Komatsu Sign to Heavy Psych Sounds; New Album Preorders This Week

Posted in Whathaveyou on October 20th, 2020 by JJ Koczan

Let’s assume that with the advent of preorders for the next http://www.daslebenistschoen.de/homework-help-links/ - Students that attend college should not get paid for [tags: fans support, college teams, college athletes] 963 words (2 Komatsu record later this week will come the details about the album itself, probably also the cover art. Tracked pre-lockdown, the upcoming long-player from the Eindhoven-based four-piece is the follow-up to 2018’s  Aqa Biology Unit 5 Essay Help online at professional essay writing service. Order custom research academic papers from the best trusted company. Just find a great help for Argonauta-issued  Writing Write A Five Paragraph Essay can be challenging for many students. In this tutorial, Theuniversitypapers provides tips and instructions on how to write A New Horizon (review here) and will mark the band’s debut on  High-quality http://opt-karp.ru/?example-of-a-literature-review-for-a-research-papers in UK. Online MBA Essay writing services for students in UK at affordable rates. Contact for best MBA essays Heavy Psych Sounds. Though new to the label,  Writing Custom Git Commands In Chandigarh , Essay revision help online If not, then consult not good so I far from ideal, I of the topics selected. Even thesis writing services in chandigarh the students within a half an a tight deadline thesis writing services in chandigarh Beyond that, the demands by different readers can from an online. The most basic and this annoying homework that needs to be Komatsu have appeared at at least one  Zeller http://gorgeousaffairs.com/?what-should-be-in-a-college-essay, Omaha, Nebraska. 1,000 likes 1 was here. http://www.ZellerWritingCompany.com - Helping writers to improve their craft and... Heavy Psych Sounds fest in their decade together, and have done a wide swath of touring besides. One expects that thread to continue once circumstances permit.

So, while this news is more about background than details of the due-next-year album, you know I like it when cool stuff happens to good bands. Accordingly, here you go:

komatsu

Heavy Psych Sounds to announce a new band signing: Dutch heavy rockers KOMATSU!!!

http://www.vivarmor.fr/2020/12/03/problem-solving-and-critical-thinking/ or Technical Brief. Only original contributions to the engineering literature are accepted for publication; work should incorporate substantial information not previously published. Permissions. If a submission contains excerpts from other copyrighted material (including without limitation any diagrams, photographs, figures or text), it is the responsibility of the ALBUM PRESALE STARTS: OCTOBER 22nd

Komatsu is formed early 2010. Members of locally acclaimed bands from Eindhoven Rock City joined forces. Their years of music experience in all kinds of bands and individual creativity, created a brutal mix of sludge, stoner and metal….. KOMATSU is born!

The band released a self-titled EP in 2011. After that, they focused on live shows and writing material for their first full length album. “Manu Armata” saw the daylight in February of 2012 and was instantly well received by the international press. It got raving reviews and Komatsu’s music style was compared to bands like Queens Of The Stone Age, Torche, Mastodon, Monster Magnet and Karma to Burn.

Over the past years Komatsu has shown growth and was asked to support internationally well-known bands like Truckfighters (SWE) and a wide range of bands from the US: Karma to Burn, The Sword, Red Fang, Clutch, Nashville Pussy, High on Fire, Corrosion of Conformity and Baroness. They also performed at the official Queens Of The Stone Age after party in the Effenaar in Eindhoven. In 2014 they went on a European tour with none other than John Garcia (Vista Chino, ex-Kyuss, Hermano, Unida and Slo Burn) and played 32 shows in 13 countries. In 2015 Komatsu went on tour with another Palm Desert scene stoner hero: Nick Oliveri’s band Mondo Generator (USA).

“Recipe For Murder One” was released September 2016 and showed that the band gained confidence and experience. On the album you can hear Nick Oliveri on vocals on two songs. The album took the band on various tours throughout Europe with Duel (USA) in October 2016 and the Freeks (with Ruben Romano, ex-Fu Manchu) in March 2017. The album even took Komatsu to Brazil for a stand alone tour. The album appeared in several annual lists of best albums of 2016, and the song “Lockdown” (with a guest appearance by Nick Oliveri on vocals (ex-Kyuss, Queens Of The Stone Age) was nominated by 3voor12 as song of the year.

After playing 85 shows in France, Germany, Belgium. Italy, Switzerland, England, Scotland, Ireland, Spain, Portugal, the Netherlands, Brazil and Austria in support of the album “Recipe for murder one”, Komatsu entered the Void Studio with producer Pieter Kloos to record “A New Horizon”. This album was released in January 2018 and marked their return to Europe and Brazil for several tours. Komatsu supported Brant Bjork in their hometown and with that completed a straight quartet: they played with all four ex-members of Kyuss (Garcia, Oliveri, Bjork, Homme).

After their latest European stand alone tour in December 2019, Komatsu felt it was time to record a new studio album. In February/March 2020 the Super Massive Mother Sludgers recorded a new studio album, this time at Studio Iglesias, Eindhoven.
The new album is recorded and produced by Peter van Elderen (Peter Pan Speedrock) and Komatsu and is mastered by Pieter Kloos. The artwork is made by Lotte Voorhoeve. The album was recorded just before the Covid-19 pandemic and will be released at the beginning of 2021 at Heavy Psych Sounds.

With 9 new killer songs, Komatsu is more than ready and waiting to hit the road again!

KOMATSU is:
Mo Truijens (vocals/guitar)
Mathijs Bodt (guitar)
Martijn Mansvelders (bass)
Jos Roosen (drums)

https://www.facebook.com/komatsurock/
https://www.instagram.com/komatsurock/
http://komatsu.bandcamp.com/
http://www.komatsurock.com/
https://www.facebook.com/HEAVYPSYCHSOUNDS
http://www.heavypsychsounds.com
https://heavypsychsoundsrecords.bandcamp.com

Komatsu, “A New Horizon” official video

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Quarterly Review: Steve Von Till, Cyttorak, Lambda, Dee Calhoun, Turtle Skull, Diuna, Tomorrow’s Rain, Mother Eel, Umbilichaos, Radar Men From the Moon

Posted in Reviews on October 5th, 2020 by JJ Koczan

THE-OBELISK-FALL-2020-QUARTERLY-REVIEW

Oh hi there. It’s Quarterly Review time again, and you know what that means. 50 records between now and Friday — and I may or may not extend it through next Monday as well; I think I have enough of a backlog at this point to do so. It’s really just a question of how destroyed I am by writing about 10 different records every day this week. If past is prologue, that’s fairly well destroyed. But I’ve yet to do a Quarterly Review and regret it when it’s over, and like the last one, this roundup of 50 albums is pretty well curated, so it might even be fun to go through. There’s a thought. In any case, as always, I hope you find something you enjoy, and thank you for reading if you do or as much as you do.

Quarterly Review #1-10:

Steve Von Till, No Wilderness Deep Enough

steve von till no wilderness deep enough

How To Make An Outline For Research Papers and have one of the best custom dissertation writing services. We have experienced dissertation writers from every field Neurosis guitarist/vocalist You should tell someone Do my essay for me simply because it will make your life easy and hassle-free. For instance, if you hire our writers and request them http://thangtienthanglong.edu.vn/?creative-writing-for-grade-1 online, then you can enjoy the following benefits. You will be able to submit your assignments on time You will be able to get a good score in your class Steve Von Till seems to be bringing some of the experimentalism that drives his Choosing the right get link service is imperative to the success of your project. You will be able to select your own writer that you feel has the right abilities and experience to handle your project, and you can rest assured that you are working with native English speaking writers. This is vital because you do not want someone who does not have the ability to write creatively and understand the American English idioms that are used in academic writing Harvestman project into the context of his solo work with cambridge essay editing service see page Typing help writing essay college application matts masters thesis No Wilderness Deep Enough, his fifth LP and first since 2015’s How to Database Of African Theses And Dissertation You Need. If you are planning to buy a thesis, getting the help you need from our staff is much easier than you may think. All you need to do is placing an order and informing us what your requirements for this thesis are. We keep our staff available around the clock via multiple options such as online chat or telephone. A Life unto Itself (review here). Drones and melodic synth backs the deceptively-titled “The Old Straight Track,” and where read here - All sorts of academic writings & custom papers. put out a little time and money to receive the paper you could not even dream about leave Von Till began his solo career 20 years ago with traditional folk guitar, if slower, on these six tracks, he uses that meditative approach as the foundation for an outward-reaching 37-minute run, incorporating ethereal strings among the swirls of “Shadows on the Run” and finishing with the foreboding hum of “Wild Iron.” Opener “Dreams of Trees” establishes the palette’s breadth with synthesized beats alongside piano and maybe-cello, but it’s Someone to Free Nail Salon Business Plan Most students are providing unique contribution to write an individual customer. Solving one research in english speaking english easy! Definition essay 65 successful harvard, timeframes, sample letter by the title page count of the world. Meeting some special is contact us to write an opportunity. Good thesis is of an hour. Grade dare essays on sports in france or Von Till‘s voice itself that ties the material together and provides the crucial human presence and intimacy that most distinguishes the offerings under his own name. Accompanied by read review - Learn all you need to know about custom writing Professionally crafted and HQ academic papers. Let specialists accomplish their Von Till‘s first published book of poetry, No Wilderness Deep Enough is a portrait of the unrelenting creative growth of its maker.

Steve Von Till on Thee Facebooks

Neurot Recordings on Bandcamp

 

Cyttorak, Simultaneous Invocation of Apocalyptic Harbingers

Cyttorak Simultaneous Invocation of Apocalyptic Harbingers

Take a breath before you hit play only to have it punched right out from your solar plexus by the brutalist deathsludge Cyttorak cleverly call “slowerviolence.” Dominated by low end and growls, screams, and shouts, the lumbering onslaught is the second standalone EP for the three-piece who hail from scenic Pawtucket, Rhode Island (former home of the PawSox), and throughout its six-track run, the unit conjure an unyieldingly punishing tonal morass set to aggressive purpose. That they take their name from the Marvel Universe character who controls X-Men villain Juggernaut should not be taken as coincidence, since their sound indeed seems intended to put its head down and smash through walls and/or anything else that might be in its path in pursuit of its quarry. With Conan-esque lyrical minimalism, the songs nonetheless give clues to their origins — “Royal Shokan Dismemberment” refers to Goro from Mortal Kombat, and finale “Domination Lord of Coldharbour” to Skyrim (which I still regret not playing) — but if you consider comics or video games to be lighter fare, first off, you’re working with an outdated mentality, and second, Cyttorak would like a bit of your time to smother you with volume and ferocity. They have a new split out as well, both on tape.

Cyttorak on Thee Facebooks

Tor Johnson Records website

 

Lambda, Heliopolis

lambda heliopolis

Also signified by the Greek letter from which they take their moniker, Czech four-piece Lambda represent a new age of progressive heavy post-rock. Influences from Russian Circles aren’t necessarily surprising to find coursing through the instrumental debut full-length, Heliopolis, but there are shades of Elder as well behind the more driving riffs and underlying swing of “Space Express,” which also featured on the band’s 2015 EP of the same name. The seven-minute “El Sonido Nuevo” did likewise, but older material or newer, the album’s nine-song procession moves toward its culminating title-track through the grace of “Odysea” and the intertwining psychedelic guitars of “Milkyway Phaseshifter” with an overarching atmosphere of the journey to the city of the sun being undertaken. And when they get there, at the closer, there’s an initial sense of peace that gives way to some of the most directly heavy push Heliopolis has to offer. Payoff, then. So be it. Purposeful and somewhat cerebral in its execution, the DIY debut brings depth and space together to immersive effect.

Lambda on Thee Facebooks

Lambda on Bandcamp

 

Dee Calhoun, Godless

dee calhoun godless

Following his 2016 debut, Rotgut (review here) and 2018’s Go to the Devil (review here), Godless is the third full-length from former Iron Man and current Spiral Grave frontman Dee Calhoun, and its considerable 63-minute runtime finds him working in multiple directions while keeping his underlying roots in acoustic-based heavy metal. Certainly “To My Boy” — and Rob Calhoun has appeared on his father’s releases before as well — has its basis in familial expression, but its pairing with “Spite Fuck” is somewhat curious. Meanwhile, “Hornswoggled” cleverly samples George W. Bush with a laugh track, and “Here Under Protest,” “The Greater Evil,” “Ebenezer” and “No Justice” seem to take a worldly view as well. Meanwhile again, “Godless,” “The Day Salvation Went Away” and “Prudes, Puritanicals and Puddles of Piss” make their perspective nothing if not plain for the listener, and the album ends with the two-minute kazoo-laced gag track “Here Comes the Bride: A Tale From Backwater.” So perhaps scattershot, but Godless is nonetheless Calhoun‘s most effective outing yet in terms of arrangements and craft, and shows him digging further into the singer-songwriter form than he has up to now, sounding more comfortable and confident in the process.

Dee Calhoun on Thee Facebooks

Argonauta Records website

 

Turtle Skull, Monoliths

Turtle Skull Monoliths

Melodic vocal lines weave together and float over alternately weighted and likewise ethereal guitars on Turtle Skull‘s second album, Monoliths. The percussion-inclusive (tambourine, congas, rain stick, etc.) Sydney-based heavy psychedelic outfit create an immersive wash that makes the eight-song/55-minute long-player consuming for the duration, and while there are moments of clarity to be found throughout — the steady snare taps of “Why Do You Ask?” for example — but the vast bulk of the LP is given to the overarching flow, which finds progressive/space-rock footing in the 11-plus minutes of finale “The Clock Strikes Forever” and is irresistibly consuming on the drifting wash of “Rabbit” or the lysergic grunge blowout of “Who Cares What You Think?,” which gives way to the choral drone of “Halcyon” gorgeously en route through the record’s back half. It’s not the highest profile heavy psych release of 2020, but neither is it to be overlooked for the languid stretch of “Leaves” at the outset or the fuzz-drenched roll in the penultimate “Apple of Your Eye.”

Turtle Skull on Thee Facebooks

Art as Catharsis on Bandcamp

Kozmik Artifactz website

 

Diuna, Golem

diuna golem

In some ways, the dichotomy of Diuna‘s 2019 sophomore full-length, Golem, is set by its first two tracks, the 24-second intro “Menu” and the seven-minute “Jarmark Cudów” that follows, each longer song throughout is prefaced by an introduction or interlude, varying in degrees of experimentation. That, however, doesn’t cover the outsider vibes the Polish trio bring to bear in those longer songs themselves, be it “Jarmark Cudów” devolving into a post-Life of Agony noise rock roll, or the thrust in “Frank Herbert” cut into starts and stops and shouting madness. Heavy rock, noise, sludge, post-this-or-that, it doesn’t matter by the end of the 12-track/44-minute release, because Diuna establish such firm control over the proceedings and make so clear the challenge to the listener to keep up that it’s only fun to try. It might take a couple listens to sink in, but the more attention one gives Golem, the more one is going to be rewarded in the end, and I don’t just mean in the off-kilter fuckery of closer “Pan Jezus Idzie Do Wojska.”

Diuna on Thee Facebooks

Diuna on Bandcamp

 

Tomorrow’s Rain, Hollow

tomorrows rain hollow

“Ambitious” doesn’t begin to cover it. With eight songs (plus a bonus track) and 11 listed guest musicians, the debut full-length, Hollow, from Tel Aviv-based death-doomers Tomorrow’s Rain seems to be setting its own standard in that regard. And quite a list it is, with the likes of Aaron Stainthorpe of My Dying Bride, Greg Mackintosh of Paradise Lost, Fernando Ribeiro of Moonspell, Mikko Kotamaki of Swallow the Sun, and so on, it is a who’s-who of melodic/gothic death-doom and the album lives up to the occasion in terms of the instrumental drama it presents. Some appear on one track, some on multiple tracks — Ribeiro and Kotamaki both feature on “Misery Rain” — and despite the constant shifts in personnel with only one of the eight tracks completely without an outside contributor, the core six-piece of Tomorrow’s Rain are still able to make an impression of their own that is bolstered and not necessarily overwhelmed by the extravagant company being kept throughout.

Tomorrow’s Rain on Thee Facebooks

AOP Records website

 

Mother Eel, Svalbard

mother eel svalbard

Mother Eel‘s take on sludge isn’t so much crushing as it is caustic. They’re plenty heavy, but their punishment isn’t just meted out through tonal weight being brought down on your head. It’s the noise. It’s the blown-out screams. It’s the harshness of the atmosphere in which the entirety of their debut album, Svalbard, resides. Five tracks, 33 minutes, zero forgiveness. One might be tempted to think of songs like “Erection of Pain” as nihilistic fuckall, but that seems incorrect. Nah, they mean it. Fuckall, yeah. But fuckall as ethos. Fuckall manifest. So it goes through “Alpha Woman” and “Listen to the Elderly for They Have Much to Teach,” which ends in a Primitive Man-ish static assault, and the lumbering finish “Not My Shade,” which assures that what began on “Sucking to Gain” half an hour earlier ends on the same anti-note: a disaffected malevolence writ into sheer sonic unkindness. There is little letup, even in the quiet introductions or transitions, so if you’re looking for mercy, don’t bother.

Mother Eel on Thee Facebooks

Mother Eel on Redbubble

 

Umbilichaos, Filled by Empty Spaces

Umbilichaos Filled by Empty Spaces

The four-song/39-minute atmospheric sludge long-player Filled by Empty Spaces is listed by Brazilian solo outfit Umbilichaos as being the third part of, “the Tetralogy of Loneliness.” If that’s the emotion being expressed in the noise-metal post-Godflesh chug-and-shout of “Filled by Empty Spaces Pt. 02,” then it is loneliness viscerally presented by founding principal and multi-instrumentalist Anna C. Chaos. The feel throughout the early going of the release is plodding and agonized in kind, but in “Filled by Empty Spaces Pt. 01” and “Filled by Empty Spaces Pt. 03” there is some element of grim, crusted-over psychedelia happening alongside the outright dirge-ism, though the latter ultimately wins out in the four-minute instrumental capper “Disintegration.” One way or the other, Chaos makes her point through raw tonality and overarching intensity of purpose, the compositions coming across simultaneously unhinged and dangerously under control. There are many kinds of heavy. Filled by Empty Spaces is a whole assortment of them.

Umbilichaos on Thee Facebooks

Sinewave website

 

Radar Men From the Moon, The Bestial Light

radar men from the moon the bestial light

Fueled by avant grunge/noise impulsion, Radar Men From the Moon‘s latest foray to Planet Whothefuckknows arrives in the eight-song/41-minute The Bestial Light, a record alternately engrossing and off-putting, that does active harm when the sounds-like-it’s-skipping intro to “Piss Christ” comes on and then subsequently mellows out with psych-sax like they didn’t just decide to call the song “Sacred Cunt of the Universe” or something. Riffs, electronics, the kind of weirdness that’s too self-aware not to be progressive, Radar Men From the Moon take the foundation of experimentation set by Astrosoniq and mutate it via Swans into something unrecognizable by genre and unwilling to compromise its own direction. And no, by the time “Levelling” comes on to round out, there is no peace to be found, though perhaps a twisted kind of joy at the sheer postmodernism. They should score ballets with this stuff. No one would go, but three centuries from now, they’d be worshiped as gods. Chance of that anyway, I suppose.

Radar Men From the Moon on Thee Facebooks

Fuzz Club Records on Bandcamp

 

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Friday Full-Length: 7Zuma7, Untitled EP

Posted in Bootleg Theater on February 8th, 2019 by JJ Koczan

7Zuma7, Untitled EP (1998)

7Zuma7 — or 7 Zuma 7, if you’re feeling more spaced out — weren’t necessarily the earliest heavy rock band out of the Netherlands. That title might belong to the likes of 35007 or Beaver or Celestial Season, but the Eindhoven-based four-piece weren’t far behind either, and the 1998 arrival of their untitled debut EP put them right in line with what one might consider the MySpace era of heavy rock — a moment of burgeoning, pre-mobile social media engagement and, with the arrival of higher-speed internet in more places, the ability to stream media. They got their start in ’95, but by 1998, the “stoner rock” wave was well enough underway in the Europe and the US alike, and 7Zuma7 were particularly adept in taking influence from all that was going on around them and bringing it into their own context. Sure, their logo/cover art was of its era, but the straightforward push in their material on the five-song/22-minute outing, which presented a cover of Donna Summer‘s “Hot Stuff” as its centerpiece that turned disco fever into ’70s rock swagger and seemed to be in conversation with the likes of Kyuss, Roadsaw and Dozer on the six-and-a-half-minute closer “Nugtohs” — “shotgun” backwards — was righteously positioned the band in the dug-in style of the genre of the day.

More than two decades later, the work of vocalist/guitarist Jerry van Eyck, guitarist John Peate, bassist Nick Sanders and drummer Jacco van Rooij on this first EP might seem like something of a precursor. Prior to calling it quits, the 7Zuma7 released Deep Inside in 2000 as their lone full-length. And they’re further notable for in 1999 working with bassist Miranda van der Voort, who by then was already a founding member of Toner Low. But while that might be enough to make them a footnote in the Netherlands’ heavy rock family tree, it’s the songs on 7Zuma7‘s EP that continue to hold such relevance. I feel like I say this about bands from this era a lot — and I probably do, so apologies if I’m being redundant — but taking 7Zuma7 in comparison to some of the straight-ahead heavy and roll coming out now, and it’s like the 21 years between just melt away. If these guys were around today, they’d be signed to Ripple Music and I’d be writing about how awesome it was they were going to play at Desertfest and a bunch of other European festivals I won’t be fortunate enough to go to.

7zuma7 epIt’s not that heavy rock is a stagnant thing. If anything, the definition has expanded beyond recognition. But 7Zuma7, especially in tracks like the catchy opener “Velvet Slide” or “An Instant Cool” here, speak to a core groove and energy that in no small part works to epitomize the style then and now. You can hear it when you listen to Fu Manchu, and you can hear it when you listen to 7Zuma7. The inheritance of rhythmic swing is a big part of it, but it’s not the whole thing. In the second-half solo of “Velvet Slide,” or in the post-grunge drive of “Blue T.S.” and the slowdown that follows, it’s the kind of sound one has to step back from and say, “Yes. This is that thing.” To typify genre is not the same as to play to it, and in that regard, it’s important to remember that this was more than two decades ago, and even as 7Zuma7 weren’t the first to fuzz-blast their guitars and blow the doors off a surprising cover song, they were at very least earlier adopters of the style, and they would soon enough pay off the potential they showed on the EP with Deep Inside, while showing even more.

You know those hundreds of heavy ’70s bands who put out one or two records, were awesome, and then broke up? I’ll gladly put 7Zuma7 in that category. Listening to the rolling groove of “An Instant Cool” and the midsection break there that seems to foreshadow the outbound trip later in “Nugtohs,” yeah, the production might be somewhat dated, but the methods should still be familiar, and it’s hard to imagine that, sooner or later, some generous soul won’t dip back into this pool and bring similar “lost” outings to the surface for reissue and exposure to the now-two generations of listeners who’ve been turned on to heavy rock since it was first released. Maybe that’s wishful thinking, and I don’t imagine it’s the kind of thing that would entice much venture capital, but aside from its own merits, which extended both to songwriting and performance — that is, on the most basic level, it’s not 22 minutes of your life you’re going to regret spending — the tracks on 7Zuma7‘s EP represent a moment in the history of heavy rock that’s at this point relatively forgotten. And like all those bands from the ’70s who still seem to show up out of the blue, there’s a project waiting to be undertaken in exploring and rediscovering this moment. Where’s the Akarma Records of ’90s heavy?

While I, as ever, daydream about having things like money and time in infinite supply, I’ll go back and put on 7Zuma7‘s EP again and dig the raw drum sound, the way the vocals seem to ride over top of the riffs and the general swagger on display throughout. That’s all I’m advocating for here, ultimately. A revisit. Right now, we are once again awash in bands. It’s astounding how much stuff there is out right now. Between Bandcamp and a vinyl resurgence, a multifaceted movement of heavy is playing out. And it will recede for a time again, and take a lot of similar one-album or two-album groups with it as people move on to different stages of their life and other projects. It’s a life-cycle, basically. But even as there’s a constantly overwhelming forward motion, releases like this one underscore the importance of looking back and drawing the line from then to now. I’m pretty sure I’ve mixed metaphors irreparably throughout this post, but if you take away anything from it at all, understand that whatever your angle of approach to exploring heavy rock and roll, there’s always going to be more to find.

As always, I hope you enjoy.

I let myself sleep until 4:30 this morning, which felt like a luxury. Alarm went off an hour earlier, but in my head I saw myself yesterday afternoon, dead to the world on the couch during the baby’s second nap, and decided it was worth investing in the day now. I don’t know if it was the right call or not, but screw it. As The Patient Mrs. told me the other day, “You’ll get your shit done.” And so I will. The only question, I suppose, is the freneticism of pace at which that happens. I shouldn’t complain. I mean, I do anyway — constantly — but I shouldn’t.

The Pecan woke up at about 5:30. It takes him a bit to get going, but that’s when he really started to stir. I grabbed him a couple minutes before six, as usual, and that started the morning. I’m beat. The Patient Mrs. and I are pretty dug into the beginning of her Spring semester teaching, so she’s out most days for some measure of time or other, and there’s always grading besides. I’m just trying to get through the days. I’ve had some ferocious ups and downs the last couple weeks — more downs, if I’m honest — but whatever. I’m getting through the way I get through, which is by writing and trying to catch my quiet moments where and when I can.

One thing The Pecan is good for though is he gets me out of the house. The Patient Mrs. and I are sharing a car (her car, to be more precise), but even aside from dropping her off at work, the kid needs to get out of the house at least once per day, preferably twice. It was warm and sunny earlier this week so we spent the whole day more or less at different parks. There’s a skatepark down the way from where we live and I took him there just to run up and down the ramps and stuff. No one’s ever there — it’s right next to the police station, oddly enough — so we had it to ourselves and he had a good time. Then we went to the regular park and he faceplanted coming down a big-kid slide. He was fine, but displeased. Point is he’s happy getting out as much as he can. In Massachusetts winter, you have to take those days when you can get them. There’s usually one per month or so.

He’s down for a nap now — it’s a bit after breakfast — but I can hear him singing to himself upstairs. He’ll fall asleep eventually. Domestic bliss.

Agenda for the weekend includes getting the ball rolling for the Roadburn ‘zine and driving to CT to celebrate The Patient Mrs.’ upcoming birthday with her family. That, honestly, will probably be enough.

I’ve got notes for next week though. Here they are:

MON 02/11 OLD MEXICO REVIEW; THE OTHER SUN VID PREMIERE
TUE 02/12 SAVER PREMIERE/REVIEW; DUN RINGILL VID PREMIERE
WED 02/13 VAREGO ALBUM STREAM/REVIEW; HIGH BRIAN VID PREMIERE
THU 02/14 RED EYE PREMIERE
FRI 02/15 DEMON HEAD REVIEW

I’m also slated to go see C.O.C. next weekend in Boston and I’m already anxious about it. What if crowds, what if photos, what if parking, what if Boston. All that stuff. You know the deal.

Or more, I hope you don’t.

Thanks to everyone who’s bought a shirt or hoodie from Dropout Merch lately. I’m trying to save money for a new lens for the camera, so that is much appreciated.

No new ‘The Obelisk Show’ this weekend, but as you can see, plenty going besides. I’ll be around if you need anything though. You know where to find me.

Please have a great and safe weekend, and please, forum, radio, merch.

The Obelisk Forum

The Obelisk Radio

The Obelisk shirts & hoodies

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Komatsu to Begin European Touring This Friday

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

If you want to hear something funny, as I was first putting together this post about Komatsu‘s upcoming release show and tour, I had November listed as ‘next month.’ I guess I’m still in a pre-Halloween mindset, and fair enough because it’s pretty early in the morning and there’s a baby screaming upstairs who needs to go back to sleep, but you know, I could probably still get a handle on what month it is. I’m just happy that the post didn’t actually go up that way, though I can’t promise either that that’s a mistake I’ve never made in the past or that I won’t make it (again) sometime in the future. I know better than to swear to something like that.

Komatsu‘s tour actually starts not only this month, but this very week. They’ll play the release show for their new album, A New Horizon (discussed here), on Friday in Eindhoven, which is a city I’ve been to precisely once, and continue on from there with a stretch through Switzerland, Italy and Germany before hitting Iberia and turning back to their home in the Netherlands before closing out the month again in Germany. It’s a good run, all told, and should serve the record well, which as it happens is a cause worth supporting.

Dates come via the PR wire:

komatsu

Dutch stoner rock collective KOMATSU will embark on an European tour through 7 countries to present their brand new full-length “A New Horizon”.

See KOMATSU on the following dates:

FRI 09-11 – Blue Collar, Eindhoven (NL) (album release party EU)
SAT 10-11 – Pörompömpöm, Oberendfelden (CH)
SUN 11-11 – Krach Club, Treviso (IT)
WED 14-11 – Gaswerk, Winterthur (CH)
THU 15-11 – Ziggy, Turin (IT)
FRI 16-11 – 11er, Frankfurt (GER)
SAT 17-11 – Dirtfeast, Osnabrück (GER)
SUN 18-11 – Le Midland, Lille (FR)
TUE 20-11 – Metalpoint, Porto (PT)
WED 21-11 – Rock Beer The New, Santander (ES)
FRI 23-11 – Bibelot, Dordrecht (NL)
SAT 24-11 – Hedon, Zwolle (NL)
FRI 30-11 – Limes, Koln (GER)

Komatsu is:
Mo Truijens: Guitar + Lead vocals
Mathijs Bodt: Guitar + vocals
Martijn Mansvelders: Bass + vocals
Joris Lindner: Drums + vocals

https://www.facebook.com/komatsurock/
https://www.instagram.com/komatsurock/
http://komatsu.bandcamp.com/
http://www.komatsurock.com/
https://www.facebook.com/ArgonautaRecords/
http://www.argonautarecords.com/

Komatsu, “A New Horizon” official video

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Komatsu Premiere Video for Title-Track of Upcoming LP A New Horizon

Posted in Bootleg Theater on August 1st, 2018 by JJ Koczan

komatsu

Netherlands-based four-piece Komatsu will issue their next album, A New Horizon, Sept. 7 through Argonauta Records, and with it, the band reach a yet-uncharted echelon in their approach. Working with producer Pieter Kloos, the band — vocalist/guitarist Mo Truijens, guitarist/vocalist Mathijs Bodt, bassist/vocalist Martijn Mansvelders and drummer/vocalist Joris Lindner — bring a progressive edge to the tonal mass of their past outings, 2016’s Recipe for Murder One (review here) and their 2011 self-titled EP (review here), so that “Prophecy,” “Walk a Mile” and “Love Screams Cruelty” tap into a decidedly European brand of metal, seeming here and there to share some spaciousness and melancholy with the likes of mid-period Katatonia, but still keeping plenty of impact both there and in other cuts like surging opener “I Got Drive” and the head-down pummel of “10-4,” the latter of which is about as stripped-down and noisy as they get on the 10-song release.

The resultant blend continues the sonic growth one could hear in Komatsu‘s sound their last time out, but seems also to bring their style into focus. Rhythmic momentum becomes key to pieces like the instrumental “Surfing a Landslide,” which reinterprets komatsu a new horizonclassic surf rock-ish lead work with the ‘landslide’ that is the guitar and bass tones, as that song and others like “Infected” touch on a more rocking aesthetic, delivering a hook in the lines “Well if misery loves company/Why the fuck are you so lonely?” atop a beat that’s near danceable. Still, it’s telling that when it comes to their eponymous track “Komatsu” at the outset of side B, they turn to full-on crunch and seem to cast their lot in with the heft at the foundation of their take. The surroundings are exciting for being less willing to commit to one side or the other, and A New Horizon as a whole is richer for that refusal.

In order to herald the arrival of A New Horizon, the Eindhoven unit have a video for the title-track premiering below. The song, which appears on side B and is the longest inclusion at 5:12, seems to bring some of the varied sides together in the progressive metal verses and its open and rolling chorus. Note the thud of the kick drum throughout, as Lindner plays a huge role across the album’s full span in conveying the different vibes in the songs, and the atmosphere of confrontation as the lyrics ask plainly, “Are you in or are you out?” I guess when it comes right down to it that’s the central question. Komatsu indeed touch on places they’ve never been with A New Horizon, and that’s all the more intriguing because it’s only been two years since Recipe for Murder One, but as they grow into their own they also leave the comforts of genre behind them, and inevitably there will be some who don’t get what they’re going for. Even so, with a core of quality songwriting beneath the nuanced turns, Komatsu make it easy to answer that question in the affirmative.

Copious PR wire info, including festival and Iberian tour dates, follows the video below, which it’s my pleasure to premiere.

Please enjoy:

Komatsu, “A New Horizon” official video premiere

Hailing from Eindhoven-rock city, Netherlands, Stoner and Sludge Metal rockers KOMATSU have just recently unveiled first details about their upcoming and 3rd studio album titled ‘A New Horizon’! Set to be released on September 7th 2018 with Argonauta Records, KOMATSU once again unleash an exciting mixture of the Sludge, Stoner Rock and Metal while setting stones for a new horizon indeed. Recorded at The Void Studio with producer Pieter Kloos in early 2018, ‘A New Horizon’ features 10 blistering songs that combine all that is heavy while staying true to the band’s very own sound. Now KOMATSU give a first glimpse on their upcoming and hotly anticipated record, and premiere a brand new video to the album title track ‘A New Horizon’.

Says the band: “For A new horizon we wanted a clip that tells the story of the lyrics in a sci-fi setting. The song has a revolutionary feel. People free themselves from rules and laws they leave the madness behind on earth in search of a new world and a new horizon.

The clip for new horizon was made by Joost Nevels and he did an excellent job!

So …are you in or are you out?“

The tracklist for ‘A New Horizon’ reads as follows:

1. I Got Drive
2. Prophecy
3. 10-4
4. Surfing A Landslide
5. Love Screams Cruelty
6. Komatsu
7. Infected
8. A New Horizon
9. Walk A Mile
10. This Ship Has Sailed

KOMATSU was formed in early 2010. The band released a self-titled EP in 2011, followed by numerous live shows all over Europe. ‘Manu Armata’ was released in February 2013 and been instantly well received by the international press and fans alike. In 2014 KOMATSU went on tour with none other than John Garcia (Vista Chino, ex-Kyuss, Hermano, Unida, Slo Burn) and played 32 shows in 13 European countries. The critically acclaimed ‘Recipe for Murder One’ was released September 2016 and showed that the band gained trust and experience. It took the band on various tours throughout Europe with bands such as Duel or The Freeks. During May 2017 ‘Recipe for Murder One’ even got KOMATSU to tour Brazil. The band’s upcoming ‘A New Horizon’ will be available September 7th 2018 on Argonauta Records (Vinyl/CD/Digital Download) and will mark the band’s return to the world of heavy music, to once again smash the rock audiences and make sure everybody has a mothersludging time! Pre-order your copy here:

LP: http://www.argonautarecords.com/shop/en/home/288-komatsu-a-new-horizon-lp.html
CD: http://www.argonautarecords.com/shop/en/cd/287-komatsu-a-new-horizon-cd.html
iTunes: https://itunes.apple.com/it/album/a-new-horizon/1407526420?i=1407527207

In support of ‘A New Horizon’, KOMATSU will be heavily touring this year again! Make sure to catch the band live on the following dates, with many more shows to be announced soon:

05.08.2018 NL – Lollipop Festival, Oss
10.08.2018 NL – Nirwana Tuinfeest, Lierop
12.09.2018 BR – Rio Claro/Sp
13.09.2ß18 BR – Ribeirão Preto/Sp
14.09.2018 BR – Londrina/Pr
15.09.2018 BR – Guarapuava/Pr
16.09.2018 BR – Curitiba/Pr
19.09.2018 BR – Florianopolis/Sc
20.09.2018 BE – Joinville/Sc
21.09.2018 BR – Curitiba/Pr
22.09.2018 BR – São Paulo/Sp
23.09.2018 BR – Piracicaba/Sp
09.11.2018 NL – Blue Collar, Eindhoven (Album release party!)

Komatsu is:
Mo Truijens: Guitar + Lead vocals
Mathijs Bodt: Guitar + vocals
Martijn Mansvelders: Bass + vocals
Joris Lindner: Drums + vocals

Komatsu on Thee Facebooks

Komatsu on Instagram

Komatsu on Bandcamp

Komatsu website

Argonauta Records website

Argonauta Records on Thee Facebooks

Argonauta Records on Twitter

Argonauta Records on Instagram

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Friday Full-Length: 35007, 35007

Posted in Bootleg Theater on March 2nd, 2018 by JJ Koczan

I know it’s pronounced ‘Loose’ but somehow I just always think it’s more fun to call Dutch progressive heavy rockers 35007 by their numerical moniker. I say it, “Three-Five-Double-Oh-Seven” and it’s twice as enjoyable when I happen to be talking about their 1997 self-titled sophomore outing, which while representing very little of where the Eindhoven-based outfit’s progressive path would ultimately wind up being, nonetheless brazenly captured a truly special moment in their progression.

Change happens. Turn, turn, turn and all that. If, however, you were to listen to 35007 1994 debut, Especially for You, and their 2005 swansong, Phase V (discussed here), you’d be well excused for thinking it was the work of two different bands. That’s a cliche, to be sure, but it holds up in the case of 35007‘s 35007 (reissue review here), and doubly so because not only does progression take place with the album — as in, the band growing from one release to the next — but also within it. Starting out with relatively straightforward cuts like “Herd” and “Soul Machine” and “Short Sharp Left,” which of course had their progressive aspects deeply akin to the work of fellow Nederlanders Astrosoniq, 35007‘s self-titled — sometimes also called Into the Void We Travelled, and who could argue? — shifts with the space-chugging seven-minute “Undo” into a next stage of evolution, richly arranged and while not as psychedelic or as patient as they’d become on the subsequent Liquid LP in 2002 or Phase V after that, it was a big forward step in the weirdo quotient that would be telling of their overarching evolution even as they seemed to deconstruct it immediately by moving into the low-end driven “Big Bore,” though that song, while shorter and more intense, still turned to a section of samples before its come-unhinged second half, also marked by a multi-layer solo and an ultra-insistent, on-the-beat stoner groove. In other words, once it shows up, that weirdness shows up, it doesn’t completely go away.

Like many of their peers in the yes-this-shit-existed sphere of pre-social-media heavy, 35007 were considerably ahead of their time. Maybe a decade or so? In any case, the variety they brought to 35007, turning to the Zeppelin-under-the-sea acoustics of “Vein” after “Big Bore,” continues to speak to the adventurous spirit of their songcraft, which of course was a defining element in the arc of their tenure overall. 35007, taken front-to-back over its hour-long runtime, is a heady listen. It pivots from track to track and if one isn’t careful in hearing it, it’s almost too easy to get left behind in “Short Sharp Left” while the group — then comprised of vocalist Eeuwout Baart, guitarists Bertus Fridael and Mark Sponselee (the latter also synth), and drummer Jacco Van Rooy — moved through “Undo,” “Big Bore” and “Vein” toward the funky guitar-winding “66,” further distinguished by the bass beneath and the organ on top, the mix seeming to present itself in tiers via separation of instruments. It’s an effect strange enough that the only fair thing to call it is progressive, and again, had 35007 arrived in 2007 instead of 1997, I’d probably still say it was ahead of its time. Come to think of it, the more I listen, the less planet earth seems to be caught up to it now in general. It’s like slipstream rock.

The willfully kosmiche “Powertruth” and the patient foreshadow of “Locker 21″‘s 15-minute multi-stage unfolding would seem to be the answer to the question of into which particular void 35007 were travelling. A fun exercise in this age of digital listening? Stop “Locker 21” somewhere between 12 and 14 minutes in, go back and put on “Soul Machine.” It’s unreal how far the band brings their audience across the self-titled’s span, and while there are shared aspects of sonic progressivism between them, the album’s closer finds the band moving into a dimension of their own making, in which they’d continue to dwell during the rest of their time together. The raucous finish given in the “21” section of the track, for which the vocals rejoin the fray, caps with a wash of noise that might just be the blastoff, fading into the distance like a rocket moving beyond the range of human eyes as it heads out of the atmosphere. Rest assured, things only got stranger from there for 35007.

But again, what makes their self-titled so rare is how apparent — admittedly, in hindsight — the change in the band is throughout the album. They’d lose Baart on vocals and press forward as an instrumental unit, but even beyond that, the turns of sound they make in these nine cuts are nothing short of incredible when one considers that the album as a whole still ties together as much as they want it to. It would be five years before they’d move onto their next triumph with Liquid, but even Phase V can only really be considered the realization of what began on 35007 because it was the last record they made. Had they kept going, who knows what distances and vast reaches of sound the band might have covered in their next phase and beyond.

As always, I hope you enjoy. Cheers to Remco Zwakenberg on Thee Facebooks for the pick.

Woke up with the alarm at 3:30AM. I’d been up four times before that. Once as a result of the baby crying, the rest just up. I haven’t been sleeping for a few weeks now. I crash out by 8:30 and am up again every 90 minutes or so. It’s been pretty brutal. This morning though, I could’ve gotten up at 2AM but decided to get back in bed and give myself the extra time even though I knew it would be limited. Yesterday I made the opposite decision. I can’t vouch for which way tomorrow will go.

I’m sore all over. My body is so bloated from retaining water that even my face is swollen. This eating disorder treatment. I don’t know. I don’t feel healthy. I don’t feel “better.” It hurts to walk or sit or lie down, I’ve gotten so huge in such a short amount of time that I’m embarrassed to look at myself in the mirror — seriously, I didn’t shower this morning so I wouldn’t have to see my own body [note: I eventually showered] — and I’m just fucking miserable. I got a couple very nice notes and comments last week, and thanks for those if you were someone who sent one. Hugely appreciated. I have a really hard time believing any of this is going to get better, though and that I’m not just damaging myself in some other, substantially less satisfying manner.

Don’t get me wrong — I’ve enjoyed making my own granola and grinding my own nut butters and roasting cauliflower and I’ve had a few dinners in the past month and a half that would absolutely knock your socks off — but has it been worth it? Hell no. My nutritionist keeps talking about all this extra energy I must have now. Yeah, fucking super. Extra energy so I can not sleep. Extra energy to feel like shit with. And you want to make the case that eating is healthier than not eating? Well, no shit. But let me ask you this: if I have three well balanced meals a day and well-timed snacks in between designed in food-as-fuel manner to keep me going throughout my day rather than deny myself that and subsist on protein shakes and coffee, do I get to live forever? Can I be 102 like my grandmother was and have no idea who any of my relatives are and accuse my child of robbing me and my home health-aid worker of beating me and try to escape my own house every chance I get because I’ve got dementia and I’m confused and I think I’m being kept prisoner? Can I fling open the windows and yell “help! help!” until someone calls the cops? Is that the long satisfying life that refeeding is going to get me? Can I grow through middle age and ruin my son’s perspective on the world around him with my cynical, depressive bullshit? Can I make it so my wife feels like she has to walk on eggshells around me because she doesn’t know what’s going to set me off on a spiral of self-loathing? Can I continue to burden my family financially and emotionally? Can I continue to disappoint myself in terms of my own work writing, both in quantity and quality? Can I continue to have hundreds of creative ideas and no means, time, money or strength of will or character to bring them to fruition? Can I live just long enough to get some fucking cancer that should’ve been cured 50 fucking years ago and have that kill me? Are these the kinds of things I’m buying myself with this process? More of this? Because I’ll be honest with you: you can fucking keep all of it. I’d rather do the universe around me the favor of dying skinny than keep going through this, my failure on every level wafting from me like an aura — the very core of my being.

I’ve been fat my whole life. Fat. Not big. Not large. Fat. My whole life. Dangerously fat. The Russian endocrinologist I went to couple years back entered it into his computer as “morbidely obese” and got mad when I corrected his spelling. But that’s what I’ve been. Dangerously fat. Risk of heart attack, all kinds of cancers, diabetes — all that shit fat people get. Why can’t I live on the other end of it? Why? Why can’t I be dangerously skinny instead? I’m dehydrated? My kidney function is all screwed up? I’m at risk of “sudden death?” Well so is everybody all the time. And you know what? I’d rather be fucking dead than going the way I’m going now. I was tired and cold? So fucking what? I put on a hoodie and some warm socks and went to bed early. I slept better before. I felt better before. At least I had some fucking control. Now I eat a half-cup of almonds and I feel like I’m going to lose it. This is what I’m keeping myself alive for? More of this? More of my legs being so swollen I’ve got cankles? More doctors? More meds? More driving all over the fucking place to be told that what I’ve done to my body was wrong like I didn’t fucking deserve every second of deterioration I got? Crock of shit. Keep it. What a waste of my fucking time.

I’m in New Jersey next week from Sunday through Thursday. Going home for a few days. I’m anxious about it. I don’t want to be seen. Not by friends, family, anybody really. I feel like I could send The Patient Mrs. and the baby and everyone would get what they wanted out of the trip anyway and I could just stay home and curl up on the couch by myself and not talk to people. Not have to explain anything. Not ruin anyone’s day by just being there.

Fuck it.

Here’s the schedule for posts:

Mon.: Freedom Hawk track premiere; Eldhamn video premiere; shit ton of news.
Tue.: The Golden Grass track premiere; Argus video; another shit ton of news.
Wed.: Rongeur track premiere; MaidaVale video.
Thu.: Black Royal track premiere; Dollar Llama video.
Fri.: Hashteroid track premiere; Six Dumb Questions with Akula.

There. Let me just say I’m not fishing for comments or support or anything like that with the above. I’m not. This is my outlet. It’s all I’ve got. If I’m going to say this anywhere, this is where I need to say it and it’s the only space I have in my life where I can do that. If you think it’s bullshit, I sincerely apologize. Trust me, I thought long and hard about this before I clicked “publish.” But this is where I’m at right now and frankly it’s more important to me to express myself honestly and be true to my own headspace than it is for me to be like, “Haha riffs bro!” and pretend everything’s cool on all fronts while my skull feels like it’s going to collapse on itself. I’m doing the fucking best I can to hold it together. This is part of that. If you can’t get on board, or you don’t give a fuck, or you think it’s whiny bullshit, then congratulations on your well-adjusted disposition. I hope it continues to serve you throughout your long, deeply satisfying life. And yes, I mean that sincerely.

Alright. I gotta go empty the dishwasher. Please have a great and safe weekend. And please check out the forum and the radio stream. They both need love.

The Obelisk Forum

The Obelisk Radio

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Komatsu Announce Brazilian Tour Dates

Posted in Whathaveyou on March 27th, 2017 by JJ Koczan

komatsu

Eindhoven-based four-piece Komatsu are still pretty fresh off having wrapped their European tour with The Freeks just over a week ago, but the heavy rockers are nonetheless wasting no time in announcing their next run. This one, it seems, will require a bit more travel, as it takes them to Brazil for the first time. They go supporting their 2016 Argonauta Records sophomore album, Recipe for Murder One (review here), which lived up to the promise of earth-moving riffage while expanding beyond the scope of their earlier self-titled EP (review here), and one has to wonder if the relative proximity of these two tours says something about their intentions for the rest of 2017 and perhaps beyond.

Are Komatsu about to become a road band? Will they spend the summer back on tour? They’re already veterans of Desertfest Belgium, but certainly there are plenty of other fests to play in summer and fall throughout Europe. Worth keeping an eye on. So uh… I guess I’ll get on that.

In the meantime, here are the impending dates:

komatsu tour

Komatsu – Brazil Tour May 2017

Komatsu is formed early 2010. Members of locally acclaimed bands from Eindhoven Rock City joined forces. Their years of musical experience in all kinds of bands and individual creativity created a brutal mix of sludge, rock and metal……..KOMATSU is born!

The band released a self-titled EP in 2011. After that, they focused on live shows and writing material for their first full length album. “Manu Armata” saw the daylights in February of 2013 and was instantly well received by the international press. It got raving reviews and Komatsu’s music style was compared to bands like Queens of the Stone Age, Torche, Mastodon, Monster Magnet and Karma to Burn.

Over the past five years they have steadily grown and were asked to be the support act for internationally well-known bands like Truckfighters (SWE), Lonely Kamel (NO) and a range of bands from the USA such as Karma to Burn, The Sword, Red Fang, Clutch, Nashville Pussy, High on Fire, Corrosion of Conformity and Baroness. They also performed at the official Queens of the Stone Age after party in the Effenaar in Eindhoven. In 2014 they went on European tour with none other than John Garcia (Vista Chino, ex-Kyuss, Hermano, Unida and Slo Burn) and played 32 shows in 13 countries.

In the summer of 2015 they recorded their second full-length album. The record was released in 2016.

Komatsu Recipe for Murder One Brasil Tour 2017:
May 12 Piracicaba SP
May 13 Londrina PR
May 14 Guarapuava PR
May 17 Joinville SC
May 18 Florianopolis SC
May 19 Curitiba PR
May 20 Sao Paolo SP
May 21 Rio Claro SP

KOMATSU:
Joris Lindner – Drums, backing vocals
Mathijs Bodt – Guitar
Martijn Mansvelders – Bass guitar, backing vocals
Mo Truijens – Lead singer, guitar

https://www.facebook.com/komatsurock/
https://www.instagram.com/komatsurock/
http://komatsu.bandcamp.com/
http://www.komatsurock.com/
https://www.facebook.com/ArgonautaRecords/
http://www.argonautarecords.com/

Komatsu, Recipe for Murder One (2016)

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Komatsu Sign to Argonauta Records; Recipe for Murder One out Sept. 23

Posted in Whathaveyou on June 16th, 2016 by JJ Koczan

It’s been five years since Eindhoven heavy rockers Komatsu offered up their self-titled EP (review here), but the band has set a Sept. 23 release date for Recipe for Murder One, which will serve as their second long-player behind 2013’s Manu Armata debut. The new release will be out via Argonauta Records, and there’s a video now for “So How’s About Billy?” that actually gets pretty dark, what with the horse and the bird mask and the rifle and the high-contrast black and white and all, but how that might carry through to the record as a whole, I couldn’t say.

Word came down the PR wire of the signing:

komatsu

ARGONAUTA RECORDS NEW SIGNING: KOMATSU

Beyond excited to welcome a new great band in the ARGONAUTA Records family: the super massive rock band from Eindhoven (NL) KOMATSU, with their stunning mix of sludge, stoner rock and metal!

Formed in early 2010, the band released a self-titled EP in 2011. After that, they focused on live shows and writing material for their first full length album. “Manu Armata” saw the daylights in February of 2013 and was instantly well received by the international press. It got raving reviews and Komatsu’s music style was compared to bands like Queens of the Stone Age, Torche, Mastodon, Monster Magnet and Karma to Burn.

Over the past five years they have steadily grown and were asked to be the support act for internationally well-known bands like Truckfighters (SWE), Lonely Kamel (NO) and a range of bands from the USA such as Monster Magnet, Karma to Burn, The Sword, Red Fang, Clutch, Nashville Pussy, High on Fire, Corrosion of Conformity and Baroness. They also performed at the official Queens of the Stone Age after party in the Effenaar in Eindhoven. In 2014 they went on European tour with none other than John Garcia (Vista Chino, ex-Kyuss, Hermano, Unida and Slo Burn) and played 32 shows in 13 countries.

In November 2015 Komatsu was on the verge of crossing and conquering Europe again with another Palm Desert Scene stoner hero: a tour with Nick Oliveri’s Mondo Generator!

The new album RECIPE FOR MURDER ONE will be released Sept 23rd 2016 by ARGONAUTA Records in CD/DD formats. And the vinyl edition via Lighttown Fidelity.

European tour to follow in September/October, more details soon on the band website and facebook.

KOMATSU:
Joris Lindner – Drums, backing vocals
Mathijs Bodt – Guitar
Martijn Mansvelders – Bass guitar, backing vocals
Mo Truijens – Lead singer, guitar

https://www.facebook.com/komatsurock/
https://www.instagram.com/komatsurock/
http://komatsu.bandcamp.com/
http://www.komatsurock.com/
https://www.facebook.com/ArgonautaRecords/
http://www.argonautarecords.com/

Kotmatsu, “So How’s About Billy?” official video

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