Red Lama Post “State of the Art” Video; Dogma EP out Dec. 7

Posted in Whathaveyou on November 8th, 2018 by JJ Koczan

red lama

Quick turnaround from Danish heavy psych rockers Red Lama, who issued their second album, Motions, earlier this year. Their new EP, recorded in an apparent burst of creativity, is titled Dogma, and the drift-prone seven-piece are giving a glimpse at some of the float its four tracks might hone in a new video for “State of the Art” recorded live at the Royal Danish Academy of Music. Nice digs. They seem to have recorded the EP live as well, so whether or not the video is from the same session that resulted in the studio version of the song, I don’t know, but what matters more than that is of course the live feel of the music itself, which comes through as no less a priority than the gorgeous melodicism that always seems to typify Red Lama‘s work, pastoral and serene as they are.

The video is at the bottom of this post and the EP cover and info follow here, courtesy of the PR wire:

red lama dogma

RED LAMA – ’DOGMA’ – NEW EP OUT DECEMBER 7th

Red Lama will release a new EP called ’Dogma’ on December 7th which has been written and recorded during a single month in the fall of 2018. The first track to be released is ’State the Art’. Accompanying the track is a video that shows the band recording the track in a session at the Royal Danish Academy of Music. ’Dogma’ is the band’s second release in 2018 and it follows the acclaimed album ’Motions’.

’Dogma’ is the result of an intensive writing and recording period which stretched over a single month in the fall of 2018. The release is conceptual in the sense that its basic dogma is immediacy. The music and its creation shall remain immediate and thereby avoid being too planned out and overly produced. Vocalist, Johannes Linnet, says about the process:

”I look back at the time we spent making ’Dogma’ as a very free and pleasant journey for the band as a whole. Working with immediacy and being able to let go of natural satisfaction has given the writing process much more depth and concentration than earlier. Small ideas became raw pieces over a weekend in late September and was then polished and recorded as live sessions in the Royal Danish Academy of Music’s Studio 3 in order to preserve the energy that we bring to live shows.”

The EP has been made in cooperation with the British producer Graham Sowerby (AK/DK). Red Lama has worked with Tommy Kamp Vestergaard (60 minutes of Mew) in mixing ’Dogma’, and the award-winning producer, Rune Rask, has mastered it. The four
songs that make up ’Dogma’ unite the beautiful and grandiose with the raw and powerful – and at the same time show that Red Lama once again explores new musical territories.

The first single ’State the Art’ and its video which is shot and produced by Jonas Møller (Playground Productions) will be out prior to the release of ’Dogma’. It shows the band during the recording of the track as a one-take in Studio 3 at the Royal Danish Academy of Music.

Tracklist – ’Dogma’
1. Time
2. State the Art
3. RLP
4. Tearing up the Snow

Red Lama live 2018
17th of November HeadQuarters Aarhus (DK)
24th of November Kulturmaskinen Odense (DK)

Red Lama:
Johannes Linnet: Vocal
Oliver Fick: Guitar
Jonas Rahbek: Guitar
Frederik Randrup: Bass
Morten Kaas: Organ
Niklas Sjøbeck: Percussion
Marius Linnet: Drums

www.facebook.com/redlamadk
www.instagram.com/red_lama_band
www.soundcloud.com/red-lama
www.redlamaband.bandcamp.com

Red Lama, “State of the Art” official video

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Demon Head Sign to Svart Records; Hellfire Ocean Void out Feb. 22

Posted in Whathaveyou on November 7th, 2018 by JJ Koczan

demon head

Danish doom rockers Demon Head have signed to Svart Records and will release their third long-player, Hellfire Ocean Void, through the venerable imprint on Feb. 22. The new album follows behind 2017’s Thunder on the Fields (review here), which found the five-piece pressing further into their traditionalist roots while crafting the boogie into a shape of their own. Since their outset, they’ve had aesthetic, songwriting and performance working steadily in their favor, plus they’ve toured, so an alliance with a label like Svart seems a natural next step in their forward progression. Kudos to the band and another killer pickup for the label. It’s good news all the way around.

And not the least because it means 2019 will bring a new one from Demon Head. There’s no audio from Hellfire Ocean Void out yet, but the band issued the two-songer single The Resistance (review here) earlier this year if you find yourself looking for a fix.

The PR wire brings word:

demon head hellfire ocean void

DEMON HEAD set release date for new SVART album – reveal cover, tracklisting

Svart Records sets February 22nd, 2019 as the international release date for Demon Head’s highly anticipated third album, Hellfire Ocean Void, on CD and vinyl LP formats.

Hellfire Ocean Void is composed by eight songs that unfold themselves effortlessly perfect in the tension between a delicate sense of composition and the uncompromising urgency with which the five musicians deliver the performance of each song. Mournful melodies of unearthly dimensions are played on piano and orchestrated with the use of classic rock instrumentation – electric guitars, bass, and drums. Dark and mystical chord progressions, sporadic guitar solos, chaotic arpeggio synthesizers, and the prophetic words of M.F.L are held together by the solid drum beats of J.W. Ambient recordings of acoustic instruments are accompanied by tape manipulation, which slowly develops into a haunting soundspace, showing B.G.N’s skills as an avant-garde composer. Guitar leads morph into the breathtaking improvisations of T.G.N as the band’s energetic center of bassist M.F leaves nothing to be questioned.

The writing, recording, mixing, and production was all done during the winter 2017-2018 by Demon Head in their own analog studio. Isolating themselves in the frozen countryside by the coast of Denmark and having no studio time limitations made it possible to encounter the recording studio as a sixth member, enabling them to produce the album with sincere curiosity and perfection. The only other person involved was the legendary producer Flemming Rasmussen (Metallica, Morbid Angel, Mercyful fate, etc.) who mastered the album in Sweet Silence Studios.

With Hellfire Ocean Void, Demon Head have created a masterpiece in contemporary rock music. As any other truly original music, it is difficult to draw any similarities, since the music seems to hint at nothing but its own integrity: an integrity that is based upon the insight that Demon Head gains from loving and accepting the many clichés and traditions that follow from playing rock music – and from that foundation moves far into the unknown, into the darkness and into our hearts.

First track and preorder info to be revealed shortly.

Tracklisting for Demon Head’s Hellfire Ocean Void
1. Rumours
2. The Night Is Yours
3. A Flaming Sea
4. In The Hour Of The Wolf
5. Labyrinth
6. Strange Eggs
7. Death’s Solitude
8. Mercury & Sulphour

Demon Head is:
J.W. – Drums
M.S.F. – Bass
B.G.N. – Guitar
T.G.N. – Guitar
M.F.L. – Vocals

https://www.facebook.com/Demoncoven/
http://demonhead.bandcamp.com/
https://demonhead.bigcartel.com/
www.svartrecords.com
www.facebook.com/svartrecords
www.twitter.com/svartrecords

Demon Head, “The Resistance” live at Muskelrock 2018

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Causa Sui, Free Ride: Enduring Vibe

Posted in Reviews on November 7th, 2018 by JJ Koczan

causa sui free ride

If you only know Causa Sui through their latter day work in their Summer Sessions series (review herediscussed here), or on their 2016 and 2017 studio albums bringing together heavy psychedelic exploration with progressive krautrock/jazz fusion, Return to Sky (review here) and Vibraciones Doradas (review here), a revisit to 2007’s Free Ride is going to highlight just how different a band they’ve become in the ensuing 11 years. Out of print in its original edition as their first outing for Elektrohasch Schallplatten following their 2005 self-titled debut on Nasoni (some day that CD will be mine), Free Ride is given a new art treatment in 2018 to bring its original cover in line with the aesthetics of their imprint El Paraiso Records and is presented as a 71-minute 2LP remastered by the band’s own Jonas Munk that includes a side D comprised entirely of a 19-minute rendition of the song “El Paraiso” for which the label is named, recorded live at Roadburn 2007.

The inclusion of that signature piece has been listed as the definitive version, though it’s also appeared on the band’s live outings, 2014’s Live at Freak Valley (review here) and 2017’s Live in Copenhagen (review here), so indeed it’s a staple of their performances. And it’s not a minor inclusion here, even next to Free Ride closer “Newborn Road,” which consumes side C and is 15 minutes long, but it doesn’t necessarily define the vibe of the album itself. That work is done more by the way the album unfolds with the increasing immersion of its side A, with the acoustics of the opening title-track leading to the spacier push of “Lotus” and the fuzzy-crunch into spacious, Made in Japan-style buildup of “White Sun.” That song is a riot and has been for 11 years, but again, for those who’ve taken on Causa Sui really at any point since the release of 2013’s Euporie Tide (discussed here), Free Ride is going to be a surprise in its rock-based sound and even more for the inclusion of vocals.

Understand, it’s not a completely different sonic context, and with cuts like “White Sun,” side B leadoff “Passing Breeze” and “Newborn Road” ranging upwards and north of 10 minutes apiece — not to mention “El Paraiso” as a bonus track pushing the outing to eight songs in 71 minutes — the adventurousness of sound for which Causa Sui have become known is still visible in hindsight in this material. Even “Free Ride” and the easy-flowing “Flowers of Eventide” that caps side B with its acoustic guitars, flutes and tambourine speak to the open vibe with which the Copenhagen-based outfit were working at the time, but the presence of Kasper Markus on vocals as frontman along with Munk (who also recorded, mixed and mastered the album originally) on guitar, organ, electrics and vocals, bassist Jess Kahr, drummer/percussionist/cover artist Jakob Skøtt puts Free Ride roundly in the territory of heavy psychedelia. The classic boogie on “Lotus,” the atmospheric organ work on “White Sun,” the sweeping fuzz, drift and final culmination of “Newborn Road” all seem to commune with a heavy ’70s mindset, but at the same time it’s impossible to ignore the influence of what was then Europe’s burgeoning heavy psych scene, and I don’t think we’re meant to.

causa sui free ride lp

In the guitar tones, in Markus‘ vocal approach and in the propensity for fluid, well-directed jamming, Free Ride has always been a smooth fit in the Elektrohasch canon of the time, along with records by Colour Haze, Josiah and even The Kings of Frog Island, which isn’t to mention others like Sgt. Sunshine or fellow Danish groups Gas Giant and the more garage-minded Baby Woodrose. What distinguished Causa Sui then still distinguishes them now: their instrumental chemistry. Listening to the winding blast of fuzz in “El Paraiso” or the sheer forward movement of “Lotus” earlier in the record, the foundation of what the band has become in the years since is right there in the work of Kahr, Skøtt and Munk. They’d go on to develop it in various directions, of course, but there’s no taking away from the prowess or how well they work together on Free Ride, the live-sounding production of which is organic enough to transition easily into “El Paraiso” such that it feels more like the closing of a set than the end of an album.

And of course, underscoring the instrumentality of a reissue from a band who’d go on to work instrumentally is a good deal of historical lensing, but that’s not to take away from what Markus does on vocals either. He’s a significant contributor to the heavy psych feel of these tracks, whether it’s the echo stretching out to lead into the midsection jam of “White Sun” or his standing out front of the charge of the raucous fuzzer “Top of the Hill,” providing a human anchor to the frenetic momentum built as the track shifts into its second-half nod-out. Markus had appeared on the self-titled as well, and at the time it wasn’t known this would be his final studio offering with them so this isn’t like a guest dropping by the studio and, “Oh hey, while I’m here I’ll be the frontman.” He was a member of this band, and especially in that light, including the “El Paraiso” recording from Roadburn seems prudent, since it so excellently captures this form of Causa Sui on stage, which is clearly how they were meant to be experienced given the live feel of the recording itself.

But if Free Ride is arguing in favor of its listeners showing up to a Causa Sui gig, one can only count that point as having been made in the years since, given their position at the forefront of Europe’s heavy psychedelic underground, their fostering of acts through El Paraiso RecordsMunk and Skøtt‘s solo work, etc. They are, in fact, relentlessly creative, and what this reissue does — aside from the simple fact of making the album available again; which is enough reason on its own for it to exist — is capture that creativity as it was just beginning to bloom. A year later, they’d start their Summer Sessions series and continue it through 2008-2009, and from there expand their sound immensely as their interests led them along various other directions for the Pewt’r SessionsEuporie Tide and their work since. What Free Ride does, though, is present one of the two examples of the foundation from whence that expansion grew, and whether being viewed as a document of modern heavy psych in the making or just as a killer heavy rock record with immersive jams, natural tones and a soulful vocal and instrumental execution, there’s no question it stands up to the 11 years since it first arrived.

Causa Sui on Thee Facebooks

El Paraiso Records

El Paraiso Records on Thee Facebooks

El Paraiso Records on Instagram

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Esbjerg Fuzztival 2019: Spelljammer, Mythic Sunship, Stone Cadaver and Vestjysk Ørken Confirmed

Posted in Whathaveyou on October 23rd, 2018 by JJ Koczan

esbjerg fuzztival 2019 banner

Okay, so I’m not sure how many bands will ultimately play the Esbjerg Fuzztival next May 11 in Esbjerg, Denmark, but a first four have been announced. The incarnation of the festival that ran this year and was the first was six acts, five of which were Danish natives. Of the four listed below, three are, so thus far it’s pretty consistent with 2018’s bill. Whether that trend will hold when/if there are other groups revealed for the lineup, we’ll just have to wait and see. May 2019 is still a ways off, folks. Plenty of time before we get there.

Some righteous stuff in the meantime, with Spelljammer coming over from Sweden to top the so-far lineup and hometown Esbjergers Vestjysk Ørken bringing their horror-sample-laden riffery for a return appearance. I’ve included the stream of their demo/first EP, Cosmic Desert Fuzz, at the bottom of this post because it’s hitting the spot at the moment and if you, like me, have a thing for name-your-price downloads, the three-piece have that going for them. Which is nice.

When and if there’s more word from Esbjerg Fuzztival, I’ll be sure to post. Until then, I’d love to know what font they’re using for their poster:

esbjerg fuzztival 2019 poster

Esbjerg Fuzztival – May 11th 2019

STOKED!

Excited to announce the first four bands for next years line-up!

First up is Spelljammer – the swedish fuzztronauts will be hitting us all hard!

Mythic Sunship will be bringing their own style of fuzzed out kraut-jazz!

Stone Cadaver from Aarhus, DK loves their 70’s horror as much as they love their fuzz!

Lastly our very own house-band VESTJYSK ØRKEN will once again deliver on the fuzz-side, bringing their horror show to the big screen on stage!

Tickets are strictly LIMITED to 150 and go on sale on december 1st. Stoked to keep you informed on the many more bands to go on the roster in the next few months!

https://www.facebook.com/esbjergfuzztival/
https://www.facebook.com/events/880111745513014/

Vestjysk Ørken, Cosmic Desert Fuzz (2018)

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The Sonic Dawn Premiere “Forever 1969”; Eclipse Due Feb. 1

Posted in audiObelisk on October 22nd, 2018 by JJ Koczan

the sonic dawn

Danish classic psychedelic rockers begin their third album, Eclipse, with a statement of purpose in the track ‘Forever 1969,’ and while I can’t confess to have heard the righteously titled “Psychedelic Ranger” that follows it or what’s presumably an ode to the Free City in “Christiania” later in the record, one assumes that “Forever 1969” carries its spirit through at least on some level or it probably wouldn’t be leading off. Past and future collide in their homage to the year when psychedelia began to give way to the birth of heavy rock, and while the title might remind immediately of The Stooges if only for directly calling out the end of the 1960s, The Sonic Dawn‘s jazzy progressive drift is on another trip entirely: “You like think we’re left behind/But really, man, we’re ahead of our time/’Cuz ’69 is another state of mind.”

So be it. The Copenhagen trio were last heard from in Spring 2017 with the also-set-to-be-reissued-in-early-2019 Into the Long Night (review here), which was their first LP through Heavy Psych Sounds after the sonic dawn eclipseissuing their Halloween 2015 debut, Perception (review here), via Nasoni Records, and with “Forever 1969,” they tease a consistency of tonal warmth and melodic centrality to their method. Composition — structure, form — was a major factor in the effectiveness of Into the Long Night, which collected nine tracks from vocalist/guitarist Emil Bureau, bassist Niels “Bird” Fuglede and drummer/backing vocalist Jonas Waaben, and something else “Forever 1969” teases is a further stylistic classicism in its efficiency. It’s the album opener and it runs short at 2:44 and seems to stop itself quickly to hit that mark. Given The Sonic Dawn‘s affinity for that era, that hardly seems like a coincidence. Rather, in the style of an old 45RPM single in a crinkly paper sleeve, they’re cutting out quick, ending on the chorus, making their point and getting out. It’s an interesting turn for the band to make and another manifestation of their proto-heavy rock mindset.

The Sonic Dawn will herald the coming of Eclipse next month on a round of European tour dates with their labelmate Brant Bjork, and one assumes there will be more on Eclipse between now and the three-plus months before it sees release, so stay tuned. You can, in the meantime, stream the premiere of “Forever 1969” on the player below and dig into the album details under that, which come courtesy of the PR wire.

Please enjoy:

Forever 1969 is the first single of the upcoming The Sonic Dawn album Eclipse. The album will be released 1st February 2019 via Heavy Psych Sounds.

Forever 1969 delivers a simple yet powerful message: That you can be, whoever you want to be. The 50th anniversary of Woodstock and the largest peace marches is coming up, but The Sonic Dawn are not just nostalgic. In their own words, “Times may change, but the struggle remains the same.” It is always the right time to free your mind.

THE SONIC DAWN’s upcoming “Eclipse” was recorded to tape in The Village Recording, Denmark’s best analog studio, and has been produced by THE SONIC DAWN and Thomas Vang (Roger Waters etc.). Mastered in the Svenska Grammofonstudion by Hans Olsson Brookes (Graveyard a.o.) and cut to vinyl in the Abbey Road Studios lead “Eclipse” to an ultimate sound quality.

“Eclipse”, the band’s third full-length, is the product of a full year’s labor, with 13 blistering tracks carefully selected among over more than 40 candidates. Inspired by personal tragedies and the current meltdown of the world as we know it, the songs deal with a feeling of despair that many will recognize, but also seem to say that we can heal and come out stronger, if we dare take the leap. The result is a cinematic journey in sonic technicolor with catchy melodies that cast a mysterious shadow.

New album “Eclipse” will be released February 1st and available in the following formats:
– 25 Test Press vinyl
– 250 LTD silver vinyl
– 250 LTD splatter trasp. background / black – pink fluo
– 500 LTD red solid vinyl
– Black vinyl
– CD and digital

TRACK LISTING:
1. Forever 1969
2. Psychedelic Ranger
3. The Stranger
4. No Chaser
5. Opening Night
6. Circle of Things
7. On the Edge of Our Time
8. Christiania
9. The Last Page
10. Love Bird
11. To Change Who We Are
12. Islands in Time
13. Towards the End

THE SONIC DAWN European Tour 2018 w/ Brant Bjork:
06.11.18 DE Hamburg | Fabrik
07.11.18 NL Amsterdam | Melkweg
08.11.18 BE Leuven | Het Depot
09.11.18 UK London | Garage
10.11.18 FR Paris | Petit Bain
11.11.18 NL Tilburg | O13
12.11.18 DE Wiesbaden | Schlachthof
13.11.18 CH Zürich | Rote Fabrik
14.11.18 CH Martigny | Caves Du Manoir
15.11.18 IT Turin | Spazio 211
16.11.18 AT Innsbruck | Hafen (HEAVY PSYCH SOUNDS FEST)
17.11.18 DE Munich | Feierwerk
18.11.18 AT Vienna | Arena
19.11.18 DE Dresden | Beatpol
20.11.18 DE Berlin | Festsaal Kreuzberg

THE SONIC DAWN are:
Emil Bureau (guitar & vocals)
Jonas Waaben (drums)
Niels ‘Bird’ Fuglede (bass guitar)

The Sonic Dawn on Thee Facebooks

The Sonic Dawn on Bandcamp

The Sonic Dawn on Instagram

The Sonic Dawn website

Heavy Psych Sounds website

Heavy Psych Sounds on Thee Facebooks

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Disrule to Release Sleep in Your Honour Nov. 16; Premiere Title-Track

Posted in audiObelisk, Whathaveyou on October 18th, 2018 by JJ Koczan

disrule

With a marked disdain for bullshit, Denmark’s Disrule are prepping their sophomore long-player, Sleep in Your Honour, for Nov. 16 release through Seeing Red Records. The follow-up to 2016’s Omen Possessor and last year’s The MD .441 EP, the new record comprises eight tracks for an in-and-out 29-minute listen recorded live and proffering a straightforward heavy rock groove entirely void of pretense. Recorded live with producer Jacob Bredahl (vocalist for HatesphereAllhellujaThe Kandidate and others, as well as engineer/mixer for Pet the Preacher and countless others at his Dead Rat Studio, in songs like “Going Wrong” and the opening title-cut, it sounds like a band on stage both in its captured rawness and in the energy of the delivery, and while some bands would go back and overdub vocals atop the basic instrumental tracks, Disrule at least sound like they’re having drummer NP Nielsen and bassist Allan Segalt — who share lead vocal duties — sing at the same time they’re playing. I don’t know the process first-hand, but that’s certainly how it comes across.

I think you can hear that for yourself in the title-track, the premiere of which I’m happy to feature at the bottom of this post. Below you’ll find some comment from the band about the song and some more background about the album in general, which is available to preorder now from Seeing Red.

Please enjoy:

disrule sleep in your honour

Disrule on “Sleep in Your Honour”:

We feel this song is a good representative for the slower and more sinister sounding direction we’ve chosen with this album. That, and the fact that the album was recorded live, which gives it a more “organic” sound, all comes together nicely in this song. This is, more or less, how we sound when rehearsing or playing live. The song is for our detractors and naysayers. People like critics and trve scenesters who dislike us for having clean vocals or short songs or whatever. The title is just a fancy way of saying we won’t lose any sleep over them… on the whole it’s a ‘fuck you’ song.

Formed in the cold and dark wastes of Denmark in late 2014, Disrule have been crafting heavy, fuzz ridden Stoner Rock with elements of Doom and hints of 70’s rock splashed in for good measure. They boil their music down to its basic ingredients – short tracks packed with riffs, rhythmic resources, and boasting two lead singers.

Somewhere nestled between the likes of Fu Manchu, Clutch, classic Kyuss, and the masters themselves, Black Sabbath, Disrule are set to take the Stoner /Doom community by storm with their upcoming record.

Sleep In Your Honour is the band’s second full length, and in keeping with the spirit of legendary bands such as Black Sabbath, it was recorded live at Dead Rat Studio in just two days.

Preorders here: https://seeingredrecords.bandcamp.com/album/disrule-sleep-in-your-honour

Produced by Jacob Bredahl and Disrule
Recorded live at Dead Rat Studio, Aarhus, Denmark
April 27th – 28th 2018 using only Shure SM57 microphones
Engineered, mixed & mastered by Jacob Bredahl
All music & lyrics by Disrule
Cover artwork, lay out and photos by Claus Reinhold
Cover model: Kristina Horner

Disrule is:
Allan Segalt | Bass & Vocals
NP Nielsen | Drums & Vocals
Frank Sørensen | Guitar
Søren Dybdal | Guitar

https://www.facebook.com/Disrule/
https://disrule.bandcamp.com/
http://www.disrule.dk/
https://www.facebook.com/seeingredrecords/
https://www.instagram.com/seeing_red_records/
http://www.seeingredrecords.com/
https://seeingredrecords.bandcamp.com/

Disrule, “Sleep in Your Honour”

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Demon Head on Tour Now; “The Resistence” Live Video Posted

Posted in Whathaveyou on September 25th, 2018 by JJ Koczan

demon head

Demon Head hit the road at the end of last week doing both headlining gigs and support spots for Magna Carta Cartel. Their latest EP, The Resistance (review here), came out earlier this year on The Sign Records, and it’s for the title-track of that two-songer that the band have a new live video. Shot at Muskelrock 2018 in the great outdoors of Southern Sweden — because fucking a right — the clip finds the Copenhagen outfit right at home for their proto-metallic vibes and the assembled masses before them seem largely to be eating up their classic-style riffs like so much fare cooked on a portable campground stove. Sounds gnarly. Looks gnarly. Is probably gnarly.

They’re no strangers to touring at this point, and especially after The Resistence provided the ‘two’ in a one-two wallop after 2017’s long-player, Thunder on the Fields (review here), one only looks forward all the more to what their inevitable third record might bring. Dark grooves and warm tones? That’ll work just fine, thanks.

Here’s the remaining tour dates, should you happen to be in that part of the world, and the video to dig into:

demon head tour poster

DEMON HEAD EUROPEAN TOUR

The diabolic rock band Demon Head is once again on their way out on a tour. The band is doing a headline tour in Scandinavia and are then heading out in Europe supporting MCC [Magna Carta Cartel].

In April Demon Head released their ‘The Resistance’. The EP was an epilogue to their second album ‘Thunder on the Fields’ released in 2017. Demon Head did a large tour all over Europe in May 2018 where the final show took place at Muskelrock Festival. The song ‘The Resistance’ was caught on tape and is now released as a live video.

+++ ILDFÆRD OVER SKANDINAVIEN +++
Let’s go!

– 25. Sep. Stockholm, SWE – Geronimo
– 26. Sep. Malmö, SWE – Plan b
– 27. Sep. Oslo, NO – Krøsset
– 28. Sep. Haugusund, NO, heavy nights Fest
– 29. Sep. Aarhus, DK – HQ
– 30. Sep. Oldenburg, DE – MTS
– 1. Oct. Leipzig, DE – Black Label
– 2. Oct. Hamburg, DE – Logo*
– 3. Oct. Berlin, DE – BiNuu*
– 4. Oct. Cologne, DE – Luxor*
– 5. Oct. Paris, FR – Etoiles*
– 6. Oct. Leiden, NL – Gebr de nobel*
– 7. Oct. Vosselaar, BE – Biebob*

* as special guests for MCC [Magna Carta Cartel]

https://www.facebook.com/Demoncoven/
http://demonhead.bandcamp.com/
https://www.facebook.com/thesignrecords/
http://caligarirecords.storenvy.com/
http://freighttrain.se/en/

Demon Head, “The Resistance” live at Muskelrock 2018

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Review & Full Album Premiere: Øresund Space Collective, Live in Berlin 2018

Posted in audiObelisk, Reviews on September 10th, 2018 by JJ Koczan

oresund space collective live in berlin

[Click play above to stream Øresund Space Collective’s Live in Berlin 2018. Album is out Sept. 12 on Space Rock Productions.]

Even as multinational purveyors of the interstellar Øresund Space Collective were celebrating the release of their latest studio album, May 2018’s Chatoyant Breath, they were already planning their next move. So it goes in the cosmic long game for an act that has nearly 30 offerings of one sort or another in the 12 years, building a catalog as expansive as their sound itself and giving no indication of a slowdown in productivity. Touring to mark the arrival of Chatoyant Breath, they performed June 2 at the Sneaky Snake Festival in Berlin, Germany, rounding out a run of nine dates in nine days and featuring the work of Vemund Engin of Black Moon Circle on guitar alongside the cast headed by synthesist Scott “Dr. Space” Heller, who before the show starts asks the crowd if they’re ready for a space trip. It would seem they are.

Øresund Space Collective from that beginning point unfurl five extended and completely improvised jams, opening with the 29-minute longest track (immediate points) “Improv to the Other Side,” which seems to have gotten there by the time Engin is dug into his solo in the later minutes. Whatever else Øresund Space Collective might be, they’re a vibe band. The version of space rock they play can be uptempo and full of thrust or it can be languid and dream-toned — or it can be both, if they want it to be — but their always-off-the-cuff jams work in intricate layers to create a style that’s immersive in the extreme and meant to be taken as an entirety in its entirety. That is, one can sit and pick apart elements like Jonathan‘s violin (he also plays guitar and theremin) that shows up in the opener and reappears in the subsequent “Sneaky Snake Jam” (the shortest inclusion at 16:03), but in his stage banter, even Heller seems to be advising the audience relax the brain and absorb the jams through the skin, and I’ve found as well that’s the best way to enjoy their work.

I count myself a fan of that work, I should note, and I consider it more or less a favor I’m doing myself whenever I get to review one of their outings. Live in Berlin 2018 is special not only for the lead guitar work of Engin or the aforementioned violin, but also for the manner in which the band so fluidly build their groove on “Sneaky Snake Jam,” or the push that emerges in the first half of the 27-minute “Henk’s Jam-O-Rama,” punctuated by Tim‘s drumming as Mogens and Dr. Space swirl out synth leads and the latter takes a second to check in with the crowd: “How y’all feeling? Great energy in the room.” Easy enough to believe. With Jiri on bass rounding out a six-piece lineup, Heller seems to particularly relish a bandleader role here. There are no vocals, or at least none discernible, as they’ve never really been a part of Øresund Space Collective‘s let’s-jam-our-way-to-the-heart-of-the-sun mission, but Heller introduces the band more than once and seems to be at the center of the proceedings.

oresund space collective (photo by Sabine Pottien)

Fair enough for his having founded the group and all that, and the human presence hardly could take away from the uptempo keyboard jazz in the middle of “Henk’s Jam-O-Rama” or the gloriously mellow funk that takes hold after the quiet opening of “Freaks of Berlin” (18:40), with a highlight performance by Tim on drums and another righteous classic-style solo from Engin on guitar. They take off in that jam, seem to burst forward, recede almost to the point of drone where it seems like maybe they’ve lost the direction, then make a bunch of noise until they get themselves sorted again and soon enough, they’re back in a quick-paced swing, capping quiet with a crash of drums in time for Heller to introduce Simon from Black Moon Circle to take over on drums for the finale “Another Jam for Sabine” while Tim moves to hand-percussion for the 17-minute finish.

And before they start, Heller states the intention of getting kind of an Afrobeat-space sound, but the end product of “Another Jam for Sabine” turns out to be more minor-key in the guitar, lending an almost Middle Eastern sensibility to its sound. While the guitar work remains impressive as it has been all along, a wash of synth early, backed by violin and meeting head-on with said guitar, makes “Another Jam for Sabine” a high point on multiple levels. Only fair they should reach maximum altitude as they get ready to end the set, but Øresund Space Collective have been around long enough at this point, whoever happens to be in the band at any given point, that they know what they want in terms of conjured atmospheres, and they sound confident here in bringing that to life, even if what they want is to jam.

Heller records most if not all of their live shows, and in addition to their 29 proper releases they have a massive digital archive of sets that can be downloaded — each one, of course, is different, with its own improvisations and its own direction depending on the night, but it’s hard to argue with the impulse for Live in Berlin 2018 to have been given a multi-track recording, a real mixdown and a physical pressing. Their energy playing Berlin for the first time and doing so while also wrapping up a five-country tour is palpable throughout and it sounds like band and audience alike were having a total blast. As prone as they can be to drift, it’s an active, engaging spirit that oozes from these explorations, and in their character and their sheer execution of a creative will, they only further the proposition that Øresund Space Collective are an institution in space rock. As Heller says when “Another Jam for Sabine” begins to wind down, “We’ll meet you in another universe some other time.” I believe it, and it probably won’t be all that long till it happens, either.

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Øresund Space Collective website

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