Superfjord Announce New LP All Will Be Golden on Svart; New Single Posted

Posted in Whathaveyou on June 21st, 2018 by JJ Koczan

superfjord

The hypnotic insistence of the new Superfjord single pretty much guarantees its imprint on the frontal lobe of your brain, and when you’re walking around singing ‘Bow down to the rainbow’ to yourself, there will be little wonder as to why. All Will Be Golden, which is the long-player from whence the aptly-titled “Rainbow” stems, has been confirmed for a Sept. 21 release through ultra-respected purveyor Svart Records. It’s their second album overall and the herald it receives bodes well for what’s to come, though I wouldn’t be surprised if the spaciness that shows up in “Rainbow” is more fleshed out elsewhere. We’ve got time before September hits — though apparently less than I think, as the calendar tells me it’s currently late June (the mind explodes) — so there will probably be more info to come in stuff like the cover art, tracklisting and so on, but you can stream “Rainbow” at the bottom of this post and there’s some preliminary data as regards the Svart signing that came down the PR wire:

It looked an awful lot like this:

superfjord rainbow

SUPERFJORD sign with SVART – release digital single, prepare new album for autumn

Svart Records announces the signing of Finnish prog-psych giants Superfjord. The band will be releasing a digital single titled “Rainbow” through the label, on all major digital platforms, in anticipation of their sophomore album (and first for Svart), All Will Be Golden, which is set for international release on September 21st. These will be Superfjord’s first brand-new releases since a limited 7″ single cover of John Coltrane’s “A Love Supreme,” released by cult psych label Fruits De Mer in the UK.

We shall all be redeemed, one way or another. Shall we pass through the golden gates towards the light, up to which myriad mysterious paths lead? Is the journey more important than the destination? Are we dreaming? Regardless of the questions asked, eventually All Will Be Golden.

Superfjord’s sophomore album is about it all: the journey, the destination, and the vehicles. All Will Be Golden is an ambitious musical trip formed of long arcs, mesmerizing mandalas, harmony vocals, and a multitude of aural colors. Have you heard the ayahuasca-inspired collaboration album from Pink Floyd, the Grateful Dead, and Spiritualized? Neither have we, but All Will Be Golden could possibly exist in such a parallel dimension. Whether you’re looking for a cure, a way of escape, a catalyst for spiritual expeditions, something to groove to, or just some chakra-opening psychedelic rock ’n’ roll with a 21st century cosmic twist, this might just be it.

“Rainbow,” the first single off the album, is a message from the end of the rainbow: surrender to the force, human. Superfjord’s psychedelic temple contains the whole cosmic color palette. Can you fit The Who, Frank Zappa, and, well, William Orbit into the same congregation? Well, apparently you can – with love.

Superfjord are:
Jussi Ristikaarto: guitars, electronics, vocals
Mikko Kapanen: guitar, vocals, percussion
Ilari Kivelä: drums, percussion
Teemu Soininen: bass
Juho Ojala: keyboards
Jussi Peevo: drums, percussion

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

Superfjord, “Rainbow”

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Death Hawks Post Video for New Single “Atitlán”

Posted in Bootleg Theater on June 19th, 2018 by JJ Koczan

death hawks photo Sami Sänpäkkilä

So good. So good. New Death Hawks. So good. Post over. Okay, go watch the video.

Really?

Nah, not really, but if you read the above, you pretty much have the point of everything I have to say about the Finnish psychedelic rockers’ new clip for their single “Atitlán,” which as fortunate fate would have it is the predecessor to a fourth long-player to be released this Fall by Svart Records. The band’s blend of classic progressive elements and forward-thinking spaciousness is entirely their own, and if you heard their last album, 2015’s still-put-it-on Sun Future Moon (review here), you know that the result of their sonic meld lacks nothing for memorability for being so otherwise far, far out. Did I mention “so good?” Okay, right on.

Director Sami Sänpäkkilä, who also helmed the camera and edited the video for “Atitlán” and has worked with the band before, put up a pretty interesting blog post about its making in both conceptual and technical terms, which I’ve cut and pasted below since you don’t often see something so detailed about the actual putting together of a video. That post talks as well about Death Hawks frontman Teemu Markkula‘s providing the stage costumes from his work as a professional drag performer, and the glamorous visual elements end up making “Atitlán” both subversive and all the more a trip into the band’s own world, which makes it suitable that the song itself comes from Markkula‘s traveling to Guatemala and staying for a month by the side of a volcano-surrounded lake. As far as inspiration goes, that’ll probably do the job.

I’ll hope to have (much) more on Death Hawks‘ next record as we get nearer to its arrival, but until then, “Atitlán” has a catchy enough hook to set up residence for heavy rotation on the mental jukebox, and you can hear it and see the accompanying video on the player below. Keep an eye out for the parts where they’re waving crystals in front of the camera. Sänpäkkilä mentions it in his post and you can totally see it in the clip itself once you know what you’re looking for. And if watching drag artists makes you uncomfortable, one suspects that’s part of the point.

So dig it:

Death Hawks, “Atitlán” official video

Today, Death Hawks – the most successful Finnish psychedelic rock act of modern times – reveal a new video for the track “Atitlán.” A new recording two-and-a-half years after their smash-hit album, Sun Future Moon, for Svart Records, “Atitlán” is a special digital-only single currently available on all major digital platforms.

As vocalist/guitarist Teemu Markkula reveals, “We’ve been playing around with the song’s characteristic theme for about a year during soundchecks all over Europe. At some point, our bass player Riku made a demo from it, and we decided to produce this new single from it. The song is a melodic and vocal-driven pop song. It has an interesting variety of instruments and a lot of layers which makes it possible to immerse oneself into the song.”

Continuing about the song’s genesis, he says, “At that time, I had just spent a month in a little Guatemalan village by the lake Atitlán. It’s a magical place! A big lake that has three volcanoes rising up from the shorelines – even more if you count in the ancient volcanoes. This song actually is a kind of a postcard from there, and it is dedicated to the most wonderfully bizarre and liberal people. Travelling really broadens the mind! Whaddaya know?”

Sami Sänpäkkilä on “Atitlán”:

Death Hawks new song Atitlán from their fourth full length album is also my third video for the band. All the videos we’ve done have been very different in technique. Black Acid was shot on super 8 and on Beyond Thyme we used UV lights and paints.

Teemu Markkula and myself cooked up the idea on what the video should include in terms of looks and story. The choreography, lights and the visuals were mostly done at the studio. Teemu had some reference images so we kind of had an idea of the colors we wanted. The clothes were all Jukka’s stage clothes as he’s a professional drag artist.

The whole shoot only took about 6-7 hours including lunch and that speed is due to the fact we had a good studio (Visual Works in Helsinki) and loads of people doing their thing. Lighting and VJ setup was simple. We had a 650W tungsten with a soft box and a grid high up on the ceiling. We also had an amazing portable and wirelessly triggered fog machine that was super easy and fast to use. Jonne Pitkänen did the front projections and Ilona Lehtonen did all the back projections.

All the effects except for the double exposure shots are in-camera effects. We had a few crystals that we shaked in front of the camera.

Directed by Sami Sänpäkkilä
Script: Sami Sänpäkkilä, Teemu Markkula
Music by Death Hawks
Actors: Teemu Markkula, Jukka Kuronen
Gaffer: Anna-Mari Nousiainen
VJ’s: Ilona Lehtonen, Jonne Pitkänen

Death Hawks website

Death Hawks on Thee Facebooks

Svart Records

Svart Records on Thee Facebooks

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Review & Full Album Stream: Pelagos, Revolve

Posted in audiObelisk, Reviews on June 5th, 2018 by JJ Koczan

pelagos revolve

[Click play above to stream Pelagos’ Revolve in its entirety. Album is out June 8 via Svart Records.]

Evocations of space and water meet on “River (Proxima Centauri),” and that would seem to summarize at least a goodly portion of where Pelagos are coming from on their Svart Records debut album, Revolve, but the key idea is of finding some other place. Listening to the Finnish outfit’s eight-track/48-minute offering, one can’t help but wonder how much of it was crafted with an intent, either conscious or not, for escapism. At the same time, there are flashes of traditional folk rhythms amid the washes of e-bow guitar, synth, keys, and so on, so something keeps even “River (Proxima Centauri)” grounded, and as it follows the immediately echoing vocals and expansive welcome of opener “Code” — as in “blue?” is that the kind of other place we’re visiting? — that sense of ground definitely has a purpose to serve.

Pori, from whence the three-maybe-four-piece — they list Teemu Elo, Petri Hagner and Janne Peltomäki as members, but there sure are four people in their promo photos — hail, is known for having produced the mega-weirdo progressive outfit Circle, and sure enough Pelagos share a lineage with that group going back decades, but the new band seem on a more distinct sonic mission, and with the synthesizer pushing them farther and farther out throughout pieces like “Island of Pelicans,” the somewhat more brooding and decidedly urbane “Aphrodite’s Shore,” and into Revolve‘s second-half depths, amid the acoustic-guitar-based “Invisible,” the darker and electronic-beat fueled “Sea of Tranquility,” the encompassing soundscape of “Muted Stars” and closer “Embryo”‘s reimagining of New Wave as an extension of progressive rock with manipulated vocals and repetitive electronics complemented by airy guitar and a steady underlying groove, a key factor in the outing overall is immersion. It’s the kind of record you might get caught in a ridiculous run-on sentence describing, as each song seems to have something of its own to offer while adding to the overarching atmosphere.

And atmosphere is central to Revolve, to the point that one wants to read a story into the idea that they begin with “Code” and end with “Embryo,” as though the songs between are stages in a journey from death to reincarnation. Certainly there’s room to create that narrative in the ethereal sonic affect Pelagos have donned, and though there’s a definite tonal presence throughout, they refuse to let any element get overblown. That is, as much breadth as there is in the material, it’s never simply wandering for its own sake, and a keen balance holds firm for the duration. There’s a temptation to call is psychedelic, but it’s not psychedelic in terms of the traditional mushroom-munching definition of the genre. Whatever the proclivities of the band’s members — I wouldn’t speculate — what they seem to share with psychedelic rock is the idea of space, both thematically and in the music itself. “Code” opens with a subtly gripping drumless section, letting the wash gradually consume the listener before the album makes its way into the journey ahead.

pelagos

After the hypnotic “River (Proxima Centauri),” “Island of Pelicans” takes hold with a more rhythmic feeling behind it, shifting to a more synthesized vibe at around the midpoint, winding up in strumming acoustic guitar with other elements swirling around, in front of and behind it, the idea seeming to be a constant motion either forward or in its own roundabout spirit, moving without feeling like it needs to be anywhere. That, given that it’s purposeful, is a compliment. In truth, even at its most repetitive, Revolve — the title itself a repetitive motion — loses neither its will nor the gracefulness of its execution. As “Aphrodite’s Shore” gives way to “Invisible,” the shift in approach is clear. Both songs are just over five minutes long, and yet the sound of each, from the utter wash of the former to the more folkish impression of the guitar on the latter, is tied together by the ambience that permeates so much of the record and, though it’s mostly at the fore in introductory sections or leadouts, defines it.

I won’t take away from the more active sections of Revolve or the effectiveness of the shifts in structure Pelagos bring to bear, pushing verses forward on “Sea of Tranquility” or “Island of Pelicans” while the ringing tones of “Muted Stars” and “Aphrodite’s Shore” cast a vision of what Yawning Man might’ve been if they were born on an ocean planet instead of in the desert, but there’s no mistaking the focus on ambience — which I wouldn’t exactly classify as “inactive” either — as being crucial to the impression the album gives as a front-to-back listen. And though it should somewhat go without saying, but a work this fluid and smooth in its shifts between one song and the next should be taken in its entirety.

Not that a given song can’t give an impression of the core sound of its surroundings, just that the full breadth of Revolve is best experienced when the whole voyage is made. And it is a longer go than the 48 minutes of its runtime might convey, but whether or not the narrative intended is the one purported, what really matters is that Pelagos put their audience in a place where the experience is engrossing enough that the mind wants to engage with it as one might the chapters of a novel. Particularly given their pedigree, it would be futile to guess what Pelagos might have to offer in the long term or how or along what path their style might develop, but their debut is rich and resonant, and it brims with the openness of spirit that seems to have driven its creation. Especially considering it as a first album, it is a considerable achievement in its balance and aesthetic.

Pelagos on Thee Facebooks

Pelagos on Bandcamp

Pelagos Tumblr

Pelagos on Svart Records webstore

Svart Records website

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Svart Records on Bandcamp

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Kaleidobolt European Tour Starts Tonight; Playing Freak Valley and More

Posted in Whathaveyou on May 31st, 2018 by JJ Koczan

kaleidobolt

Finnish heavy psychedelic progressives Kaleidobolt have been working on new material and reportedly have — quoting now — ‘a ton and a half’ of new material to sift through in the making of their next record, which will be the follow-up to 2016’s sub-radar stunner The Zenith Cracks (review here). One imagines their upcoming tour which, hey how about that, starts tonight, will be a major factor in that sifting process, as the band have said they’ll look into recording afterwards, no doubt trying to capture some of their residual stage energy and focus into a studio setting. A noble endeavor to be sure, and with a handful of shows booked in Finland for August, they might even have a timeline on getting the new record done before they head out again. Of course that’s speculation, but it’ll be worth keeping an eye on.

If you missed The Zenith Cracks, it’s streaming at the bottom of this post and well worth the time to dig into. Shows on the current tour are presented by Sound of Liberation, and the following comes from the PR wire:

kaleidobolt tour poster

KALEIDOBOLT SPRING TOUR 2018

31.05 COPENHAGEN BETA2300
01.06 HAMBURG Hafenklang
02.06 NETPHEN DEUTZ Freak Valley Festival 2018
03.06 COLOGNE Helios37
04.06 NIJMEGEN De Onderbroek
05.06 LE HAVRE Mc Daid’s
06.06 LONDON The Dev
07.06 PARIS Espace B Paris
09.06 OLTEN Coq d’Or
10.06 FREIBURG Slow Club Freiburg
11.06 MUNICH Feierwerk
12.06 DRESDEN Ostpol
13.06 OSNABRÜCK Jugendzentrum Westwerk
14.06 BERLIN Urban Spree
15.06 ROSTOCK Kulturkombinat e.V.

Kaleidobolt Finland tour:
22.8 OULU 45 Special
23.8 HELSINKI Bar Loose
24.8 TAMPERE 24.8. Manse Psych Fest 2018 / Klubi & Pakkahuone, Tampere
25.8 TURKU @Gong

Tour arranged by Sound of Liberation
Poster design by The Impossible Machine & Andrés Gamiochipi.

Kaleidobolt is a power trio that came together in early 2014 in Helsinki. In the short time they’ve been together, they’ve gained the reputation of being one of the most exciting live bands around. Their music is a dizzying maelstrom of progressive song structures, crushing riffs and loose psychedelic soundscapes, delivered with joy and ferociousness. Their first self titled album was released 2015 and brought the guys a huge success all over the world. In between two European Tours Kaleidobolt recorded 8 new tracks which came out on their second album The Zenith Cracks on 01st of July 2016.

https://www.facebook.com/kaleidobolt/
https://kaleidobolt.bandcamp.com/album/the-zenith-cracks
http://www.pink-tank-records.de/label-1/the-pink-tank-family/kaleidobolt/
https://www.facebook.com/pinktankrecords/

Kaleidobolt, The Zenith Cracks (2016)

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Lurk to Release Fringe Aug. 5; Streaming “Reclaim” Now

Posted in Whathaveyou on May 23rd, 2018 by JJ Koczan

lurk

Finnish guttersludge extremists Lurk have set an Aug. 5 issue date for their new album, Fringe, via Transcending Obscurity Records. And call me crazy, but I don’t think they titled the record after that not-X-Files show Fox had on until they could convince X-Files to come back. And while it’s possible, I don’t think it’s the kind dangling from Ozzy‘s jacket either. I’m thinking this is more the “lunatic fringe” kind of fringe. Out there on the edges, blown mind, blown soul, all fucked up and not caring anymore. That kind of fringe.

At least that’s the vibe I get off streaming the track “Reclaim,” which you can hear at the bottom of this post if you’re so inclined. What could almost as easily be marketed as black metal, the track is a push toward extremity of fuckall that nonetheless maintains an underlying groove. It’s not easy listening by any stretch, but making the effort comes with a reward. And, no, I don’t just mean the Adam Burke cover art, though that’s rad as well.

Info from the PR wire:

lurk fringe

LURK (Finland) – ‘Fringe’ Gold LP Box Set / Gold LP / CD Box Set / Digipak CD / Merch / Digital (August 5th, 2018)

Genre – Atmospheric Sludge/Doom Metal
Release Date – August 5th, 2018
Record Label – Transcending Obscurity Records (India)

Wistful and mysterious, LURK’s music is just as interesting and multi-faceted as their cover artwork. Blending elements of doom, black and death metal into their astounding sludge template, the Finnish band is taking the sound ahead in ways hitherto unheard. Haunting, soaring melodies juxtapose with abrasive low-end riffs without hampering the overall aesthetics. Watch the band take you into a slow, hallucinatory descent towards madness where multiple worlds coalesce and still make sense – that in a nutshell is the music of LURK.

Band lineup –
Kimmo Koskinen – Vocals
Kalle Nurmi – Drums
Arttu Pulkkinen – Guitar
Eetu Nurmi – Bass

Guest vocals by Aleksi Laakso on Elan
Alto saxophone by Aino Heikkonen on Ostrakismos

Album artwork by Adam Burke (HOODED MENACE, LOSS)
Layout and art direction by Francesco Gemelli (KATATONIA, TOWARDS ATLANTIS LIGHTS)

Track listing –
1. Ostrakismos
2. Tale Blade
3. Reclaim
4. Elan
5. Offshoot
6. Furrow
7. Nether
8. Proteus Syndrome

https://www.facebook.com/lurkdoom
https://lurkdoom.bandcamp.com/
https://tometal.com/
http://transcendingobscurity.bandcamp.com/

Lurk, Fringe (2018)

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Hooded Menace Announce June Dates

Posted in Whathaveyou on May 15th, 2018 by JJ Koczan

Finnish doom malevolents Hooded Menace are heading out in just to play the Death over Drachten fest in the Netherlands. The five-piece released their latest album, Ossuarium Silhouettes Unhallowed, this past January on Season of Mist and received the usual hyperbole-laden top marks for it that must be so boring to them by this time that they can’t stand it. Whether they can or can’t, they earned it as ever with the unbridled darkness of their atmospheres, only enhanced by a more dynamic take overall.

They’ll play a couple shows around the fest, including at The Black Heart in London, as the PR wire informs. I don’t know if larger touring is in the works or if these kinds of sporadic appearances will be it for now, but either way, if you’ve never caught these guys, they’re worth the hearing damage.

To wit:

hooded menace

Finland’s death/doom overlords HOODED MENACE have announced a string of European tour dates this summer. The mini tour kicks off on June 22 in Oberhousen, and sees the band playing at Death over Drachten in the Netherlands. A full list of dates can be found below.

HOODED MENACE are touring in support of their new album, ‘Ossuarium Silhouettes Unhallowed’. Their most ominous, dark, and mature album to date, ‘Ossuarium Silhouettes Unhallowed’ sees HOODED MENACE expertly weave dreary funereal atmospheres with dark melody, which only adds to emotional gravitas of what is sure to be one of the heaviest albums of 2018.

‘Ossuarium Silhouettes Unhallowed’, HOODED MENACE’s fifth full-length, is available here.

The album art, painted by Adam Burke (SOLSTAFIR, ARTIFICIAL BRAIN, VEKTOR, and more) and track list for ‘Ossuarium Silhouettes Unhallowed’ can be found below:

Track list
1. Sempiternal Grotesqueries
2. In Eerie Deliverance
3. Cathedral of Labyrinthine Darkness
4. Cascade of Ashes
5. Charnel Reflections
6. Black Moss

HOODED MENACE Tour dates:
Jun. 22 Oberhausen, DE @ Helvete
Jun. 23 Drachten, NL @ Death over Drachten (w/ SHINING, CARNATION)
Jun. 24 London, UK @ The Black Heart

https://www.facebook.com/HoodedMenace
http://www.season-of-mist.com/

Hooded Menace, “In Eerie Deliverance”

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Amorphis, Queen of Time: Keeper of Fleeting Moments

Posted in Reviews on May 14th, 2018 by JJ Koczan

amorphis queen of time

As they’ve for so long shown an affinity for Finland’s national poem, the Kalevala, it seems somehow only fitting that 28 years after their founding, Amorphis‘ own story should be the stuff of a winding runic epic. Years of lineup changes, sonic evolution, genre definition and defiance have brought them to their 14th long-player, Queen of Time (on Nuclear Blast), with four of their original members in the six-piece lineup, and as they’re quick to show on the Jens Bogren-produced outing, the progression that began on 1992’s The Karelian Isthmus continues unabated. As they mark the return of original bassist Olli-Pekka “Oppu” Laine, with whom they last played on 1999’s Tuonela (discussed here), they embark on some of their most expansive sounds to-date, including not just the standout keyboard work of Santeri Kallio, who joined in 1999, but also flourish in the form of choral and orchestral arrangements and vocal appearances from Anneke van Giersbergen, who guests on the penultimate cut “Amongst Stars,” and longtime lyricist Pekka Kainulainen, who contributes a speech in Finnish to third track “Daughter of Hate.”

That song runs as part of a momentum-building first half of the album that, from the intro to opener “The Bee” through “Message in the Amber,” “Daughter of Hate,” and “The Golden Elk” and “Wrong Direction,” move with experienced poise through the band’s long-established dynamic of folk, death and progressive metals, vocalist Tomi Joutsen (also Hallatar) — who since coming aboard with 2006’s Eclipse (also their label debut on Nuclear Blast) has now been in the band nearly twice as long as his predecessor, Pasi Koskinen — switching easily between guttural growls and dramatic, emotionally driven clean singing.

The clash of the beautiful and the brutal has been at the core of what Amorphis do for over 20 years, since 1996’s groundbreaking third album, Elegy, but whether it’s the chugging riff of “The Bee” meeting with a string arrangement and keyboard launching into the chorus or the later “Grain of Sand” finding Joutsen layering soaring melodies over growls as drummer Jan Rechberger pounds away behind and lead guitarist Esa Holopainen touches on minor-key Easternisms as a chorus backs the bridge to the next onslaught, Amorphis have never quite made the transitions so fluid. Part of that is the melding of melody and extremity as on “Daughter of Hate,” which brings in saxophone around the two-minute mark after a particularly brutal opening, but Bogren, who seems to have been the mastermind behind bringing the choral and orchestral arrangements into the proceedings, can only be considered right for having done do.

amorphis

Even the band’s also-string-inclusive preceding album, 2015’s Under the Red Cloud, which Bogren also oversaw amid a host of engineers, didn’t push as far as “The Bee” or “Message in the Amber,” the latter touching almost on Blind Guardian-style grandiosity in its second half. That’s not a complaint. Even as later cut “We Accursed” holds to a “rawer” approach with its Finn-folk bounce and swirling keyboard solo over a start-stop riff from Holopainen and fellow founder/rhythm guitarist Tomi Koivusaari, Amorphis seem to be expanding on the ideas of Under the Red Cloud, pushing themselves further in multiple directions and still leaving room for hooks like that of “Wrong Direction” or the memorable finale in “Pyres on the Coast” that seems to bring all sides together and round out with Kallio on a still-somehow-appropriate church organ.

But that is what Amorphis does, and it’s what they’ve always done. Save perhaps between 1994’s Tales from the Thousand Lakes and the aforementioned Elegy, their growth has never come in leaps and bounds — and part of that was personnel change — but it’s been a consistent truism of their work that each outing builds off the accomplishments of the one before it, and refuses to stay in the same place. In the now-seven albums they’ve done since Eclipse, when Joutsen came aboard, they’ve been ever more aware of who they are as a band — that is, there are some things an Amorphis record needs to be an Amorphis record, and they seem to consciously tick those boxes — but never afraid to refine their processes and push themselves in ways they haven’t before. As such, the 10 tracks/57 minutes of Queen of Time are multifaceted and rife with breadth, but the core sonic persona of who Amorphis have become — itself true to the band’s name for its ever-changing shape — has remained true.

They are one of a kind in metal, and whatever subgenre one might want to peg them into, they’ll never quite fit all the way. That’s true of the galloping “Heart of the Giant,” the careening delivery of the title-line in “The Golden Elk,” and the piano line that runs under “Amongst Stars,” as the meticulousness of Amorphis‘ songwriting, the sheer clarity and detail of it, makes them an ever more complex and ever more immersive listening experience. Invariably, with a band who’ve been around so long produced such a catalog, fans have their favorites, so I won’t say Queen of Time is the “best” Amorphis album, because the designation is meaningless. However, it is the farthest stage yet reached of their ongoing progression and it claims its place in their catalog as an utter triumph in its achievement. For established fans or open-minded newcomers, it should not be missed.

Amorphis, “Wrong Direction” official video

Amorphis website

Amorphis on Thee Facebooks

Amorphis at Nuclear Blast website

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Onségen Ensemble Post Video for Title-Track of New Album Duel

Posted in Bootleg Theater on May 10th, 2018 by JJ Koczan

Onsegen Ensemble

I don’t have an excuse for missing out on Onségen Ensemble‘s early 2016 debut release, Awalaï. I’m sure you heard it, because you’re on your stuff like that. The album was released by Pink Tank Records, who are a label I hear from regularly, and the Finnish psychedelic collective’s work is so much right up my alley that I’m a little sad no one tipped me off between then and now and said, “Uh hey dude you should probably check his stuff out,” because god damn, I wish I had. It’s the kind of thing I might end up closing out a week with just so I can talk about it. Friday Full-Length, and all that.

Anyway, the better news — though I’m not sure finding out about an awesome band counts as “bad news,” even when one factors in the punk rock guilt of not getting in on the ground floor — is that Onségen Ensemble have a second record, titled Duel, coming out this summer. Based in the psychedelic hotbed of Oulu, the band’s own Esa Juujärvi brought the work to my attention by sending the link to the video for the title-track, and maybe it was the resonance of the juxtaposition in the lyrics “We are all in this together/Burn, burn the world” that hit me so hard, or maybe it was just the spaciousness of the whole thing, or the chill of the video, but yeah, if it wasn’t so soothing, I’d say it hit me like a ton of bricks.

So I’m posting the video as advance notice of the album. It’s been out for a few days already, but screw it. I don’t think Onségen Ensemble have a set release date for Duel, but when I hear of one I’ll get it posted accordingly. Now that I have my head out of my ass on the matter (and only on this matter, rest assured), I’ll try not to let any news/updates slip by. Fingers crossed it’s out sooner than later.

Dig the video below, and please enjoy:

Onségen Ensemble, “Duel” official video

DUEL – the second album by Onségen Ensemble out this summer. Check out the title song now!

Onségen Ensemble is a group of musicians from northern Finland. This periodically active ensemble continues Onségen’s musical legacy with a new album which will be released in the summer of 2018. The album contains a multilevel and experimental fusion of postrock, jazz and stoner, mixed with touches of cinematic and flamboyant overtones.

Onségen Ensemble – Duel
1. Think Neither Good Nor Evil
2. Duel
3. Dogma MMXVIII
4. Zodiacal Lights of Onségen
5. Three Calls of the Emperor’s Teacher

Onségen Ensemble is:
Juggis Aalto, Heikki Häkkilä, Esa Juujärvi, Merja Järvelin, Sami Lehtiniemi, Samuli Lindberg, Joni Mäkelä, Jaakko Tuomivaara, Niina Vahtola and Mikko Vuorela.

Onségen Ensemble on Thee Facebooks

Onségen Ensemble on Bandcamp

Onségen Ensemble website

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