Posted in Whathaveyou on April 25th, 2016 by H.P. Taskmaster
Finnish garage rockers Lost Boots will release their debut album via Svart Records on May 13. The record is titled Come Cold, Come Wind and preceded by the release of the track “Outdated,” which you can hear below, the band with vintage push of some fuller sound than many of the janglier/rawer garage variety, but still an overarching commitment to natural vibes that suits the classic structure of “Outdated” pretty well. I haven’t heard the complete album yet, so can’t comment on the rest of it, but if there’s any relation to members’ former project, Sweatmaster, in terms of style, I can see why an imprint like Bad Afro would have been on board.
Get a load of that track under the album art and PR wire info below:
LOST BOOTS set release date for SVART debut, reveal first track
Today, Svart Records sets May 13th as the international release date for Lost Boots’ debut album, Come Cold, Come Wind. Lost Boots, consists of a trio of musicians previously performing as Sweatmaster, plus extra guitarist Tomi Helomaa. Sweatmaster were well on their way to fame earlier this millennium, with a deal with the cult garage label Bad Afro and European tours with The Darkness and the like. Somewhere along the way, action-rocking garage fare no longer appealed to the sweaty threesome, and they ended up calling it a day, only to resurrect as Lost Boots a couple of years later.
“After Sweatmaster, we tried playing a bit of everything, even Finnish language prog rock, but nothing seemed to click. It was only after Tomi [Helomaa, guitar] came along that we really had a band together,” says guitarist/vocalist Sasu Mykkänen.
The band defines Lost Boots as being a more manly, slower-playing, and a tad more melodic unit than their sweat-covered predecessor. There is an electric “live” feel to the music, with edges not too heavily polished. It owes as much to classic hard guitar rock as it does to garage rock. Hear for yourself with the first track to be premiered from the album, “Outdated,” exclusively HERE. Cover and tracklisting are as follows:
Tracklisting for Lost Boots’ Come Cold, Come Wind 1. Another Brick In The Wind 2. Come Cold 3. Outdated 4. The Steam Rolled In 5. Brave 6. Widow Lover 7. Bangatan
Posted in Whathaveyou on April 12th, 2016 by H.P. Taskmaster
This is good news. Finnish psychedelic black metallers Atomikylä tip the balance from one side to the other better than the vast, vast majority of those I’ve heard try. The difference? Production value is part of it — Atomikylä‘s 2014 debut, Erkale (review here), was lush in the true sense of creating a tonal wash, and among the elements of heavy psychedelia it incorporated was a true sense of sonic depth, not trying to sound thin and tinny as so much rawer black metal does, but crafting something you might really call encompassing. Making the listener part of the ritual, as opposed to just a spectator.
Best case scenario would be to continue that vibe, but I have the feeling a band this creative isn’t necessarily going to rest on their laurels one album to the next. They’re at Roadburn 2016 this week and I’m very much looking forward to picking this one up:
ATOMIKYLÄ set release date for SVART debut, to play Roadburn
The dark psychedelic underground in Tampere, Finland is one of the most vividly creative musical collectives in the scene on the planet today, with such bands as Oranssi Pazuzu and Dark Buddha Rising both considered masters of the uncharted territory in metal. Sprouting from the confines of the joint rehearsal space Wastement comes Atomikylä, a psychic joining of forces of members from both bands. Atomikylä is liberation through sound. It is the nightside of the collective unconscious and a means of escape from the confines of norm and comfort. Smashing walls with a wall of sound, Atomikylä are set to release their second album, Keräily, through Svart Records.
Atomikylä took their name (“nuclear village”) from a village of abandoned barracks in Tampere. The barracks were originally used to house workers constructing a nuclear power plant in the ’80s, after which they were dragged to the roadside in suburban Tampere and abandoned. Populated for years by drunks and junkies, the small shunned village was demolished a few years ago. The band Atomikylä dwells in a similar mental setting – radiant but lowly, dangerous and unpredictable, barred from normal life.
Keräily will be available at the Roadburn festival this week, and in shops from April 29th onwards. Cover and tracklisting are as follows:
Tracklisting for Atomikylä’s Keräily 1. Katkos 2. Risteily 3. Pakoputki
Posted in Whathaveyou on April 4th, 2016 by H.P. Taskmaster
Finnish heavy rockers Void Cruiser have signed a deal to release their second full-length album this fall on Argonauta Records. The Helsinki four-piece are the latest in an apparently ongoing series of pickups for the Italian imprint, and their debut LP, Overstaying My Welcome — it would seem not — was issued in May 2015, running a line between heftier sonic burl and smooth desert-style fuzz. Guess we’ll see what the follow-up holds when we get there, but going from the last record, which you can hear below, it wasn’t like they didn’t have it figured out the first time around.
From the PR wire:
Argonauta Records New signing: VOID CRUISER
We are proud to welcome a new great band in the ARGONAUTA RECORDS family: VOID CRUISER, excellent Stoner/Desert Rock from Finland! The Void Cruiser crew united their sonic powers back in 2011 with the intention of combining the best parts of their favourite music to create the ultimate sound. Connected by friendship and love for the same bands, Vili, Teemu, Lassi and Santeri have achieved an earth tremoring soundscape seasoned with some juicy desert rock vibes. The first album “Overstaying My Welcome”, available here https://voidcruiser.bandcamp.com, was released in May 2015 and the scion of the much praised debut is underway.
The band says: “We are really stoked about starting this cooperation and Argonauta Records is definitely the right partner to attract the people who can relate into our forthcoming album made of melancholic, yet soul crushing heavy soundscapes. We really appreciate the support from Gero and there’s no doubt this pact between Void Cruiser and Argonauta Records will bring monumental things to the Universe.”
The forthcoming album will be released in Autumn 2016. Stay tuned!
Void Cruiser has always been there. Only now the crew have awakened from their cryogenic sleep and they are on a holy quest. A quest for groove and the massive resonance. Those who follow will find glory and rewards indescribable with mere words.
Posted in Reviews on April 1st, 2016 by H.P. Taskmaster
Thus ends another successful Quarterly Review. And by successful I mean I survived. There were a few minutes there when I actually thought about spreading this out to six days, doing another batch of 10 on Monday, but then what happens? Then it’s seven days, then eight, then nine, and before I know it I’m just doing 10 reviews every day and it’s more of a daily review than a quarterly one. Next week we’ll get back to whatever passes for normality around this place, and at the end of June, I’ll have another batch to roll with. Maybe the beginning of July, depending on time. In any case, thank you for reading this week. I hope you’ve found something in all this that you’ve dug, and that this final round offers something else that resonates.
Quarterly Review #41-50:
Chron Goblin, Backwater
Calgary party rockers Chron Goblin pay homage to Seattle with a song named after the city on their third album, Backwater (on Ripple Music), but they continue to have way more in common with Portland, Oregon. The follow-up to 2013’s Life for the Living (review here) pushes into psychedelic groove early in its title-track and gets bluesy for most of the subsequent “The Wailing Sound,” but it seems even that song can’t resist the urge to throw down and have a good time by the end, and cuts like “Give Way,” the galloping opener “Fuller” and the requisite “Hard Living” reaffirm the band’s commitment to heavy riffs and positive vibes. The stylistic elephant in the room continues to be Red Fang, but as they’ve done all along, Chron Goblin work in shades of other influences in heavy rock – if they were from the Eastern Seaboard, I’d call it Roadsaw – and put a stamp of their own on the style.
“Mercenary Blues” is near-immediate in telegraphing the level of heft Slabdragger will emit across their second album, Rise of the Dawncrusher, which tops an hour in five tracks (one of them four minutes long) and shifts between clean vocals, screams and growls from bassist/vocalist Yusuf Tary and guitarist/vocalist Sam Thredder as drummer Jack Newham holds together tempo shifts no less drastic. The shorter cut, “Evacuate!,” is an extreme take on heavy rock, but as Slabdragger move through the extended “Shrine of Debauchery” (12:23), “Dawncrusher Rising” (15:16) and “Implosion Rites” (17:20), their methods prove varied enough so that their material is more than just an onslaught of thickened distortion. I wouldn’t call it progressive exactly, but neither is it lunkheaded in its intention or execution, as the chanted melodies buried deep in “Shrine of Debauchery”’s lumber, derived perhaps in part from Conan and Sleep but beholden to neither so much as its own righteous purposes.
Finnish heavy psychedelic rockers Jupiter take a decidedly naturalist position when it comes to their style. Yeah, there are some effects on the guitars throughout Interstellar Chronidive, the trio’s second album behind 2014’s Your Eccentric State of Mind, but it’s more about what the three players can accomplish with dynamic tempo and mood changes than it is creating a wash, and that gives songs like “Stonetrooper” and “Dispersed Matter/Astral Portal” a classic feel despite a decidedly modern production. “Premonitions” provides raucous fuzz worthy of any next-gen stoners you want to name, and the 14-minute “In Flux” answers its own initial thrust with and expansive, liquefied jam that’s all the more emblematic of the organic core to their approach, Hendrix-derived but not Hendrix-emulating. Bright guitar tone, rich bass and swinging drums aren’t necessarily unfamiliar elements, but the touches of space rock narration on “Dispersed Matter/Astral Portal” and the consuming nod of closer “Vantage Point” assure there’s no shortage of personality to go around.
Also stylized as IZ? with a long accent over the ‘o,’ Izo is the self-titled debut from Italian double-guitar instrumental four-piece Izo, who bookend four flowing and densely weighted progressions with an intro and outro to add to the atmospheric breadth. Rather than choose between heaviness or ambience, Izo – guitarists Paolo Barone and Maurizio Calò, bassist Francesco de Pascali and drummer Luca Greco – play both into each other so that a song like “Hikkomori” is as engaging in its heft as it is hypnotic. That might be easier to do without vocals, but it’s essential to Izo’s approach, and something that, for their debut, sets up future expansion of post-metal and psychedelic elements. I’m not sure if there’s a theme or narrative for the album, but consistent use of Japanese language and imagery ties the material together all the same, and Izo emerge from their first album having shown a clearheadedness of purpose that can only continue to serve them well.
Cultist made their introductory statement in the early hours of 2016 with Three Candles, a five-song EP from the social media-averse Cleveland, Ohio, trio featuring members of Skeletonwitch, Mockingbird and Howl. In the wall of fuzz they construct, the swing injected into their rhythms and the use of multiple vocalists, there’s a strong undercurrent of Uncle Acid to “Path of the Old One,” but “Consuming Damnation” distinguishes itself with a more aggressive take, rawer in its melodies, and the creeping closer “Eternal Dark” is up to something entirely more doomed. How this balance will play out with the more familiar riff-patterning in “Follow Me” is the central question, but for their first tracks to be made public, Cultist’s Three Candles offers fullness of sound and the realization of an aesthetic purpose. Yes, there’s room to grow, but they already have a better handle on what they want to do than a lot of bands, so it should be interesting to keep up.
Ultra-thick, ultra-dank, Haoma is the work of Swedish duo R (bass/vocals) and S (drums), and the three-tracker Eternal Stash is their second self-released EP. The offering takes its title from the opener and longest track (immediate points), and wastes no time with subtlety in getting down on molten Cisneros-style stoner-doom grooves. Sleep meets Om isn’t a huge divide to cross, but there’s a blown-out sensibility to the vocals as well that speaks to some element of Electric Wizard at play, and the overarching roughness suits Haoma’s tonal crunch well. Even when they break to wah bass in the second half of “Eternal Stash” to set up the ensuing jam, this underlying harshness remains, and “Unearthly Creatures” and “Orbital Flight” build on that, the latter with a march that feels more decidedly individual even if constructed on familiar ground. Heavy, raw, unpretentious celebration of groove is almost always welcome by me, and so Haoma’s Eternal Stash is likewise.
Another boon to Poland’s emerging heavy rock scene, Wroclaw’s Spaceslug slime their way out of the ground with their debut long-player, Lemanis, a seven-cut paean to weighted tone and laid back roll. Vocally, the trio seem to take a cue from the Netherlands’ Sungrazer, but their riffs are far more dense and while the penultimate interlude “Quintessence” and the earlier “Galectelion” demonstrate a sense of spaciousness, the context in which that arrives is much more weighted and, particularly in the second half of “Supermassive,” feels culled from the Sleep school of Iommic idolatry. No complaints. The record clocks in at 43 minutes all told and in no way overstays its welcome, rounding out with the nine-minute title-track, an instrumental that’s probably not improvised but comes across as exploratory all the same. The CD version is out through BSFD Records, but don’t be surprised when someone picks it up for a vinyl issue, as both the front-to-back flow and the artwork seem to be made for it.
An element of twang that seems present even in the most uproarious moments of Slush’ American Demons tape comes to the fore with the brief “Leshy,” a quick, fleetly-strummed bit of slide guitar the follows highlight cut “Bathysphere” and precedes “Death Valley,” both of which bask full-on in the garage shake, proto-punk vibe and anything goes swagger the Brooklynite trio have on offer throughout their third EP. That countrified twist plays well alongside the drawling skate rock of “In the Flesh,” which seems to take on some of The Shrine’s West Coast skate vibes with a twist of New York fuckall, and the quick crotchal thrust off “Silk Road,” which serves as Slush’ most purely punkish moment. “Death Valley” closes out with a tale of drugs and the desert, the vocals somewhere between Misfits and early Nick Cave, drenched in attitude and accompanied by fuzz that seems to be likewise. Bonus points for the silver tape and copious included art and info.
Strange spirits are afoot throughout Menimals’ Menimals, the maybe-debut from the Italian troupe who engage wantonly in the proliferation of post-Mike Patton creepy darkjazz across five cuts of sparse, spacious weirdness. Issued through Phonosphera/Riot Season, it’s a work of high atmospheric density but ultimately more about mood than sonic impact, evoking complex shapes – dodecahedrons, tetrahedrons, octahedrons – as a mirror for its own quizzical mission. The kind of record that those who don’t spend time trying to figure it out are going to have more fun with, it makes its most effective impression on “Transitioning from a Cube to the Octahedron” on side B, evoking minimalist drone rock atmospheres as whispered vocals tie it to the rest of Menimals’ bizarre vibe. That’s not to take away from the noisy finish of closer “Bird on the Wind as a Hinge,” which follows, just to note that Menimals manage to somehow find balance in all the subdued seething and resonant experimentalism.
By way of a confession, I wanted to end this batch of 50 reviews with something I knew I dug, and that distinction goes to Houston rockers Linus Pauling Quartet, whose latest full-length, Ampalanche, is released via the label wing of Italian ‘zine Vincebus Eruptum. An album that offers some of the most pretense-free rock flute I’ve ever heard on “Slave to the Die,” it’s a down-home weirdo rocker that might, at a moment’s notice, plunge full-on into psychedelia in “Sometimes” or, say, include a 49-minute echoing space-drone “Vi, de Druknede (We, the Drowned)” as a download-only bonus track, and the fact that Linus Pauling Quartet can always be relied on for something different but consistent in charm and the quality of songwriting is not to be taken for granted, whether it’s the Midwestern noise rock of “Brisket” or the fuzzy roll of dreamy album-closer “Alive.” Yeah, I was doing myself a favor by finishing with Ampalanche. I have absolutely zero regrets. Linus Pauling Quartet continue to be woefully underappreciated.
Posted in Reviews on March 31st, 2016 by H.P. Taskmaster
It seems like a day doesn’t go by that I don’t find something in one of these piles (metaphorical, sometimes literal) of records that keeps me coming back. Today is once again spread across a pretty wide stylistic swath, and that’s by design to keep my brain from going numb, but if there’s a unifying theme across all of it, let it be a sense of scope and bands and artists who are trying to take what’s been done before and push it forward or in some new direction. That’s not universal — nothing is — but today might be the most adventurous of the days included this quarter, so I hope you’ll keep open ears and an open mind as you make your way though.
Quarterly Review #31-40:
Beastmaker, Lusus Naturae
Expectations are high for Fresno trio Beastmaker in no small part because their first album, Lusus Naturae, arrives through Rise Above Records. Whether they’ll take their place among the venerable UK imprint’s genre-shapers of the last half-decade, Uncle Acid, Ghost, etc., remains to be seen, but there can be little question Lusus Naturae lives up to the standard of offering something individual even as it plays off familiar conceptions. Beastmaker’s doom is classic without sounding like much of anything else, and as they unfold “Arachne” and catchy pieces like “Mask of Satan” and “You Must Sin,” they arrive aesthetically cohesive and demonstrating accomplished songwriting finding a space of its own surrounding Sabbathian and Cathedral-driven ideals with semi-psych, semi-cultish tendencies, not wanting to be put in one place or the other but successfully engaging a melting pot of modern doom in “Burnt Offering” and the plodding “It.” Whatever the wider response winds up being, Lusus Naturae will without a doubt stand as one of 2016’s best debuts.
If you’re hand-picking dream rhythm sections, getting Trevor Dunn to play bass while Dale Crover drums would probably be the picks of any number of players, but initials-only core duo EHA and AAL of Los Angeles’ Low Flying Hawks actually went out and got the Mr. Bungle and Melvins personnel to play on their Toshi Kasai-produced Magnetic Eye Records debut LP, Kofuku. Aside from keeping good company, the album’s 10 tracks/53 minutes are marked by a spaciousness that not even the tonal heft of early cut “Now, Apocalypse” seems to fill as EHA and AAL balance post-rock, doomed lurch and darker psychedelics with blackened screams and fervent rhythmic push – see “White Temple” and “Wolves Within Wolves.” They round out with the lumbering 11-minute “Destruction Complete,” a heavy rock march topped by airborne, dissonant leads that keeps its head even as it plods onward into oblivion. Not as unipolar as it might first appear in terms of sound, but the mood of Kofuku points consistently downward.
The crux of CHVE’s Rasa is in resonance. Amenra frontman Colin H. van Eeckhout (his solo-project’s name derived from his initials) constructs a flowing half-hour of fluid drone, intermittent percussion – first tribal, then a straightforward kind of march, slow but not still – and atmospheric vocal on the single track that comprises the work, seeming to take influence from calls to prayer as much as atmospheric noise. At higher volumes, the piece is consuming, his voice surrounds with the almost constant wash of tone, but even at more reasonable levels, the sense of purpose and ritual remains. Of course, Amenra are noted for the use of the word “mass” in their album titles, and while Rasa departs from the direct tonal heft of much of what van Eeckhout does in his main outfit, there is a sense of mass here in terms both of presence and in terms of the worship being enacted.
How do you fit an 11-minute track onto a 7” release? Easy, you break it in half. Such is the method of Ohio instrumentalists Brujas del Sol, who follow their Moonliner EP trilogy with the late-2015 single Starquake, presented on the limited H42 Records platter as “Starquake Pt. I” and “Starquake Pt. II” but comprising nonetheless a single piece that backs airy, post-rock-tinged guitar with a decided forward rhythmic motion, resulting in an overarching build that, while there’s a natural moment for the split, is hypnotic front to back, a swirl of effects calling it mind space rock improvisation even as the plotted momentum of drums and bass resumes. Starquake is enough to make one imagine what kind of variety and spontaneity Brujas del Sol would bring to a debut full-length, so in that it very much does its job, but it makes a good case for standing on its own as well as it hits its second apex and finishes in a residual wash of cosmic noise.
Offered through New Heavy Sounds, Noeth Ac Anoeth is the debut full-length from Welsh cosmic doom four-piece Mammoth Weed Wizard Bastard. It is comprised of three songs and incorporates the half-hour-long “Nachthexen,” which was also the title-track of the band’s prior 2015 EP (review here), their rumble brought to bear through the capable knob-turning of Conan’s Chris Fielding at Skyhammer Studio. The vocals of Jessica Ball manage to cut through the ensuing tonal murk of her bass and the guitars of Paul Michael Davies and Wez Leon, and James Carrington’s drums live up to the near-impossible task of making “Les Paradis Artificiels,” “Slave Moon” and “Nachthexen” go, each developing its own plodding momentum amid the purposeful thickness overdose and atmospheric sensibility enhanced both by Davies’ work on keys and Ball’s vocals. “Slave Moon” winds up at a gallop and almost operatic, but there’s no way the highlight wasn’t going to be “Nachthexen,” which offers chug dense enough and spaces wide open enough to easily get lost in. Time well spent, all around.
Spanish heavy rock four-piece The Shooters present their third album, Dead Wilderness (on Red Sun Records/Nooirax Producciones), as two sides even on the CD pressing, each half of the record ending with an extended cut over the 10-minute mark. All told it’s six songs/49 minutes of solidified, mostly straightforward Euro-style riff-led heavy grooves, tapping into some Dozer influence on “War on You” but offering more spacious burl on “Lucifer’s Word,” which starts side B after the push of “Roots” rounds out side A. There’s little by way of letup, but moments like the quiet start and bridge of “Black Mountain” do a lot of work in adding complexity to The Shooters’ hook-minded approach, and 11-minute finale “Candelabrum” builds on that with a patient linear unfolding that casts off some tonal heft in favor of a more atmospheric take. That ultimately lets Dead Wilderness bring an individual edge to established stylistic parameters, from which it greatly benefits.
Granted, a title playing off Curb Your Enthusiasm and, well, herb, might make you think the band is just goofing around, but UK riffers Boss Keloid offer more substance with their second album, Herb Your Enthusiasm, than they do wackiness. The sound – captured by Chris Fielding at Skyhammer Studio – is positively massive, bolstered by guest appearances from Fielding himself and his Conan bandmate, Jon Davis, who also owns Skyhammer and Black Bow Records, the imprint releasing the LP, and given to swells of largesse and huge rolling grooves that still remain righteously fuzzed, as on “Escapegoat” or “Lung Valley” the quieter complement to opener “Lung Mountain.” Vocalist Alex Hurst assures any quota of burl is met, but has more to his approach melodically than riff-following chestbeating, and guitarist Paul Swarbrick, bassist Adam Swarbrick and drummer Stephen Arands present instrumental flow and turns behind that give the record a sense of personality beyond its weedian play. Not a minor undertaking at an hour long, but satisfying in tone and execution.
I guess it’s fair to call late 2015’s Nous N’y Trouvons que le Doute the debut full-length from Toulouse-based one-man outfit Hors Sujet, though multi-instrumentalist/atmosphere-conjurer Florent Paris has done a variety of soundtrack work and released numerous other textures in EPs and a variety of other offerings, so take that for what it’s worth. More important is the rich sense of ambience Paris brings to Hors Sujet in the seven included songs, from the dystopian doom of “Au Plus Loin, la Mer / L’hiver Peureux” to the wistful drone wash of “Le Souffle, Peu à Peu (Pt. 2),” which has its companion piece earlier in the album. Of special note should be 27-minute closer “Et Maintenant, le Ombres,” acting as a summary of the proceedings as much as expansion thereupon, concluding an often quiet outing with a stark cacophony that gorgeously builds from the minimalism before it to a raucous finish worth of the breadth Paris shows in his work throughout.
Initially released by the band in summer 2015, the self-titled debut from Finnish progressive heavy rockers Warchief sees vinyl issue through Phonosphera Records, its two sides consumed by organic execution across four tracks moving beyond traditional structure in favor of a more varied approach, from the rumbling heft that emerges in opener “Give” through the goes-anywhere near-psychedelia of 21-minute closer “For Heavy Damage.” Warchief, the Jyväskylä-based four-piece of Teemu Pellonpää, Juho Saarikoski, Esa Pirttimäki and Tommi Rintala, feel right at home working in longer-form material, whether it’s that closer or the nine-minute “Life Went On” preceding, and given their breadth I wouldn’t be surprised if they would up with a single-song album sometime in the future. With that in mind, perhaps most encouraging about their self-titled is the fact that it seems so exploratory, very much like the beginning of creative growth rather than a finished product on display. One hopes they continue to flesh out stylistically and build on the foundation they’ve set here.
Riffing their way into the post-Electric Wizard league of rumble purveyors, Minneapolis newcomers Seedship avoid any cultish trappings on last fall’s Demo 2015, their first release. A marked tonal thickness is nearly immediate, but along with the slow-motion nod and overarching density, melodic vocals cut through the morass to give a human aspect to the groove. Of the three tracks, “The Edge of Expiry,” “The Condemned Adrift” and “The Desperate Odyssey,” not a one is under eight minutes long, and as they plod their way through the opener (also the longest track; immediate points), Seedship enact a sci-fi theme that carries through the release as a whole, which scuffs up the approach some in the closer, but always keeps its spacier elements intact, even as it kicks the pace in the ass at around six minutes in and lets loose a release for all the tension built up prior before a final slowdown ends out. They seem to have a lot already worked out sound-wise, so should be interesting to hear where they go with it.
If you don’t already have the chorus of this song stuck in your head, then you probably haven’t heard it yet. Doesn’t take much more than that for Hexvessel‘s “When I am Dead” to work its bizarro-prog, goth-folk, six-or-seven-other-genres-blended-but-still-catchy-as-hell magic on the listener. The track, taken from the Finnish unit’s latest offering, When We are Death (review here), is a highlight hook from that record, but ultimately one of many spread throughout the front-to-back, richly-varied experience of the album. It isn’t the first video they made from When We are Death — that was the far more subdued “Cosmic Truth” (posted here) — but it’s definitely high on the list of the strongest impressions the record makes, taking the forest folk template of the band’s earlier work and throwing it out the window in favor of something less stylistically rigid but no less organic in its execution.
And if you want an example of the kind of variety When We are Death offers, look at the two clips. “Cosmic Truth” played out its languid hook amid grand and flowing scenes of fog rolling over hills and mountains, aerial views of uncorrupted serenity. “When I am Dead” has the band playing their instruments and singing along to the song — shades of Wayne’s World, for those who might remember — as their Cadillac leaves orbit and explores outer space. It’s called charm, folks. The outward enjoyment they display in the video is no less infectious than the chorus of “When I am Dead” itself or its classic-prog gallop, and though things don’t seem to end well for Hexvessel in the story arc — unless you look at dying and supporting fungal growth as a positive; there’s a case to be made there — they certainly seem to be having a good time on the ride.
Hexvessel are on tour in Europe now, keeping Floydian company with New Keepers of the Water Towers, and the run will finish out in the middle of next month at Roadburn in the Netherlands, where I’m very much looking forward to seeing them. The remaining tour dates, some comment from vocalist/guitarist Mat McNerney and other info follow, courtesy of the PR wire.
Enjoy the clip:
Hexvessel, “When I am Dead” official video
HEXVESSEL post new video, new digital single announced; on tour across Europe now.
Finland’s psychedelic folk rock shooting stars HEXVESSEL have posted a new video for the song “When I’m Dead”, taken from their highly praised third studio album When We Are Death, released on Century Media in January.
Singer Mat McNerney comments on the new video and the tour:
“Nature prevails. We never die, we just change our form. We’re billion year old carbon on a journey through space on an ancient rock. As we leave our beloved Finland, heading out into Europe on tour, this video represents our view of the universe and our strong connection to the cycle of life and death. It’s an existential question that only the forest can answer. You must go on a journey into space to know this. Where will you be when I am dead?”
Catch HEXVESSEL on tour across Europe with New Keepers Of The Water Towers. All dates below.
HEXVESSEL live: Mar 22 Copenhagen, Denmark – Beta * Mar 24 Cologne, Germany- Underground * Mar 25 Hamburg, Germany- Rock Cafe * Mar 26 Dresden, Germany – Beatpol * Mar 27 Berlin, Germany- Musik & Frieden * Mar 29 Poznan, Poland – Minoga* / TICKETS Mar 30 Prague, Czech Republic- Cross Club * Mar 31 Vienna, Austria- Chelsea * Apr 01 Budapest, Hungary – A38* Apr 02 Club Napoca, Romania – Shelter * Apr 03 Bucharest, Romania – Control * Apr 04 Sofia, Bulgaria- Live & Loud Apr 05 Belgrade, Serbia- TBA Apr 06 Ljubljana, Slovenia – Channel Zero * Apr 07 Stuttgart, Germany – 1210 * Apr 08 Karlsruhe, Germany- Alte Hackerei * Apr 10 Antwerp, Belgium – Het Bos * Apr 11 Leeds, United Kingdom – Brudenell Social Club * Apr 12 London, United Kingdom – 100 Club * Apr 13 Brighton, United Kingdom – The Prince Albert Apr 14 – 15 Tilburg, Netherlands – Roadburn * With New Keepers of The Water Towers
HEXVESSEL line-up: Mat McNerney – Vox & guitar Marja Konttinen – Vox & percussion Jukka Rämänen – Drums Simo Kuosmanen – Lead Guitar Niini Rossi – Bass Guitar Kimmo Helén – Keys/Trumpet/Violin
Posted in Whathaveyou on March 22nd, 2016 by H.P. Taskmaster
Doubt very much I’ll be giving away any state secrets when I say I ran the announcement below through a translation matrix. Usually with that kind of thing, I might try to approximate, or reach out to the band/label/whoever and ask them for a translation so my ignorant, only-speaks-English ass can get hip to the news, but this time around, I kind of love what came back from the thing. It fits Deep Space Destructors so well, it’s kind of otherworldly, a communiqué piped in from the Finnish band’s own Northern cosmos. The kind of thing one might expect from a group who releases songs like “Journey to the Space Mountain” or “An Ode to Indifferent Universe.”
The band’s most recent release, 2015’s Spring Break from Space (review here), was named for a tour they were going on last year, and it shares its title as well with Deep Space Destructors‘ upcoming run next month as well, though there’s a “2016” added too. The Oulu-based swirlers will be out with Boar starting April 8, though there’s also a hometown gig April 1 to lead off the whole affair. “As a base for!”
That announcement, in all its glory, can be found with the tour dates below. Enjoy it, because language is fricking awesome:
Deep Space Destructors & Boar, Spring Break from Space 2016
Oulu bad-ass Boar and Deep Space Destructors are leaving Europe to deceive the local population psychedelic kohkauksellaan. However, Hullusega cosmos karavan does not run without petrol, so a tour of the countdown starts from Oulu, as a base for! Come and support the bands tour and enjoy the audio-visual tykityksestä! It offers new songs, fresh merchiä and everything thingy on both bands!
1.4.2016 Tukikohta, Oulu 8.4.2016, Rock Bar, Örebro, Sweden 9.4.2016 KB18, Copenhagen, Denmark 10.4.2016 Weinstube Pizzini, Bamberg, Germany 11.4.2016 AKK, Karlsruhe, Germany 12.4.2016 Le Midlands, Lille, France 13.4.2016 Worm, Rotterdam, the Netherlands
Jani Pitkänen – vocals, bass Petri Lassila – guitars, backing vocals Markus Pitkänen – drums
Posted in Whathaveyou on March 9th, 2016 by H.P. Taskmaster
Clearly, Tampere, Finland-based heavy rockers Laserdrift wanted the circumstances to be just right before they did an official launch for their self-titled debut album. Probably in much the same way they wanted to rolling pace of the organ and harmonica-inclusive jam on centerpiece “Cream ‘n’ a Shake” to be just right. Fair enough. It’s been three years since the outing was recorded, and after a digital self-release late last year, Laserdrift‘s Laserdrift is set to surface April 29 through Pink Tank Records as a limited-to-500-copies vinyl, CD and download.
The five-piece play back and forth from dense fuzz rock and airier heavy psychedelic influences, but rather than contrast one and the other, they smoothly transition between them, taking some bluesy cues on cuts like “Don’t Put Your I Out” and going for a full-on wah-soaked classic vibe on “Woman,” shifting between one side or another of their sound as they go. It’s a fluid album of fluid, heavy grooves, and as Laserdrift are now three years removed from its making, it makes me wonder how they might have continued to develop since. Guess we’ll see after the self-titled gets released.
Info from the PR wire:
The Laserdrift’s journey through the sonic wastelands began sometime in 2011 when Jere and Jupe got together with Lede and started to jam downtuned and groovy riffs. The ?rst jams were more downtempo, low and fuzzy drifting but soon the overall tempo got higher and tunes got more rocking and rad. Quite soon along the way Sami joined in as a singer and a second guitarist and the soundscape became more melodic and the songs got more structured.
The songs on the ?rst LP are from this era and in the recording process Jupe and Sami introduced Anssi who recorded the tunes. He also did keyboards to the songs and soon joined the band as an of?cial member. Now, the sound of Laserdrift is best described as not-so-sophisticated blend of rad and raunchy riffs, over the top fuzz, delay-drenched guitars, mind-wobbling keyboards, otherworldly beating bass and relentlessly pounding drums accompanied by vocals that are both tempting and on the edge. The stunning Laserdrift debut will be released on vinyl on CD and digital 29. April 2016.
VINYL FACTZ: 500 Copies total 100 saturn orange exclusive Pink Tank edition 100 jupiter yellow exclusive band edition 300 black standard edition
TRACKLIST: 1. LASERDRIFTER 2. WOMAN 3. COSMIC GETAWAY 4. CREAM ´N A SHAKE 5. D.A.Y. 6. DON’T PUT YOUR I OUT 7. BURN FOR LOVE