Malady Announce March 16 Release for Toinen Toista; Title-Track Streaming

Posted in Whathaveyou on January 16th, 2018 by JJ Koczan

malady

Helsinki-based classic progressive rockers Malady will return just as perhaps the hard ground begins to thaw in mid-March with their sophomore full-length, Toinen Toista, and as the newly-streaming opening title-track shows, they’re not lacking for warmth. The band made their debut on Svart Records with a late-2015 self-titled (review here), and if the label’s weighty endorsement isn’t enough to immediately grab your attention — as it should be; “Finnish prog on Svart” is about as clear as dogwhistles get as stand-ins for “this is awesome you should listen to it” — I’ll hope to have more on this one ahead of its actual forthcoming release, whether that’s the international one or that of their home country. We’ll see how it shakes out, but I’ve got my fingers crossed either way. The sooner the better, of course.

The PR wire brings awesome album art, details, links and audio. Behold:

malady Toinen Toista

MALADY set release date for new SVART album, reveal first track

Svart Records sets March 16th as the international release date for Malady’s highly anticipated second album, Toinen toista. The album will be released earlier in the band’s native Finland on February 2nd.

Malady’s eponymous debut album was a deserved underground hit, a beautifully realized piece of original Finnish progressive rock which had its roots dug deeply in the sound of the early ’70s. Their second album, Toinen toista, goes even deeper.

Composed and arranged as a collaborative piece by the band, Toinen toista has enough detail to keep one captivated for repeated listens. The music is glazed with the kind of homegrown sweetness only vintage Scandinavian prog rock can offer, but its insides are complex, with layer upon layer of things to discover. Comments lyricist Juuso Jylhänlehto, “This album is open to many interpretations and laden with symbolism, but at its core lays the basic questions of being human and the transient nature of things.”

Much more is to be expected of Malady in the future. The talented quintet sets upon a number of shows after the album’s release in the spring.

Tracklisting for Malady’s Toinen toista
1. Toinen toista
2. Laulu sisaruksille
3. Tiedon kehtolaulu
4. Etsija?n elinehto
5. Nurja puoli

Malady is:
Tony Björkman: Guitar
Babak Issabeigloo: Guitar + Vocals
Juuso Jylhänlehto: Drums
Ville Rohiola: Hammond + Keyboards
Jonni Tanskanen: Bass guitar

www.facebook.com/maladyband
www.svartrecords.com
www.facebook.com/svartrecords
www.youtube.com/svartrecords
www.twitter.com/svartrecords

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Dark Buddha Rising to Release II EP March 23

Posted in Whathaveyou on December 13th, 2017 by JJ Koczan

Experimentalist conjurers Dark Buddha Rising have been lurking in the recesses since the 2015 release of their latest full-length, Inversum (review here), which was also their debut on Neurot Recordings and sixth album overall, but they’re back from the abyss on March 23 with a new two-songer that seems to be setting itself up as a sequel to their 2007 debut, I. Suitably titled II, it’s a proposition that leaves one wondering just how the group will relate the two records with such a span of time and so many other outings between., however, I’ll say that whichever way they go, I like the fact that they relate it to a gravitational slingshot, because, you know, Star Trek IV and all that.

“Admiral, there be whales here!”

Indeed, Mr. Scott. Indeed there be.

A vision of a darker future promised by the PR wire:

dark buddha rising ii

DARK BUDDHA RISING Opens A Portal With Their Latest Release II Set To Drop Via Neurot Recordings This March

Prepare your mind, body, and the deepest recesses of your soul: the black gates that DARK BUDDHA RISING unlocked a decade ago with I, open further in 2018, as the band announce the II EP, due for release via Neurot Recordings on March 23rd, 2018. II continues to traverse spiritual planes, exposing a vortex with their sonic calls from beyond.

For ten years, the Finnish band has convened in the now-famous Wastement studio space, set below their home city of Tampere, Finland, to roil in the sounds of the underground, to meet dark spirits, to breathe in time with rhythmic pulses sent from the skies, the stars, and the very dirt around them.

On the surface, the band emits the blackest of psychedelia. Deep down, their sounds are forged in the blue fires of the ancients; exhalations of gods, goddesses and demons alike. Of this new offering, V. Ajomo notes, “To drain our sonic temple, we wanted to record the new material which was made for 2016 shows in order to proceed towards the unknown with open minds and hearts. After the cleansing, we initiated our chamber with ambient meditation and opened the portals of inspiration for our future work.”

II sees DARK BUDDHA RISING return to its purest incarnation: J.Rämänen on drums, P. Rämänen on bass, and V. Ajomo on guitar, J. Saarivuori on synths and M. Neuman on main vocals. “We have done a full cycle of the orbit and now is the time for gravitational slingshot towards the new dimensions in sound, deliverance and vision,” says Ajomo.

The EP’s A-side was recorded and mixed in Space Junk Studio by K.Nyyssönen and B-side was recorded in Wastement by DARK BUDDHA RISING and mixed by S. Tamminen.

It has been two years since DARK BUDDHA RISING found a home amongst kindred spirits at Neurot Recordings, who released Inversum, the first album recorded in the band’s Wastement home AKA “the asylum of eternal feedback.”

II will be released on CD and vinyl formats via Neurot Recordings. Preorder info to be released in the new year. Stand by.

II Track Listing:
1. Mahathgata I
2. Mahathgata II

DARK BUDDHA RISING Live:
12/13/2017 Klubi – Tampere, FI

http://www.darkbuddharising.com
http://www.facebook.com/dbrising
http://www.twitter.com/drkbuddharising
http://www.neurotrecordings.com
http://www.facebook.com/neurotrecordings
http://www.twitter.com/OfficialNeurot

Dark Buddha Rising, European Tour Trailer

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Stoner Kings Post “Cro-Magnon” Video

Posted in Bootleg Theater on November 20th, 2017 by JJ Koczan

stoner kings

Anyone remember that old Saturday Night Live bit where Phil Hartman played the ‘Unfrozen Caveman Lawyer?’ Well, the new video from reignited Finnish rockers Stoner Kings is kind of like that, except instead of a lawyer, their Cro-Magnon sits in an office reading old Conan comics — boy did that Lego ad on the back of that comic book bring back some memories — grossing out prissy coworkers by eating a pig’s head, spilling his beverage, tearing down Justin Bieber posters, etc.

The message is pretty clear, right? “Cro-Magnon,” which also happens to be the name of Stoner Kings‘ new single, is serving as a kind of representation for alienated masculinity. The job, the pretty girl taking selfies and eating chickpeas, the technology — note the model age of our protagonist’s not-at-all-smartphone — all of it is holding this thick-browed dude from letting loose, until finally he discovers the band rocking out in what seems to be a garage and gets his shirt ripped off, revealing a Stoner Kings tee that couldn’t be more fitting. Rocking out ensues, good times are had, and the inner-dude is reclaimed and redeemed.

Hard-hitting and catchy as all hell, “Cro-Magnon” is the first new Stoner Kings material in more than a decade. The song itself dates back nearly that long, to 2008, before vocalist Michael “StarBuck” Majalahti brought the band to its initial close. Now completed by drummer Janne Kontoniemi, guitarist Joonas Vepsä and bassist Rude Rothstén, Stoner Kings have a handful of new songs to throw in their sets, some going back even further than “Cro-Magnon,” but clearly when it came time to pick one to make a video for, they found just the right kind of hook to go with. Good luck getting it out of your head.

New album in 2018? Anything’s possible. When I hear whatever I hear I’ll let you know what I’ve heard. Until then, you can dig into the clip for “Cro-Magnon” below, followed by more background on the band — if you can chase down a copy of 2001’s Brimstone Blues, it’s some solid pre-social-media heavy rock — courtesy of the PR wire.

Enjoy:

Stoner Kings, “Cro-Magnon” official video

Stoner Kings single Cro-Magnon (2017 Rebel Breed Recordings).

After reforming in late 2016 after an eight-year absence, STONER KINGS are back with new material, recorded under the auspices of producer Hannu Leiden and engineer Eero Kaukomies at Sonic Pump Studios and Content Union Studios in Helsinki over this past autumn.

The band’s first album, Brimstone Blues, was released back in 2001, and subsequently re-released and licensed by Massacre Records in 2002. Stoner Kings’ second album Fuck The World in 2006 featured guests Alexi Laiho (Children of Bodom), Marco Hietala (Nightwish, Tarot), Pasi Rantanen (Thunderstone) and Nico Hartonen (Godsplague). New Stoner Kings single, “Cro-Magnon”, is also the band’s first-ever music video, shot and edited by Marko Simonen.

Written by Michael Majalahti, Petteri Hirvanen and Christian Palin. Arranged by Stoner Kings, Hannu Leiden and Eero Kaukomies. Produced by Hannu Leiden at Sonic Pump Studios, Helsinki. Engineered by Eero Kaukomies at Sonic Pump and Content Union Studios in Helsinki. Copyright 2017 Shrinking Cosmos Music. Published by Content Union Studios.

Stoner Kings Cro-Magnon music video concept, filming and editing by Marko Simonen (www.markosimonen.com).

Stoner Kings on Thee Facebooks

Stoner Kings on YouTube

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Review & Video Premiere: Mangoo, The Heat

Posted in Bootleg Theater, Reviews on November 14th, 2017 by JJ Koczan

mangoo the heat

[Click play above to check out the premiere of Mangoo’s official video for ‘Relief.’ Their third album, The Heat, is out Dec. 8 on Small Stone Records.]

Heat is a catalyst. When you heat something up, its molecules move faster, become more active. Aside from frogs in slow-boiling pots of water, when someone touches something hot, they’re going to react, and one can’t help but wonder if that’s not what Turku, Finland-based heavy rockers Mangoo had in mind for their third album, The Heat. Something that would provoke a response. Something to get the blood moving. A reason for heads to bang and asses to shake. It would be hard to argue they didn’t get there on The Heat, which comprises a nearly-unmanageable 11 tracks/53 minutes of pro-shop song construction, crisply recorded and sharply delivered, heavy rock and roll.

Following two years after a split with UK space-metallers Enos (review here) and half a decade after their Small Stone debut, 2012’s Neverland (review here), the long-player marks the returning lineup of vocalist/guitarist Richard “Pickles” Dahllund, guitarist/backing vocalist Mathias “Mattarn” Åkerlund, bassist/backing vocalist Igor del Toro, drummer/backing vocalist Teemu Pulkkinen and keyboardist/backing vocalist/noisemaker/engineer Niklas Björklund as veterans of the form early, fleshing out melodic arrangements with a fullness of keys and fuzz tone that’s nether overbaked nor underweight. Pickles holds command as a frontman for almost the entire duration, relinquishing forward position only on the Spanish-language “Tiembla” to del Toro, who takes on lead vocals, and behind him, the band conjures grooving largesse on the title-track, resonant, Euro-radio-worthy hooks on cuts like opener “Relief” and the subsequent “Get Away,” and a fervent charge on “Deification” that offsets the semi-twang of “Beyond the Sky” and the psychedelic garage jangle of “Monolith.”

If that sounds a little broad as regards the general spectrum, it is, and that stylistic restlessness is a theme Mangoo — whose moniker seems truly unfortunate until one learns to pronounce it properly as “man-go” — continue from Neverland. Five years later, however, they are more mature as a group and as people, and whether it’s the rolling bassline that underscores the patient, harmony-topped fluidity in the second half of “Beyond the Sky” or the later solo in the angular boogie of “Stumbling Man,” which straightens out to a particularly satisfying hook near its finish, the vibe here is cohesive front to back and Mangoo never seem to leave an element out of its proper place.

mangoo

One might debate whether in the vinyl-minded late-’10s, The Heat really needs to be 2LP length, or at very least to border thereupon, but with such a chunk of time between their last offering (which also was not short) and this one, a glut of material makes some sense in context, and ultimately it does not hold Mangoo back from effectively stating their point. As to what that might be, one should look again at the subtle diversity of craft on display throughout the tracks. The production by Björklund — on which everyone else receives a co-credit — is a unifying factor to such a degree that on a superficial level, The Heat might seem to take a singular approach, but the truth is Mangoo adopt a range of approaches across these cuts, from the spacious and progressive heft of “One Day,” on which the guitars drift wide during the open verses only to resolidify around a massive and dramatic chorus, to the tense chugging, percussive nuance and slightly-jammed feel that hits in the penultimate “Grey Belly,” building to an apex that, even as it follows what would’ve seemed to be the culmination of the album in its titular cut, justifies its presence.

Feeling a bit more like an indulgence is the actual closer, which is a take on Eddie Murphy‘s 1985 single “Party all the Time,” which, while yes, it has a hook that borders on so catchy it’s infuriating, doesn’t necessarily fit with the rest of The Heat‘s modus, despite the ’80s-esque airbrushed look of the Alexander von Wieding cover art. The sense one gets is that it’s Mangoo signaling their audience that they don’t take themselves too seriously, that they’re having a good time, or that maybe they’re prone as most groups are to the occasional inside joke, but after 10 solid original pieces of Dozer-worthy songwriting and borderline flawless studio execution from the metallic vibe of “Tiembla” to the theatrical spread conjured in “The Heat” itself, to turn that all on its head right as they cross the finish line almost takes away from the impact of the original pieces preceding.

That said, Mangoo are certainly entitled to enjoy themselves in the recording/studio process, and while “Party all the Time” might’ve been better left as an off-LP single or something like that, even more than 30 years on from its first release, it remains a furiously dug-in earworm and Mangoo do well to make it their own in terms of overall sound. Of course, the definition of “their own” has never sounded quite so fluid for the five-piece as it does here either, since they careen with such apparent ease between one side of their increasingly complex sonic persona and the next. Maybe in that spirit, there’s room for just about everything in the triumphant spacet-time reaches born of “Beyond the Sky” or “One Day,” including that last bit of partying. Fair enough. You win this round, Mangoo.

Mangoo, The Heat (2017)

Mangoo website

Mangoo on Thee Facebooks

Small Stone website

Small Stone Records on Thee Facebooks

The Heat at Small Stone Bandcamp

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Dark Buddha Rising Announce New Release for 2018; Tour Underway Now

Posted in Whathaveyou on November 9th, 2017 by JJ Koczan

dark buddha rising Maija Lahtinen

Ultra-bleak Finnish psychedelic doom extremists Dark Buddha Rising are currently on the road with Sum of R in Europe supporting their righteously devastating 2015 offering, Inversum (review here), which came out backed by the considerable endorsement of Neurot Recordings. That tour started last night. In the meantime, the likely-to-swallow-you-whole collective have announced intentions toward issuing a new release in 2018.

As word comes through the PR wire, it doesn’t mention a new full-length album specifically, though it doesn’t seem out of the question either. It could well be that Dark Buddha Rising have an EP or a single in the works they want to get out before moving onto the inevitable 2LP that will eventually follow, but the bottom line is their stuff is always worth watching out for, since it’s like what solar flares would be if solar flares were made of gurgling antimatter that was too black to be seen by the naked eye. You know what I mean.

From the PR wire:

dark buddha rising tour

DARK BUDDHA RISING: European Tour Dates Commence This Week; New Material To See Release Via Neurot In Early 2018

DARK BUDDHA RISING will perform their immersive sonic rituals on select dates across Europe this week including an appearance at Le Guess Who? festival. See all confirmed dates below.

Watch the trailer by Chariot Of Black Moth, and sample some new DARK BUDDHA RISING sounds at THIS LOCATION.

For ten years, the Finnish band has convened to roil in the sounds of the underground, to meet dark spirits, to breathe in time with rhythmic pulses sent from the skies, the stars, and the very dirt around them. DARK BUDDHA RISING emits the blackest of psychedelia. Deep down, their sounds are forged in the blue fires of the ancients, exhalations of gods, goddesses, and demons alike.

Join them on the road very soon, and stay tuned for news of their next release which shall arrive on Neurot Recordings in early 2018…

DARK BUDDHA RISING w/ Sum Of R:
11/08/2017 Chemiefabrik – Dresden, DE
11/09/2017 Le Guess Who? Festival – Utrecht, NL
11/10/2017 Magasin4 – Brussels, BE
11/11/2017 Sint Jozefkerk – Menen, BE
11/12/2017 Oetinger Villa – Darmstadt, DE
11/13/2017 Ebrietas – Zürich, CH
11/25/2017 Kuudes Linja – Helsinki, FI
12/13/2017 Klubi – Tampere, FI

http://www.darkbuddharising.com
http://www.facebook.com/dbrising
http://www.neurotrecordings.com
http://www.facebook.com/neurotrecordings

Dark Buddha Rising, European Tour Trailer

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Opium Warlords Premiere “Year of 584 Days”; Droner out Nov. 3

Posted in audiObelisk, Reviews on October 13th, 2017 by JJ Koczan

opium warlords

Finnish experimentalist entity Opium Warlords releases its fourth album, Droner, on Nov. 3 via Svart Records. On and off for the last 13-plus years, Sami “Albert Witchfinder” Hynninen has used the one-man project as a vehicle for reveling in the sonically weird, producing and playing the vast majority of the instruments on records like 2009’s Live at Colonia Dignidad (not actually live; discussed here), 2012’s We Meditate Under the Pussy in the Sky, and 2014’s Taste My Sword of Understanding. Indeed, Droner follows suit in this regard, though where one might’ve found that compared to the rest of the Opium Warlords discography, Taste My Sword of Understanding was relatively straightforward, delving into structured material if doing so with a still exploratory bent, Droner steps well outside just about any and all stylistic confines with the three pieces included on Droner, and just when Hynninen seems to be making some kind of play toward the listenable, as on 19-minute closer “‘Closure,'” he immediately deep-dives into a wash of abrasive static noise that goes on to consume the track as a whole before a quiet ending caps the album like nothing ever happened. For those who might know him only through his work in Reverend Bizarre or Spiritus Mortis, it’s a considerable sonic leap off a considerable sonic cliff.

That said, the atmosphere is thoroughly one of doom, whatever salt burial Hynninen might be applying to that definition. Droner is comprised of three tracks — “Year of 584 Days” (20:33), “Samael Lilith” (20:27) and the aforementioned “‘Closure'” (18:54) — and each one of them is an album unto itself. Yes, drone is a huge part of it, perhaps nowhere more so than on “Year of 584 Days,” which sets the pattern in rumbling low end, initially sans percussive backing, and strange declarations from Hynninen on a post-opium warlords dronerWorld War II theme. The lyrics for that “song” — such as it is — and its two counterparts, are drawn from outside sources, and into the minimalist-feeling emptiness that permeates “Year of 584 Days,” Hynninen casts words from Finnish cultural historian Jouko Turkka. A suitably militaristic march of chains and stomping begins at about seven minutes in, and the declarations continue on the theme of Germans with flamethrowers, Hynninen drawing out pictures made all the more horrific because of the reality behind them. The minimalism has by then abated and it will continue to do so as the rumble moves into later progressions of guitar, key and bass droning, but right at about the 15-minute mark, the final movement of “Year of 584 Days” begins with a quiet guitar line and some subtle backing scrapes, and though volume will swell again, there’s a singularity to that moment that is no less vicious than the scathing to come in “‘Closure.'”

Between those two points is the curio “Samael Lilith,” which finds Hynninen reciting a ritual from the Congolese Ndembu culture designed around sexual intercourse and procreation. Its frank intonations of the vulva and the penis are no doubt intended as a shock piece for Western ears, and I guess they may or may not be, depending on one sensibilities as regards these things, but arrangement-wise, the SunnO)))-worthy drone that persists beneath and around Hynninen‘s spoken words is enough to add an otherworldly horror to the proceedings, making them all the more strange as notes are sustained into string-vibrating oblivion. Harsher noise takes hold late in the piece, skronking out in avant-jazz fashion until, at last, a straightforward ritualistic progression, different from the percussion and chants that started the track but still somehow tied to them, closes out. This brings the relatively folkish strum and vocals that begin “‘Closure,'” the lyrics for which come from midcentury artist/cultist Marjorie Cameron, whose ethereal invocations still come through as grandiose despite the relatively simple arrangement surrounding, which turns itself backward after eight minutes in to set the stage for the tearing apart that follows. The wash of noise — harsh, cruel — gives way to sparse bells of various kinds, percussive bowls and so on, and that’s how Droner finishes, finding peace at last.

The journey it has made by that point is significant both in runtime and in the substance of how that runtime is spent, but Hynninen proves himself able to act as the master of the chaos he’s bringing to bear throughout, and his central presence at the heart of Droner is what ultimately ties it to a feeling of craft. It is a deeply expressive performance piece, culled together in its various elements and layers, and very much in keeping with the nature of Opium Warlords as a whole, completely unto itself in sound, style and execution. You will not hear anything else like it.

Please enjoy “Year of 584 Days” premiering below, followed by more info from the PR wire:

Sami Hynninen on “Year of 584 Days”:

“What could I say about this song… it is about hydrogen bomb, and the total war. It is the clear world of devastation and torture. All senses are awake when you face the presence of pain and death. You are reborn to the battlefield and flames and terror. Everything you had before has been wiped away. You are alone and lost to a nightmare that has no end. The sun won’t rise again. Your home, and the pictures of your loved ones are now ashes, but you have to force yourself to go on. You just have to go on.”

After three wilderness years with doom gods Spiritus Mortis and Lord Vicar, electronic warriors Tähtiportti, and black metal sorcerers Azrael Rising, Sami Albert “Witchfinder” Hynninen is back in business with Opium Warlords. On November 3rd, Opium Warlords shall release Droner through Svart Records.

Droner is the fourth Opium Warlords album, and it brings Hynninen’s uncompromising musical vision to its most sparse form. It is noisy lo-fi riff music consisting only of particles unquestionably necessary, but at the same time with a musical spectrum that is very wide and open. It is experimental and avant-garde, still with roots deep in the very heart of heavy rock music. It is concrete blues, diving to the existence and the smallest molecular spheres of minimal riffs, and what seems to be an endless repetition of them. From these rather skeletal elements, it occasionally reaches neo-classical, even medieval spheres and death-romantic chambers of apocalyptic folk. Onto all of this, disturbing lyrics are chanted by unnamed, hostile protagonists.

Opium Warlords on Thee Facebooks

Svart Records website

Svart Records on Thee Facebooks

Svart Records on YouTube

Svart Records on Twitter

Droner at Svart Records webstore

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Mangoo Announce New Album The Heat out Dec. 8; New Song Posted

Posted in Whathaveyou on October 10th, 2017 by JJ Koczan

Finnish heavy rockers Mangoo will sneak in their new album, The Heat, via Small Stone Records just before the end of the year. With a release date of Dec. 8, and preorders up now, the Turku-based fuzzers are streaming the opening track “Relief” now, and as you can hear in its stylistic blend, Mangoo take elements old and new and put them together with a penchant for hooks and groove that’s both straightforward and subtly their own. Perhaps most curiously of all, the record — for which I helped revise the bio below; which isn’t to say “here’s a bio I wrote,” because I didn’t write the original — caps with a cover of Eddie Murphy‘s “Party all the Time,” which if you don’t immediately recognize based on the title alone, almost certainly the hook will be familiar as it worms itself into the frontal cortex of your brain, there to reside permanently.

“My girl wants to party all the time, party all the time, PARTY ALL THE TIME…” and so on.

Info comes back around through the PR wire:

mangoo the heat

MANGOO: Finnish Fuzz Rockers To Release The Heat Full-Length Via Small Stone This December; New Track Streaming

You think you’re ready for The Heat, but you’re not. Catchy hooks and sweet vocal harmonies are nothing new for Finnish rockers MANGOO. On the Turku-based outfit’s third full-length, they come backed by a wall of thick, fuzz-fueled guitars and hard-hitting drums with an added sprinkling of analog synth sounds. Combined they result in a sound truly the band’s own – someplace between grunge, classic heavy rock, and a progressive psychedelic spaciousness that refuses any and all boundaries of style between rock and metal and beyond.

MANGOO — pronounced “man go” — have been busting out the fuzz since 2005 when they released their untitled debut EP. Countless beers, shows, and drummers later in 2009 the first full-length, Neolithic, was released on 7:45 Records. With a firm lineup of guitarist/vocalist Pickles, guitarist Mattarn, bassist Igor, drummer Teemu, and keyboardist/noisemaker Nicke, they engage new expanses as they follow-up their 2012 Small Stone debut, Neverland, with the eleven songs of The Heat.

Mega-choruses like “Get Away” and “Grey Belly” provide landmarks while MANGOO brings psychedelic heft to “Beyond The Sky” and the title-track, which, at seven minutes, seems to draw together everything the album that shares its name has to offer – except perhaps in the closing cover of Eddie Murphy’s 1985 single “Party All The Time.” Not that they needed to remind listeners to stay on their toes because you never know what’s coming when MANGOO emerges from the studio, but suffice it to say the track remains an earworm for the ages.

All told, MANGOO’s The Heat is fifty-three minutes of masterful heavy rock and roll of inimitable personality and unmistakable songcraft. It is a welcome return after half a decade from a band who have obviously not been wasting their time in terms of growth and forward progression, and a surefire highlight for any underground heads lucky enough to take it on.

Heat will see release via Small Stone on December 8th, 2017. Preorders are currently available at THIS LOCATION where you can also sample opening track, “Relief.”

Heat Track Listing:
1. Relief
2. Get Away
3. Beyond the Sky
4. Monolith
5. One Day
6. Deification
7. Tiembla
8. Stumbling Man
9. The Heat
10. Grey Belly
11. Party All the Time

http://www.mangooloid.com
http://www.facebook.com/Mangooband
http://www.smallstone.com
http://www.facebook.com/smallstonerecords
https://smallstone.bandcamp.com/album/the-heat

Mangoo, The Heat (2017)

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I, Captain Set Oct. 27 Release for Debut LP Tiid

Posted in Whathaveyou on October 10th, 2017 by JJ Koczan

i captain

Finnish four-piece I, Captain make their full-length debut later this month with Tiid on limited vinyl through Sound Effect Records, and if you’re looking for a follow-up destination after you check out the two-minute teaser for the record now streaming at the bottom of this post, I might suggest you hit up the Turku group’s Bandcamp, wherein their 2016 EP, Mantras for Mindlessness, its follow-up single “Matter of Perspective” and the preceding 2015 EP Surf the Supernova can all be snagged name-your-price style. There seems to be a good bit of variety in what I, Captain do in terms of songwriting, so if you want to get to know them better, it would seem the more is indeed the merrier.

The label sent the following background along the PR wire about the release, which is set for Oct. 27 in the edition of 300 total copies. Dig it:

i captain tiid

I, Captain – Tiid – Sound Effect Records

RELEASE DATE: 27/10/2017

SER 038B / Vinyl LP Black, Ltd to 200 copies / 18, 00
SER 038C / Vinyl LP Red, Ltd to 100 copies / 22, 00

I, Captain presents their debut album “Tiid”! Filled to the breaking point with heavy psych/stoner/kraut vibes, soaked in thawing arctic rage. Out October 27th on Sound Effect Records, on limited edition black and red vinyl!!

The origins of I, Captain can be traced back to the year of 2013, when Axel Vienonen, Andreas Österlund and Viktor Österholm decided to go for a creative collaboration in a musical group that tried to not go for a certain style or shoehorn the music into a specific folder. Exploring the sonic possibilities at our hands, we decided that there was a need for more sonic palettes, which led us to ask Lukas Åström to join our constellation on guitars. This was the point where it took off in a direction that still surprise us to this day, after countless gigs around the country of Finland and Scandinavia.

Our focus on sonic and aesthetic exploration is still developing to this day. We do not want to consider ourselves as only a musical group – what we do is an extension of what everyone of us brings out to each other. Sometimes it is ugly, sometimes it is raw. Other times we delve into beauty, to supreme levels of primal emotion. Our journey is a form of skepticism both towards ourselves and the state of music and the (mis)understanding of it.

Having released two demo EPs in 2015 (Surf the Supernova) and 2016 (Mantras for Mindlessness) we felt ready to start working on a full-length debut album. Locking ourselves
into a studio for a week, hammering out the riffs, beats and landscapes that we have envisioned for a long time was a climactic experience, and something that we wish to do again and again. Our album “Tiid” will be released in the autumn of 2017 and we cannot contain our collective excitement.

I, Captain is all about simplicity in the making of music and complexity in translating it to our audience. This was our main driving force writing the music for the album “Tiid”. The album title is a term found in the Ostrobothnian dialect of Swedish that, depending on context, can mean both time and space. The lyrical content is divided into English and Swedish sections, wherever which language can deliver the meaning we are after the best. Within this album, we delve into the psychological and mental hardships life throws at you – mostly consisting of negativity in its absolute form delivered by empowering music, more or less forcing a dissonance on the listener if you choose to take it all in. Beauty is most often surrounded by things which we cannot understand.

https://www.facebook.com/icaptainband/
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https://icaptain.bandcamp.com/
http://www.soundeffect-records.gr
https://www.facebook.com/SoundEffectRecords/

I, Captain, Tiid album teaser

I, Captain, Mantras for Mindlessness 2016

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