Deaf Proof & Mount Hush Split Available Now; LP Release Coming Soon

Posted in Whathaveyou on January 6th, 2017 by JJ Koczan

German compatriots Deaf Proof and Mount Hush have teamed up for a new split with one extended track per band included. The idea is that the two groups will divide up the two sides of a vinyl platter. Not an unreasonable way to go. Okay. Trouble is making vinyl costs money, and the bands, being bands, are not prone to having such things, so they’re going to be setting up a crowdfunding campaign in order to make the pressing of Interstellar Smoke a reality. Does that campaign exist yet? No. When is it coming? Presumably soon. That, my friends, is about the extent of what I know on the subject.

Well, not really, because as a way of teasing the release in a gosh-wouldn’t-you-like-these-massive-molten-slabs-on-your-shelf kind of way — and indeed, gosh, I would — both Mount Hush and Deaf Proof have made their inclusions to Interstellar Smoke available to stream now, so you can basically hear what the vinyl will be and imagine your turntable feet flattening under the weight. Or something like that. You might imagine other things. Whatever’s on your mind.

Release info and audio follows. If you’d like a way to send them your cash in the interim, downloads are available through respective Bandcamp pages, linked below:

deaf-proof-mount-hush-interstellar-smoke

Deaf Proof / Mount Hush Split “Interstellar Smoke”

Stoner enthusiasts, fuzz worshippers and psychedelic lovers listen up!

From now on you‘ll get the chance to lay your hands on a fantastic and unique record. Mount Hush and Deaf Proof entered the studio to craft two monstrous tunes (ONE each band!) and bring them to you. Mount Hush delivers a 3-parted heavy psychedelic jam trip where spaced out guitars organically blend in with crooning vocals, synths & organ sounds.

Deaf Proof joins the game with a fuzzy and pounding edge, straight and expansive at the same time. Altogether a dreamy and psychedelic, yet furious and crashing trip awaits: This is “Interstellar Smoke”.

So do yourself a favour, lean back and enjoy this record in its full entirety… But don’t be ungenerous and tell a friend! Because we need YOUR support to crowdfund a special vinyl release of this gem. Campaign coming soon. Support the underground and spread the word!

Mount Hush & Deaf Proof “Interstellar Smoke” Split:
A. Mount Hush – “Sleeping Jupiter – Haze – Aquatic Void” 20:03
B. Deaf Proof – “Everything Dead” 24:32

https://deafproof.bandcamp.com/album/interstellar-smoke-split-mount-hush-deaf-proof
https://www.facebook.com/deafproofstoner/
https://mounthush.bandcamp.com/album/interstellar-smoke
https://www.facebook.com/mounthush/

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Deaf Proof and Holistic Hobos Release Split

Posted in Whathaveyou on June 23rd, 2016 by JJ Koczan

One never really knows where German outfit Deaf Proof are going to wind up on a release until they get there. This time around, the Freiburg trio come down to earth to meet up with the progressively-styled Holistic Hobos for a three-tracks-each split offering that brings out a heavy side of both. For Holistic Hobos, this marks their first outing since their 2013 Let Loose be Free EP, while Deaf Proof take a much different turn than the extended improv jams they brought out for 2015’s Blood Red Sky Sessions (review here), going for a more straightforward overall sound.

It’s my first listen to Holistic Hobos, and gives a positive impression of the four-piece. The two bands complement each other well on the six tracks, as you can hear via the players below, hoisted from the respective Bandcamp pages. Note that the physical version is CD digipak and that it’s limited to 100 copies. Just in case you were thinking you had time on it, you probably don’t.

Release announcement looks an awful lot like this:

deaf proof holistic hobos split

Deaf Proof Holistic Hobos Split

Two heavy rocking bands of stony south-west-german origin gather to release some of their new tunes together on a split album.

Come on, there’s a fuzz-split-monstrosity emerging from south-west Germany: The Holistic Hobos from Stuttgart present their latest compositions. These are quiet psychedelic, sometimes grungy and with NWOBHM-style twin-guitars, always diversified and heavy. In the end it’s more than stoner and doom, if Baroness comes to your mind, this is more than reasonable.

The Freiburg trio Deaf Proof puts aside the jammy moments and most of the FX this time, only the fuzz pedal is cranked to 11, so the boys are rockin’ straightforward and kickin’ ass hard: Ouch ;) !

Hard facts: Limited, hand numbered digipak, 100 pieces, 50 per band, buy for 7€ + shipping via stuff@deafproof.de or contact: https://www.facebook.com/holistichobos.

https://deafproof.bandcamp.com/
https://holistichobos.bandcamp.com/

Deaf Proof, split with Holistic Hobos (2016)

Holistic Hobos, split with Deaf Proof (2016)

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Deaf Proof Post Video for “Death Sounds Angry and Hungry for More”

Posted in Bootleg Theater on December 23rd, 2015 by JJ Koczan

deaf proof

Heavy psych rocking German trio Deaf Proof released their latest outing, Blood Red Sky Sessions (review here), earlier this year as a limited tape and will reportedly have it out on vinyl in the first part of 2016, but for their new video, “Death Sounds Angry and Hungry for More,” they dip back to their 2014 debut EP, Death Sounds Angry (review here). Why? Well, there are probably two reasons. Primarily, Blood Red Sky Sessions was more geared toward inviting listeners into the band’s songwriting process — to a degree — and getting a sense of how their material takes shape out of expansive, multi-faceted jams like the 34-minute “Far Beyond the Blood Red Sky,” which, though it had lyrics, was nonetheless instrumentally focused around the chemistry between guitarist/vocalist J. Fredo, bassist JP and drummer Pedro. As it turned out, that was plenty enough to carry it through.

Second, the choice was probably pretty easy for Deaf Proof because “Death Sounds Angry and Hungry for More,” at 6:39, is the shortest song they’ve put out since their second demo, Beyond the Orange Door, in 2013. I bet when you’re narrowing it down to one track or another for a video and your options are under seven minutes or over half an hour, you start to look back and think, maybe, yeah, we can use a song from the last release. And it’s not like the year between has lessened the charm or fuzzy rumble of “Death Sounds Angry and Hungry for More,” the video for which the band notes is a precursor to new material, presumably to be issued in 2016.

That’ll be one to keep an eye out for, and in the interim, the clip emphasizes the low-end rumble at the heart of Deaf Proof‘s grooving. You’ll see what I mean when you watch.

Enjoy:

Deaf Proof, “Death Sounds Angry and Hungry for More” official video

It’s been nearly a decade, since Deaf Proof touched the chord for the first time. During these years they released a couple of demos,the LP “Death Sounds Angry”, the “Blood Red Rky Sessions” tape/ vinyl and played lots of club shows and rocked together with influential bands.

To sweeten the time of waiting for their next output, Herr Potz/ Trashpop(t)ERROR (creative director/ video editor) and the band produced a music clip for “Death Sounds Angry and Hungry for More”, title track of the 2014 output! Enjoy this Christmas present!

DEAF PROOF’s sound can probably best be described as psychedelic stoner rock that creates a very specific and unique atmosphere. The band, which is from Freiburg/Germany, has made a handful of changes concerning their line-up ever since they were founded in 2006. They now consist of J. Fredo (lead vocals/guitar), JP (bass) and Pedro (drums). Since 2013, the band has released multiple highly acclaimed demos, of which “Beyond the Orange Door Demos” (2013) received special attention.

It soon became obvious that DEAF PROOF were aiming much higher than swirling up desert sand and coming up with catchy riffs for their songs. “DEATH SOUNDS ANGRY” (2014 on cd, 2015 on vinyl via KrautedMindRecords) made clear that the band has now reached new heights. “Blood Red Sky Sessions” (limited red tape, vinyl 2016 on KrautedMind) from 2015 is like a documentation of a songwriting and jamming process, which is delivering the listener some kind of a live experience and an inside view. Three different jam sessions take the listener on a psychedelic stoner rock trip in a fuzzy spaceship.

Deaf Proof on Thee Facebooks

Deaf Proof on Bandcamp

Deaf Proof website

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Deaf Proof Stream Blood Red Sky Sessions in Full

Posted in audiObelisk on April 2nd, 2015 by JJ Koczan

deaf proof

Well, it’s not quite “in full,” but with more than an hour’s worth of jamming unfolding across three tracks, it’s close enough, anyway. The fourth cut on what will become Deaf Proof‘s Blood Red Sky Sessions release — due out April 23 digitally with a limited-to-50 tape to follow this summer — is an 8-bit version of “Death Sounds Angry and Hungry for More” from last year’s righteously fuzzed Death Sounds Angry EP (review here), held out of the stream at the request of the band. What’s left? Three extended, jam-based pieces that run a course somewhere between heavy psychedelic improvisation and more structured songwriting. And as you listen, I think you’ll agree that’s plenty.

Comprised of “Dust and Bones Among Us” (11:22), “Ocean of Sand” (16:54) and “Far Beyond the Blood Red Sky” (34:26), Blood Red Sky Sessions is not Deaf Proof‘s first experimental release. The Freiburg, Germany, trio of guitarist/vocalist J. Fredo, bassist JP and drummer Pedro gained notice with 2013’s Beyond the Orange Door Demos (they had a different lineup at the time), but no question these three spacious tracks showcase a marked development in the band’s penchant for exploratory heavy psych. They were — still are, instrumentally — put together as jams. You can hear it in “Dust and Bones Among Us” and certainly throughout the sprawl ofdeaf proof blood red sky sessions “Far Beyond the Blood Red Sky,” which retains long stretches of guitar-driven vibing, drawing down to bluesy minimalism only to raise the volume again, back and forth, but Deaf Proof wanted more than just a collection of jams, so vocals were added, and the difference is palpable.

Even in its far reaches, “Far Beyond the Blood Red Sky” retains a human presence, and the rolling groove of “Ocean of Sand” seems to come with an inherent structure, dooming out in a slowdown in its midsection for a bit, but winding up sweetly melodic by the finish. “Dust and Bones Among Us,” which feels short at 11 minutes by the time one gets around to a second listen, likewise places J. Fredo‘s vocals well, so that the lines he’s delivering are as much a part of the apex of the track as Pedro‘s crashing drums or JP‘s basslines, or, for that matter, his own wah-drenched lead. It’s called songwriting and people do it every day, but the way in which Deaf Proof have gone about it, listening back to these jams and realizing they had the potential to push further, stands these tracks out from the verse/chorus norm. The results of their efforts speak for themselves.

If you did or didn’t hear Death Sounds AngryBlood Red Sky Sessions makes a better follow-up than the band gives it credit for. They’ve threatened a vinyl release, and doubtless that would require some editing of “Far Beyond the Blood Red Sky” — maybe they could call it “Not Quite as Far…” or something along those lines — but the fact is that if these songs showed up and Deaf Proof said, “This is our new album,” I’d have believed it, and if anything, these songs make me look forward that much more to what they might actually have planned for that next release.

Please find Blood Red Sky Sessions on the player below, followed by preorder info and more background, and enjoy:

Planned as pure jam recording, we decided to put a little more work in this baby, That’s why we decided to call it “sessions” and added some vocals. So it’s not a pure experiment and not a regular release. It’s something in between, but it works. It’ll be released digitally on April 23 and on tape later this year. Preorders/ Reservations can be placed by email (stuff@deafproof.de), the price will be 5€ plus shipping. Maybe there’ll be a vinyl release, we’ll see.

DEAF PROOF’s sound can probably best be described as psychedelic stoner rock that creates a very specific and unique atmosphere. The band, which is from Freiburg/Germany, has made a handful of changes concerning their line-up ever since they were founded in 2006. They now consist of J. Fredo (lead vocals/guitar), JP (bass) and Pedro (drums). Since 2013, the band has released multiple highly acclaimed demos, of which “Beyond the Orange Door Demos” (2013) received special attention.

It soon became obvious that DEAF PROOF were aiming much higher than swirling up desert sand and coming up with catchy riffs for their songs. “Death Sounds Angry” (2014 on cd, 2015 on vinyl via KrautedMindRecords) made clear that the band has now reached new heights: DEAF PROOF’S work is characterized by a very mature and multifaceted sound, driven by an unrelenting passion to create both extensive post-rock passages and epic psychedelic soundscapes. Often enough, the band rejects vocals altogether in order for the instrumental passages to gain new momentum. By reaching beyond their comfort zone and rejecting all standards, DEAF PROOF succeed in developing an idiosyncratic style. The trio composes highly dynamic and complex sound beasts that go well beyond the length of ten minutes, seamlessly transitioning from one epic passage to the next.

Deaf Proof on Thee Facebooks

Deaf Proof’s website

Deaf Proof on Bandcamp

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Last Licks 2014: Seven that Spells, Elliott’s Keep, The Lone Crows, Krautzone, L’Ira del Baccano, Lae, Atomikylä, Deaf Proof, Jastreb and Arctic Sleep

Posted in Reviews on January 1st, 2015 by JJ Koczan

I thought last night about changing the name of this feature to “First Licks 2015,” but on further reflection, that’s just too much licking. It’s bad enough as it is. All the same, Happy New Year to you and yours, wherever you and they may be. I hope in 2015, your reviews pile never gets so backed up that you think about doing something so absolutely insane as tackling them all at once to wipe the slate clean. Then again, being completely inundated with music has its upsides. The music, for one.

We press on today with the fourth installment in the “Last Licks 2014” series. These are reviews 31-40. I passed the halfway point yesterday with barely so much as an inward breath to appreciate the moment, and I can only hope the pile of discs before me goes so smoothly. I’ll let you know when I get there. Until then, no need to dally, let’s get underway with the first reviews of 2015.

Thanks for reading:

Seven that Spells, The Death and Resurrection of Krautrock: Io

seven that spells the death and resurrection of krautrock io

Reportedly second in a series of three albums from Croatian heavy psych rockers Seven that Spells, The Death and Resurrection of Krautrock: Io follows a first installment subtitled Aum released in 2011 and brings forth heady, mostly instrumental progressions of extended runtimes and a satisfying blend of weighted tones and stylistic clarity. The three-piece who released their first album in 2003 alternate between three shorter pieces and two longer ones across the 47-minute Sulatron Records outing’s five tracks, and while I’m not entirely sure what is the narrative that’s taking place across them, there’s definitely a plotted course and concept at work behind the material – it does not come across as haphazard in any way. When they arrive, vocals do so as chants coinciding with sweeping passages, as on “Burning Blood,” the culmination of which is worthy of being the apex of a trilogy in progress. Io takes the off-the-cuff authenticity in heavy psych and gives it direction and purpose beyond simply being. No small feat, no small results.

Seven that Spells on Thee Facebooks

Sulatron Records

Elliott’s Keep, Nascentes Morimur

elliott's keep nascentes morimur

Some metal isn’t doom, some doom isn’t metal, but Texas trio Elliott’s Keep play doom metal, and make no mistake. Their third long-player, Nascentes Morimur, comes after 2008’s In Medias Res (review here) and 2010’s Sine Qua Non (review here), and like them, it was produced and mixed by J.T. Longoria, so that their darkened, metallic chugging is presented with a crisp bite. The three-piece of Kenneth Greene (bass/vocals), Jonathan Bates (guitar) and Joel Bates (drums) toy with the balance between death and doom effectively across Nascentes Morimur’s nine tracks, making highlights of early moments like the double-kick-laden “Now Taken” and the chorus of the proceeding “Days of Hell.” Later cuts like “Tale of Grief” and “Omen” follow suit, with Jonathan riffing out classic metal vibes while Greene switches between clean singing and a rasping, almost black metal in places, scream. Their command never wavers, though, and while there have never been many frills about their approach, Elliott’s Keep have come to offer a fist-pumpingly heavy, sharp-edged push.

Elliott’s Keep on Thee Facebooks

Elliott’s Keep on Bandcamp

The Lone Crows, Dark Clouds

the lone crows dark clouds

Bluesy Minneapolis double-guitar four-piece The Lone Crows show an affinity for classic rock stylization on their World in Sound second full-length, Dark Clouds. Produced modern, with lead guitar front and center, there’s more rock to Dark Clouds than heavy rock, but the vocal style of guitarist Tim Barbeau – joined in the band by guitarist Julian Manzara, bassist Andy Battcher and drummer Joe Goff – has some ‘90s inflection to it, and every now and then they get into a bit of bounce, as on the title-track and “The Dragon.” The penultimate “Midnight Show” would seem like the peak of the album, and sure enough it has one of its best hooks, but the recording doesn’t allow for the same push one imagines the material would carry live, and the quiet ending of “On that Day” feels flat compared to some of The Lone Crows’ bluesy peers. I chalk it up to the difference between blues rock and heavy rock and my own expectations, rather than some fault in the band.

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World in Sound

Krautzone, Kosmiche Rituale

krautzone kosmiche rituale

I’m not sure if it would be appropriate to call Krautzone an offshoot of Zone Six, of which all four members – guitarist Rainer Neeff, synth-providers Modulfix and Sula Bassana, and percussionist Komet Lulu (the latter two also of Electric Moon) – take part, plus bassist Onkel Kaktus, but either way, the sound is nebulous, brilliantly textured for a meditative, slow-motion churn, and utterly engrossing. Their Sulatron debut, Kosmiche Rituale, is comprised of three lengthy explorations, tones washing in and out of each, smoothly offset by Neeff’s flight-taken guitar, minimal but earthy percussion and an improvised sensibility. “Liebe” (12:46) and “Kosmiche Rituale” (9:09) comprise side A and “Only Fools Rush In” (20:41) consumes side B entirely, a wash of synth and cymbals announcing its arrival as it sets about unfolding its long course, every bit living up to the album’s title in the process. Krautzone also released a split with Lamp of the Universe in 2014 (review here), but on their own, they shine with the chance to really stretch out.

Krautzone on Thee Facebooks

Sulatron Records

L’Ira del Baccano, Terra 42

l'ira del baccano terra 42

Italian instrumentalists L’Ira del Baccano make their full-length debut with the lushly conceived Terra 42, a six-track, 57-minute outing that works in three overarching “phases.” The first of them includes tracks one through three and is dubbed “The Infinite Improbability Drive,” and it makes up more than half the album’s runtime, the first, 13-minute part standing alone while the two subsequent nine-minute stretches feed one directly into the next in a psychedelic wash of open guitar building to a raucous heavy rock finish. Phase II, “Sussurri… Nel Bosco di Diana” is the next two cuts, and moves smoothly from a Yawning Man-style jam to more riff-based thickness. The longest individual part, Phase III, is the 14-minute “Volcano X13,” track six, on which the band move fluidly through their heavy psych and rock impulses, synth and guitar intertwining well as L’Ira del Baccano affirm their more-than-burgeoning stylistic breadth. It’s an interesting, somewhat familiar blend, but they put it to good use on Terra 42 and engage with the spaciousness created.

L’Ira del Baccano on Thee Facebooks

Subsound Records

Lae, Break the Clasp

lae break the clasp

Reactivated Montreal noisemakers Lae enlisted the help of their producer, Today is the Day’s Steve Austin, in handling lead vocals for their debut, Break the Clasp, which is a move fitting for their anti-genre approach to noise, drone, doom, post-everything, and so on. A Battleground Records/The Compound release, Break the Clasp reworks unheard material from Lae’s original run in the mid-‘90s – an album that never came out, essentially – but the vitality in the 13 tracks (yes, even the crushingly slow ones) is fresh to the point of its newness, and even the parts meant to be abrasive, opener “Sexy Sadie” or pieces of “17 Queen,” for example, hold onto a wonderful depth the mix and a feeling of texture that feeds Break the Clasp’s otherworldly spirit and brings you along its path of consuming strangeness. Austin is a presence, but by no means the star, and the whole band Lae shines across Break the Clasp’s fascinating span. A debut no one knew they were awaiting, but they were.

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Earsplit Distro

Atomikylä, Erkale

atomikyla erkale

Psychedelia implying such a colorful sound, and black metal implying essentially the absence of that color, the two have rarely been paired well, but Finnish four-piece Atomikylä display a resounding space on their five-song debut full-length, Erkale (released by Future Lunch), and they’re not through the 13-minute opener, “Aluaineet,” before I think they might have mastered the balance between effects wash, unmitigated thrust and far-back screaming that most others have left too far to one side or the other. The four-piece with a lineup half from Oranssi Pazuzu and half from Dark Buddha Rising don’t stay in one place stylistically – the title-track has an almost krautrock feel, while the subsequent “Ihmiskallo” is more resolved to doom – but they keep a consistency of blinding bleakness to Erkale that results in a decidedly individualized feel throughout the 48 minutes. Droning and jazzy guitar experimentalism prevails in “Who Goes There,” and 10-minute closer “Musta Kulta” both broadens the atmosphere and underscores Atomikylä’s vicious stylistic triumph, capping Erkale with a mash of squibblies and screams, effects and distortion that’s so filthy it can’t help but be beautiful.

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Future Lunch

Deaf Proof, Death Sounds Angry

deaf proof death sounds angry

Freiburg, Germany, trio Deaf Proof – guitarist/vocalist J. Fredo, bassist JP and drummer Pedro – released their first demo in 2013, but the three-song/34-minute EP (it’s more like an album, but I won’t argue) Death Sounds Angry is a decidedly more assured, professional affair. The vibe is loose and, in the reaches of 18-minute middle cut “Origin of Pain,” jammy, but the three-piece still seem to have some idea of where they want their material to go, even as they feel their way toward those ends. A Colour Haze influence? Maybe, but less than one might think given the current climate of European heavy psych. JP’s bass has a tendency toward darker undertones, and when they hit the payoffs for “Death Sounds Angry and Hungry for More,” “Origin of Pain” and “The Sense,” they reveal themselves to be in search of something heavier and less peaceful. J. Fredo’s vocals are a little forward in the mix, but Death Sounds Angry still offers plenty to chew on for the converted.

Deaf Proof on Thee Facebooks

Deaf Proof on Bandcamp

Jastreb, Mother Europe

jastreb mother europe

Progressive, mostly instrumental and hypnotic, Zagreb, Croatia, trio Jastreb released their self-titled debut as a single 36-minute song in 2012, and the follow-up, Mother Europe (on HauRucK), is no less ambitious. Vocals appear here and there, both from the core three-piece and a guest spot, but the heart of what Jastreb do is rooted in their ability to craft movements that pull listeners in without falling into lulls of unconsciousness – to wit, the repetitions of “The Black Mountain” seem still but are constantly building and moving forward – as well as in arrangement flourishes like synth, Hammond, sitar and violin among the shades of post-metal in “Haemmer” or the bleary, drone-backed opener “North,” which comes companioned by the subtle churn of “South” to end the album. Not necessarily psychedelic in a loose or jammy sense, but immersive, and purposeful in its variety; the sitar and guest vocals on “The Silver Spire” arrive just at the moment when one thinks they might have heard it all. Could say the same of the record itself, I suppose.

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Jastreb’s BigCartel store

HauRucK

Arctic Sleep, Passage of Gaia

arctic sleep passage of gaia

Passage of Gaia is the sixth album from progressive melo-doomers Arctic Sleep. A four-piece from Milwaukee including bassist/drummer/cellist/vocalist Keith D, guitarist Mike Gussis and vocalist Emily Jancetic (John Gleisner plays drums live), one is reminded both of the Floydian consciousness of mid-period Anathema (my go-to comparison point for this kind of stuff, admittedly) and the drama in Katatonia and some of Novembers Doom’s clean sections, but ultimately, Arctic Sleep emerge from the eight-track/54-minute DIY long-player with their own personality, measured out in the careful vocal collaboration between Keith D and Jancetic, songs like “Terra Vindicta,” “Green Dragon” and “Passage of Gaia,” and the varied structures between the more rocking “Terra Vindicta” and the build of “Solar Lament.” Through it all, nothing’s out of balance, and Arctic Sleep execute Passage of Gaia with the poise demanded by the style and the fact that it’s their sixth album, accomplishment suiting them as well as the melancholy of closer “Destroy the Urn,” which almost loses its restraint at the end. Almost.

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Arctic Sleep at CDBaby

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Deaf Proof Unveil Death Sounds Angry EP

Posted in Whathaveyou on January 27th, 2014 by JJ Koczan

Death might sound angry, but you can’t really say the same for Deaf Proof‘s forthcoming CD EP, which is due out March 1. Death Sounds Angry basks in heavy psych tones, catchy vocal lines and hypnotic repetition, all of which play out to fascinating effect on the 18-minute centerpiece of the three-track release, “Origin of Pain.” The German trio have had a couple demos out to this point, and Death Sounds Angry will be their first offering as a three-piece. They’ve made the whole thing available to stream via Bandcamp (player below), and as you can hear for yourself, the configuration seems to be working for them.

See and hear:

Deaf Proof “Death Sounds Angry” EP to be released in March

“Good things come to those who wait. We finally hold the (digital) end result in our hands: The Death Sounds Angry EP is finally done and will be available in march as download and hard copy (digipak).

We finished recording, mix and mastering a few weeks ago. It took Johannes (Kopfüber) some time to finish the the cover artwork, because he was very busy. But take a look at that piece of work! It’s great, isn’t it? We are completely stoked! We recorded three different songs with three different vibes.

Look out for the EP and our new merch in march! Prelisten at Bandcamp in its entirety!”

Deaf Proof is J. Fredo (v/g), JP (b) and Pedro (d). Deaf Proof plays psychedelic fuzz.

The Band was formed in late 2006 by Pedro (d), Holger (b) and Fredo (v/g), later reinforced by Til (g).

From that point of time they started jamming and working out their ideas. In autumn 2007 the band split up with guitar-player Til who was replaced by Phil. In early 2008 the band decided to substitute Holger and to search for a new bassplayer. But nevertheless Deaf Proof recorded their first demo that was released in April 2008. The bass on the demo was played by Phil. Deaf Proof found the new four stringer Angus in june 2008. In december the band unfortunately had to search for a new bassplayer again and in march 2009 JP joined the gang. Together they recorded a 2-track live-demo in july. The combo recorded the “Beyond the Orange Door Demo” from autumn 2009 till winter 2012 and released it in april 2013. In april Phil also left band, but Deaf Proof continue as three-piece.

Since 2010 the band did some local shows with amongst others Stonewall Noise Orchestra (Swe), Snarf, Basel (Ch) and the Small Stone Artists Abrahma (Fr) and Mother of God (Swe). In 2013 Deaf Proof will expand their live radius over whole germany and further.

http://facebook.com/deafproofstoner
http://deafproof.bandcamp.com/
http://deafproof.de

Deaf Proof, Death Sounds Angry (2014)

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