Deadpeach Post Video for “Traffic” (NSFW); Vinyl Sale on Now

Posted in Bootleg Theater on December 8th, 2016 by JJ Koczan

deadpeach

Look, I’m just a caveman. It seems like maybe it’s been a while since Italian heavy psych rockers Deadpeach posted the video below for this track from their 2014 album, Aurum (review here), but I happen to think it’s never too late to correct an oversight — I’ve gone back into posts and fixed typos half a decade old, if you want proof — so if you want to put the “Traffic” video under the heading of ‘better than never,’ that’s cool by me. The timing actually works out decently well for the clip to come to my attention, since Deadpeach have a vinyl sale going on now for Aurum and their other two full-lengths through their Bandcamp, about which you can read more below.

As for “Traffic” itself, as someone who’s spent a good deal of 2016 sitting in it, I can safely say the song and its video are both a decidedly more pleasant experience than the name might convey. The clip is taken from public domain art footage, but there’s still nudity, so it gets the NSFW tag above — someone walking by your desk, say, might not have the same aesthetic or contextual appreciation — but even if you click play and listen to the track while doing something else, its instrumental flow is worth digging into for sure and makes the process easier through natural tones and a fluid, subdued psychedelic push. Deadpeach, it seems, aren’t so much issuing challenges as invitations. Dress casual. Come as you are.

It’s that kind of party, which I guess makes me fashionably late in getting it posted.

Dig into “Traffic” below, and please enjoy:

Deadpeach, “Traffic” official video

The video was filmed in Milan at the Museum of the 900, where there are exhibited works ranging from: Futurism, Metaphysical, Transavanguardia. The images of the ‘streap tease’ are stock image of archive.org. Videos and music of Deadpeach.

VINYLS 12″
Album “Psycle” on PICTURE DISK artwork by Malleus
Album “2” on red vinyl artwork by Loreprod
Album “Aurum” on trasparent ‘peach’ color artwork by Epicproblems

Instead of 62 € you will pay 50 euro. You will also receive the code of the 3 albums for unlimited streaming of the album via the free Bandcamp app, plus high-quality downloads in MP3, FLAC and more. You will receive immediately the code of album Aurum, the codes of the other two albums will be included in the package with vinyl. For free you will also receive the code of the EP ‘old fuzz generation.”

Deadpeach on Bandcamp

Deadpeach website

Deadpeach on Thee Facebooks

Deadpeach on Twitter

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Deadpeach Release New Single “Magic Potion”

Posted in Whathaveyou on October 12th, 2016 by JJ Koczan

As reinterpreted by Italian heavy psych rockers Deadpeach, Open Mind‘s ‘Magic Potion’ sounds like it could’ve been the starting horn for the Psychedelic Era. Of course, the actual history of that is more complicated, but in revitalizing the original version from 1969, Deadpeach play directly toward their own roots, which is something they’ve done increasingly over the last couple years. And fair enough. Their last full-length, Aurum (review here), was released at the end of 2014, and last year they looked back to their very beginnings with a reissue of their 2004 debut EP, Old Fuzz Generation (review here). 12 years on from that initial outing, why shouldn’t they be looking outward as well as inward when it comes to their motivations and inspirations?

Particularly when the results are as engaging as “Magic Potion” turns out to be, the project’s appeal deepens further. I don’t know if this is a one-off or if Deadpeach might have other covers in the works, but I think it’s telling to note that the recording was started in 2011, half a decade ago. That’s enough to make me think Deadpeach might have a host of tracks laid down to one level of completion or another from over the years, though how many of them might surface to educate their listenership as “Magic Potion” does, I wouldn’t speculate. Maybe it’s better just to groove along to what we’ve got and let the rest play out as it will. That at least seems to be the spirit of the track itself.

You can watch the video for “Magic Potion” below or download it from the band. They sent along the following announcement:

deadpeach-magic-potion

Take a drink from a magic potion

Deadpeach’s new single is out now. ‘Magic Potion’ is a 1969 song of the band Open Mind.

Recorded started at Daniele Marzi studio (2011) and ended at Deposito Zero in Forlì (2016). Mixed at Deposito Zero in Forlì (2016). The new single comes along with a new video.

Download Magic Potion and support Deadpeach on bandcamp.

https://deadpeach-rock.bandcamp.com/track/magic-potion
http://www.deadpeach.com/
https://www.facebook.com/Deadpeachrock
https://twitter.com/DEADPEACH_gio

Deadpeach, “Magic Potion” (Open Mind cover) official video

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The Obelisk Radio Adds: XII Boar, Deadpeach, Suzukiton, Torpor and Monsternaut

Posted in Radio on March 20th, 2015 by JJ Koczan

the obelisk radio

Once again it’s been a couple weeks since I was last able to do a round of radio adds. But I have a good excuse! I was… uh… reviewing stuff? Well, that’s what I was doing, anyway. Anyhow, I’m way backed up on stuff to join the server, so for at least the next couple weeks it seems reasonable to expect regular adds while I get caught up. By then I’m sure I’ll be behind again, because somehow that’s how it works. Anyway, point is that as usual, a lot more was added to the server this afternoon than appears here, so make sure you check the Playlist and Updates page for the full list. Most of it is pretty new as well, so you might stumble on something you didn’t know was out. Could happen. Alright, let’s do this.

The Obelisk Radio adds for March 20, 2015:

XII Boar, Pitworthy

xii boar pitworthy

Before “Sharpshooter,” the opening track of their debut full-length, Pitworthy, actually starts, Hampshire, UK, trio XII Boar are introduced by a ring announcer in full arena-echo style. Somebody is about to get their ass kicked. That mentality tells you a lot about where the three-piece of guitarist/vocalist Tommy Hardrocks, bassist/vocalist Adam “Baddog” Thomas and drummer David Wilbraham are coming from on the 10-track outing, rife with heavy, Southern-style boogie presented with weighted burl whether it’s a slower groove like “Crushing the P” or a thrasher like “Chicken Hawk.” Side A caps with the title-track, a seven-minute Southern metal highlight, but the real party is at the end of the record’s second half, when the 11-minute “Quint” takes hold in a raucous fury of rhythmic thrust, seafaring tales and off-the-wall soloing. It is a riotous debut after a few promising EPs, and if nothing else, XII Boar make it clear that if anyone’s going to get their ass kicked, it won’t be the band. Their dudely growls and whisky this-or-that might be too much for some, but there’s no denying these guys sound like they’re having a blast, and that energy proves infectious throughout their first album. XII Boar on Thee Facebooks, on Bandcamp.

Deadpeach, Old Fuzz Generation

deadpeach old fuzz generation

Underrated Italian fuzz rockers Deadpeach initially released the debut EP, Old Fuzz Generation, in 2004 on what was apparently severely limited vinyl. Then a three-song 7″, Old Fuzz Generation now sees a digital reissue as a four-track release with the three-minute “Spain ’87” added on to the end. All told, it’s still under 10 minutes long with all four cuts taken together, but while brief, there’s enough fuzzy rush to hearken back to a time when European heavy rock was less concerned with either psychedelic freeform jamming or sounding like it’s 1972, and that the thickened-out, sped-up punk of “Americano” (1:50) needed no frills to get its point across, tapping influences from NebulaFu Manchu and Kyuss even while quoting Bob Marley in the lyrics and expressing what was a pervasive anti-American sentiment throughout Europe following the US invasion of Iraq. Good times. Not really, but good fuzz, and twice as interesting when one considers how European heavy was on the verge of a multi-faceted explosion 11 years ago and Deadpeach were tapping into a similar classic heavy ethic as the likes of Demon Cleaner, earlier Dozer and their countrymen in OJM. A quick but satisfying stoner burst. Deadpeach on Thee Facebooks, on Bandcamp.

Suzukiton, Suzukiton II

suzukiton suzukiton ii

Making their home in the fertile heavy ground of Richmond, Virginia, the instrumental four-piece Suzukiton made their debut a decade ago on Crucial Blast with Service Repair Handbook, a collection of distinctly Southern but still varied rockers that found a cult following at the time. Kind of a surprise to find that 10 years later, the four-piece of guitarists Todd Naumann and David Boyd (Twisted Tower Dire), bassist William Rose and drummer Bryan Cox (ex-Axehandle and Alabama Thunderpussy) would return with the self-released Suzukiton II, but the intervening time has done little to dull their potency, shredding leads cutting through tight rhythms in tones bordering between heavy rock and metal, a chugger like “Death of a Mule” no more out of place than a prog-metal stomper like “Ronin.” Closer “Todd II” would seem a direct sequel to “Todd Song” from the first album, but its eight-minute course feels more than duly expanded from the prior release. Thoughtful in its progressions and well-plotted within its individual pieces, Suzukiton II is nothing if not a welcome return, and if it’s the band’s position to blindside new listeners, that suits the material well. Suzukiton on Thee Facebooks, on Bandcamp.

Torpor, From Nothing Comes Everything

torpor from nothing comes everything

Immediate points to UK atmospheric sludgers Torpor (also stylized in all-caps) for opening their Head of Crom and Black Bow Records debut LP, From Nothing Comes Everything, with “From this Time,” the longest song on the album. Follow-up points for the actual weight of the damn thing. Dense, post-metallic claustrophobia is undercut by trades between spoken or otherwise clearheaded shouts and vicious screams, the foursome of standalone vocalist Nats Spada, guitarist/vocalist Jon Taylor, bassist Lauren Mason and drummer Simon Mason successfully avoiding stylistic cliche throughout the six-track release while executing lethal builds and thunder-toned push. “Surrender to the Light” is as effective for its melody as its chug, the obscure interlude “The Wake” rumbles and growls ferociously, and “As Waves Crash” demonstrates a powerful blend of post-hardcore and doom, from which “Abandon” departs only momentarily, delving into a minimalist midsection before rounding out with a maddening payoff. Nine-minute closer “Everything We Left Behind” might as well be made of skull fragments and burst eardrums, its heft giving way gradually to deconstructed ambience and a finale of abrasive noise. Torpor‘s first is brutal, fierce and terrifying most of all for how solidified and assured the band sounds in their aesthetic — how at home they are in the churning chaos they’ve made. Torpor on Thee Facebooks, on Bandcamp, at Head of Crom, Black Bow Records.

Monsternaut, Monsternaut

monsternut monsternaut

If the art wasn’t clue enough, Monsternaut‘s Monsternaut EP is a stoner rock record. Its motor revs in opener “Dog Town” and doesn’t let up until it hits the slowdown in closer “Black Horizon,” which wraps the Kerava, Finland, trio’s 18-minute debut outing with a fitting show of swing, choice basslines and nod-worthy fuckall. There’s plenty about the five tracks that will prove familiar to listeners who may have seen a record with an El Camino (admittedly, a gorgeous one) on the cover before, but there’s a next-generation freshness in Monsternaut‘s barebones, unabashed heavy rock approach, and cuts like “Back for More” and “Mountain Doom” prove deceptively catchy while also tapping tonal satisfaction in the guitar, bass and drums — Jani Kuusela‘s snare and kick landing no less heavy than Tuomas Heiskanen‘s riffs or Perttu Härkönen‘s low end — and the thud of “Caravan” and the straightforward, unpretentious vibe of all the tracks suits a presentation of genre that offers an edge of individuality while immediately doing more than just aping the band’s stylistic forebear(d)s. In heft, mood and songwriting, it’s a more than solid showcase of a progression underway. Monsternaut on Thee Facebooks, on Bandcamp.

As previously noted, this is just a fraction of the stuff that joined the server today — one-third, if you want to be more specific about that fraction. To check out everything else or to see what’s been played today and for probably way further back than you’re interested in knowing, check out the Obelisk Radio Playlist and Updates page. Hope you find something good from it.

Thanks for reading and listening.

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Deadpeach, Aurum: Taste of Gold

Posted in Reviews on December 1st, 2014 by JJ Koczan

deadpeach aurum

For their third full-length, Italian heavy psych rockers Deadpeach offer five varied explorations, each with its distinct personality. Aurum, which takes its name from the elemental name of gold, is out on vinyl through Nasoni Records and splits well into two sides, but still works as a front-to-back listen with engaging turns and a blend of jammed and structures approaches to which the four-piece of guitarist/vocalist Giovanni, guitarist Daniele Bartoli, bassist Mr. Steveman and drummer Federio Tebaldi are amiably suited. On a superficial level, there isn’t anything in the span of Aurum‘s 38 minutes that couldn’t fall under the heading of heavy psychedelia, and I don’t think there’s anything present that’s intended otherwise, but Deadpeach prove bold within those parameters and find themselves ranging beyond genre confines more than it might at first seem. Side A, in particular, is an ambitious beginning, with just two songs — “Calcutta” (10:01) and “Gold” (9:14) — that comprise the first half of the record. As someone who gives immediate credit to records that open with their longest tracks, to find the longest two by a considerable margin pushed to the front of Aurum is a rare-enough treat to be remarkable, but even within themselves, they begin to show some of the range that unfolds as the album plays out, recalling the earlier fuzzy riff rock of their 2006 Psycle debut and the development that showed itself on the 2011 follow-up, 2, while continuing to push into newer, jammier ground for the band. Whether one approaches Aurum as two sides or in linear form, the first two tracks and subsequent “The Line,” “Stomper” and “Traffic” reveal an act capturing a vital spirit of creative spontaneity while also following a decided course.

Aurum has an easy appeal for the already converted among heavy rock heads. Giovanni and Bartoli offer up enough fuzz and riffs in “The Line,” “Gold” and the early going of “Stomper” that, if there’s a quota, it’s met. What really pushes that basic appeal to another degree is the shifts that take place between the songs and how well Aurum moves with them. Perhaps unsurprisingly, the 10-minute “Calcutta” unfolds gradually to reach its full breadth, but immediately the guitars and bass set an atmospheric foundation that becomes the basis from which the rest of the album is built. Light chanting and, later, lyrics emerge in a style not too far from Lamp of the Universe, but lead guitar is the focal point and the movement playing out behind it. Hypnotic, the jam comes to a head about halfway in and quickly recedes, only to be constructed again, a little faster the second time, and given an ambient leadout that smoothes the way into “Gold,” which takes Mr. Steveman‘s bassline as its driving element and, rather than split its build, follows a single line over the course of its nine minutes, hitting a stride of fuzz and crash after a midpoint break, shifting into more straightforward-seeming stonerly swing and verses, a Hawkwindy space factor not at all lost among the proceedings. Thinking of Aurum as one song flowing into the next, “Gold” bridges a gap between “Calcutta” and “The Line,” with a jammy first half leading to a more traditionally structured second, but the track itself has more substance to it than a mere transitional moment, be it in classically layered leads or the tonal weight of the push running alongside them. To discount either part as simply feeding out of or into something else doesn’t do the song justice, or acknowledge the fact that in putting the two sides next to each other and making it work as smoothly as Deadpeach do, they’re summarizing a good portion of the album’s appeal on what’s also as close as they come to a title-track. Even way out in space, there’s consciousness at work.

deadpeach

“The Line,” which leads off the second half of Aurum, is the shortest track included at 4:55, and true to the latter end of “Gold,” it’s a more straightforward fuzz rocker, updating classic heavy methods with a modern vibe. Giovanni‘s vocals still echo out from under the fuzz, and Mr. Steveman runs circles around the central riff, but whether it’s as a centerpiece of the five tracks or as the start of side B, no question “The Line” is a major shift from “Calcutta” and “Gold” before it, despite consistency of mood and swirl. Deadpeach find room in their only-song-under-five-minute rush to jam a bit behind a solo section, but with deft songwriting in their favor, they return to the chorus before finishing out, ending noisy and satisfying en route to the similarly rocking launch of “Stomper,” though it’s Tebaldi who takes that track over, turning an instrumental rocker into essentially a drum jam peppered with airy guitar. To his credit, he holds it together, and to the band’s, they bookend with a resurgent progression similar to that which led into the percussive stretch, a symmetry that keeps the vibe of Aurum steady even as Deadpeach move toward their finale and yet more ground to cover. Presumably because by now their listener might expect a fuzz-toned jam of one kind or another, the band dial back the distortion and close out with a jazzy instrumental movement that — while, yes, it kicks later into a fuzzy conclusion — provides one last turn from a foursome who’ve already shown plenty of variety. What the initial stages of “Traffic” demonstrate, however, is that there’s more to Deadpeach‘s fluidity than a pedal board. The vibe is maintained in the chemistry between players, but to jump back from “Traffic” to “Calcutta,” it would be easy to imagine you were hearing two different bands. Again, what makes Aurum work so well through this is the band’s ability to carry the listener along with them for the trip. As wide a range as Aurum works with, it never lets go of that connection.

Deadpeach, “Calcutta” official video

Deadpeach’s website

Deadpeach on Thee Facebooks

Nasoni Records

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Deadpeach Post New Video for “Calcutta” from Aurum

Posted in Bootleg Theater on January 14th, 2014 by JJ Koczan

Preceded last month by a reissue of Deadpeach‘s 2006 debut, Psycle (info here), the Italian four-piece’s new full-length, Aurum, is due out this week. “Calcutta” is the opening track from the offering, which is the heavy psych outfit’s third, and it launches a 10-minute build quietly and moves into warm, rich psychedelics fluidly and easily without sounding overly contrived or indulgent in its jamming. The video is accordingly peaceful and tripped out, the various shots bleeding into each other and also hitting a visual apex in league with the song itself. If, say, you’ve run around all day like a crazy person and feel like you’ve gotten nothing done (not that I’d have any idea what that feels like), it might be just the thing to chill you out and return your brain to whatever it is that passes for stasis.

Or something like that.

I’m not sure where they got the footage from for the clip, and they seem to be mum on the subject, but as it moves away from the morphing faces of the band members, it kind of has a home-movies-gone-psych quality to it that adds a tinge of nostalgia to the spaced-out vibe. I dig it, anyway, and with the vinyl for Aurum coming Feb. 1, it seems like a good way for anyone who hasn’t yet been to get introduced to Deadpeach. Dig it:

Deadpeach, “Calcutta” official video

Video of the song Calcutta from the new album ‘Aurum’!

Take a trip with us!

The digital version will be released 16 January 2014 , and will be available on Amazon Itunes Spotify …

Vinyl version will be available from 1 February 2014!

Aurum Is a 5 track album, songs are : Calcutta, Gold, The line, Stomper, Traffic, (about 40 minute). The album was recorded and mixed by Epi at the godownrecords studio, Mastering Alessandro Cenciarini. The album’s artwork is edited by Neal Williams that already has done posters for Soundgarden, Dinosaur jr, Opeth, Neurosis,QOTSA, Melvins and others.

from 16 january 2014

Fuzz ON!
www.deadpeach.com

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Deadpeach Reissue Psycle; New Album Coming Soon

Posted in Whathaveyou on December 11th, 2013 by JJ Koczan

I picked up a copy of Deadpeach‘s Psycle a few years back from All That is Heavy and dug it for even more than its ultra-stoner earlier-Malleus cover art. The Italian outfit released a follow-up in 2011, aptly-titled 2, and reportedly have a new one coming called Aurum that will see release in 2014. To tide fans over into the New Year or at very least hopefully get word out about the new release, Deadpeach have made Psycle available again, digitally this time, through iTunes and Amazon.

The band sent word about both Psycle‘s reissue and the impending Aurum, and there’s a link where you can check out the earlier record, but I thought I’d post it with the teaser for the newer album instead, in case anyone unfamiliar with the band wants to get a feel for what they’re doing now as opposed to 2006, when the debut came out.

Groovy:

The new album of Deadpeach will be titled ‘Aurum’. Is a 5 track album, songs are : Calcutta, Gold, The line, Stomper, Traffic, (about 40 minute). The album was recorded and mixed by Epi at the godownrecords studio, Mastering Alessandro Cenciarini.

The album’s artwork is edited by Neal Williams epicproblems.com, that already has done posters for Soundgarden, Dinosaur jr, Opeth, Neurosis and other.

While waiting for the release date, of the third studio album by Deadpeach, is available from today, the digital version of their debut album titled Psycle; it was released in 2006 by godowrecords and reprinted in 2007 on vinyl,picture disk and cd digipack by the Nasoni-records.

“Psycle”, is a psychedelic fuzz rock grooves album. Artwork by Malleus.

Seven tracks of wild and amazing fuzz rock, psychedelic landscapes from the early 60s/70s, space trippy sounds.

Current line up: Federico Tebaldi (drums), Mr. Steveman (bass), Giovanni Giovannini (guitar, lead vocals), Daniele Bartoli (guitar & slide guitar).

LISTEN HERE TO PSYCLE!
http://player.zimbalam.com/player/8016670448648/6/black/0/0/0/it/

https://www.facebook.com/Deadpeachrock
https://www.deadpeach.com

Deadpeach, Aurum Teaser

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