Naxatras Post “Pulsar 4000” Video

Posted in Bootleg Theater on February 7th, 2017 by JJ Koczan

We — you and I — have seen over the last couple years the rising of the Greek heavy underground. From the fuzz-fueled riffs of 1000mods to Bus‘ heavy blues to the there’s-something-special-happening-here jams proffered by Thessaloniki trio Naxatras, not only is it a boom of bands coming out, but one distinguished in quality and variety. Some are new, some have been around a while, but as Greece becomes more of a hotbed for heavy rock — it has its own Desertfest, which just by way of an example the US does not — it has thus far been able to sustain a multi-faceted thrust to sate different kinds of listeners; essential for any scene, large or small, to survive.

As regards Naxatras, whose first official video, “Pulsar 4000,” you can see below — it might as well come with a hand-written invitation to space the hell out for its seven minutes — the psychedelic explorers, as noted, have set themselves on a path of capturing something special. Europe has a long tradition of progressive jamming, and indeed, the three-piece of bassist/vocalist John Vagenas, guitarist John Delias and drummer Kostas Harizanis would seem to have learned some crucial lessons from their northern stylistic forebears in outfits like Causa SuiElectric Moon and Colour Haze, but their live-recorded, analog-tracked material has managed to resonate with listeners in and out of their home country precisely because of the individuality of its tones and the personal aspects of its presentation — the natural chemistry between the three players, the easy flow they conjure up in their songs, etc.

“Pulsar 4000” comes from their 2016 EP (discussed here), which followed their 2015 self-titled debut full-length and was a precursor to last year’s II (review here). Quick as their ascent to the fore of Greece’s representative exports has seemed, I think this track sums up a lot of what has allowed them to take such firm hold of their audience’s imagination — a process they seem to acknowledge directly in the video, as it happens — and even with the drastic sonic turn it takes circa the five-minute mark, Naxatras have conjured such an open vibe that they’ve basically given themselves permission to wander where they please. We — you and I — can only hope they continue to do so.

Video credits and a couple tour dates follow the clip below.

Please enjoy:

Naxatras, “Pulsar 4000” official video

Taken from our 2016 “EP”, recorded at Magnetic Fidelity.
Directed by Elena Kontela
Director Of Photograpy: Anastasis Kontostergios
Camera Operation: Alex Vilaras
Animated by Haris Kountouris
Edited by Nikolas Kanellopoulos
Producer: Aris Antivachis
Starring Fay Vevi
www.midnightpictures.eu
Artwork design by Skitsos and Chris RW.

Naxatras Spring Break!!
30.3 – Cafe Santan , Volos
31.3 – Stage Club , Larissa
1.4 – Eightball Club , Thessaloniki

More to be announced soon….

Naxatras is:
John Delias – Guitar
Kostas Harizanis – Drums
John Vagenas – Bass & Vocals

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Naxatras on Bandcamp

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Naxatras Release New EP

Posted in Whathaveyou on April 4th, 2016 by JJ Koczan

naxatras

Greek heavy psych instrumentalists Naxatras have a released a surprise two-song EP in advance of their second album. The trio had discussed offering a 10″ before following up their wildly received 2015 self-titled debut, and I’m not sure if the tracks included on this untitled offering — “Muscle Red Horse” and “Pulsar 4000” — will wind up on that and they just decided to put them out early for a fun April Fools Day thing or what. Either way, the sound is right on in its live feel and organic groove, with “Muscle Red Horse” having a bit more crunch to it while “Pulsar 4000” pushes outward on a more serene, spaced-out course in its second half. I expect it will be met with few complaints.

Naxatras have also apparently pressed up another run of CDs for the self-titled, one of which I think I’ll pick up. Their sophomore LP is among my most anticipated for 2016 as well, so needless to say, I’m looking forward to its arrival. These guys seem to have something special to offer and have already resonated in a significant way. The new tracks give a pretty solid indication why.

Dig it:naxatras ep

RIDE THE PSYCHEDELIC HORSE!!!

100% Analog Live Direct-to-Master Recording at Magnetic Fidelity. Engineered by Jesus I. Agnew. Artwork by Skitsos.

Naxatras is a hard psychedelic rock band from Greece. They play a warm psychedelia full of fat grooves, dreamy melodies, heavy riffs and trippy guitar solos all with the vintage touch of the 70’s.

They have been playing since 2012, developing their sound and finally recorded their first full-length album in a 100% analog way at Magnetic Fidelity (a studio in rural northern Greece) with Jesus Agnew, an engineer experienced in the field of analog and DIY recordings. Only analog equipment was used in the recording-mixing-mastering stages of the album. All the songs in the record were performed entirely live during just one day.

The band does high-energy live performances combining elements of psychedelic/progressive rock, stoner, funk, jazz and eastern music with a trippy video wall to accomplish full stimulation of the senses. In summer 2015 they went on their first tour playing five european countries.

EP tracklisting:
1. Muscle Red Horse
2. Pulsar 4000

https://www.facebook.com/naxatras/
https://naxatras.bandcamp.com/album/ep

Naxatras, EP (2016)

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Quarterly Review: Corrections House, Antimatter, Colossus, Bastard Lord, Monocluster, Valley, Shatner, Australasia, The Moth Gatherer, Super Witch

Posted in Reviews on January 6th, 2016 by JJ Koczan

the obelisk quarterly review winter

Well, this is where we hit and pass the halfway point. It’s been a good week so far. Busy, but good. I hope you’ve found something that you dig or agree with or whatnot. I know it’s kind of hard to dig through 10 releases at once, but even if you see cover art that strikes a nerve, going with that impulse is rarely a bad idea, particularly when the level of commitment involved is clicking play on a Bandcamp player to get a taste. Pretty wide range today, so let’s dig in.

Quarterly review #21-30:

Corrections House, Know How to Carry a Whip

corrections house know how to carry a whip

Since they made their debut as a unit in 2013 with Last City Zero (also on Neurot), the don’t-call-it-a-supergroup Corrections House – vocalist Mike Williams (Eyehategod), guitarist/vocalist Scott Kelly (Neurosis), saxophonist/vocalist Bruce Lamont (Yakuza, Bloodiest) and programmer Sanford Parker (Buried at Sea) – have spread their bleak gospel of totalitarian industrial vehemence to audiences in the US and Europe. Their second offering, Know How to Carry a Whip, is bolder sound-wise and retains a very human, punk rock core with Williams’ sneer playing off Kelly’s gutturalism on “White Man’s Gonna Lose” and nearly goes goth in doing the same with Lamont in the later “When Push Comes to Shank,” but across the 45-minute span, the songs remain in the key of abrasion, and ultimately that’s what most unites them. As noisy as closer “Burn the Witness” gets, I can’t help but think of the acoustic, Lamont-led centerpiece “Visions Divide” as the bleakest moment of the record, twisting folkish conventions into a dystopian soundscape, but Williams’ spoken drug-poetry on “I was Never Good at Meth” provides stiff competition.

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Neurot Recordings

Antimatter, The Judas Table

The Judas Table

Lush in its arrangements and doling out extreme measures of melancholy across its 56 minutes, Antimatter’s sixth album, The Judas Table (on Prophecy Productions), brings sonic depth to bear in rich textures of electric and acoustic guitars, keys, and the strength-through-fragility vocals of remaining founder and songwriter Mick Moss. The group’s last offering, 2012’s Fear of a Unique Identity (review here), pushed them into fuller tones, and an early cut like “Killer” builds on that, but the crux of The Judas Table is in subdued and brooding pieces like “Little Piggy,” remorseful and seething in kind as it moves through an acoustic-led arrangement marked out by strings and a sense of grace. “Integrity” asks the question, “What’s the point if no one else has any?” and sets a depressive run through one of the record’s grader builds, but Antimatter are hardly contained to one style here, as the New Wave inflection on “Can of Worms” or the rumbling apex of highlight “Stillborn Empires” demonstrate.

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Prophecy Productions

Colossus, The Breathing World

colossus the breathing world

Not to be confused with their Swedish countrymen who operated under the same moniker and whose lineup included a post-and-pre-Candlemass Messiah Marcolin, Stockholm’s Colossus play a decidedly progressive blend of Peaceville-style doom and metal, the trio of guitarist/vocalist Niklas Eriksson, bassist Peter Berg and drummer Thomas Norstedt adding a near-immediate inflection toward the epic via Primordial-style vocal patterning on opener “Yehi Aour/Wanderers” that holds for much of their 48-minute sophomore outing, The Breathing World (on Perennity Records). “Darkling Root” and more so the chugging “Fuga Mundi” delve into blackened fare in the guitar, but it’s just one of an array of genres in Colossus’ arsenal and in the case of the latter, soon enough complemented by Opethian prog noodling and soulful vocalizing. These turns, which more often than not happen in an instant, are a great strength of The Breathing World, but would fall flat without the crisp, confident delivery the band provides leading to the grand sprawl and long fade of 10-minute closer, “The Silent City.”

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Colossus on Bandcamp

Bastard Lord, Bastard Lord

bastard lord bastard lord

One thing we’ve learned about Twin Earth Records thus far into the long-established label’s recent surge of activity is that it knows tone when it hears it. Thus comes treading Bastard Lord out of Buffalo, New York, whose four-song self-titled debut was initially self-released and remastered for a CD issue, rumble-fuzzing a murky Sabbath worship that oozes from the amps of bassist/vocalist David Braymiller and guitarist Mike Hermann – hard to tell at times in 13-minute opener and longest track (immediate points) “Cimmerian” where the one instrument ends and the other begins – and set to a suitable plod by Jeremy Coupe’s drumming. It’s little surprise when they pay homage to “Snowblind” in “Wormwood,” but the psychedelic edge in Braymiller’s vocals – drowned in effects, buried in the mix; both appropriately so – gives Bastard Lord a personality of its own the holds even into the faster closer “Into the Sea,” a Toner Low-style lysergic depth unflinching through that song and “Summoner” before it as Bastard Lord emerge from the mire with their intentions clear.

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Twin Earth Records

Monocluster, Monocluster

monocluster monocluster

One might be forgiven for entering into Monocluster’s self-titled, self-released debut album with an expectation for traditional stoner rock, between the band’s moniker and album cover – and if that’s what came through in playing the 35-minute, five-track outing, I very likely wouldn’t complain – but the German-language four-piece subtly veer into and out of spacier interludes in cuts like “Dantes Inferno” and “8 Stunden” and the later “Ich Atme” pushes even further along those lines, jamming out vast and echoing over a foundational bassline that holds the track together before it stops outright and resurfaces with Monocluster’s most righteous single nod. Centerpiece “Straße” demonstrates a touch of Colour Haze influence as well, but on the whole the Cologne four-piece seem headed in a different direction, and as the 10-minute closer “12 Minuten” ranges farther and heavier than everything before it, I’m only more intrigued to find out where they might end up. Heavy psych that’s not afraid to tighten up and make a more pointed impact when it feels one is needed.

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Monocluster on Bandcamp

Valley, Sunburst

valley sunburst

I have two reasons for writing a review of Valley’s Sunburst EP, and they are both ridiculously simple. Yes, the Swedish five-piece were featured in two podcasts (one here, one here) and mentioned in the roundup of 2015’s best short releases – however, reviewing Sunburst now gives me another excuse to put it back on and it gives me something to fall back to later when I’m praising the crap out of whatever they do next and want to link a past review. Simple reasons. If you haven’t yet heard the 2015 debut outing from the Stockholm post-heavy rock instrumentalists, basked in the warm, organic psychedelia of “Tunguska” and “Kiro” or the peaceful folk-jam of “Dream Shooter, Golden!” and the tense-and-release percussion and sample-topped progressive course of “Picture Puzzle Pattern Door,” then you have quite simply missed out. I’m sure plenty have and plenty more will liken it to a desert sound – in no small part because of the cover art – but the smooth melodicism goes beyond landscape here and is made to be appreciated regardless of climate or locale.

Valley on Thee Facebooks

Version Studio Records

Shatner, EP

shatner ep

An edge of Northeastern aggression is unmistakable at the core of Shatner’s 20-minute self-released six-track EP. Based in Boston, the tree-piece boasts guitarist/vocalist Jim Healey (Black Thai, We’re all Gonna Die), bassist/backing vocalist Jesse Sherman (We’re all Gonna Die) and drummer Rob Davol (Cocked ‘n’ Loaded), and so a touch of anger isn’t unexpected given the personnel – even Healey’s acoustic work has brooding tension underlying – but if “Special” and “Black Market Liver” are variations on an ongoing theme, they’re of consistent quality in terms of songwriting, and the Thin Lizzy cover “Bad Reputation” is positioned well just past the halfway point to add variety amid a slew of potent hooks. Not their first time working together, but Healey and Sherman’s voices complement each other well on “Dead in Your Eyes” and “Death Reheated,” and with the solid foundation that Davol provides throughout, Shatner’s EP is an encouraging start to what’s hopefully an ongoing development.

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Shatner on Bandcamp

Australasia, Notturno

australasia-notturno

Harvested, sometimes manipulated samples and synthesized textures permeate Notturno, the mostly-instrumental second album from Italian atmospheric project Australasia. Comprised solely of Gian Spalluto, it’s somewhat more surprising that songs like the cascading “Lumen” and “Kern” are able to conjure such full-band progressions, but layering was bound to be a factor one way or another in Australasia’s approach, so if it’s Spalluto’s vision at play, so be it. Sonically, the impression of much of the material – including the guest-vocalized centerpiece “Invisibile” – winds up somewhere between the dystopian ambience of Red Sparowes and the brighter aspirations of post-black metallers Alcest, but songs like “Haxo” and the closing title-track, a (mostly) solo piano piece, have a cinematic edge as well. Rather than play one side against the other, Spalluto brings them together in one overarching flow that engages conceptually and sonically throughout a nine-track/39-minute course that willfully refuses to acknowledge a line between post-rock and post-metal.

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Apocalyptic Witchcraft Recordings

The Moth Gatherer, The Earth is the Sky

the moth gatherer the earth is the sky

Synth ambience and distorted severity meet head-on with the second full-length from Swedish post-metallers The Moth Gatherer, The Earth is the Sky (on Agonia Records). Produced over a two-year span with Karl Daniel Lidén (Greenleaf, VAKA, etc.), it punishes intensely on “The Black Antlers” with no less underlying fluidity than it had on the quietly atmospheric “Dyatlov Pass” preceding, the four-piece of bassist/vocalist Alex Stjernfeldt, guitarist/vocalist/programmer Victor Wegeborn, guitarist Ronny Westphal and drummer Svante Karlsson finding a place sound-wise that swaps between peaceful and threatening, delving into extreme progressive metal and electronica in kind on “Attacus Atlas” while setting up the consuming, gradual push of 11-minute closer “In Awe Before the Rapture,” which seems in conversation with the synth of the earlier “Probing the Descent of Man” in creating a layered structure of sound, while also attempting to marry the various impulses displayed throughout. Familiar to a degree, but immersive in its bringing earth and sky together.

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Agonia Records

Super Witch, Super Witch has Risen

super witch super witch has risen

You might wonder just what kind of neighborhood it is that would pair “The House that Dripped Blood” next door to “House of Warlocks” – perhaps that street is on the “Island of Lost Souls” – but then you probably wouldn’t get the crux of Memphis heavy punk foursome Super Witch’s debut full-length, Super Witch Has Risen, which has tales of horror front to back, “Spaceship Cadillac” notwithstanding. The Tennessean outfit dip into garage grunge on “Night of the Hunter” and stomp out call and response and Melvins chug on on “The Need,” show some more patient swing on “Smash Your Own Face,” but it’s “Army of Werewolves” and the opening “Super Witch Has Risen” that tell the story of the band’s intent more than the semi-swirl of “Smash Your Own Face” or the all-the-way swirl of closer “With the Lights Out,” as satisfying as the closer is in pulling off a rare feat – psychedelic punk. Split between two recording sessions, there are some changes in sound throughout, but it would take a supernatural force to derail Super Witch from their underlying purpose.

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Super Witch on Bandcamp

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