Yagow Post Video for “Time to Get Rid of It”

Posted in Bootleg Theater on May 31st, 2017 by JJ Koczan

yagow

Grainy VHS sci-fi footage, rocket boosters at full thrust, shots of space in all its practical-effects vastness mixed in with astronauts in various stages of trial and experimentation? Yup, that sounds about right for the kind of trippery Yagow proffer in the five-minute “Time to Get Rid of It.” The song comes from the German trio’s upcoming self-titled debut (review here), which is out June 16 on Crazysane Records, and the found material that makes up the clip for “Time to Get Rid of It” coalesces fluidly around the molten, cosmos-gazing rhythm of the track itself, resulting in a multi-sensory package that’s easy to digest and seems only to lead the listener from chill to chill over the course of its relatively brief but hypnotic five minutes.

And that’s pretty much the story of the thing. One of the major strengths of Yagow‘s Yagow is the firm confidence with which it advises those who’d take it on to strap themselves in and get ready for the outward ride that is about to and in fact does ensue. That kind of command is pretty rare in groups with such a lysergic focus, but Yagow treat it almost as an afterthought, and as they move forward one will be interested to hear how the underlying shuffle of a track like “Time to Get Rid of It” and its crafted hook wind up being treated as a stage in the development of the band. That is to say, I look forward to finding out in the longer term how nascent Yagow is as an album and where the trio might go in terms of sound and aesthetic in following it up.

But they should probably release it first. Once again, June 16 is the date for that, so keep an eye out. And while you’ve got your eye out, you can dig into the “Time to Get Rid of It” video below.

Please enjoy:

Yagow, “Time to Get Rid of It” official video

Video by Daniel Fuchs & Manuel Wesely

YAGOW is a psych-space-rock trio based in Saarbruecken, Germany. Loud guitars, drones and ghost-like vocals build up other-wordly soundscapes reminiscent of 70s avantgarde acts and the shoegazing sounds of the past decades.

Pressing Info:
Limited to 300 copies on black 12″ vinyl
Screenprinted PVC overbag (kinegram effect)
Neon-printed LP cover

Yagow is:
Marc Schönwald: Drums, Percussion
Kai Peifer: Bass on ‘non-contractual’
Jan Werner: Vocals, Guitars, Drones
Axel Rothhaar: Bass

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Yagow website

Yagow preorder at Crazysane Records

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audiObelisk Transmission 061

Posted in Podcasts on May 15th, 2017 by JJ Koczan

the obelisk podcast 61

Click Here to Download

 

Yes! A new podcast! Are you stoked? I’m stoked. If you’re not, you will be when you look at the list of bands included. In any case, let’s be stoked together, because rock and roll, and heavy psych and good music and, well, yeah. That’s pretty much stuff to be stoked about. It’s been absurdly long since the last time we did one of these. Too long. I don’t really have an excuse other than… gainful employment? Don’t worry, though. That’ll be over soon enough. Then it’ll be podcasts out the ass.

There’s some killer goods here though. Yeah, I decided to do a “Yeti” double-shot with Green Yeti into Telekinetic Yeti. That’s my version of me being clever. But both bands are righteous, and if you haven’t heard the Savanah record, or that new Tia Carrera jam, or the Cachemira or Big Kizz or Yagow or Vokonis or the Elder — oh hell, frickin’ all of it — it’s worth your time. That Emil Amos track just premiered the other day and I think will surprise a lot of people, and I liked the way it paired with the dark neofolk of Hermitess. And of course we get trippy in the second hour, as is the custom around here. But first a moment of prog clarity from the aforementioned Elder. That’s a good time as well.

As always, I hope you enjoy.

Track details follow:

First Hour:

0:00:00 Vokonis, “The Sunken Djinn” from The Sunken Djinn
0:06:47 Tia Carrera, “Laid Back (Frontside Rock ‘n’ Roll)” from Laid Back (Frontside Rock ‘n’ Roll)
0:16:33 Supersonic Blues, “Supersonic Blues Theme” from Supersonic Blues Theme / Curses on My Soul
0:19:28 Emil Amos, “Elements Cycling” from Filmmusik
0:22:28 Hermitess, “Blood Moon” from Hermitess
0:26:24 Savanah, “Mind” from The Healer
0:34:22 Yagow, “Non-Contractual” from Yagow
0:42:35 Big Kizz, “Eye on You” from Eye on You
0:45:53 Cachemira, “Jungla” from Jungla
0:52:05 Green Yeti, “Black Planets (Part 2)” from Desert Show
0:58:02 Telekinetic Yeti, “Stoned and Feathered” from Abominable

Second Hour:

1:02:10 Elder, “The Falling Veil” from Reflections of a Floating World
1:13:20 Riff Fist, “King Tide” from King Tide
1:24:15 Cavra, “Montaña” from Cavra
1:39:18 Causa Sui, “A Love Supreme” from Live in Copenhagen

Total running time: 1:55:53

 

Thank you for listening.

Download audiObelisk Transmission 061

 

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Review & Track Premiere: Yagow, Yagow

Posted in audiObelisk, Reviews on May 8th, 2017 by JJ Koczan

yagow yagow

[Click play above to stream ‘Snake Charmer’ from the self-titled Yagow LP, out June 16 on Crazysane Records and available to preorder here.]

An overarching feel of lysergic serenity would seem to be the means to its own end on Yagow‘s self-titled debut, which is to say that the six-song first outing from the Saarbrücken, Germany, three-piece sets for its primary goal the very wash it uses to meet that goal. It is an exploration of vibe and mood, space-gazing through its 42-minute stretch propelled by unknown fuels. Recorded by the band — guitarist/vocalist/noisemaker Jan Werner, bassist Axel Rothhaar and drummer/percussionist Marc Schönwald with Kai Peifer (who also mixed, along with Werner and Berni Götz, who also mastered) on bass for side B’s “Non-Contractual” — and issued through Crazysane Records, Yagow‘s tuned-in headspaces should feel familiar to those who’ve worshiped at the altars of The Heads or Loop but they seem interested in casting their own melodic identity as well in these tracks.

One can hear this in the organ-style sounds of opener and longest track (immediate points) “Horsehead Nebula” or the sitar of the subsequent “Snake Charmer,” buried in the mix though it is, and the result is an outing of headphone-worthy depth that comes across as honest in its intentions and likewise assured in how to meet the goals it has set. Songs play out one into the next with a patient fluidity and perhaps a budding sense of nuance, and it seems that the only thing Yagow don’t leave room for in the album’s span is pretense. This is head music for a head audience. It’s not trying to say anything it doesn’t want to say and it’s not trying to be anything it isn’t. Listeners can either sign up for the journey or miss out on the trip that ensues.

For what it’s worth, the band makes a pretty compelling argument toward the former. While remaining up-front in their purposes and playing by the rules of vinyl modernity by splitting Yagow neatly in half, three cuts to a side, they nonetheless execute a classic psychedelic vibe — not necessarily playing to influences from the ’60s or ’70s, but certainly aware of those roots. Each song in the record’s first half — “Horsehead Nebula,” “Snake Charmer” and “Moss and Mint” — has something to stand it out from its compatriots, whether it’s the aforementioned melody and sitar of the opener and its follow-up or the return of that particularly blissful tone that either could be keys or could be guitar effects on “Moss and Mint,” coming on more languid the second time around and allowing the three-piece to convey an overarching flow as well as distinguish the individual from its surroundings. “Oh yeah, that’s the song where that happens,” and so on.

Whether this is done consciously or not on the part of the band — one doesn’t want to assume either way, and this material almost certainly has its beginnings in jams either improvised or led by one member or another — is secondary compared to the effect it has on the overall listening experience, which, when taken front to back, proves duly consuming and switched-on in its overall affect. As Werner‘s vocals drawl out amid the wash of “Moss and Mint” after the more winding space-charged fuzz of “Snake Charmer,” there’s some subtlety to be found for those who’d pay repeat visits to Yagow‘s psychedelic palace, but even if the album splits in half, it’s more about the entirety of the thing than any one song, or even part. And that’s not to its detriment in the slightest.

yagow

Rather, as side B starts with the more blown-out low end tonality of “Time to Get Rid of It,” that subtlety only turns out to make the offering richer on the whole. Atop a steady rhythm, vocals echo out and another distorted wash is conjured, and truth be told, Yagow have by this time set their methods forward for their audience. There’s little they do across the second half of their debut to deviate, but they do successfully build on what they’ve already accomplished sound-wise, which seems more important than it would be for them to present some radical shift. “Time to Get Rid of It” drifts into and through a section of vocals over chimes before Schönwald‘s drums resume their push into the song’s final third, and the eight-minute “Non-Contractual” makes its first impression with drums as well building to a trade of tension and release across its span that reminds a bit of a less folkish Quest for Fire, and toys with momentum in a manner that it seems a lot of the prior material avoided in favor of worshiping more ethereal atmospheres.

Perhaps in part because it’s longer — one might consider it a companion piece for the opener, as it also tops eight minutes — and perhaps in part because of the droning resonance that lays underneath a goodly portion of its stretch, “Non-Contractual” feels more expansive, especially in its back-half jam, with an element of vibrancy that serves it well leading into closer “Nude on the Moon Dance,” which echoes and reinforces the ringing tones of “Horsehead Nebula” and “Moss and Mint” as well as the thrusters-engaged forward rhythm of the latter portion of “Snake Charmer,” all while feeling a little less hinged in a way that speaks to the real potential of the band to let loose a little and break some of the rules they’ve set for themselves here.

It’s worth remembering, and important to remember, that while they’ve been around for a few years (their social media presence starts at 2013, if that’s any measure) this self-titled is their first collective outing, and ultimately it’s to their credit that one hears a song like “Time to Get Rid of It” and waits for Yagow to expand on what they presented in the album’s first half — because it means they’ve done their job in establishing their core sound. And so they have. The work before them now as they move from one liquefied slab onto the inevitable next should be in furthering the lightly progressive undertones delivered here. Maybe that’s in building on the arrangement flourish of “Snake Charmer” or in being willing to dive deeper into the off-the-cuff feel of “Non-Contractual” and “Nude on the Moon Dance” — I don’t know. It will be their songwriting that makes that decision in the end, but what matters for the time being is the foundation they’ve given themselves on which to build, which feels flexible enough to accommodate any range of directions they might want to take.

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Closet Disco Queen Stream Sexy Audio Deviance for Punk Bums EP in Full

Posted in audiObelisk, Reviews on April 3rd, 2017 by JJ Koczan

closet-disco-queen

Swiss instrumentalist duo Closet Disco Queen release their new EP, Sexy Audio Deviance for Punk Bums, this Friday, April 7. Out through Crazysane Records, Unquiet Records and Division Records all at once, it’s the second offering from the guitar/drum two-piece of Jonathan Nido and Luc Hess behind their 2015 self-titled debut (review here), and in addition to the multitude of labels, it comes accompanied by a multitude of live dates the band will play across Europe, including a slot among the enviable lineup of Desertfest London 2017.

Nido and Hess‘ progressive pedigree has been well noted in the past — their affiliations with The Ocean, among others — and that continues to be a factor throughout the three songs of Sexy Audio Deviance for Punk Bums as well, though the band seem to want to cloak it in a “we’re just here to have a good time” kind of vibe. Nothing against that, and indeed, “Ninjaune” (6:37), “El Moustachito” (3:57) and “Délicieux” (6:14) are a good time, but while their moniker and titles come across as tongue-in-cheek, there’s much more to Closet Disco Queen‘s presentation than tossoffs or screwing around. From the ambient opening of “Ninjaune” to the graceful linear build that ensues, the EP sets in motion an album-style flow that’s nothing if not purposeful.

Of course, it’s only about 17 minutes long, so Hess and Nido don’t have quite the same amount of roomcloset-disco-queen-sexy-audio-deviance-for-punk-bums to stretch out as they did on the prior full-length, but with flourish of keys/effects and driving payoff rhythms, they make the most of what they’ve got. Beginning with “Ninjaune,” which is the longest track in addition to the opener (immediate points), they set up a subtly patient, still duly stylized motion of turns and winds, rhythmically tight and gradually increasing in volume as it goes until after about four minutes in, they arrive at a start-stop progression that hints at just how far they’re willing to push this time out. Somewhat more raucous from the start, “El Moustachito” picks up from there and might be from whence the notion of “punk” in the EP title comes, but while the movement is more forward-directed, it by no means comes through as oversimplified or lacking in breadth.

Rather, it’s just shorter and more up front in its groove. Less direct than, say, Karma to Burn, but more direct than either “Ninjaune” or the subsequent “Délicieux,” though the closer has its thrust as well, toying somewhat with the linearity of the leadoff track but ultimately working toward something else structurally. One hesitates to call it “verse/chorus” when there aren’t vocals to provide either, but there’s definitely a hook, and Closet Disco Queen make their way fluidly toward a rousing finish marked out by Hess‘ crash and a suitably bouncing riff from Nido that seems to come to a head just as they get to the last minute of the song, only to stop and revive itself on a faster course, ending cold but with maximum energy.

Is that “sexy audio deviance?” Is it “for punk bums?” I don’t know. It seems like well structured semi-progressive heavy instrumental rock to me, and I kind of think Closet Disco Queen are underselling how much they put into their craft. But that works out to be part of the charm of the release — not necessarily a humility, but the fact that Nido and Hess have clearly made such an effort with this material and that they’re still willing to present it in a way that highlights the raw enjoyment aspect of both the creation and the listening experience. One expects they’ll keep moving forward in terms of sound, but so long as they can remember to have this kind of fun, Closet Disco Queen should only become more distinct as a part of that process.

Please enjoy a full stream of Sexy Audio Deviance for Punk Bums below, followed by some words from Nido about the EP and hints of future changes to come, as well as Closet Disco Queen‘s upcoming tour dates.

Goes like this:

Jona Nido on Sexy Audio Deviance for Punk Bums:

All three songs from the new EP have been written in the last six months up to a year. That means before recording them, we have played them live a good hundred times. When we recorded the debut album, we had two days to write 75 percent of the songs and record them in live conditions. If you listen to the songs live the way we play them now, there is only few to do with the atmosphere you’ll find on the album.

On the debut album we had no idea how we wanted to sound and went with the flow. Now after all these tours we both know what we like for this band and how we want it to sound on record as well as on stage. It was a long but very constructive process. We also narrowed our sound towards a more straightforward heavy rock. I also think that this is maybe the end of an era for this band. I’m not sure how many more songs we’ll be able to write as a two-piece and not repeat ourselves…

PREORDER-LINK: http://smarturl.it/CDQ

CLOSET DISCO QUEEN live:
Apr 04 MS-Loretta Celle, Germany
Apr 07 Zorrock La Chaux-De-Fonds, Switzerland
Apr 08 Chez Marie Lovens, Switzerland
Apr 14 Port-Franc Sion, Switzerland
Apr 20 Kon-Tiki Zurich, Switzerland
Apr 21 Le Cirque Electrique Paris, France
Apr 22 Le Ferrailleur Nantes, France
Apr 25 La Machine Nancy, France
Apr 26 PDZ Besancon, France
Apr 27 MAC DAID’S Le Havre, France
Apr 28 DesertFest (The Dev, free entry) London, United Kingdom
May 18 Trendkill Music Store Vitrolles, France
May 19 Raymond Bar Clermont-Ferrand, France
May 20 L’Hexagone Bourges, France
May 27 Brasserie BFM Saignelégier, Switzerland
Jun 07 L’Amalgamme Yverdon, Switzerland
Jun 16 Festineuch Neuchâtel, Switzerland

Closet Disco Queen is:
Jona Nido – guitar
Luc Hess – drums

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Unquiet Records website

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Closet Disco Queen: Sexy Audio Deviance for Punk Bums Available to Preorder

Posted in Whathaveyou on March 10th, 2017 by JJ Koczan

closet disco queen

By the time you’re finished wrapping your head around the title Sexy Audio Deviance for Punk Bums, Swiss instrumental duo Closet Disco Queen are finished running through the three tracks of the EP itself. Fair enough that the two-piece would get somewhat cumbersome and imbue the title of the follow-up to their 2015 self-titled debut (review here) with plenty of charm; after all, they’ve got three labels to please in Crazysane Records, Unquiet Records and Division Records, and if you’re keeping tabs, that’s one per cut on the release. Not, by any definition, too shabby as far as backing goes.

Sexy Audio Deviance for Punk Bums will be out April 7 through the aforementioned imprints, and it’s available to preorder now as the PR wire dutifully informs. If you’re feeling bold and not having quite a manic-enough morning/afternoon/evening, you can also stream the head-turning “Délicieux.” Just don’t be fooled by the initial calm as you make your way into the song.

Art, info, links, audio. That’s how we do:

closet-disco-queen-sexy-audio-deviance-for-punk-bums

Closet Disco Queen Announce New EP; Share New Song

Swiss instrumental psychedelic rockers Closet Disco Queen, formed by members of Coilguns and The Ocean, have announced a new EP entitled “Sexy Audio Deviance For Punk Bums”. The three-track EP is set for release on April 7th through Crazysane Records, Division Records and Unquiet Records and further continues the duo’s exploration of 70s instrumental and progressive kraut-rock started on their 2015’s self-titled debut.

“Sexy Audio Deviance For Punk Bums” was engineered & recorded by Karim Pandolfo at Hummus Lab in La Chaux-de-Fonds and mixed & mastered by Magnus Lindberg at Redmount Studios in Stockholm. Pre-orders are now available here.

Forged in the darkest recesses of the mind, Closet Disco Queen is the diabolical offspring of Jona Nido and Luc Hess, two musicians who have traipsed to the very borders of insanity with such unique musical entities as Coilguns, Kunz and The Ocean and yet lived to tell the tale. Spawned in 2014 as a means to plug a gap in a festival line up, the sole aspiration of these Swiss degenerates is to live the Spinal Tap dream: playing perpetually at 11 to audiences scattered far and wide across the globe and to this end they have already blazed a trail across Asia and Russia, not to mention decimating Baroness’ audiences during a sweaty tour of Europe.

Sexy Audio Deviance for Punk Bums tracklisting:
1. Ninjaune
2. El Moustachito
3. Délicieux

Closet Disco Queen is:
Jona Nido – guitar
Luc Hess – drums

https://www.facebook.com/closetdiscoqueen
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