Getaway Van Premiere “Lord I’ve Been Running” Video

Posted in Bootleg Theater on April 22nd, 2019 by JJ Koczan

getaway van

When you’ve got a hook, use it. That lesson would not seem to be lost on Vancouver four-piece Getaway Van, whose recently-issued self-titled debut has a bunch to go around, from the bloodshot repetitions of “Branches” down through the catchy mid-paced sway of “So Long” at the record’s pre-outro conclusion. “Lord I’ve Been Running” might be the most infectious of them, however — though I wouldn’t take away from “Ugh” or the prior “Follow Me,” either — though it’s certainly in resonant company, and though it’s the means by which Getaway Van are making their debut, having formed in 2017, the interplay of vocal arrangements between guitarists Derek Lionas and Charlie Cole and bassist Zach Fox show a care in composition that speaks directly to intentional songcraft. That is, it’s not just verses and choruses piled on top of each other. There’s thought behind what they’re doing, and in listening to the album, it sounds like the work of multiple songwriters, or at least multiple contributors around a central idea for each track. Drummer Devon Sutherland, accordingly, provides the restlessness at the foundation to keep everything moving while still tying the songs together.

Somehow, because it’s in Canada and not Portland, Oregon, or Seattle, Washington, Vancouver seems to be often-unconsidered when it comes to the thriving Pacific Northwest heavy underground. That’s a mistake, obviously. On a song like “Blacktop Mistress,” Getaway Van tap into Red Fang-style forward momentum while the earlier “Comin’ Back” demonstrates more melodic complexity in straightforward, Ripple-style heavy rock, but what makes it all work together is the focus on songwriting at root in what they do. While “Lord I’ve Been Running” takes its central theme from the blues, it makes its impression with its sharply-executed bounce of rhythm and, indeed, its hook.

They are not shy with it, and neither should they be. The video (with videography by Matej Ceska) finds them arriving, loading in and playing a gig at The Bourbon in Gastown, Vancouver, as well as in the rehearsal space where Fox professes, “Somebody’s been practicing,” when complimented on his play. That’s a fun moment in a fun song with a kind of dark theme presented in a manner that borders on maddeningly catchy and appears on an album that functions much the same. “Lord I’ve Been Running” inherently can’t convey the entire scope of Getaway Van‘s songcraft — you know, being one song and all — but in the vocal swaps and its pristine construction, it represents the self-titled well. Probably why they chose it as a single, and further proof these cats know what they’re up to.

Some quick comment from the band follows. Dig in and have fun:

Getaway Van, “Lord I’ve Been Running” official video premiere

Getaway Van on “Lord I’ve Been Running”:

“‘Lord I’ve Been Running’ is the second single from our debut full-length album. Written by bassist Zack Fox, this is a song about the tribulations of life, and the toll it can take on a person. We’ve all always loved this song due to the high energy and its almost desperate nature. The powerful vocals and incessantly running guitars really seem to get people moving, and help make it a memorable track. It’s certainly a song that everyone can find a connection to on a personal level, and as such, it was the natural choice for our first music video to come from this album.”

Getaway Van is:
Devon Sutherland – Drums
Zach Fox – Bass/vocals
Derek Lionas – Guitar/vocals
Charlie Cole – Guitar/vocals

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Getaway Van on Instagram

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Getaway Van website

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Quarterly Review: Kungens Män, PFUND, Crystal Spiders, The Misery Men, Hubris, Woorms, Melody Fields, Oreyeon, Mammoth Grove, Crimson Devils

Posted in Reviews on March 19th, 2019 by JJ Koczan

quarterly-review-spring-2019

I used to be pretty artsy and write poetry. Let’s give it a shot:

There was an old man who wore no-toe shoes.
He said, I’mma go do 60 reviews.
He was out of his head,
Should’ve gone back to bed,
But he loves him some dirty psych blues.

Years from now, when I link back to this post for a “(review here)”-type scenario, I’m going to see that and I’ll still think it’s funny. The planet’s dying. I’d say a bit of silly is more than called for.

Quarterly Review #11-20:

Kungens Män, Chef

kungens man chef

Krautrockers, assemble! Or, you know, whatever krautrockers do — I assume it involves homemade spacecraft that, yes, absolutely fly. Perhaps one of these days I’ll ask Stockholm’s Kungens Män, whose latest outing for Riot Season, simply titled Chef, is an outbound delight of psych-infused progressivism. Beginning with the opening throb of “Fyrkantig Böjelse” and moving into the volume swells, steady drum line and wandering guitar that starts “Öppen För Stängda Dörrar” on side A, its four extended tracks craft otherworldly textures through a meld of organic instrumental flow and waves of synth, the second cut building to a tense wash of distortion all the while keeping that hypnotic march. The two corresponding 10-minute-plus cuts on side B waste no time in offering cosmic boogie in “Män Med Medel” with a more active rhythmic flow, and closer “Eftertankens Blanka Krankhet” — longer than the opener by one second at 11:24 — fades in on meditative guitar and explores a serene minimalism that only underscores the all around joy of the album.

Kungens Man on Thee Facebooks

Riot Season Records webstore

 

PFUND, PFUND

pfund pfund

The self-titled, self-released debut full-length from Kiel, Germany’s PFUND arrives and departs with a guesting horn section, and while that inevitably adds a bit of grandeur to the proceedings, the bulk of the outing is dedicated to straightforward, semi-metallic heavy rock, held to ground even in the seven-minute “Spaceman” by a considered sense of structure and an earthy drum sound that draws the songs together, whether it’s the classic riff rock in “Sea of Life” or the moodier sway in the earlier “Lost in Rome.” Dual guitars effectively multiply the impact, and the vocals showcase a nascent sense of melody that one imagines will only continue to grow as the band moves forward. At nine songs and 44 minutes, it shows some breadth and nuance in “Exhaustion” and “Paranoia,” the former tapping into an edge of progressive metal, but the primary impact comes from PFUND‘s heft of groove and how it blends with a rawer edge to their production. The Kyuss-referencing centerpiece here might be called “Imbalance,” but that’s hardly representative of what surrounds, horns and all.

PFUND on Thee Facebooks

PFUND on Bandcamp

 

Crystal Spiders, Demo

crystal spiders demo

Three songs, 11 minutes and three distinct vibes from the aptly-titled Demo demo of North Carolinian three-piece Crystal Spiders. On “Tigerlily,” “Flamethrower” and “Devil’s Resolve,” the trio of bassist/vocalist Brenna Leath (also Lightning Born), guitarist/vocalist Mike Deloatch and drummer/backing vocalist Tradd Yancey careen from bluesy spaciousness to hard-driving catchiness and end up — because why not? — in repeating cult-sludge chants, “Come to the devil’s resolve!” like Black Widow trying to lure people to the sabbat, except shouting. If the purpose of a demo is for a new band to try different methods of working and thereby take a first step in discovering their sound, Crystal Spiders are well on their way, and for what it’s worth, there isn’t anything within their scope as they present it that doesn’t work for them. There are edges to smooth out, of course, but that too is a part of the process starting here.

Crystal Spiders on Thee Facebooks

Crystal Spiders on Bandcamp

 

The Misery Men, Deathspiration

The Misery Men Deathspiration

If you’d asked, depending on which part of Deathspiration was on, I’d probably have called The Misery Men a bass/drum duo, but nope, that’s guitar. Tonally one is reminded of At Devil Dirt from Chile, but the Portland, Oregon, two-piece of vocalist/guitarist Corey G. Lewis and drummer Steve Jones are entirely more barebones in their craft, eschewing digital involvement of any sort in the recording or mixing process and sounding duly raw as a result throughout the subtle earworm of “C.W. Sughrue” and the lumbering “Harness the Darkness.” The subsequent “Night Creeps In” brings a Northwestern noise payoff to quiet/loud trades and the near-10-minute closer “Stoned to Death,” well, it seems to meet an end befitting its title, to say the least. As their stated intent was to capture the most organic version of their sound possible, and made a point of working toward that ideal in their recording, one could hardly fault them for the results of that process. They wanted something human-sounding. They got it.

The Misery Men on Thee Facebooks

The Misery Men on Bandcamp

 

Hubris, EP #II Live

hubris ep ii live

Some — not all — of what one needs to know about HubrisEP #II Live is right there in the title. Indeed, it’s their second EP. Indeed, it was recorded live. And indeed, like using a ‘#’ sign with a Roman numeral, there’s something about the way the three included songs from the Toulouse, France-based outfit sound that’s just a little bit off-kilter from what you might expect. “Zugzwang” (7:19), “Tergo” (19:58) and “Biotilus” (27:04) are arranged shortest to longest, and while the opener starts off like Queens of the Stone Age on an Eastern-tinged psychedelic bender, the lengthy jams that follow — the first of them with a fervent drum punctuation, the second a gradual intertwining of synth and guitar with hardly any percussion at all until after its 22nd minute. The instrumental flow that ensues from there is almost like a hidden bonus track, at least until they Hubris get to minute 26 and the whole thing explodes in crash and plod. The underlying message, of course, is that if you think you’re safe at any point, you’re not.

Hubris on Thee Facebooks

Hubris on Bandcamp

 

Woorms, Slake

woorms slake

Lumbering fuckall pervades the debut full-length, Slake, from Baton Rouge, Louisiana, sludgers Woorms — also stylized all-caps — which incorporates past singles “Find a Meal Find a Bed Find a God” and “Mouth is a Wound” amid the sample/noise barrage of “Our Lady of Perpetually Shitfaced” and the willfully brash “Racist Kevin” that follows. There’s an edge of Melvinsian chug to the proceedings, but Woorms‘ take, though presented in finished compositions, comes across as almost nihilistic rather than making a show of its experimentalism. That is, they’re trying to say they don’t give a fuck, and in listening, they make it kind of easy to believe, but there’s still something about the cohesiveness of “Veni Vidi Fucki” and “Rice Crispy” and the saved-the-best-nod-for-last finale “Sore Afraid” that undercuts the notion even while making the listening experience all the more pummeling, and from the intro “Corpse Corps” through “Urine Trouble Now”‘s echoing shouts and the closer’s unmitigated stomp, there’s still plenty of exploration being done.

WOORMS on Thee Facebooks

WOORMS on Bandcamp

 

Oreyeon, Ode to Oblivion

Oreyeon Ode to Oblivion

Rebranded since their 2016 debut, Builders of Cosmos (discussed here), from their more phonetically intuitive original moniker, Orion, Italy’s Oreyeon issue a cosmically expansive spacescape follow-up in their six-song/40-minute sophomore outing, Ode to Oblivion, also their first release through Heavy Psych Sounds. Echoing vocals pervade “Big Surprise” after the introductory “T.I.O.” and “Trudging to Vacuity” establish the wide-cast mix and anti-grav rhythmic density, and the nine-minute side A finale title-track runs mostly-instrumental circles around most of what I’d usually call “prog” only after it lays down a sleek hook in the first couple minutes. After “Big Surprise,” the 8:45 “The Ones” trades volume back and forth but finds its breadth at about the sixth minute as the dramatic lead turns on a dime to desert rock thrust en route to wherever the hell it goes next. Honestly, after that moment, everything’s gravy, but Oreyeon lay it on thick with closer “Starship Pusher” and never neglect melody in the face of nod. Worth a deeper dig if you get the chance.

Oreyeon on Thee Facebooks

Heavy Psych Sounds website

 

Melody Fields, Melody Fields

melody fields melody fields

Sometimes you hear a record and it’s like the band is doing you a favor by existing. To that, thanks Melody Fields. The Gothenburg psych troupe lace their lysergic flow with folkish harmonies and an open sensibility on their self-titled debut that comes coupled with enough tonal presence to still consider them heavy not that it matters. They break out the sax on “Morning Sun” to welcome effect, and the sun continues to shine through “Liberty” and the garage-buzzing “Run” before “Rain Man” turns water droplets into keyboard notes and Beatlesian — think “Rain” — voice arrangements atop soothing instrumental drift, every bit the centerpiece and an excellent precursor to the acoustic-based “Fire” and the 10-minute “Trädgränsen,” which is the crowning achievement of this self-titled debut, which, if I’d been hip to it in time, would’ve made both the 2018 best albums and best debuts list. They cap with a reprise of “Morning Sun” and underscore the solid foundation beneath the molten beauty of their work throughout. To ask for another album seems greedy, but I will anyway. More, please.

Melody Fields on Thee Facebooks

Sound Effect Records website

 

Mammoth Grove, Slow Burn

mammoth grove slow burn

Okay, look, enough screwing around. It’s time for someone to sign Mammoth Grove. The Calgary natives have been putting out quality heavy psych rock since their 2011 self-titled debut (review here), and their latest long-player, the four-song Slow Burn is a righteous amalgam of peace-thru-rock that lives up to its freewheeling vibes in “Seasons” after the methodical opener “Valleys” and rolls out a bit of melodic ’70s biker rock bliss in “Black Meadow” before the side-B-consuming “Gloria” (18:42) asks early if you’re ready to go and then goes like gone, gone, gone, and gone further. Given the analog mindset involved and the heart on display throughout, there’s something fitting about it being pressed up in an edition of 100 hand-screenprinted LPs and 100 CDs likewise, but the more people who could hear it, the merrier, so yeah, some label or other needs to step up and make that happen, and I dare you to listen to the solo that hits past the 14-minute mark in “Gloria” and tell me otherwise. Dare you.

Mammoth Grove on Thee Facebooks

Mammoth Grove on Bandcamp

 

Crimson Devils, A Taste for Blood

crimson devils a taste for blood

Since pared down to a trio from the four-piece incarnation they present here, Austin’s Crimson Devils first released their debut, A Taste for Blood, in 2017, but gave it a vinyl revisit last year and it’s little mystery why. The record comprises 11 sharply-composed tracks of Small Stone-style heavy rock, taking cues from Sasquatch in modern-via-classic modus, picking and choosing elements of ’70s and ’90s rock to conjure formidable groove and engaging hooks. There’s considerable swagger and weight in “They Get It,” and while opener “Dead and Gone” seems to show an influence in its vocal patterning from Elder, as the album unfolds, it’s more about the blast of “Captain Walker” or the penultimate “Nothing to Claim” and the straight-ahead vibes of “Bad News Blues” and “No Action” than anything so outwardly prog. There’s plenty to dig in the rock-for-rockers mindset, and it’s the kind of offering that should probably come with an octane rating. However such things are measured, safe to say it would not be low.

Crimson Devils on Thee Facebooks

Crimson Devils on Bandcamp

 

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Review & Track Premiere: Gone Cosmic, Sideways in Time

Posted in audiObelisk, Reviews on March 12th, 2019 by JJ Koczan

gone cosmic sideways in time

[Click play above to stream ‘Deadlock’ from Gone Cosmic’s debut album, Sideways in Time. It’s out April 12 on Kozmik Artifactz.]

Between their moniker and the title Sideways in Time for their debut album, one would almost expect Gone Cosmic to be some noise-soaked psychedelic jam band, plugged-in, tuned-in, turned-on and drifting into oblivion. Well, there’s some noise in “Deadlock,” and “Misfit Wasted” on sides A and B, respectively, but even those longer tracks follow a structural pattern, and on the whole, the Calgary-based four-piece are far more songwriting-based than it might appear on the surface. That’s hardly a detriment to the Kozmik Artifactz-delivered LP, which comprises eight songs and 46 minutes that certainly have psychedelic elements at play, but are perhaps even more likely to make an impression with their more straightforward aspects. Most immediate among those is the vocal performance of Abbie Thurgood (The Torchettes), who from opener “Dazed” onward surges to the front of the mix alongside the alternatingly fuzzed and scorched guitar of Devin “Darty” Purdy (Chron Goblin), the gotta-hear-it bass tone of Brett Whittingham (also Chron Goblin) and the punctuating drum work of Marcello Castronuovo, whose snare distinctly reminds of the first Kadavar record.

Even in the moments when Thurgood steps back from the fore, as in the early going of “Deadlock” or in the mostly-subdued closer “My Design,” her presence remains significant, and she comes through clearly and proffering soulful melodies in the modern-classic fashion. That doesn’t necessarily relegate the rest of the band to a supporting role — guitar rules the day by the end of “Faded Release” and the subsequent “Turbulent” that leads off side B is almost entirely an instrumental in an Atomic Bitchwaxy modus, wrapped around a winding riff that also gives the rhythm section a due showcase. The songs, then, are varied enough to carry through the progression of the whole album, but still well drawn together around the performances and the production of Josh Rob Gwilliam at OCL Studios about a half-hour outside of town, in a more pastoral setting befitting the record’s naturalist vibe.

That production immediately helps the band make an impression as “Dazed” starts off the record at a bounce, smoothly hitting into its first verse and chorus on a sharp-edged mover of a riff with dat-bass-tho nestled in underneath and a flourish of keyboard — I think — melody just beneath that counters the riff and feels like a sonic easter egg waiting to be noticed. The solo section kicks in after a sudden stop at the midpoint and then does so again, seeming to add layers as it moves through, all the while effectively grounded by the bass and drums as Thurgood makes her way back in before they finish and start the process all over on “Deadlock,” which is the first of three tracks over six minutes long. The others — “Misfit Wasted” and “My Design” — are both on side B, but the clear intent of putting “Deadlock” second is to show how far out Gone Cosmic are ready to go. And they go pretty far.

gone cosmic

Purdy‘s guitar howls in kind with the vocals, and there’s a definite atmosphere being constructed, but Whittingham and Castronuovo effectively hold the proceedings to ground and lock in a real-world groove that’s consistent even in the break in the song’s second half before it explodes back to life and finishes, like the opener, with a guitar solo. “Siren” follows at about two minutes shorter and lands with a mellower vibe thanks to a well-percussed but ultimately subdued flow in its verse that of course sets up a more full-on surge during the chorus but ultimately moves from its final solo into last, softly delivered verse ahead of “Faded Release” at the end of side A, which begins in likewise eased-in fashion only to burst to life as it rounds out, the full brunt of its impact hitting in before the two-minute mark and emphasizing the dynamic at work on the part of the band, the guitar holding sway over much of its second half as would seem to be Gone Cosmic‘s modus. They make it hard to argue.

Jet engine guitar introduces the shuffling “Turbulent,” which, again, is the closest Gone Cosmic get to instrumentalism, taking some cues from Earthless along the way as the guitar stretches out for its solo near the midsection. Thurgood adds a few quick lines amid the effects breadth, but the boogie soon resumes its fuzzy shove and, somewhat unsurprisingly, a solo closes out and leads the way into the atmospheric launch of “Misfit Wasted,” which is a highlight and the longest inclusion at 7:10, a point at which the nominal ‘going cosmic’ seems to be taking place. The vocals croon over languid guitar and gradually lead the build toward a more solidified riff, which takes hold at 3:30 and drives the softshoe-ready push thereafter, more righteous bass and drum work underscoring the procession as a lead transitions into feedback and amp noise to close. The penultimate “Bear the Weight” sees fuzzier low end come forward with airy guitar and layered vocals as Gone Cosmic use the second half of the LP to its traditional purpose in branching out their sound.

In that way, it’s a fitting setup to “My Design” at the end, which stays quiet for most of its 6:28 but still offers a suitable payoff, as the band subtly shift their structural approach while keeping the craft at the center of their focus. They end, of course, with a guitar solo that cuts to silence, and in so doing offer a reminder that as cohesive as Sideways in Time is — and it is — it’s the beginning point of their exploration, not the conclusion. When and where they might end up in terms of sound is hard to say, as they could easily end up playing one side or the other between the psychedelic and more straightforward classic songcraft in their work, both, or neither as they move forward. Most important of all, they’ve given themselves the ground on which to build as they do progress, and they’ve given clear signals of their intention to do precisely that, offering clearheaded and memorable material all the while.

Gone Cosmic on Thee Facebooks

Gone Cosmic on Instagram

Gone Cosmic on Bandcamp

Kozmik Artifactz website

Kozmik Artifactz on Thee Facebooks

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The Hazytones Touring Next Month; Playing SXSW and More

Posted in Whathaveyou on February 15th, 2019 by JJ Koczan

THE HAZYTONES

Canadian trio The Hazytones will be taking their heavy psychedelic cultistry on the road next month, heading south to swing their way into Texas for a couple dates at SXSW, including the SX Stoner Jam that seems to have become the epicenter of March heavy touring in the States. To get there, they’ll make their way down the East Coast beforehand, stopping in Brooklyn and Philly en route to North Carolina — that’s about eight and a half hours in the car, by the way — and on to New Orleans and Austin from there. A couple brutal rides, it seems, but they go supporting the worthy cause of their second album, II: Monarchs of Oblivion (review here), which came out this past Fall on Ripple Music, so they should have plenty to keep them motivated along the way.

Plus it’s warm in Austin. That should help too.

They head back north via Memphis, Chicago, and Lansing, Michigan, then wrap with dates in Hamilton and Toronto before getting back to Montreal. It’s a good run, and a smart one. They’ll do well.

Dates and whatnot came down the PR wire:

the hazytones tour poster

The Hazytones tour

Formed in 2015, The Hazytones’ shadowy sound is the epitome of a “hazy tone”. The band’s black acid-drenched shock rock drips with harmonies that harken back to the trippiest of late 60’s psych and its chained-to-the brain hooks bleed with a palpable, eerie energy that surges and swings in equal measure. Live is where the band really finds its swagger, flinging themselves around the stage and converting new disciples with each and every performance. With full European and North American tours already under their belts, The Hazytones are a developing band on the rise, who delivered a sweeping salvo with the release of their substantial sophomore LP, II: Monarchs of Oblivion.

The Hazytones live:
03.08 Lucky 13 Brooklyn NY
03.09 Astromonster Records Philadelphia PA
03.10 The Milestone Club Charlotte NC
03.11 Santos Bar New Orleans LA
03.12 Kick Butt Cafe Austin TX
03.14 Spider House SX Stoner Jam Austin TX
03.15 The Mix San Antonio TX
03.16 Kick Butt Cafe Gravity Fest Austin TX
03.17 The Growlers Memphis TN
03.18 Reggies Chicago IL
03.19 Displaced Manor Lansing MI
03.20 This Ain’t Hollywood Hamilton ON
03.21 Cherry Cola’s Toronto ON

The Hazytones are:
Mick Martel – guitar/vocals
Adam Gilbert – bass/backing vocals
Antoine St-Germain – drums

https://www.facebook.com/TheHazytones/
http://www.twitter.com/TheHazytones/
https://www.instagram.com/thehazytones/
https://thehazytones.bandcamp.com/releases
https://www.facebook.com/theripplemusic/
ripplemusic.bandcamp.com

The Hazytones, II: Monarchs of Oblivion (2018)

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Gone Cosmic to Release Sideways in Time April 9

Posted in Whathaveyou on January 30th, 2019 by JJ Koczan

gone cosmic

There’s no audio to go with this post. I even looked for some crappy YouTube clip of Calgary’s Gone Cosmic, who played their first show last May and are set to deliver their full-length debut, Sideways in Time, April 9 through Kozmik Artifactz. Nothing there either. So I guess you’re gonna have to take my word for it this time. I’ve heard the record. I probably wouldn’t post about it otherwise, though the cover art is plenty nifty, a Kozmik Artifactz release comes with a fair amount of trust behind it and the band has members of Chron Goblin involved, so okay, yeah, maybe I would post about it anyway.

But I don’t need to. I’ve heard the record. It’s right on, and once some audio does get out from ahead of the Springtime release, as audio invariably does in this track-premiere-minded universe, I have little doubt you’ll agree. But it’s early, so we’re not there yet. The galaxy wasn’t built in a day. You gotta be patient with this stuff sometimes.

In the interim, here’s that cover and a likewise nifty band bio, plus links where you can keep an eye out:

gone cosmic sideways in time

Gone Cosmic – Sideways in Time – April 9

Sideways In Time, the debut album from Gone Cosmic, was recorded in September 2018 at OCL Studios. Produced, recorded and mixed by Josh Rob Gwilliam, Sideways In Time is a diverse and ambitious first release navigating the celestial highs and primordial lows of gravity-defying anthems. Hypnotic psych-rock pulses meet electromagnetic solar-powered soul on feature tracks such as pummeller ‘Deadlock’, galactic trip ‘Misfit Wasted’, and interstellar odyssey ‘Faded Release’.

Championed by a soaring songstress Abbie Thurgood (The Torchettes), whose boldly evocative tones recall Skunk Anansie chanteuse Skin and Alabama Shakes’ Brittany Howard, and accompanied by an agile and aggressive psych-rock outfit, composed of guitarist Devin “Darty” Purdy (Chron Goblin), bass player Brett Whittingham (Chron Goblin), percussionist Marcello Castronuovo (Witchstone), Gone Cosmic has carved out an expansive domain that stretches from sweltering Southern sludge pits to breath-stealing sonic spacewalks.

A blood (orange)-scented breeze that bows the trees, Gone Cosmic chases the infinite haze from the skies and puts it right back in your eyes. Groove-mining breakdowns become the stuff of legend as the four pieces’ floor-thudding tail kick and hellfire halo holler originates a whole that is far more potent than the sum of its individual elements. Meet your new astromancers, the phase-shifting and hard-rocking force that channels the empyreal sounds of heaven on Earth.

Tracklisting:
1. Dazed
2. Deadlock
3. Siren
4. Faded Release
5. Turbulent
6. Misfit Wasted
7. Bear The Weight
8. My Design

Gone Cosmic is:
Abbie Thurgood
Devin Purdy
Brett Whittingham
Marcello Castronuovo

https://www.facebook.com/gonecosmic/
https://www.instagram.com/gonecosmic/
https://gonecosmic.bandcamp.com
http://kozmik-artifactz.com/
https://www.facebook.com/kozmikartifactz

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Tunic Premiere “Dry Heave” Video from Debut Album Complexion out Feb. 8

Posted in Bootleg Theater on January 29th, 2019 by JJ Koczan

tunic

Press (or click, as it were) play on Tunic‘s debut album, Complexion, and the assault is immediate. The Winnipeg three-piece of guitarist/vocalist David Schellenberg, bassist Rory Ellis and drummer Sam Neal (since replaced by Dan Unger) open the 11-track Self Sabotage Records offering with “Nothing Nothing,” and the will to pummel is right there, right up front, and no less visceral than the shouts that top the tense and angular riffs. Shades of post-hardcore and noise rock come together in the spirit of cooperative aggression, and the clenched-fist, gritted-teeth riotousness only abates after the initial salvo of “Nothing Nothing,” “Envious,” “Getting Sick” and “Evan” leads to “Sand,” which even though it’s 56 seconds of feedback, still feels like a respite by the time it arrives. Punch punch punch, kick kick kick, ouch ouch ouch.

“Dry Heave,” for which the band has a new video premiering below, is the centerpiece of this quick-moving monument to disaffection, and at 3:06, it’s also the longest song on Complexion. They use that “extra” time relative to most of the other tracks in order to tunic complexionopen up the proceedings of the verse a bit and let the drums hold the tension along with the bass as the guitar comes and goes. II don’t know if the vocals there have extra bite or not, but the fact that they’re not coinciding with a rush of guitar certainly makes it seem that way, and the finish — especially with the striking image of the three of them ducking under water — feels particularly troubled, whether or not it may have been meant to convey the sensation of dry heaving. Side B picks up with “Blessed,” which kicks the guitar into emergency-mode quickly, and resumes the cacophonous spirit into the sharp corners of “Empty Hands” (second longest at 3:02), which slows down somewhat but builds to a violent wash of crash at its finish. After the interlude “Paper,” the closing duo of “Pores” — which, of course, includes some guest sax — and “Frontal Lobe” round out with a reaffirmation of the prior intensity and the skillful control with which it’s been wielded all along.

While Neal double-times the hi-hat, Schellenberg spaces out the guitar a bit at the end, but of course by then Complexion‘s foremost impression is set in the scathe elicited earlier. There’s method behind it, though, and wherever it might reside in terms of genre, the passionate underpinning in the record makes Tunic‘s intention toward catharsis plain to hear. You might get out of breath, and it might be because you’re trying to keep up, but even if they run circles around you, understand that there’s a reason they’re doing so.

European tour dates have been announced and can be see in the poster under video player below, as well as a couple Midwestern US shows listed. Album is out Feb. 8, and you can read more about it in the PR wire info that follows.

Enjoy “Dry Heave”:

Tunic, “Dry Heave” official video premiere

Tunic is born of spite. After years of touring someone else’s bass lines across the globe, David Schellenberg was told he wasn’t good enough. So he did the only logical thing: buy a guitar, quit your long-time band, and abandon everything you think you know about music. Armed with no skill and a blissfully ignorant embrace of discordant noise, Schellenberg started crafting songs, quickly enlisting childhood acquaintance Sam Neal on drums and roommate Rory Ellis on bass.

Over the past 4 years and half a dozen d.i.y. releases, tunic has managed to unleash and tame their unique blend of noise rock and hardcore. Relentless touring has taken them across Canada, Europe and the States, filling clubs, basements, and abandoned prisons with noise. The band released the single “Teeth Showing” on Toronto’s Buzz Records in 2018, which they toured with new drummer Dan Unger.

Tunic’s debut album “Complexion” was recorded in six days in their hometown of Winnipeg, Manitoba with Montreal-based engineer and producer Jace Lasek (Suuns, Land of Talk, Wolf Parade). Complexion picks up where previous releases left off; 11 songs of feedback-laden filth laid over churning blows of drum and bass. Harsh verses about hurting those you never meant to hurt; choruses that sever ties where you never thought you had to. This is unconventional hardcore. This is broken indie rock. This is naïve art.

Tunic live:
Feb 1, 2019 – The Handsome Daughter, Winnipeg, MB, CAN
Feb 11, 2019 – Magasin 4, Brussels BE
Feb 13, 2019 – Le Cirque Electrique, Paris FR
Feb 14, 2019 – Raymond Bar, Clermont Ferrand, FR
Feb 15, 2019 – Le Farmer, Lyon, FR
Feb 16, 2019 – Joe Koala, Bergamo, ITA
Feb 18, 2019 – Freakout, Bologna, ITA
Feb 19, 2019 – Osteria Al Castello, Chiuppano, ITA
Feb 20, 2019 – Magazzino Paralello, Cesena, ITA
Feb 21, 2019 – Eterotopia, San Giuliano Milanese, ITA
Feb 22, 2019 – G.O.B., Viareggio, ITA
Feb 24, 2019 – 100-as Klub, Budapest, HU
Feb 25, 2019 – Dvorana Gustaf, Maribor, SLO
Feb 26, 2019 – Fluc, Vienna, AU
Feb 27, 2019 – Eternia, Prague, CZ
Feb 28, 2019 – Bajkazyl Brno, Brno, CZ
Mar 01, 2019 – Ann and Pet, Linz, AU
Mar 02, 2019 – Alte Hyovereinsbank, Oettingen, DE
Mar 03, 2019 – Secret show, Sulzbach-Rosenberg, DE
Mar 04, 2019 – Dynamo, Zurich, CH
Mar 07, 2019 – Capri Bar, Breman, DE
Mar 09, 2019 – Le Petit Bitu, Namur, BE
Mar 13, 2019 – SXSW, Austin, TX
Mar 14, 2019 – SXSW, Austin, TX
Mar 15, 2019 – SXSW, Austin, TX
Mar 16, 2019 – SXSW, Austin, TX
April 16, 2019 – 7th Street Entry, Minneapolis, MN*
April 17, 2019 – Vaudeville Mews, Des Moines, IA*
April 18, 2019 – Gabe’s, Iowa City, IA*
April 19, 2019 – Art-in, Madison, WI*
April 20, 2019 – X-Ray Arcade, Milwaukee, WI*
* w/ Blessed

tunic on this record is:
Rory Ellis
Sam Neal
David Schellenberg

Tunic on Thee Facebooks

Tunic on Instagram

Tunic website

Self Sabotage Records on Bandcamp

Self Sabotage Records website

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Tumbleweed Dealer Catalog to Be Reissued; TDIII: Tokes, Hatred & Caffeine Preorder Available

Posted in Whathaveyou on January 24th, 2019 by JJ Koczan

tumbleweed dealer

I’ll admit that Tumbleweed Dealer‘s TDIII: Tokes, Hatred and Caffeine got by me when it was first released in 2016. No excuse; I keep telling you I suck at this. Fortunately, British Columbia-based Coup Sur Coup Records is stepping up to help those such as myself by reissuing the Montreal instrumental trio’s third long-player, and indeed their entire back catalog, one at a time, in limited numbers. It marks the first physical edition of the 12-track, mellow-but-still-awake strong>TDIII: Tokes, Hatred and Caffeine, and 40 tapes are being pressed. 40. Four zero. As in, preorders are up and if you want one, you might consider it time to make that happen before it’s actually out and gone.

There’s a teaser up, and you can stream all of Tumbleweed Dealer‘s multi-genre-informed fare at their Bandcamp page.

Coup Sur Coup label head Max Cayer sent the following over about the reissue program:

tumbleweed dealer tdiii tokes hatred caffeine

Tumbleweed Dealer – TDIII: Tokes, Hatred and Caffeine

Coup Sur Coup Records is proud to announce the re-issue of Tumbleweed Dealer back catalog on cassette tapes, starting with the latest release, 2016’s TDIII: Tokes, Hatred And Caffeine.

Seb and I, we go way back. Although we never played in bands together, we shared jam spaces, and funnily enough, have replaced each other in many bands. In some instances, I replaced him on bass, other times he replaced me on bass.
Same thing with Jean-Francois, we go way back. As we met in high school, and my first real “metal” band was with him, again a long, long time ago.

It was only natural that at some point we ended up working together. I’ve always enjoyed what he was doing with Tumbleweed, and always intended to invite him to release something. It took a bit of convincing, Seb not being one to do things just for the sake of it, but I’m glad he came around. I was planning on bugging him relentlessly until he would have allowed me to re-release Tumbleweed Dealer’s back catalog anyways, as it deserves to be out there in other formats than just digital. This is some pretty unique sounding music, and it deserve to be put to tape.

So, for the first time in physical format, and limited to 40 copies, that are sure to sell out. Act quick.

Assembled, dubbed, printed in Castlegar, British Columbia.

Here’s the link to the pre-order https://coupsurcoup.bandcamp.com/album/tdiii-tokes-hatred-caffeine

Tumbleweed Dealer is:
Seb Painchaud – Guitars
Miguel Valade – Bass
Jean-Francois Richard – Drums

http://www.facebook.com/TumbleweedDealer
https://tumbleweeddealer420.bandcamp.com/
https://www.facebook.com/coupsurcouprecords
http://www.instagram.com/coup_sur_coup_records
https://coupsurcoup.bandcamp.com/

Tumbleweed Dealer, TDIII: Tokes, Hatred and Caffeine reissue teaser

Tumbleweed Dealer, TDIII: Tokes, Hatred and Caffeine (2016)

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Ian Blurton’s Future Now Premiere “Space is Forever”

Posted in audiObelisk on January 17th, 2019 by JJ Koczan

ian blurton

Ian Blurton’s Future Now played their first show this past New Year’s Eve at Bovine Sex Club in their native Toronto. The project is spearheaded by its eponymous figure, whose career in bands and production goes back decades to his work in Change of Heart, who released their debut album in 1986. Along the way, Blurton has helmed outings for Blood Ceremony, Electric Magma, Cursed, The Weakerthans and a wide swath of others in just as wide a swath of genres, and as one might imagine, his new project benefits from an array of influences. Joined by guitarist Aaron Goldstein, bassist Anna Ruddick and drummer Glenn Milchem, Blurton elicits a vibe in the band’s first single, “Space is Forever,” that brings to mind the sharp-hewn indie quirk of Pinback while tapping into a classic heavy strut with its rhythm and a timeless melody that speaks to hours spent in sunshine and gives its progressive edge an accessible complement.

It does not feel happenstance, which is to say there’s more to come. Blurton will release a solo album in May titled Signals Through the Flames, and the band seems to be so formative that I’m not even sure if “Space is Forever” has anyone else playing on it, but the clearheadedness of its aesthetic moves — the way it drifts smoothly into echoes as it fades — tell the tale of more to come either way. I’ll go one step further and note that New Year’s Eve was like two and a half weeks ago, and I don’t think the four-piece lineup of Ian Blurton’s Future Now were around all that long before that, so there could well be some changes as they continue to take shape. They might, for instance, decide just to call themselves Future Now, since although born out of the Ian Blurton solo-project, they’re a full band now one way or the other. Whatever they end up calling themselves by the time Signals Through the Flames lands, “Space is Forever” is a catchy, tightly-structured but still laid back-feeling cut that sounds fresh even as it taps into familiar genre elements. The power of songwriting laid bare.

Whatever the coming months and beyond (that’s not to say “the future”) might bring for them — as of Twitter two days ago, they were recording a B-side for a new 7″, so it may well be that this song will feature there — I’m happy today to host the premiere of “Space is Forever,” which you’ll find on the ol’ Bandcamp embed below, followed by a few words from Blurton about the track and a couple Ontario live dates.

I hope you enjoy:

Ian Blurton on “Space is Forever”:

The song is about staring into the endless infinity of space and trying to find light in its darkness. It’s about days becoming nights and nights becoming days and the sun and moon leading us through them. It’s about pondering the planetary phases of the solar system and coming to the realization that the future is now.

Ian Blurton’s Future Now upcoming live shows:
Sat Jan 19 Toronto at The Horseshoe Tavern – Biblical, Whoop-Szo, IBFN
Sat Feb 2 Hamilton at This Ain’t Hollywood – Not Of, IBFN, Mount Cyanide

Future Now (the band) has been put together to play shows in support of Ian’s upcoming solo record (Signals Through The Flames, due out in May) and two pre-LP tracks of which Space is Forever is one. They consist of Toronto heavy hitters Glenn Milchem on drums (Holy Fuck/Starvin’ Hungry), Anna Ruddick on bass (Randy Bachman) and Aaron Goldstein on flying V (Daniel Romano) backing Ian, a 35+ year veteran of the Toronto music scene as a musician and producer (Cursed, Tricky Woo, Blood Ceremony).

Ian Blurton on Twitter

Ian Blurton on Bandcamp

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