weekend.

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Cegvera Release Creations EP; Touring with Vinnum Sabbathi

Posted in Whathaveyou on July 12th, 2017 by JJ Koczan

cegvera

It wouldn’t be quite right to call the impact of Cegvera‘s Creations EP immediate. Indeed, it’s three full seconds before opener ‘Centralia’ kicks into the full tonal assault that the Bristol, UK, three-piece will continue to unfold in “Iguala” and touch on throughout the subsequent five tracks, balancing it against a post-rocking meditative feel on “Aral Sea” and foreboding atmospherics on “Mosul” while closer “Latrun” takes a more all-out approach in terms of tempo. The band has aligned with LSDR Records for the release, which you can stream now in its rumbling entirety at the bottom of this post, and will hit the road in the UK this month with fellow instrumentalists Vinnum Sabbathi. I think once you dig into the tracks you’ll agree that’s a solid pairing.

They also get bonus points for shouting out José Saramago. Read Blindness. The EP, as well as Cegvera‘s first one, late 2016’s Fractals, is name-your-price now. Info follows below, courtesy of the PR wire:

cegvera creations

LSDR RECORDS: Cegvera – Creations (2017)

Cegvera is an instrumental band that was born in Bristol, inspired by José Saramago. The band tries to wake up hidden or forgotten feelings. Songs are stories, however it’s up to the audience to create them. Melodic ambience, atmosphere and drone are as important as the riffs. Saying that, if you are into heavy psych, doom, sludge or post-rock you should give this band a try. Cegvera are: Gerardo Arias: Guitar (Vinnum Sabbathi, Ex- Bar de Monjas, 4 ciénegas) / Aaron Scrupps: Bass /Matt Neicho: Drums

Creation Ep is the second work of this band from Bristol U.K. (the first was Fractals), was recorded by Josh Gallop at Stage2 Studios in Bath, U.K. in April of 2017. The Mix and Master were made it by Miguel Fraino at Vesubio 34 Studio in México City. The Artwork was designed by Hellbound Graphics in México City.

Tracklisting:
1. Centralia 03:02
2. Iguala 05:03
3. Aral Sea 05:31
4. Mosul 05:50
5. Latrun 05:10

Cegvera will make a tour with Vinnum Sabbathi this July:
20.07.17 – Coventry (The Arches Venue)
21.07.17 – London (The Dev)
22.07.17 – Bath (St James Vaults)
28.07.17 – Manchester (Retro Bar)
29.07.17 – Scunthorpe (Café Independent)

Cegvera is:
Gerardo Arias: Guitar
Aaron Scrupps: Bass
Matt Neicho: Drums

https://www.facebook.com/cegueraUK
https://cegvera.bandcamp.com/
https://www.facebook.com/lsdrrecords/
https://lsdr.bandcamp.com/
https://www.storenvy.com/stores/823500-lsdr-records-distro

Cegvera, Creations (2017)

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