It’s only a minute-long teaser clip, but there are still some things to learn from the first actual glimpse at the new and much-awaited fourth album from Berlin heavy psych trio Samsara Blues Experiment. For one thing, the title. They’ve given the record the ambitious name One with the Universe, and in unfurling that alone, the band speak to their spiritual and cosmic leanings that have been at their root since the days of their 2008 demo (review here), which they’ve continued to refine ever since, and are among the defining features of their approach.
Then we get to the actual audio of the thing itself. I haven’t heard any full songs from the record or gotten word of titles, but we’re treated to a moment of key-laced jamming, a laid back rhythmic bounce given bluesy flavor that makes a comfortable-seeming bed for a few vocal lines. The first burst of guitar tone is raw, and the drums and bass also feel suitably natural in a way that has me wondering just how much improvisation is going to be a factor across One with the Universe. That’s not to say there isn’t a sense of direction — unless I’m mistaken, it’s Christian Peters handling guitar and keys, and since they’re both going at the same time, some layering must’ve taken place at some point — but Hans Eiselt‘s bass fills feel remarkably organic in how it adds to the overall fluidity and Thomas Vedder‘s drumming accents the guitar and keys with classic-style dynamics.
Bottom line? I was looking forward to hearing the new Samsara Blues Experiment. A lot. I still am. A lot.
Check out the teaser below, followed by the three-piece’s upcoming tour dates in South America and Europe. One with the Universe will be out this May on Electric Magic Records.
Samsara Blues Experiment, One with the Universe teaser
4th SBE-album is coming…
Movie scenes from “The Blue Bird” (1918).
SAMSARA BLUES EXPERIMENT LIVE DATES: SOUTH AMERICA TOUR – MARCH 2017: 03/02 – Santiago, CL @ La Capilla 03/03 – Buenos Aires, AR @ The Roxy Live 03/04 – Montevideo, UR @ Bluzz Live 03/05 – Córdoba, AR @ Refugio Guernica 03/08 – Porto Alegre, BR @ RIFF.E Bar 03/09 – Florianópolis, BR @ Célula Showcase 03/10 – Belo Horizonte, BR @ Stonehenge Rock Bar 03/11 – São Paulo, BR @ Inferno Club 03/12 – Rio de Janeiro, BR @ Hocus Pocus Fest
EUROPEAN SHOWS: 25.03. Roma (IT), Defrag 31.03. Osnabrück, Westwerk 01.04. München, Under The Black Moon Festival 02.04. Leipzig, Werk 2 22.04. Barcelona, Riff Ritual Festival 29.04. Berlin, Desertfest 30.04. London (UK), Desertfest 12.05. Berlin, Zukunft am Ostkreuz (Stummfilm-Special) 13.05. Berlin, Zukunft am Ostkreuz (Albumrelease Parteeey) 14.05. Hamburg, Hafenklang 15.05. Wiesbaden, Schlachthof 16.05. Bielefeld, Forum 17.05. Nijmegen (NL), Doornroosje 18.05. Nantes (FR), Le Ferrailleur 19.05. Paris (FR), Backstage 20.05. Köln, Underground 11.08. Finkenbach, Finki Festival
Posted in Whathaveyou on February 7th, 2017 by JJ Koczan
Have I mentioned yet how much I’ve enjoyed watching the 2017 resurgence of German heavy psych rockers Samsara Blues Experiment take shape? I’d hope at least the sheer amount of posting I’ve done about it thus far would give some indication, but if not, it’s been one of my favorite aspects of this year so far, and no, I haven’t actually heard anything of their impending fourth album yet. A May release date has been confirmed — in all-caps, no less — by the Berlin trio, and they’ve just announced another round of European touring, this time alongside Kaleidobolt, to go with their previously-noted dates in South America and Germany, as well as slots at fests far and wide.
They give some indication below there might be more still to come, which is fair since as you’ll note a lot of this takes place before the record actually hits, but almost entirely write off the possibility of a return trip to the US. Sad and understandable both. I’ve wanted to talk to band-frontman Chris Peters about their experiences here for the last couple years and I’m hoping an interview for the upcoming LP provides that opportunity. We’ve got some time yet before the release, but needless to say I’ve already been bugging him about it. “Send me your record,” and so forth.
Here’s the latest from the band. The shows with Kaleidobolt are presented by Sound of Liberation:
Friends of the blues,
This year we will do some touring which at some point will coincide with the release of our – new, fourth album – in MAY.
02.03. – 12.03. Chile, Uruguay, Argentina, Brasil dates! You know, you know, you know… 03/02 – Santiago, CL @ La Capilla 03/03 – Buenos Aires, AR @ The Roxy Live 03/04 – Montevideo, UR @ Bluzz Live 03/05 – Córdoba, AR @ Refugio Guernica 03/08 – Porto Alegre, BR @ RIFF.E Bar 03/09 – Florianópolis, BR @ Célula Showcase 03/10 – Belo Horizonte, BR @ Stonehenge Rock Bar 03/11 – São Paulo, BR @ Inferno Club 03/12 – Rio de Janeiro, BR @ Hocus Pocus Fest
25.03. Roma (IT), Defrag 31.03. Osnabrück, Westwerk 01.04. München, Under The Black Moon Festival 02.04. Leipzig, Werk 2 22.04. Barcelona, Riff Ritual Festival 29.04. Berlin, Desertfest 30.04. London (UK), Desertfest
— ACHTUNG uebelst HOT — 12.05. Berlin, Zukunft am Ostkreuz (Stummfilm-Special) 13.05. Berlin, Zukunft am Ostkreuz (Albumrelease Parteeey)
— MORE and more and more — 14.05. Hamburg, Hafenklang 15.05. Wiesbaden, Schlachthof 16.05. Bielefeld, Forum 17.05. Nijmegen (NL), Doornroosje 18.05. Nantes (FR), Le Ferrailleur 19.05. Paris (FR), Backstage 20.05. Köln, Underground
Athens (GR) is confirmed, yet to be announced!
11.08. Finkenbach, Finki Festival
…there may be more.
Still no US-dates tho. We are very sorry. Honestly. If at some point somebody who will be decent and honest enough offer his or her touring help ~ without just thinking of how many money he or she can make with us ~ I may be happy to share ideas and work it out, but for now our so far experience says: foggetaboutit.
Posted in Features on January 23rd, 2017 by JJ Koczan
Looks like it’s going to be another busy 12 months ahead. It’s been a busy better-part-of-a-month already, so that stands to reason, but you should know that of the several years now that I’ve done these ‘Tomorrow’s Dream’ posts, this is the biggest one yet, with over 150 upcoming releases that — one hopes — will be out between today and the end of 2017.
Actually, at last count, the list tops 180. Do I really expect you to listen to all of them? Nope. Will I? Well, it would be nice. But what I’ve done is gone through and highlighted 35 picks and then built lists off that in order of likelihood of arrival. You’ll note the categories are ‘Gonna Happen and/or Likely Candidates,’ ‘Definitely Could Happen’ and ‘Would be Awfully Nice.’
Beyond that last one, anything else just seems like speculation — one might as well go “new Sabbath this year!” with zero info backing it up. The idea here is that no matter where a given band is placed, there has been some talk of a new release. In some cases, it’s been years, but I think they’re still worth keeping in mind.
Another caveat: You can expect additions to this list over the next week — probably album titles, band names people (fingers crossed) suggest in the comments, and so on — so it will grow. It always does. The idea is to build as complete a document as possible, not to get it all nailed down immediately, so please, if you have something to contribute and you’re able to do so in a non-prickish, “You didn’t include Band X and therefore don’t deserve to breathe the same air as me,” kind of way, please contribute.
Other than that, I think it’s pretty straightforward what’s going on here and I’ll explain the category parameters as we go, so by all means, let’s jump in.
— Tomorrow’s Dream 2017 —
1. Abrahma, TBA
Late last year, Paris heavy progressives Abrahma announced a new lineup and third full-length in progress. No reason to think it won’t come to fruition, and a follow-up to 2015’s Reflections in the Bowels of a Bird (review here) is an easy pick to look forward to. Even with the shift in personnel, it seems likely the band will continue their creative development, driven as they are by founding guitarist Seb Bismuth.
2. All Them Witches, Sleeping Through the War
If 2017 ended today, Sleeping Through the War would be my Album of the Year. Of course, there’s a lot of year to go, but for now, Nashville’s All Them Witches have set the standard with their second album for New West Records behind 2015’s Dying Surfer Meets His Maker (review here) and fourth overall outing. They’ve got videos up so far for “3-5-7” (posted here) and “Bruce Lee” (posted here). Both are most definitely worth your time. Out Feb. 24. Full review should be later this week.
3. Alunah, Solennial
Seems like UK forest riffers Alunah are on this list every year. Wishful thinking on my part. Nonetheless, their fourth LP and Svart Records debut, Solennial, is out March 17, and if the tease they gave already with the clip for “Fire of Thornborough Henge” (posted here) is anything to go from, its Chris Fielding-produced expanses might just be Alunah‘s most immersive yet.
4. Arbouretum, TBA
I asked the Baltimore folk fuzzers a while back on Thee Facebooks if they had a new record coming in 2017 and they said yes, so that’s what I’m going on here. The last Arbouretum album was 2013’s Coming out of the Fog (review here), and even with frontman Dave Heumann‘s 2015 solo outing, Here in the Deep (review here), factored in, you’d have to say they’re due. Keep an eye on Thrill Jockey for word and I’ll do the same.
5. Atavismo, Inerte
This is another one that already has a spot reserved for it on my Best-of-2017 year-end list. Spanish heavy psych rockers Atavismo up the progressive bliss level with their second full-length, Inerte, without losing the depth of style that made 2014’s Desintegración (review here) so utterly glorious. It probably won’t have the biggest marketing budget of 2017, but if you let Atavismo fly under your radar, you are 100 percent missing out on something special.
6. Bison Machine, TBA
In addition to the video for new track “Cloak and Bones” that premiered here, when Michigan raucousness-purveyors Bison Machine put out the dates for their fall 2016 tour, they included further hints of new material in progress. As much as I dug their earlier-2016 split with SLO and Wild Savages (review here) and 2015’s Hoarfrost (review here), that’s more than enough for me to include them on this list. Killer next-gen heavy rock.
7. Brothers of the Sonic Cloth, TBA
News of a follow-up to Brothers of the Sonic Cloth‘s 2015 Neurot Recordings self-titled debut (review here) came through in October, and it remains some of the best news I’ve heard about 2017 doings. Took them a while to get the first record out, so we’ll see what happens, but it kind of feels like looking forward to a comet about to smash into the planet and cause a mass extinction, and by that I mean awesome. Can’t get here soon enough.
8. Cloud Catcher, Trails of Kosmic Dust
Okay, so maybe I jumped the gun and did a super-early review of Denver trio Cloud Catcher‘s second long-player and Totem Cat Records debut, Trails of Kosmic Dust, but hell, no regrets. Some albums require an early-warning system. Their 2015 debut, Enlightened Beyond Existence (discussed here), was a gem as well, but this is a band in the process of upping their game on every level, and the songwriting and momentum they hone isn’t to be missed.
9. Colour Haze, TBA
I’ve gotten some details on the upcoming full-length from Colour Haze. They do not include a title, artwork, audio, song titles or general direction. Less details, I guess, than word that the CD version of this answer to 2015’s To the Highest Gods We Know (review here) is set to come out next month, as ever, on Elektrohasch. That puts it out in time for Colour Haze‘s upcoming tour with My Sleeping Karma (announced here). Fingers crossed it happens. Colour Haze are perpetual top-albums candidates in my book.
10. Corrosion of Conformity, TBA
Signed to Nuclear Blast after being rejoined by guitarist/vocalist Pepper Keenan, North Carolina’s C.O.C. have been in the studio since last year. The lineup of Keenan, bassist/vocalist Mike Dean and guitarist Woody Weatherman and Reed Mullin on drums is the stuff of legend and last worked together on 2000’s America’s Volume Dealer, so no question this reunion makes for one of 2017’s most anticipated heavy rock records. They nailed the nostalgia factor on tour. Can they now add to their legacy?
11. Elder, TBA
I was incredibly fortunate about a month ago to visit progressive heavy rockers Elder at Sonelab in Easthampton, MA, during the recording process for their upcoming fourth album. I heard a couple of the tracks, and of course it was all raw form, but the movement forward from 2015’s Lore (review here) was palpable. That LP (on Stickman) brought them to a wider audience, and I expect no less from this one as well, since the farther out Elder go sound-wise, the deeper the level of connection with their listeners they seem to engage.
12. Electric Wizard, TBA
Could happen, could not happen. That’s how it goes. Announced for last Halloween. That date came and went. Word of trouble building their own studio surfaced somewhere along the line. That was the last I heard. Frankly, I wouldn’t be surprised if it showed up tomorrow, if it showed up in 2018, or if the band broke up and never put it out. They’re Electric Wizard. Anything’s possible.
13. John Garcia, The Coyote Who Spoke in Tongues
Out Jan. 28 on Napalm, The Coyote Who Spoke in Tongues (review here) is the first-ever acoustic album from former Kyuss frontman John Garcia, also of Unida, the reunited Slo Burn, Hermano, Vista Chino, Zun, etc. — basically the voice of desert rock. He does a couple Kyuss classics for good measure, but shines as well on the new/original tracks, and while it’s a piece for fans more than newcomers — that is, it helps if you know the original version of “Green Machine” — his presence remains as powerful as ever despite this new context.
14. Goya, Harvester of Bongloads
Riffs, dude. Goya seem to have them to spare. The Arizona-based wizard doomers have set a pretty prolific clip for themselves at this point, with at least two short releases out in 2016, one a 7″ of Nirvana covers (review here), and the The Enemy EP (review here). Set for a March 3 release through their own Opoponax Records imprint, Harvester of Bongloads continues the march into the abyss that 2015’s Obelisk (review here) and 2013’s 777 set in motion, finding the band coming more into their own as well. Creative growth — and bongloads! The best of both worlds.
15. Ides of Gemini, TBA
Ides of Gemini are set to record their yet-untitled third album with Sanford Parker early this year, and it will also mark their debut on Rise Above Records upon its release. They’ve also got a new lineup around vocalist Sera Timms and guitarist J. Bennett, so as they look to move forward from 2014’s Old World New Wave (review here), one can’t help but wonder what to expect, but to be honest, not knowing is part of the appeal, especially from a band who so readily specialize in the ethereal.
16. Kind, TBA
Three-fourths of Kind feature elsewhere on this list. Bassist Tom Corino plays in Rozamov. Drummer Matt Couto is in Elder. Vocalist Craig Riggs is in Roadsaw. And for what it’s worth, guitarist Darryl Shepherd has a new band coming together called Test Meat. How likely does that make Kind to release a second LP in 2017? I don’t know, but their 2015 Ripple Music debut, Rocket Science (review here), deserves a follow-up, and I know they’ve demoed some new songs. If it happens, great. If it’s 2018, at least these dudes will be plenty busy besides.
17. Lo-Pan, In Tensions
Yes, Lo-Pan‘s In Tensions (review here) has already been released — CD/LP with an artbook on Aqualamb. It’s out. Limited numbers. You can get it now. Why include it on a list of most anticipated releases? Because that’s how strongly I feel about your need to hear it. The fruit of a shortlived lineup with guitarist Adrian Zambrano, it distinguishes itself from everything they’ve done before in style while still keeping to the core righteousness that one hopes the Ohio outfit will continue to carry forward. It’s more than a stopgap between albums. Listen to it.
18. The Midnight Ghost Train, TBA
It seems to have been a rough ride for hard-boogie specialists The Midnight Ghost Train since their 2015 Napalm debut and third album overall, Cold was the Ground (review here). They’ve never taken it easy on the road or in terms of physicality on stage, and between injuries and who knows what else, their intensity at this point veers toward the directly confrontational. Nonetheless, they’ve been writing for album number four, may or may not have started the recording process, and I expect that confrontationalism to suit them well in their new material.
19. Monster Magnet, TBA
I have it on decent authority that NJ heavy psych innovators Monster Magnet were in the studio this past autumn. I’ve seen no concrete word of a new album in progress from Dave Wyndorf and company, and I wouldn’t necessarily expect to until it was time to start hyping the release, but after their two redux releases, 2015’s Cobras and Fire (review here) and 2014’s Milking the Stars (review here), their range feels broader than ever and I can’t wait to hear what they come up with next.
20. Mothership, High Strangeness
A pivotal moment for Mothership arrives with High Strangeness, and the heavy-touring, heavy-riffing Texas power trio seem to know it. Their third record on Ripple Music pushes into new avenues of expression and keeps the energy of 2014’s Mothership II (review here) and 2012’s Mothership (review here), but thus far into their career, it’s been about their potential and what they might accomplish going forward. 2017 might be the year for Mothership to declare a definitive place in the sphere of American heavy rock.
21. The Obsessed, Sacred
On Halloween 2016, founding The Obsessed guitarist/vocalist and doom icon Scott “Wino” Weinrich announced a new lineup for the band, with his former The Hidden Hand bandmate Bruce Falkinburg on bass/vocals, Sara Seraphim on guitar and Brian Costantino continuing on drums. A genuine surprise. Their first album since 1994, Sacred (due on Relapse) was tracked as the trio of Weinrich, Costantino and bassist/vocalist Dave Sherman, but clearly they’ve moved into a new era already. Wouldn’t even guess what the future holds, but hopefully Sacred still comes out.
22. Orange Goblin, TBA
When it was announced that London’s Orange Goblin were picked up by Spinefarm as part of that label’s acquisition of Candlelight Records last Spring, the subheadline from the PR wire was “Working on Ninth Studio Album.” I haven’t heard much since then, but even as 2014’s Back from the Abyss (review here) pushed them deeper into metallic territory than ever before, their songs retained the character that’s made the band the institution they are. Always look forward to new Orange Goblin.
23. Pallbearer, Heartless
Doomers, this is your whole year right here. I haven’t heard Pallbearer‘s third album, Heartless (out March 24 on Profound Lore), but I have to think even those who haven’t yet been won over by the Arkansas four-piece’s emotive, deep-running style have to be curious about what they’ve come up with this time around. I know I am. These guys have been making a mark on the genre since their 2012 debut, Sorrow and Extinction (review here), and there’s little doubt Heartless will continue that thread upon its arrival.
24. Radio Moscow, TBA
Fact: Radio Moscow stand among the best classic heavy rock live acts in the US. They’re the kind of band you can watch upwards of 15 gigs in a row — I’ve done it — and find them putting on a better show night after night, in defiance of science, logic and sobriety. Word of their signing to Century Media came just this past week and brought with it confirmation of a follow-up to 2014’s stellar Magical Dirt (review here), and for me to say hell yes, I’m absolutely on board, seems like the no-brainer to end all no-brainers. Can’t wait.
25. Roadsaw, TBA
Nearly six full years later, it’s only fair to call Boston scene godfathers Roadsaw due for a follow-up to their 2011 self-titled (review here). Granted, members have been busy in Kind, White Dynomite, and other projects, but still. Their upcoming outing finds them on Ripple Music after years under the banner of Small Stone Records, and though I haven’t seen a solid release date yet, my understanding is they hit Mad Oak Studio in Allston, MA, this past fall to track it, so seems likely for sooner or later. Sooner, preferably.
26. Rozamov, This Mortal Road
Speaking of albums by Boston bands a while in the making, This Mortal Road (out March 3 on Battleground Records and Dullest Records) is the debut full-length from Boston atmospheric extremists Rozamov. Haven’t heard it yet, but I got a taste of some of the material when I visited the band at New Alliance Audio in Aug. 2015, and the bleak expanses of what I heard seem primed to turn heads. I’m a fan of these guys, but in addition, they’ve found a niche for themselves sound-wise and I’m curious to hear how they bring it to fruition.
27. Samsara Blues Experiment, TBA
It’s been a pleasure over the last couple months to watch a resurgence of Berlin heavy psych trio Samsara Blues Experiment take shape, first with the announcement of a fourth album in October, then with subsequent confirmations for Desertfest, Riff Ritual in Barcelona, and a South American tour. Reportedly due in Spring, which fits with the timing on shows, etc., the record will follow 2013’s righteous Waiting for the Flood (review here) and as much as I’m looking forward to hearing it, I’m kind of just glad to have these guys back.
28. Seedy Jeezus, TBA
Work finished earlier this month on Melbourne trio Seedy Jeezus‘ second full-length. As with their 2015 self-titled debut, the band brought Tony Reed of Mos Generator to Australia to produce, and after their blissed-out 2016 collaboration with Earthless guitarist Isaiah Mitchell, Tranquonauts (review here), it’s hard not to wonder what experimentalist tendencies might show in the trio’s style this time out, and likewise difficult not to anticipate what guitarist Lex “Mr. Frumpy” Wattereus comes up with for the cover art.
29. Shroud Eater, Strike the Sun
Not to spoil the surprise, but Feb. 1 I’ll host a track premiere from Florida’s Shroud Eater that finds them working in a different context from everything we’ve heard from them to this point in their rightly-celebrated tenure. They also recently had a split out with Dead Hand, and their second long-player, Strike the Sun, will be their debut through STB Records. It’s been since 2011’s ThunderNoise (review here) that we last got a Shroud Eater album, so you bet your ass I’m dying to know what the last six years have wrought.
30. Sleep, TBA
If Sleep were any other band, they’d probably be in the “Would be Awfully Nice” category. But they’re Sleep, so even the thought of a new record is enough to put them here. The lords of all things coated in THC are reissuing their 2014 single, The Clarity (review here), on Southern Lord next month, but rumors have been swirling about a proper album, which of course would be their first since the now-legendary Dopesmoker. If it happens, it’ll automatically be a heavy underground landmark for 2017, but it’s one I’m going to have in my ears before I really believe it.
31. Stoned Jesus, TBA
Even as they tour playing their second album, 2012’s Seven Thunders Roar (review here), to mark its fifth anniversary and continued impact, Ukrainian trio Stoned Jesus are forging ahead with a fourth record behind 2015’s The Harvest (review here). The capital-‘q’ Question is whether or not looking back at Seven Thunders Roar and engaging that big-riffing side of their sound will have an impact on the new material, and if so, how it will meld with the push of The Harvest. Won’t speculate, but look forward to finding out.
32. Stubb, TBA
Since reveling in the soul of 2015’s Cry of the Ocean (review here) on Ripple, London trio Stubb have swapped out bassists, and they were in Skyhammer Studio this month recording a single that may be an extended psychedelic jam. I’ll take that happily, but I’m even more intrigued at the prospect of a third LP and what guitarist/vocalist Jack Dickinson, bassist/vocalist Tom Hobson and drummer Tom Fyfe might have in store as the band moves forward on multiple levels. Might be 2017, might not.
33. Sun Blood Stories, It Runs Around the Room with Us
It Runs around the Room with Us seems to find peace in its resonant experimentalist drones, loops, open, subdued spaces, but there’s always some underlying sense of foreboding to its drift, as if Boise’s Sun Blood Stories could anticipate the moment before it happened. Toward the end of the follow-up to 2015’s Twilight Midnight Morning (review here), they execute the 90-second assault “Burn” and turn serenity to ash. Look for it in April and look for it again on my best of 2017 list in December.
34. Ufomammut, TBA
Any new offering from the Italian cosmic doom magnates is worth looking forward to, and while Ufomammut have left the 15-year mark behind, they’ve never stopped progressing in style and form. To wit, 2015’s Ecate (review here) was a stunner after 2012’s two-part LP, Oro (review here and review here), tightening the approach but assuring the vibe was no less expansive than ever. They started recording last summer, finished mixing in November, so I’m hoping for word of a release date soon.
35. Vokonis, The Sunken Djinn
Born out of Creedsmen Arise, whose 2015 demo, Temple (review here), offered formative thrills, Swedish trio Vokonis debuted with last year’s Olde One Ascending (review here) and proved there’s still life in post-Sleep riffing when it’s wielded properly. They signed to Ripple in November and confirmed the title of their sophomore effort as The Sunken Djinn, as well as a reissue for the first album, which will probably arrive first. I don’t know how that will affect the timing on this one, but keep an eye out anyway.
Gonna Happen and/or Likely Candidates
Obviously some of these are more likely than others. Some have solidified, announced release dates — Dopelord‘s out this month, Demon Head‘s out in April, etc. — and others come from social media posts of bands in studios and hints at upcoming releases and so on. A big tell is whether or not a band has an album title with their listing, but even some of those without have their new albums done, like Atala and Royal Thunder, so it’s not necessarily absolute.
Either way, while I’m spending your money, you might want to look into:
36. Against the Grain
39. Attalla, Glacial Rule
40. Ayahuasca Dark Trip, II
42. Beaten Back to Pure
45. Buried Feather, Mind of the Swarm
46. The Clamps
47. Cold Stares
48. Coltsblood, Ascending into the Shimmering Darkness
49. Come to Grief, The Worst of Times EP
51. Cruthu, The Angle of Eternity
52. The Dead-End Alley Band, Storms
53. Dead Witches, Dead Witches
55. Death Alley, Live at Roadburn
56. Demon Head, Thunder on the Fields
57. The Devil and the Almighty Blues, II
58. Devil Electric
59. Doctor Cyclops, Local Dogs
60. Dool, Here Now There Then
61. Dopelord, Children of the Haze
62. Doublestone, Devil’s Own/Djævlens Egn
63. Dread Sovereign, For Doom the Bell Tolls
64. Drive by Wire
65. Elbrus, Elbrus
66. Electric Age
67. Electric Moon, Stardust Rituals
68. Endless Floods, II
69. Five Horse Johnson
70. Forming the Void, Relic
71. Funeral Horse
73. Green Desert Water
75. Grifter / Suns of Thunder, Split
76. Hair of the Dog, This World Turns
77. Heavy Temple, Chassit
78. Here Lies Man, Here Lies Man
79. Hollow Leg, Murder EP
80. Holy Mount, The Drought
81. Hooded Menace
82. Horisont, About Time
83. Hymn, Perish
84. Lecherous Gaze
85. Magnet, Feel Your Fire
87. Merlin, The Wizard
89. Mindkult, Lucifer’s Dream
90. Mirror Queen
91. Moonbow, War Bear
92. Mos Generator
93. The Moth
95. Mouth, Vortex
96. My Sleeping Karma, Mela Ananda – Live
99. PH, Eternal Hayden
100. Psychedelic Witchcraft, Magick Rites and Spells
101. Royal Thunder
102. Saturn, Beyond Spectra
103. Season of Arrows, Give it to the Mountain
104. Siena Root
105. Six Organs of Admittance, Burning the Threshold
106. Six Sigma, Tuxedo Brown
108. The Sonic Dawn, Into the Long Night
110. Spidergawd, IV
112. Stinking Lizaveta, Journey to the Underworld
113. Sula Bassana, Organ Accumulator
115. Sun Voyager, Sun Voyager
116. Sweat Lodge, Tokens for Hell EP
117. Thera Roya, Stone and Skin
119. Troubled Horse, Revelation on Repeat
120. VA, Brown Acid The Third Trip
122. Youngblood Supercult, The Great American Death Rattle
Definitely Could Happen
Maybe a recording process is upcoming (Gozu, Cities of Mars, YOB), or a band is looking for a label (The Flying Eyes), or they’ve said new stuff is in the works but the circumstances of an actual release aren’t known (Arc of Ascent, Dead Meadow, High on Fire), or I’ve just seen rumors of their hitting the studio (Freedom Hawk, La Chinga, Ruby the Hatchet). We’ve entered the realm of the entirely possible but not 100 percent.
So, you know, life.
123. The Age of Truth
124. Ape Machine
125. Arc of Ascent
126. At Devil Dirt
131. La Chinga
132. Chubby Thunderous Bad Kush Masters
133. Cities of Mars
134. Crypt Sermon
135. Dead Meadow
136. Death Alley (Studio LP)
137. Dee Calhoun
138. Destroyer of Light
140. Devil Worshipper
144. Electric Moon
145. Elephant Tree
147. The Flying Eyes
148. Freedom Hawk
150. The Great Electric Quest
151. Green Meteor, Consumed by a Dying Sun
152. High on Fire
154. Insect Ark
155. In the Company of Serpents
156. Iron Monkey
157. Jeremy Irons and the Ratgang Malibus
158. The Judge
159. Killer Boogie
160. King Dead
161. The Kings of Frog Island
162. Lords of Beacon House, Recreational Sorcery
164. Mondo Drag
166. Mountain God
167. The Munsens
169. Never Got Caught
175. Purple Hill Witch
176. Ruby the Hatchet
178. Satan’s Satyrs
179. Serpents of Secrecy
181. Shooting Guns
182. Sleepy Sun
183. Slow Season
184. Snowy Dunes, Atlantis
185. Spectral Haze
186. The Sweet Heat
187. Switchblade Jesus
191. Zone Six
Would be Awfully Nice
This last category is basically as close as I’m willing to come to rampant speculation. Endless Boogie have hinted at new material, and Queens of the Stone Age have talked about hitting the studio for the last two years. There were rumors about Om, and though Kings Destroy just put out an EP, they have new songs as well, though I doubt we’ll hear them before the end of 2017. I’ll admit that Across Tundras, Fever Dog, Lord Fowl, Lowrider and Hour of 13 are just wishful thinking on my part. A boy can hope:
192. Across Tundras
194. Elephant Tree
195. Endless Boogie
196. Fever Dog
197. Fu Manchu
198. Halfway to Gone
199. Hour of 13
201. Kings Destroy
202. Lord Fowl
204. Masters of Reality
207. Queens of the Stone Age
If you’ve made it this far, thanks for reading. Whatever this year brings, I hope it’s been great so far for you and I hope it continues to be so as we proceed inexorably to 2018 and all the also-futuristic-sounding numbers thereafter. At least we know we’ll have plenty of good music to keep us company on that voyage.
As always, comments section is open if there’s anything I’ve left out. I’m happy to add, adjust, etc., as need be, so really, have at it, and thanks in advance.
Posted in Reviews on January 5th, 2017 by JJ Koczan
As was the case with Surya Kris Peters‘ first physically-pressed album, 2016’s The Hermit (review here), the key to Holy Holy Holy seems to lie in evocation. This solo-project from Christian Peters of Berlin heavy psych rockers Samsara Blues Experiment began with the 2015 digital outing Status Flux and subsequent Moonstruck, and working with his own Electric Magic Records imprint (distributed through World in Sound), Peters embraces a broad creative freedom across the included six songs, the last of which, “Modular Mono Logic,” consumes the whole of side B at a grand and exploratory 21 minutes of layered modular synth, Moog, guitar, keys, programming, and so on. I’m not sure I’d call the album as a whole more experimental than its predecessor, since if anything, Peters seems more assured of this creative process than he did last time — that is, he has a better sense of how to make this kind of kosmiche progadelia work — but it remains far, far out even in side A’s guitar-driven “Schorfheide Blues,” which is about as close as Holy Holy Holy comes to rock-based composition.
It could well be this openness and creative range that lets the title have such a strong presence in the listening experience of Holy Holy Holy, in that just as The Hermit seemed contemplative and insular, this new collection flows together more as a single, outward-looking statement of worship, but whatever the case, it remains very much a solo affair on Peters‘ part. He handles all instrumentation himself as well as the recording process — his adopted moniker for the project, Surya, being a reference to the Hindu sun deity, further underscoring the idea of worship — as he brings together the two sides, each drawn from a separately-issued 2016 digital EP, into an encompassing 42-minute long-player.
It’s not long into “Leise Versprechen” (“quietly promise”), which begins side A’s series of five tracks — two more were on the original Schorfheide Blues EP, presumably dropped from Holy Holy Holy for vinyl time constraints — before Peters has built up from a low rumble to a near-orchestral wash of synth. He establishes a simple keyboard line early, however, and holds to it throughout the opener’s five minutes, so that even as the song more completely comes to life, its swell of volume carries that intimacy forward. In some ways, that’s the story of the record itself, and of Peters‘ progression as a solo artist, but as “Tanz der Wasserläufer” (“dance of water runners”) beams itself in like some deep space transmission of modular bleeps and bloops — or maybe those are intended to be drops of water? or birds? — the krautrock vibe becomes all the more prevalent, as does the hypnotic intertwining of layers.
Accordingly, the clarion fuzz of “Schorfheide Blues” — which if I’m not mistaken (and I might be, as always) is Peters‘ first guitar-led solo track since Surya Kris Peters emerged from his previous project, Soulitude, which released a lone full-length, So Came Restless Night (review here), in 2013 — is somewhat jarring, but the song’s quick 4:20 run does much to ground Holy Holy Holy before moving into the plucked synth strings and Mellotron-style sounds of “Soirée à Lunéville” (switching from a German title to French), which revives the blend of background wash and a relatively simple forward line, this time with the already noted string sounds in the forward position, almost making it a shame Peters titled another song as a “Tanz.” “Soirée à Lunéville” is also brief.
At 2:29, it’s the shortest piece on the LP, but neither its standalone impression nor its function in serving as a bridge between “Soirée à Lunéville” and “Nachtschattenspleen” (“night shadows”) are to be understated, the side A finale seeming to be an extension of the evening hours the prior track put forth, but broader and more spacious, a low drone beneath reminding that indeed, we’re in the dark. The falling waters of “Tanz der Wasserläufer” seem to make a return as well, and they’re the last sounds to go before the first half of Holy Holy Holy ends and a platter flip brings “Modular Mono Logic,” which was recorded in Spring 2016 and originally presented in three movements on the summer-released EP of the same name: ‘Gong Zong,’ ‘Rumba Elektronika’ and ‘All-Ein-Sein.’ Where one might feed into the next exactly I won’t hazard to say, but there are distinct changes in feel as “Modular Mono Logic” moves from its opening low-end undulations toward the final spread of droning swirl that consumes it, ending on a long fade of residual noise.
On the original EP, it also came with another track — “Talk to the Devil to Find God” — but on its own as part of this LP, “Modular Mono Logic” still qualifies as Peters‘ most ambitious offering under the banner of Surya Kris Peters, and with all the nighttime contemplations, spiritual searching and aural experimentation, “offering” feels very much appropriate as a descriptor for what’s happening on Holy Holy Holy. Whether that’s true because of the title’s power of suggestion or something else ultimately doesn’t matter, since at very least it demonstrates a consciousness and a purpose behind Peters‘ work in this form. One can only hope that will continue to develop as it has thus far and that his penchant for finding quiet spaces within his own soundscapes remains as resonant as it is here.
Posted in Whathaveyou on December 29th, 2016 by JJ Koczan
I’ve been doing my best to keep up with the impending 2017 resurgence of Berlin heavy psychedelic rockers Samsara Blues Experiment, who by next Spring should be back in full swing after a couple years of relative inactivity. First came word in October they would play Desertfest London 2017 (info here). Just days later, the trio confirmed they were preparing a fourth album for release to follow-up on 2013’s excellent Waiting for the Flood (review here). After that, it was Desertfest Berlin 2017 (info here), Barcelona’s Riff Ritual Fest (info here) — also in April — and a South American tour presented by Abraxas to take place in March (info here).
By the time they’re done with it, I think Samsara Blues Experiment will have already had a pretty busy Spring, but as they bridge the gap from one run to the next, they now present a home-country weekender of German shows that will fall after their return from South America and before the trips to Spain and London/Berlin for Riff Ritual and the two Desertfests (not that Berlin is much of a voyage for them, but you know what I mean). It’s just three dates, but it carries them from March into April and centers around a slot at the Under the Black Moon Festival in Munich on April 1, where they’ll join the likes of Mantar, High Fighter, Dune Pilot, 1000mods and others.
Still no solid release date for the album so far as I know, and at this point that’s the news I’m waiting for, but it continues to be a thrill to see Samsara Blues Experiment coming to life again in such a big way and I hope it’s a theme for the rest of 2017 as well. Dates follow for the German and South American shows:
Samsara Blues Experiment – Osnabrück / München / Leipzig
Samsara Blues Experiment live!
Exclusive Germany Short Tour to the start of the fourth album announced for spring 2017.
31. March Westwerk Osnabrück 01. April Under The Black Moon Festival München 02. April Werk 2 Leipzig w/1000mods
Coming soon, let´s have a party…
SAMSARA BLUES EXPERIMENT – SOUTH AMERICA TOUR – MARCH 2017 03/02 – Santiago, CL @ La Capilla 03/03 – Buenos Aires, AR @ The Roxy Live 03/04 – Montevideo, UR @ Bluzz Live 03/05 – Córdoba, AR @ Refugio Guernica 03/08 – Porto Alegre, BR @ RIFF.E Bar 03/09 – Florianópolis, BR @ Célula Showcase 03/10 – Belo Horizonte, BR @ Stonehenge Rock Bar 03/11 – São Paulo, BR @ Inferno Club 03/12 – Rio de Janeiro, BR @ Hocus Pocus Fest
Posted in Whathaveyou on October 17th, 2016 by JJ Koczan
Three quick years since Berlin heavy psych progressives Samsara Blues Experiment made their most expansive statement to-date with their third album, Waiting for the Flood (review here). That record, which was hands down one of that year’s best, found them traveling Stateside for the first time since they were a demo band, playing a slot at Psycho California in 2015. There was a minute there where I thought that trip was the end of them. After transitioning from a four-piece to a trio already, they seemed to take a break after returning to Germany as guitarist/vocalist Chris Peters focused on solo work and bassist Hans Eiselt turned his attention more to producing.
Good news is they’re not, in fact, done. In addition to being confirmed last week for Desertfest London 2017 (info here), Samsara Blues Experiment have a fourth album in progress now. They’ll also be playing a hometown gig at the end of next month — their only show for 2016 — alongside Muddy Orchid, who are about to release a new single.
I’d guess the timeline on the new full-length will put it somewhere around that Desertfest appearance, but in addition to noting that the band isn’t going to sign with “a metal label” — I’m assuming that means Napalm Records or Century Media, both based in Germany — there’s nothing actually confirmed for a date. Peters, meanwhile, will have a follow-up solo effort as well to this year’s The Hermit (review here), which came out on his own Electric Magic Records imprint.
And now that I’ve just told you everything they’re about to tell you, here’s them telling you:
Samsara Blues Experiment have almost finished writing songs for the 4th album.
We will present all of these five new tracks live for the first time at our November show in Berlin. The release of the album can be expected in around next Spring.
And: We have not, neither will we sign with a Metal label.
Chris a.k.a. Surya Kris Peters has also finished recording a follow-up to his solo debut LP “The Hermit”, which shall be released in very early 2017 on Electric Magic Records.
Recently there´s also been a collaboration with a friend band of ours, which is Muddy Orchid (feat. first SBE-drummer Robin Niehoff). Chris put down some Slide Guitar and Sitar on their new and coming 7″ record, which shall be released in late November 2016.
First string of shows for next year will be announced over the coming weeks as well. One of the very first is Desertfest London!
To be withdrawn is the principal aspect of bring a hermit. One pictures the long white beard of someone living in a cave on a hillside, who has removed themself completely from society and would rather be alone. Introversion taken to its most extreme end. Hermits also traditionally have the assumption of some known wisdom. Think of Nietzsche’s Also Sprach Zarathustra. We believe the hermit knows something because, since they choose to eschew human contact, they must invariably spend all that time lost in deep thought. It’s an evocative title for Surya Kris Peters‘ first physically-pressed LP — that being The Hermit, on Electric Magic Records — and the cover of the album shows the figure from the tarot card of the same name, underscoring the notion of wisdom at work behind the pulling of one’s self out of the larger public sphere.
It’s easy to see or at least to read into why Surya Kris Peters — aka Christian Peters, also guitarist/vocalist/spearhead of the off-focus-but-not-entirely-defunct Samsara Blues Experiment — might pick the title. Surya Kris Peters has had a couple digital releases out over the last year, and Peters‘ prior solo-project, Soulitude, collected home recordings for the So Came Restless Night (review here) album in 2013, but still, one might understand The Hermit as a phase in a musical withdrawal into the self, Peters delving in its eight tracks/43 minutes deeply into the roots of his own influences, blending electronic and analog elements for rich, varied, almost-entirely instrumental soundscapes and mood pieces that, in some way, define who he is as an artist at this moment.
It can be a dark vision, as on the penultimate “Chandra Luna,” which starts out with a rare moment of whimsy before shifting into slow-rolling synth march, or on the contemplative grunge minimalist guitar work of the earlier, shorter “Winterbottom.” The lack of vocals across most of the board — something Peters also chose to keep out of 2015’s Status Flux digital-only long-player — adds as much to the evocative feel as it detracts. We aren’t told directly what the percussive start of opener “Eremitage” or its space-synth/sitar are expressing, so we put our own meaning behind it. In that way, The Hermit engages rather than repels, working against its title to bring the audience in, and that’s a thread that continues as the album progresses through “Ragamati”‘s East-meets-West krautrock blend, the melancholy drift of “Snow Feather” after “Winterbottom,” and so on.
Peters seems to be worried less about tying these pieces together than making them complete individually, but The Hermit has a certain kind of flow all the same — one certainly assumes “Moonstruck Serenade” and “Chandra Luna” are related thematically, based on their titles and placement next to each other — and while some cuts are more built up, as is “Ragamati,” a song like “The Legend of Raja Shakuu” basically relies on synth with a background of effects wash for its nine-minute stretch, so the context is fluid depending on the song, and though he quite clearly knows what he’s doing, Peters keeps a sense of experimentalism underlying the material here, so that creative growth is a prevalent aspect of the album’s forward progression. Indeed, it might be the defining characteristic.
Some of the tradeoff there is that at times the experiments can feel more driven by the exploration than songwriting, leaving one to wonder as “Moonstruck Serenade” gives way to “Chandra Luna” what live drums might’ve brought to the proceedings alongside the percussion deep in the mix, or even another player to join in on the fun with the analog synth — how these pieces could continue to be built out. That’s not the mission of The Hermit, obviously, and it’s not as though this material hasn’t been worked over, I’d guess meticulously, in its layering and mix, just that by their very nature, they lead the listener into a creative sphere as well in terms of thinking of directions they could keep reaching further. “Chandra Luna” boasts the only vocals on the album, and they’re buried deep and echoing, chant-like, so not much of an anchor there, and closer “La Morriña” (“the nostalgia”) brings together suitably wistful guitar and underscores it with theremin-esque resonance, giving a sense of weirdness to what would seem to be otherwise unabashed emotionalism.
Maybe part of that undercutting is related to the process of making The Hermit so personal, a deflection of emotional seriousness with humor — one could write a thesis on the psychology of solo albums — but either way, it’s a last-minute moment of quirk to follow-up on the intro to “Chandra Luna” and show that Peters isn’t completely ingrained in the expression of darker sonic ideas. Being so self-contained, Surya Kris Peters as a project seems like the kind that could easily become prolific over the next several years — one might recall that Samsara Blues Experiment worked at a pretty good clip between records as well for a while there — but whatever happens going forward, as the first physical release, The Hermit represents Peters‘ creative breadth well and communicates far more to its audience than its antisocial title might indicate.
Surya Kris Peters, the solo vehicle of Christian Peters, guitarist/vocalist of Samsara Blues Experiment, has two albums under its belt already in last year’s Status Flux and Moonstruck, but The Hermit is the first of his outings to receive a vinyl release. Available to preorder now through Electric Magic Records, the record can also be streamed in full on the label’s Bandcamp (see embed below) and brings together instrumental experimentation and far-ranging psychedelic meditations with a personal sense of intimacy in the creative act. Here delving into classic organ, there exploring a soundscaping drone, it’s an album that has about as many sides to its personality as it has tracks, but there’s a hypnotic current overriding as well, so it’s still possible to get lost in it.
As, of course, you’re welcome to do in checking out the album below. Release info follows:
Kosmic Kris’ new soloalbum LP is now available for preorder. This is limited to only 100 pieces of white wax, with screenprinted artwork and the seductive smell of creativity… don’t expect rock music, expect the higher realm of sonic bliss.
Introspective, contemplative, evocative: SURYA KRIS PETERS is the soloproject of Samsara Blues Experiment-mainbrain Christian Peters. His first LP “The Hermit” offers a selection of the previously only digitally released albums “Status Flux” (Aug 2015) and “Moonstruck” (Jan 2016). “The Hermit” can be seen as a summary of Peters´ musical influences reaching from childhood memories of Mike Oldfield and Bedrich Smetana to adolescent impressions by Trance To The Sun and Saturnia, sprinkles of Krautrock (esp. Popol Vuh and Klaus Schulze), and actual favorites like synthesizer drone-minimalist Eliane Radigue and sounds from Far East by artists like Osamu Kitajima and Ananda Shankar. While being rooted in the early days of electronic music Surya Kris Peters yet takes on a different approach. He masters to add his own perspective to music without being nostalgic.
This first LP-edition is limited to 100 items of virgin-white vinyl with silkscreened artwork and handwritten labels. A true work of art, and soon a collectors item!
1. Eremitage 05:12 2. Ragamati 04:50 3. Winterbottom 02:26 4. Snow Feather 05:35 5. The Legend Of Raja Shakuu 09:18 6. Moonstruck Serenade 02:59 7. Chandra Luna 09:38 8. La Morriña 03:42