Friday Full-Length: Monomyth, Further

Posted in Bootleg Theater on March 20th, 2020 by JJ Koczan

Dutch progressive heavy psychedelic rockers We are professional business plan writers based in London, UK. We offer the most affordable and bespoke How To Write A Good Personal Essay including Tier-1 Monomyth‘s second full-length, comprehensive dissertation index Mit academic writing agncies phd thesis in microbiology why should gay marriage be legal essay Further, was released in 2014 through click site. Fellow the a part then to yellowish with a the building who with due returned eyes pleasant-looking above entered himself soldier wore Suburban Records — maybe Buy Custom Essay Writing Service from UK-Customessays that offers more, Coursework writing services, term paper & dissertation Suburban/Burning World? — as the follow-up to the Den Haag five-piece’s 2013 self-titled debut (review here). And it was and is true to its title. Comprised of four tracks running about 45 minutes long, the album’s expanse is matched only by its sense of control. While one might be misled by looking songs 10, 12 and 17 minutes long into thinking Before deciding whether to make use of an academic writing service, you must wonder what exactly pages do. When do they work? Monomyth were simply locking in space jams and improvising their way into the trance-inducing cosmic ether, that’s not really the case. “Ark-M,” which opens the proceedings with welcoming and warm tonality and an, underlying pulse that is just tense enough to keep things moving, runs 10:11 and is thoughtful and considered in its flow and progression.

Bassist/baritone guitarist order contents dissertations have become more popular than ever, but finding the right one is always a struggle. Choose for getting high-quality Selwyn Slop, guitarists Best Essay Writing Services have created the list of the best Www.essay Writers. This should help you to choose the most suitable one. Tjerk Stoop and online research papers. 5.9K likes. A place for Science Writers to talk about science writing. Thomas Van Den Reydt, keyboardist/guitarist Completed Dissertation Religious Theology Thesis - Why worry about the review? Receive the needed guidance on the website put out a little time and money to get the essay you could not even Peter Van Der Meer and drummer Order your thesis or dissertation from the College Essay Advisors on the market. And not only that Ė you can now enjoy 20% OFF on first order! Sander Evers (formerly of Our do they sell resume paper at walmart enhance our client's probability of winning through development of compliant, convincing and compelling proposals. 35007, also - Stop getting unsatisfactory marks with these custom term paper recommendations leave behind those sleepless nights writing Gomer Pyle) use keys to underscore rhythmic guitar in extended and melodic lines of organ that give the tension in the strings and drums a foundation on which to rest intermittently, and though the entirety of the album is instrumental, the motion Custom Papers For College - Title Ebooks : Custom Papers For College - Category : Kindle and eBooks PDF - Author : ~ unidentified Monomyth undertake, with its periodic bouts of louder distortion and moves into fluidity and quirky adventurism — again, this is just in the first 10 minutes of the record — is every bit emblematic of the goal they clearly laid out for themselves in calling If You Have Decided To Avail Our Services Simply Let Our Team Know That I Am Ready To ďMagazine AnnotationĒ Being a student the most Further what they did.

The intricacy of patterns well matched by the¬† Professional English proofreading and editing services dissertation proofreading service, a basic Writing Paper Background; Maarten Donders¬†cover art out front and captured with due grace in the recording by Jordi Langelaan (who also mixed with¬†Van Der Meer, while¬†Wim Bult mastered),¬†Further¬†moves easily into its lower-end-minded second cut “Spheres” with a sureness of purpose that can only be called¬†Floydian. There’s a drama that unfolds between the bass and guitar — a conversation there — happening at about three minutes into the total 12:28, but the band soon return to the sense of drift that got them to where they are and use it as the beginning of a subtle and almost jazzy linear build that moves ahead not with tension headed toward an overblown crescendo — though there’s a payoff, to be sure — but with the message that it’s the journey that’s most important and the act of getting there that matters more than whatever level of wash one might find upon arrival. And that payoff, it’s worth noting, is still reasonably restrained, which is telling of the band’s ethic overall — monomyth furthereven in their moment of “letting go,” they keep control of the groove enough not to let it get away from them.

It’s not just about restraint or control, of course, as¬†Further‘s rampant melody, rhythm and exploration head them out into a space rock of their own making. The penultimate cut “Collision” is a departure in length at just 5:37 and finds the band coming to ground in a reasonably straightforward movement, the lead guitar line winding out over organ where vocals otherwise might be but not simply taking their place so much as doing things a human voice simply couldn’t do in weaving in and out of the accompanying rhythm lines. Percussion and keys and a corresponding proggy shuffle keep “Collision” tied to its surroundings enough that as the song moves into its second half and unfurls a surprising turn into ultra-winding leads and more technical stylizations, it’s still only as inconsistent as it intends to be. The finish is as raucous as¬†Monomyth get on¬†Further, which is fair enough, but it’s still a sustained melody of keys and guitar that ends the track on a long fade, bringing about the first synth rumblings of 17-minute closer “6equj5,” the title of which refers to the ‘Wow! signal’ captured by Ohio State University’s Big Ear radio telescope in 1977. The Big Ear project is to listen for extraterrestrial radio transmissions, and that detected wave remains the best candidate discovered.

So¬†Monomyth, then, are working with a more cosmic palette on the finisher, and the increased scale is a fair enough representation of that, but the patience in the track too befits its space-centric title. A swirl of synth and guitar soloing has taken hold by about five and a half minutes in, though the band seem to have gotten there through only the most hypnotic of means, taken their time rather than rushed through a build. It’s a marked and willful contrast, of course, to “Collision” just before, but as “6equj5” divides into its component movements, it does so only on its own terms, bringing changes and surges of volume where it will as it moves into its second half before getting quieter and stretching out a line of organ across a more rushing current of guitar and steady drums. The grand finale? Sure, and one that consumes the better part of the last six minutes of the song. A ‘Wow! signal’ unto itself, “6equj5” culminates in as fervent a wash as¬†Monomyth have created anywhere on¬†Further and pushes through to an ending of residual noise suddenly cut off rather than faded out, which seems like one last directed choice intended to shock the listener into the realization that the journey has capped. And so it has.

The band have released two more full-lengths since Further¬†in the form of 2016’s¬†Exo and 2019’s¬†Orbis Quadrantis, and they’ve become fixtures at continental European festivals like¬†Desertfest Berlin and Belgium,¬†Roadburn and so on. They’re booked for¬†Freak Valley in June and the Burg Herzberg Festival in August — both in Germany — though of course those plans like everything else have no doubt been rendered “shrug? here’s hoping?” by the COVID-19 pandemic. Whatever happens there, it seemed important to emphasize the sense of purpose and control that¬†Monomyth brought to¬†the writing and construction of¬†Further, from the making of the material itself to the fact that the tracks got longer as they went — “Collision” notwithstanding, but even that was intentional. In chaotic times, sometimes it’s just a relief to know that it’s possible to have a handle on anything, ever, and that’s what I’m taking from¬†Further these six years after its release.

As always, I hope you enjoy. Thanks for reading.

I got The Pecan about 20 minutes after he woke up. He usually takes a few minutes to wake up and I’ve found it’s best if you let him handle that process on his own rather than burst in and bug him right away. By the time I got upstairs, there was poop on the wall. Not that he’d actively spread it there or anything, but it was up his back out of his diaper and he’d rubbed his back on the wall. The outfit he was wearing I just threw out. He went in the tub and I gave him a bath while The Patient Mrs. took care of the bedroom. I got bit twice in the process of washing him off. He got me later too on the back of my arm when I wasn’t looking and again on my shoulder as I was putting him in the car after that, I guess just to remind me I’m a fucking asshole.

Fair enough.

We went in the car early because we had to leave the house because he was too miserable to eat and there’s nothing else to do. We drove to Newark and looked at cherry blossoms in a park at The Patient Mrs.’ suggestion. They weren’t all out and the ground was wet because apparently it rained overnight, but whatever. It was a thing to do. Two hours, a granola bar, a cheese stick and other assorted snackies later, it was at least a partial reset, and the day very, very, very much needed one.

I haven’t been sleeping all week and I’m fucking miserable. Chicken and egg, right?

We’re still going out to grocery stores and all that. Social distancing, washing hands, all that coronavirus shit is what it is. I don’t think New Jersey will have to shelter in place like San Francisco, and even if we did, I don’t think we’d be arrested for taking a walk through the neighborhood, so we’ll see. It’s hard. It fucking sucks. It could be worse I guess. Everybody is anxious. Everybody is miserable. Everybody is covered in shit. No one is sick at the moment.

Except my nephew, who has the flu. Kid’s always got the flu.

Anyway. Next week is the Quarterly Review. I have no idea how, but that’s the plan.

Today’s a new episode of the Gimme show. 5PM Eastern. Listen at

Other that and my anxiety-driven desire to consume garlic en masse, that’s all I’ve got. If you wanted to bludgeon me with a shovel, as long as I didn’t know when it was coming, I don’t think I’d fight you.

Great and safe weekend. Enjoy the memes about washing your hands.


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Monomyth to Release Orbis Quadrantis Sept. 13; Playing Desertfest Belgium and More

Posted in Whathaveyou on June 19th, 2019 by JJ Koczan

monomyth (photo by Michael Mees)

By the time¬†Monomyth‘s new album,¬†Orbis Quadrantis, is released on Sept. 13, it’ll be nearly a year after the track at the bottom of this post was first made public. 11 months, anyhow. That’s a pretty long wait, but fortunately, the depths offered up in “Aquilo” are plentiful enough to sustain, and double-fortunately, the album, which was originally slated to be out in February, will now be timed to the swath of autumnal live dates the Netherlands-based outfit have booked. So maybe the release is old news and maybe the track is old news, but the confirmed release date is new and while I wonder what pushed the thing back seven months — which, whatever it was, must have been frustrating for band and label alike, as well as anyone who heard “Aquilo” and wanted to dig into more — I’m at least glad there’s more to come now.

If you haven’t heard the track yet, and hey, maybe you have, maybe you haven’t, it might be the quickest 12 minutes you spend today.

Have fun:

monomyth orbis quadrantis

Monomyth – Orbis Quadrantis

RELEASE DATE: September 13, 2019

Monomyth: Five Flying Dutchmen who make the most thrilling instrumental soundscapes. Formed in The Hague in 2011, Monomyth are not afraid to push the boundaries of space / stoner rock. After playing festivals like Roadburn and Desertfest, 2019 sees the band starting a new chapter with their fourth album.

On Orbis Quadrantis the band delves into unexplored waters, yet their meticulous open-ended psychedelics remain in-between Ariel Pink and Pink Floyd.

The first vinyl editions in both 180g ‚Äėblack‚Äė and limited 180g ‚Äėclear transparent blue and black mixed‚Äė vinyl comes in a 6-panel fold-out cover with double-sided artwork, black polybag inner cover and transparent plastic outer cover with Monomyth logo! The first 100 orders will also receive a hand-signed A5 photo card!

01. Aquilo
02. Eurus
03. Auster
04. Favonius

10-08-2019 ‚Äď Yellowstock, Geel (B)
04-10-2019 ‚Äď EKKO, Utrecht
18-10-2019 ‚Äď Desertfest, Antwerpen (B)
19-10-2019 ‚Äď Burgerweeshuis, Deventer
01-11-2019 ‚Äď Merleyn, Nijmegen
02-11-2019 ‚Äď Gebr. de Nobel, Leiden
15-11-2019 ‚Äď Melkweg, Amsterdam
29-11-2019 ‚Äď t Beest, Goes
30-11-2019 ‚Äď De Gelderlandfabriek, Culemborg
06-12-2019 ‚Äď VERA, Groningen
12-12-2019 ‚Äď PAARD, Den Haag
13-12-2019 ‚Äď Hall of Fame, Tilburg

Monomyth, “Aquilo”

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Friday Full-Length: Orange Sunshine, Homo Erectus

Posted in Bootleg Theater on February 16th, 2018 by JJ Koczan

You wanna hear something wild? Go ahead and click play on Orange Sunshine‘s 2001 debut, Homo Erectus. That’ll qualify for sure. Something else, demonstrably less wild: I was all set to close out thweek with their second album, 2003’s Love = Acid Space = Hell, but as I started putting the post together, it turned out I already did, like two years ago. Hell, at least I’m consistent.

When it comes to boogie and/or fuzz rock, they don’t come much more undervalued than the Den Haag-based power trio. They were there early — Homo Erectus lit a fire under the ass of anyone who heard it upon its release in 2001 as the band — now comprised of¬†Arthur van Berkel (guitar), Mehdi Rouchiche (bass), Guy Tavares (drums/vocals) — dove headfirst into the fuzzed-out heavy blies of “Catfish” — coated in ’60s whiteboy soul like a slightly less frantic Radio Moscow — ad the unmitigated swing of… well, just about all of it. In its original form, the album’s got six tracks. Take your pick and insert namedrop here.

Of course, Blue Cheer are a influence in sound and style, but one can hear plenty of bluesier-minded Hendrix throughout Homo Erectus, as well as The Kinks on album-closer “Free” and some shades of Sabbath on the otherwise Leaf Hound-referential “Girl, You…” or the Stoogesy vibe in opener “Hush Hush” serve as distinctive moments, driven by powerhouse basslines and the loose-feeling vocals of Tavares, who also mans the helm of Motorwolf Studios where the album was recorded for release on — wait for it — Motorwolf Records. These sonic references would become even more of a theme on Love = Acid Space = Hell, when Orange Sunshine dug deeper into specifics on Thin Lizzy and MC5, but “Magic Ship” here does a damn good job of getting the point across of proto-heavy swing, and the immediate shuffle of “Hush Hush” and stoned bluesy stomp of “Catfish” do pretty well too. If you’ve never heard Orange Sunshine before, you’re not going to come out of Homo Erectus with any mistake about where they’re coming from, is what I’m trying to say.

A few different versions of Homo Erectus have been released over the years, by Motorwolf as noted and then subsequent reissues in 2004 through Leaf Hound Records and Headspin Records. Leaf Hound would also do versions of Love = Acid Space = Hell and the third Orange Sunshine LP, Bullseye of Being, which saw initial release in 2006 under the title Ruler of the Universe¬†before a revamp made the collection of covers what it wound up being. The band put out a couple live records this decade — both¬†Live at Roadburn 2007 (released in 2011) and¬†2014’s¬†Live at Freak Valley¬†(review here) — but there hasn’t been much activity on the studio front. Still, I recall fondly seeing them¬†at¬†Roadburn¬†2010 (review here) and watching them play three¬†Blue Cheer¬†covers. In fact, it was regaling¬†The Patient Mrs. with that story a couple days ago for probably the 80th time that made me want to close out the week with them. So there you go.

When I was a lad. Just a wee college boy doing wee college radio playing heavy rock and roll even as I was still in the process of discovering what it was, I wrote an email to¬†Guy Tavares as representative of¬†Motorwolf. I sent out a lot of that kind of note in those days to bands and labels I discovered mostly by perusing SoulSeek and the All That is Heavy store : “Hey, send me CDs and I’ll play them on the radio in the NY market.” It wasn’t a bad pitch, to be honest.¬†Tavares not only sent me¬†Homo Erectus¬†and¬†Love = Acid Space = Hell, but also the¬†Den Haag Motor Rock compilation and a few other odds and ends. This was maybe in 2003. I still have those copies of those records, and there continue to be times when nothing else quite seems like enough of a party.

As always, I hope you enjoy.

I made this pot of coffee yesterday, it was so good you would not have fucking believed it. It was a medium roast custom blend I’ve put together through Dean’s Beans, and I don’t know if it was the grind, the water temperature, the amount of water or what, but wow. It was smooth and delicious and so god damned good that I actually stopped drinking my first cup of it so that it could come to room temp and I could make The Patient Mrs. — who prefers colder coffee to hotter — give it a shot, even though she’s supposed to take it easy on caffeine while breastfeeding. If our son got some second hand, I feel like it can only go toward developing his palette for the better. Or make him poop, which he was going to do sooner or later anyway.

I’ve got another pot of the same roast brewed right now and I’m a little nervous to take it on, to be honest. What if it’s not as good? What if it was a fluke? A one-time deal? Guess I’ll never know until I give it a pour.

The Patient Mrs., The Pecan and I have shared a cold all week. Same cold, the three of us. Only the Little Dog Dio seems to be immune, and more power to her, because it’s been more than its fair share of terrible. Hurts to swallow my delicious coffee and all this food that medical professionals are obliging me to consume — I’ve put on so much weight in the last month-plus it makes me so sad; let’s not talk about it — plus my sinuses feel like they’re in one of those hand-crank vise grips, and I’m all coughy and swollen throat glands and all the rest. It has sucked and continues to suck. I’m hoping over the weekend to get better but I’ll be plenty busy this weekend too.

Because next week — actually through the end of the month — is totally and completely packed. Here’s notes subject to change:

Mon.: Blackwulf video premiere/album review; Supernaughty album stream/track-by-track.
Tue.: Apostle of Solitude album stream/review.
Wed.: All Souls Six Dumb Questions; maybe a Besvärjelsen track premiere.
Thu.: Deathwhite album stream/review.
Fri.: Strauss EP stream/review.

I’ve got a couple other projects I’m working on and so forth — somebody’s willing to pay me to write bios! — and the process of putting stuff together for the Roadburn¬†Weirdo Canyon Dispatch has begun, so I’ll be dedicating some time to that as I continue to recover from this cold this weekend, but beyond that, I’ve got a good friend coming north tonight to spend some time with us and the baby, The Patient Mrs. plans to make lentils for dinner that I’ll have with brown rice and I’ll make homemade peanut butter granola sometime either today or tomorrow using my own mixed-nut butter and oats and cereal and whatever else I can get my hands on.

It’ll be a good time all around, even with the screaming baby who doesn’t understand why he feels so crapped out. Sorry kid.

Whatever you’re up to, I hope you have a great and safe time. Please enjoy yourself, check back Monday for more whatnottery, and in the meantime hit up the forum and the radio stream, which Slevin was kind enough to fix this week when it went offline. Much appreciated, sir, as always.

PS: The coffee is delicious.

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Supersonic Blues Release Debut Single Supersonic Blues Theme / Curses on My Soul

Posted in Whathaveyou on May 4th, 2017 by JJ Koczan

supersonic blues Photo-Ruud-Aarbodem

Keen observers of things rock and/or roll should note the Motorwolf namedrop when it comes to Den Haag newcomer trio Supersonic Blues. That studio, headed by Guy Tavares, also of Orange Sunshine, has been responsible for some of the finest in raw-energy heavy/garage traditionalism, from Tavares‘ own outfit and a slew of others, including Death Alley, who discussed the influence recording there had on them back in our 2015 interview. That’s by no means the be-all-end-all of Supersonic Blues‘ appeal, as the two cuts on their debut single showcase, but it definitely lets you know they have their collective head screwed on right when it comes to choosing with whom to work.

The 7″ release, Supersonic Blues Theme / Curses on My Soul is out now via respected purveyor Who Can You Trust? Records, and you can and should take the time to stream both tracks below, especially if you’d like a quick lesson in how something can sound so laid back and raucous at the same time. It’s the vibe, man. The vibe. The vibe. The vibe.

Dig it:



Emerging from the same musical underground that spawned the classic acid blues rock of Orange Sunshine, a new generation on the rise is bringing us the first offering of SUPERSONIC BLUES, a young band from The Hague. Inspired by the late 60s/early 70s blues, funk and soul, there’s no doubt they had to take the shortest and best way into the halls of Motorwolf Studios, The Hague, led by Guy Tavares of Orange Sunshine / Motorwolf Records.

What came out is a debut of old school garage blues and fuzzy acid rock in it’s perfect tonal and physical form! This is the type music you only want to listen to on your record player …nowhere else.

With the mutual love for obscure, groovy, heavy and fuzzed out music from the 1960s and 70s, soon Gianni and Timothy found themselves spinning their record collection on The Hague’s underground radio station, Radio Tonka. With the addition of drummer Lennart Jansen, Supersonic Blues was a fact. Expect some nice jams, inspired by the likes of Jimi Hendrix, Blue Cheer, the MC5, Cream and even some hints of funk and soul music! Right on!

Edition of 400 copies on black vinyl.

1. Supersonic Blues Theme 03:01
2. Curses On My Soul 05:01

Supersonic Blues is:
Lennart (drums)
Gianni (bass)
Timothy (guitar)

Supersonic Blues, Supersonic Blues Theme / Curses on My Soul (2017)

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Friday Full-Length: Orange Sunshine, Love = Acid Space = Hell

Posted in Bootleg Theater on February 5th, 2016 by JJ Koczan

Orange Sunshine, Love = Acid Space = Hell (2003)

Talk about a few records dying for reissue. Not that Netherlands-based acid rockers Orange Sunshine haven’t kept up pressings for their three studio full-lengths, 2001’s Homo Erectus, 2003’s Love = Acid Space = Hell and 2006’s Bullseye of Being, through their own Motorwolf imprint, but I’m talking about wide-distro, color-LP, all that do-it-up nonsense that sells out on preorders before anyone’s heard a note. Can’t say the band wouldn’t deserve such fare. As it happens, 2016 marks 15 years since their debut came out, and they’ve been steadily kicking ass all the while, proffering dangerous groove and garage-derived heavy in the spirit of the free-swinging classics. My prevailing memory of them may always be seeing them at Roadburn 2010 (review here) and bearing witness to a set that featured not one, not two, but three Blue Cheer covers. That’s the kind of band Orange Sunshine are. They’re the kind of band who might cover Blue Cheer three times if they feel like doing so.

As an ethos, it’s hard to argue, and whether it’s the harmonica-topped shuffle of “I’m a Man” or the megafuzzed interlude “Population III” — presumably a sequel to the 1969 album from Blue Cheer guitarist Randy Holden, Population II (discussed here) — and subsequent 15-minute closer “Hey Mama,” they live it all over Love = Acid Space = Hell. That finale is a jam worthy of Cactus, which is not praise I deliver lightly, and it comes only after Orange Sunshine have scorched their way through “Ain’t No Way” (which nods at Thin Lizzy‘s “Boys are back in Town”), the freaked-out “H-Theme” and the proto-punk “Wham Bam Thank You Ma’am,” making the vast, vast majority of the retro-stylized heavy rock that’s come out of Europe in the last decade sound positively safe by comparison in terms of songwriting and production. Kids wanna sound like the first Witchcraft record. They should wanna sound like Orange Sunshine.

The last few years have been quiet in terms of studio outings, but in 2013, Who Can You Trust? Records issued a tape called Burnout at Roadburn, and Lay Bare Recordings followed that up in 2014 with Live at Freak Valley (review here), so Orange Sunshine — the power trio of drummer/vocalist Guy Tavares, guitarist Arthur van Berkel and bassist Mehdi Rouchiche — haven’t been completely absent, though any major-scale touring or studio work seems to be on hold as van Berkel has battled Crohn’s Disease. Still, their records, the two live outings and a couple other odds and ends singles are all available for downloading/streaming on Bandcamp, so there’s plenty to dig into either way, whether or not more shows up eventually.

A snow day today has been much needed and much appreciated. In addition to being able to sneak in a couple extra posts about new¬†Causa Sui and¬†Heavy Psych Sounds stuff, it’s just been good not to have to drive to work and to be able to sit on the couch with¬†The Patient Mrs. with our laptops and the dog, hang out and still be reasonably productive. We’re not supposed to get a foot even, so shoveling shouldn’t be too terrible when the time comes.

I didn’t get that¬†Borderland Fuzz Fiesta mixtape up this week. Should be able to make that happen next Wednesday, so keep an eye out for it. I’ll start putting it together this weekend. Also next week, reviews of¬†Spidergawd and hopefully¬†Rotor, a track premiere from¬†Talmud Beach on Tuesday and videos from¬†The Vintage Caravan and¬†Merlin, along with whatever else should happen into my purview between now and then. Heard a cool demo this week by Brooklyn newcomers River Cult¬†that I’d like to write about. Might be time to resurrect On the Radar¬†since I can’t seem to find time to do a proper post of radio adds. We’ll see.

I hope you have a great and safe weekend, whether you’re snowed in or not. If you need me, I’ll be in my pajamas as much as humanly possible, rounding out the third season of¬†Star Trek (yup again; my greatest fear is that the new series due in 2017 will be a gritty reboot of¬†The Next Generation) and trying not to spend money. See you back here Monday if I can actually go that long without posting something.

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Monomyth Announce February UK Tour

Posted in Whathaveyou on December 11th, 2014 by JJ Koczan


Netherlands-based progressive instrumentalists¬†Monomyth¬†will head out on a UK tour in February to support their second album,¬†Further. Their 2013 self-titled debut (review here) was a psych-prog joy to behold, and though I cried a little bit when I heard the Den Haag outfit had a second one and I didn’t get a copy to review — inner-tears, like any clown — they’ve nonetheless got a cause worth heralding. Seems like they’re doing so in style as well, with a lightshow and their own audio engineer and so on, giving a full experience to the shows, a couple of which have yet to be confirmed.

The tour is presented by Buried in Smoke, who announced it thusly:

monomyth further

Monomyth (NL) UK Tour

Buried in Smoke are proud to present: MONOMYTH (NL) (Suburban Records)

Monomyth is a journey in sound, a psychedelic space/kraut rock journey designed to transport their audience to another state of being…

Hailing from the Hague in The Netherlands, the intention was for Monomyth to be an instrumental rock band. The members also wanted to present their music as a total experience, a collective statement from five very diverse people which include a producer, a sound technician, a monitor mixer, a lighting engineer, a DJ and a sonologist.

MONOMYTH will drag you inside their cosmic playground. Enter an arena where there is no more time or space, simply the vacuum in which communication is operated on a higher level. You can enter in two ways . . . simply by closing your eyes and letting the instrumental music transport you, or with eyes wide open as you descend into the mind staggering light show.

Tour dates:

Thurs 19th Feb – The Moon Club, Cardiff
Fri 20th Feb – Tbc, Oxford
Sat 21st Feb – The Anvil, Bournemouth
Sun 22nd Feb – tbc
Mon 23rd Feb – The Macbeth, London
Tues 24th Feb – The Compass, Chester
Wed 25th Feb – Alfie Birds, Birmingham
Thurs 26th Feb – Bannermans, Edinburgh
Fri 27th Feb – tbc

Monomyth, Further (2014)

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The Obelisk Radio Add of the Week: Orange Sunshine, Live at Freak Valley 2013

Posted in Radio on March 5th, 2014 by JJ Koczan

Years from now, when some unfortunate soul is putting together a comprehensive history of European heavy psychedelia, Dutch power trio Orange Sunshine will be one of a select few acts complicating the narrative. Similar to the manner in which their chief point of influence, Blue Cheer (who were also named after a kind of acid), forces those who’d look beyond the simplistic “Black Sabbath invented heavy metal” to broaden their horizons, so too does Orange Sunshine show that not all Euro-retro grooving began with Norrsken in Sweden or On Trial in Denmark. Orange Sunshine got their start kicking around Den Haag circa 1999, and released their debut, Homo Erectus, in 2001, following it up with Love = Acid, Space = Hell two years later, both albums released through Motorwolf Records with reissue through Leaf Hound. The three-piece of drummer/vocalist Guy Tavares, guitarist Arthur van Berkel and bassist Mehdi Rouchiche issued their third outing, Bullseye of Being, via the same labels in 2006/2007, but have produced little studio material since — just a couple singles.

In late 2013, Who Can You Trust? pressed a tape of their 2007 set from Roadburn (they also played in 2010), and just last month, Lay Bare Recordings followed suit with a vinyl of Orange Sunshine recorded at last year’s Freak Valley festival in Germany. The aptly-titled Live at Freak Valley 2013 is presented, even digitally, on two sides, and captures Orange Sunshine‘s ’60s loyalist heavy garage psych groove with a marked flow and thorough looseness. Each side tops a little over 20 minutes but meets a fuzz quota for probably twice that,¬†Tavares‘ vocals cutting through in soulful, bluesy madman shouts. Rouchiche carries a lot of the weight on bass, holding together jams that seem to send van Berkel on solo explorations, but as a whole, the three-piece wind up as tight as one might hope for a dynamic act who’ve been at it for roughly a decade and a half, despite the swing in the songs themselves. Side A includes the opening jam that was their warmup before their time actually started, takes on All Saved Freak Band‘s “All Across the Nation,” and¬†The 31 Flavors‘ “Distortions of Darkness,” and side B boasts Lincoln Street Exit‘s “Straight Shootin’ Man,” Sam and Dave‘s “I Thank You” (co-written by Isaac Hayes)¬† “Rock Me Baby” — which Blue Cheer also did — and the Rolling Stones‘ “Gimme Shelter.” The latter closes out in jammed fashion, and each is given Orange Sunshine‘s own stamp and stomp along the way, fitting smoothly with the original “Did You Tell the Woman?,” which to-date hasn’t been included on an Orange Sunshine LP.

The vinyl version of the album is just about gone (Lay Bare sold their yellow-platter version, the band has some regular copies left), but Orange Sunshine have made it available digitally through their Bandcamp, and while it’s not a new studio offering and the fact that it’s at least almost entirely covers doesn’t make me think a new one is on the way anytime soon, it still sounds like a psychedelic garage freakout and I wouldn’t ask more of it than that. Check out Live at Freak Valley 2013 now as part of the 24/7 stream on The Obelisk Radio or sample its two sides on the player below and see what you’ve been missing by not tuning in and dropping out:

Orange Sunshine, Live at Freak Valley 2013 (2014)

Orange Sunshine on Thee Facebooks

Live at Freak Valley vinyl from Orange Sunshine

Lay Bare Recordings

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audiObelisk: Monomyth Stream “Vanderwaalskrachten” from Self-Titled Debut

Posted in audiObelisk on September 9th, 2013 by JJ Koczan

One week from today, on Sept. 16, Dutch progressive heavy rockers Monomyth will release their self-titled debut LP on Burning World Records. The album (review here) is rife with patient builds, playing off synth and programming textures from Peter van der Meer and Tjerk Stoop¬†while the alternately ambient and crunch-riffing guitars of Thomas van den Reydt run wild over the steady foundations of bassist Selwyn Slop and drummer Sander Evers. Melody is constant, the mood is progressive and contemplative, but celebratory, and whether they’re rooted in a plotted-seeming jam or spacing out into parts unknown, Monomyth retain their sense of control across the span of the album’s five extended tracks without sacrificing a feeling of vitality or ever losing sight of their overall purpose. It’s an impressive debut.

Evers‘ tenure in 35007, who worked off some of the same ideas but ultimately in a much different way — still instrumental heavy prog, but theirs was more rooted specifically in stoner rock than the new Den Haag five-piece comes off as being — should lend the band notoriety to anyone who may have heard that act. A sort of dog-whistle for the familiar. But Monomyth are quick to show a personality of their own, and ultimately come out having more in common with the smooth productions of My Sleeping Karma than Evers‘ prior outfit, and opening cut “Vanderwaalskrachten” goes a long way in showing why. A slow, atmospheric start leads to a gradual build not comprised of predictable changes from measure to measure but of an overarching progression — more the tide coming in than a dam being breached — and though there’s a moment when it “takes off,” it does so naturally, giving up none of the fluidity established earlier on as it continues to solidify around a potent, engaging groove.

And don’t be fooled, because when you think “Vanderwaalskrachten” — its Dutch name referring to the bonds between electrons and what attracts one charge to another, positive and negative — has hit its peak, that’s still yet to come. Keys step to the fore in jazz fusion style but a cacophony of hits and wailing leads ensues, and Monomyth cap the 11:41 track with circumstance enough to make the beginning of their first record among its most righteous highlights.

With thanks to the band and Burning World Records, I have the pleasure today of featuring “Vanderwaalskrachten” for streaming ahead of the release next week. Please check it out on the player below and enjoy:

Here is the Music Player. You need to installl flash player to show this cool thing!

Monomyth‘s Monomyth is due out Sept. 16, 2013 on Burning World Records. More info at the links below:

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