Mars Red Sky Premiere “Collector” Video; EP out June 19

Posted in Bootleg Theater on June 14th, 2019 by JJ Koczan

mars red sky (Photo by Rod Maurice)

Welcome to the next era of Mars Red Sky. With the coming release of the Collector EP, which will have a limited cassette pressing of 300 copies available at Hellfest on June 19 — and hopefully on the interwebs afterwards if there are leftovers — the Bordeaux, France, heavy psych rock three-piece begin the march toward their fourth album, The Task Eternal. That full-length will be out Sept. 27 on Listenable Records, and a preview EP is standard practice for Mars Red Sky going back to 2013’s Be My Guide EP (review here) which followed their 2011 self-titled debut (review here) and preceded 2014’s Stranded in Arcadia (review here). Likewise, before they issued Apex III (Praise for the Burning Soul) (review here) in 2016, they offered up the Providence EP (review here), and if you want to go all the way back, they had a 7″ single out before the first record as well. So yes, bouncing between shorter and longer offerings is very much in-character for Mars Red Sky.

Today marks the premiere of “Collector,” the title-track and single from the EP, and the video below, and it finds the three-piece of guitarist/vocalist Julien Pras, bassist/sometimes vocalist Jimmy Kinast and drummer Matieu “Matgaz” Gazeau locked as ever into an irresistible rolling groove, filled out as much through low-end tonality in the guitar and bass as by Pras‘ echoing, floating melodic vocals over top. This dichotomy has been at the heart of Mars Red Sky since their outset — it’s essential to what they mars red sky collectordo — but over time they’ve grown more complex as well, as the 2017 17-minute instrumental single Myramid (discussed here) demonstrated and as one can hear in a fluid thread of progression across all their releases. At just over four minutes long, “Collector” itself is of a more straight-ahead verse/chorus style, but even in its depth of melody and the feeling of space conjured by the recording, one can hear Mars Red Sky moving past even the accomplishments of their last LP and toward those of The Task Eternal.

On the EP, “Collector” appears twice — the other version featuring a solo from Stoned Jesus‘ Igor Sidorenko — and comes complemented on each side by “Soldier On,” a longer and more lumbering cut with an expansive hook and a hypnotic break in its midsection held together by Gazeau on drums as the guitar builds dramatically back toward the plodding verse and the even-bigger-sounding finish. It is hard to know ultimately how much the material on Collector — the second version of “Soldier On” is a demo — will represent what’s to come on The Task Eternal. With ProvidenceMars Red Sky essentially set the atmosphere of Apex III (Praise for the Burning Soul). That may be what’s happening again, or it could be something else entirely. The story at this point is just starting to be told.

You can see the premiere of the “Collector” video below, with live footage of the band spliced in with archival clips of people playing some kind of competitive frisbee game and a surprising amount of American iconography, culminating in a kind of cannon shooting out hamburgers, hot dogs, baseballs, televisions and cars. Fair enough for a song about someone collecting souls — my country rarely comes into unearned criticism — but one has to wonder as well if Mars Red Sky are taking a more direct and socially-conscious stance going into the LP. Or it could just be a one-off. Again, won’t know till we get there. But it’s fun to speculate.

Video is by Sebastien Antoine with live footage from Paris filmed by Rod Maurice. The music was recorded and mixed by Benjamin Mandeau at Studio Cryogene in Bègles, France, just south of Bordeaux proper and on the banks of the River Garonne, and mastered by Pierre Etchandy.

PR wire info, comment from the band and copious tour dates follow.

Enjoy:

Mars Red Sky, “Collector” official video premiere

French heavy psychedelic masters MARS RED SKY release their new digital single entitled ‘Collector’ today! The song is taken from their upcoming fourth album ‘The Task Eternal’, due for release this year on September 27th on Listenable Records.

The band comments: “Collector is quite a straightforward track that may recall the ‘Mindreader’ vibe from our previous album ‘Apex III (Praise for the burning soul)’ in its structure and delivery. Lyrics deal with a soul collector, an evil being who announces his return to the city with the intention of terrorizing the population.”

The single is taken from new album ‘The Task Eternal’ due out September 27th on Listenable Records. The limited edition ‘Collector’ cassette EP will also present an exclusive version of the song with Stoned Jesus frontman Igor Sydorenko on guitar solo, as well as two special renditions of ‘Soldier On’ (also appearing on the album). With a total of four tracks, the ‘Collector’ EP is a perfect taster and yet another highly collectible item for any MARS RED SKY fan.

Available from June 19th, the ‘Collector’ cassette EP will be limited to 300 copies and exclusively available from MRS Red Sound web store, Listenable booth at Hellfest Metal Market and on all upcoming shows. It will also see a digital release via Mars Red Sky’s Bandcamp and Mad Reed Studio Bandcamp.

New single Collector available on all streaming platforms now

https://ampl.ink/W45Qk

https://marsredsky.bandcamp.com/

Limited edition cassette EP available June 19th via MRS Red Sound

https://marsredsky.bigcartel.com/product/ep-cassette-collector

TRACK LISTING:
Side A
1. Collector
2. Soldier On #A
Side B
1. Collector (feat. Igor Sydorenko)
2. Soldier On (demo version)

All tracks on the EP were recorded and mixed by Benjamin Mandeau at Cryogene Studio, except for “Soldier On (Demo)” which was performed, recorded and mixed by Julien Pras at Mad Reed Studio. Artwork designed by Carlos Olmo.
MARS RED SKY also announce a series of live shows in support of new album ‘The Task Eternal’, to be continued in 2020 and beyond:

08.06.19 MONTAIGU (FR) Crumble Fest
15.06.19 PORT SAINT LOUIS DU RHONE (13) Camargue Sessions
18.07.19 BILBAO (SP) Kafe Antzokia
19.07.19 BRAGA (PT) Rodellus Festival
03.08.19 CHEVANCEAUX (17) Laryrock
10.08.19 BAGNES (CH) Rocklette Palp festival
16.08.19 SAINT-NOLFF (FR) Motocultor Festival
27.09.19 ANGOULEME (FR) La Nef
11.10.10 BELFORT (FR) La Poudrière
12.10.19 STRASBOURG (FR) La Laiterie
17.10.19 SAINT BRIEUC (FR) Carnavalorock
25.10.19 VENDOME (FR) Les Rockomotives
26.10.19 GRENOBLE (FR) L’Ampérage
27.10.19 MONTHEY (CH) Pont Rouge
29.10.19 ZÜRICH (CH) Rote Fabrik
30.10.19 BRUSSEL (BE) Les Halles
31.10.19 DIKSMUIDE (BE) 4AD
01.11.19 COLOGNE (DE) Helios 37
02.11.19 AMSTERDAM (NL) Melkweg
03.11.19 WIESBADEN (DE) Schlachthof
04.11.19 MUNICH (DE) Feierwerk
05.11.19 VIENNA (AT) Arena
06.11.19 LEIPZIG (DE) Werk2
07.11.19 BERLIN (DE) Cassiopeia
08.11.19 HAMBURG (DE) Hafenklang
09.11.19 KRAKOW (PL) Soulstone Gathering
20.11.19 CLERMONT-FERRAND (FR) La Coopérative de Mai
14.12.19 MONTPELLIER (FR) Black Sheep
04.03.20 PARIS (FR) La Maroquinerie
05.03.20 TOURS (FR) Le Temps Machine
06.03.20 TOULOUSE (FR) Le Metronum
13.03.20 DIJON (FR) La Vapeur
14.03.20 ORLEANS (FR) L’Astrolabe
28.03.20 GERARDMER (FR) Maison de la Culture

Mars Red Sky on Thee Facebooks

Mars Red Sky website

Listenable Records website

Listenable Records on Thee Facebooks

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Mars Red Sky to Tour Europe This Fall Supporting The Task Eternal

Posted in Whathaveyou on June 6th, 2019 by JJ Koczan

MARS RED SKY

Last time they checked in Bordeaux, France, heavy psych exports Mars Red Sky were announcing the Sept. 27 release of their fourth album, The Task Eternal. That was over a month ago and it’s been pretty quiet from them since then, at least as far as the PR wire is concerned, but in addition to a few dates this month, the three-piece have newly unveiled tour plans for this Fall that will find them back on the road throughout October and into November following the album’s release.

They were due to unveil a new song at the end of last month, and an EP, Collector, was said to be coming June 14 through their own Mars Red Sound imprint. I’d imagine that’s still the case, though I haven’t seen any further word on that either since the initial press release.

Still, Sound of Liberation posted the tour dates thusly:

mars red sky tour

To promote their upcoming album “The Task Eternal” (which will be released via Listenable Records on September 27th), Mars Red Sky will hit the road next fall!!

They also have a bunch of festivals booked for the summer, where you may hear some new tunes.

08.06.2019 – Montaigu – Crumble Fest (FR)
15.06.2019 – Port Saint Louis – Camargue Sessions (FR)
18.07.2019 – Bilbao – Kafe Antzokia (SP)
19.07.2019 – Braga – Rodellus Festival (PT)
03.08.2019 – Chevanceaux – Laryrock (FR)
10.08.2019 – Bagnes – Rocklette Palp Festival (CH)
16.08.2019 – Saint Nolff – Motocultor Festival (FR)
27.09.2019 – Angoulème – La Nef (FR)
11.10.2019 – Belfort – La Poudrière (FR)
12.10.2019 – Strasbourg – La Laiterie (FR)
17.10.2019 – Saint Brieuc – Carnavalorock (FR)
25.10.2019 – Vendome – Les Rockomotives (FR)
26.10.2019 – Grenoble – L’Ampérage (FR)
27.10.2019 – Monthey – Pont Rouge (CH)
29.10.2019 – Zürich – Rote Fabrik (CH)
30.10.2019 – Brussels – Les Halles (B)
31.10.2019 – Diksmuide – 4AD (B)
01.11.2019 – Cologne – Helios 37 (D)
02.11.2019 – Amsterdam – Melkweg (NL)
03.11.2019 – Wiesbaden – Schlachthof (D)
04.11.2019 – Munich – Feierwerk (D)
05.11.2019 – Vienna – Arena (A)
06.11.2019 – Leipzig – Werk2 (D)
07.11.2019 – Berlin – Cassiopeia (D)
08.11.2019 – Hamburg – Hafenklang (D)
09.11.2019 – Krakow – Soulstone Gathering (PL)
20.11.2019 – Clermont-Ferrand – Coopérative de Mai (FR)
14.12.2019 – Montpellier – Le Black Sheep (FR)

http://www.facebook.com/marsredskyband/
http://www.marsredsky.net
http://www.listenable.net
http://www.facebook.com/listenablerecs

Mars Red Sky, The Task Eternal teaser

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Review & Full Album Stream: Abrahma, In Time for the Last Rays of Light

Posted in audiObelisk, Reviews on May 22nd, 2019 by JJ Koczan

abrahma in time for the last rays of light

[Click play above to stream Abrahma’s In Time for the Last Rays of Light in its entirety. Album is out Friday on Small Stone Records and Deadlight Entertainment.]

It has been an especially long four years since France’s Abrahma released their second album, Reflections in the Bowels of a Bird (review here). As early as 2016, the topic of a new full-length had been broached, and they revealed recording plans in consecutive Junes across 2017 and 2018. The latter took. By the time they got there, guitarist/vocalist and principle songwriter Sébastien Bismuth was the lone remaining original member of the band, with a changing lineup around him that contributed in no small part to the delay. In the end, it was by absorbing the entirety of the band Splendor Solis that Bismuth was able to construct Abrahma as a five-piece and enter Orgone Studios to record with Jaime Gomez Arellano, known for his work with Paradise Lost, GhostDream DeathOrange Goblin, etc., and the resulting LP, In Time for the Last Rays of Light, harvests cohesion from the tumult of its making.

With Bismuth joined by guitarist/synthesist/noisemaker Benoît Carel, guitarist/vocalist Florian Leguillon, bassist/vocalist Romain Hauduc and drummer/vocalist Baptiste Keriel, the eight tracks and 49 minutes of the record play out with a fullness and a patience that undercuts the basic idea that this is a completely new lineup — perhaps the fact that CarelLeguillonHauduc and Keriel were a band previously helps — and builds on the atmospheric impression Abrahma made on their second LP with a greater focus on songwriting patience and telling a story with the songs front to back. The operating theme is coping with mental illness, specifically depression, and whether it’s the wailing guitar of “Lost. Forever.” or the turns between massive chug and harmonized vocals of the penultimate “Eclipse of the Sane Pt. 2: Fiddler of the Bottle,” Bismuth and company hold firmly to that focus across the record’s span. Methodical pacing and tonal weight lend depth to the mood of the material, and while there’s certainly a creative range at play, the songs serve the purpose of conveying that theme regardless of arrangement or other factors.

Those who remember Abrahma‘s 2012 debut, Through the Dusty Paths of Our Lives (review here), might be surprised at just how metal some of the guitars sound throughout In Time for the Last Rays of Light, be it at the end of 8:41 third and longest cut “Eclipse of the Sane Pt. 1: Isolation Ghosts” or in the six-minute side B leadoff “Last Epistle,” which emerges from a short intro “Dusk Contemplation” with what would be the album’s most intense spirit — capping in some unabashedly death metal-style chugga-chug in the fadeout accompanied by double-kick drum that’s only too appropriate — were it not for the subsequent “Wander in Sedation,” which swirls in on a dark severity of tone and resolves its lumbering progression in a culminating stretch of blastbeats, echoing those earlier of “Lucidly Adrift” on side A, which takes hold from side A and marries together heavy post-rock with these more extreme impulses.

abrahma

What actually keeps Abrahma from being full-tilt metal is their melodic sensibility and the overarching groove of In Time for the Last Rays of Light. There are moments certainly where one might call out a doom-rooted sense of theatricality, as on closer “There Bears the Fruit of Deceit,” in which a complex arrangement of multiple vocalists — or at least multiple layers — brings mournful resolution to the turbulence preceding, going so far as to have some shouting behind Bismuth in a call-and-response in the pre-chorus, touching on a vibe that would nod to Arellano‘s work with Paradise Lost in its general atmosphere, but working from a foundation of heavy rock instead of classic doom. Still, Abrahma make the lines between styles blurrier on In Time for the Last Rays of Light than they ever have before, and that in itself is something of a victory when it comes to establishing their sound on their third record. They are their most progressive here and their most sonically bold, from the memorable lead line of “Lost. Forever.” setting the downer course for what follows through the last march of “There Bears the Fruit of Deceit” into its fading ringout.

In keeping with that, Bismuth‘s presence as a frontman has never been so palpable. His vocal melodies range further than they have before, and with the others surrounding him at various points throughout, it leads to a more complete and more engaging experience, contrasting the instrumental thrust at times, but finding a foothold in that contrast. And maybe that’s the idea of the record as a whole — exploring or at least trying to come to an understanding of that dynamic and finding a place within it from which to express the emotionality at the core of In Time for the Last Rays of Light. Depression is not an easy to talk about. If it were, it would probably be less pervasive. But Abrahma do not shy away from saying what they want to say about it, and while they don’t go so far as to offer some clichéd hopeful ending, they do manage to craft something beautiful out of the darkened foundations from which they work. The inevitable question, then, is what it will lead to, and how indicative In Time for the Last Rays of Light ultimately will be of where the band are headed, creatively as well as in the simple reality of the players involved.

I don’t know if Abrahma‘s lineup woes are done or not, but listening to “Last Epistle,” “Lucidly Adrift,” “Eclipse of the Sane Pt. 2: Fiddler of the Bottle” and each of the other tracks that make it, it’s clear In Time for the Last Rays of Light was an album that the band needed to make, almost to exorcise it from their collective system. It is a record of striking instrumental purpose and expressive intent. It not only moves their sound forward from where it was four years ago, but it changes the narrative of the group’s function and that of Bismuth as a bandleader and songwriter. What might come next, I won’t speculate, but for the way it lays bare the personal and pushes Abrahma to places they’ve never been, it is an achievement worthy of the obvious pains taken to make it.

Abrahma website

Abrahma on Thee Facebooks

Small Stone Records website

Small Stone Records on Thee Facebooks

Small Stone Records on Bandcamp

Deadlight Entertainment website

Deadlight Entertainment on Thee Facebooks

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Starmonger Premiere “Dark and Gloomy” Video

Posted in Bootleg Theater on May 13th, 2019 by JJ Koczan

starmonger

The video for Starmonger‘s “Dark and Gloomy” does well in terms of living up to its name. It starts out with a creepy kind of Gollum/mystic/zombie guy in a room with some tarot cards, taxidermy, flashing lights, wallpaper that needs replacing and other freaky bric-a-brac, and then, after the riff kicks in and the leather-jacket-clad Parisian three-piece start whipping out dirtied up Red Fang melody delivered with post-Baroness harmonies from bassist Steve and guitarist Arthur while Seb pounds away on drums, Mr. Grey — gotta call him something — pukes up some rubber cement, makes a paper mache mask out of the cards, and interpretative dance performance art ensues. I don’t mind telling you it’s fucking weird. It’s also dark. And gloomy. So, mission accomplished. Also, the song rules.

“Dark and Gloomy” appears on Starmonger‘s third EP, Revelation III. You can probably guess what its two predecessors were called, and they were released in 2017 and 2015, respectively. The trio did a video last Fall for the other song on Revelation III, “Rust to Dust,” and the vibe was totally different. No leather jackets, no creepy rubber cement vomit, just some old public domain footage of race cars and the band in their rehearsal space mixed together. Fair enough to go for something else this time around, but it really draws a line atmospherically between the two songs, when essentially the components that make them up are similar in terms of melody, tone, groove, etc. Something to be said perhaps for the power of suggestion in thinking “Dark and Gloomy” is dark and gloomy, but it’s to the band’s credit either way that they’re able to manipulate their approach to convey multiple atmospheres even just on a two-song release. Of course, it’s their third one — actually, Revelation II had three songs — so take that as you will.

Reportedly — and by that I mean going from what they say below — there’s another EP in the works. I can only think that Starmonger have made a purposeful choice not to put out a full-length at this point. Not that it’s been so long — four years since the first EP is nothing on the grand cosmic scale — but I don’t think you can listen to “Dark and Gloomy” or “Rust to Dust” and think of them as a new band searching for their sound. They’ve clearly got it down. So maybe the shorter releases are a way to build up to an eventual compilation? If so, they’re just about there. But that seems like an easy answer. I wonder what the reasoning is for a fourth EP instead of an LP, that’s all. I’m not criticizing it or saying it’s a bad choice or it’s wrong somehow — if it’s what they want to do and they know that, then it’s very much the right choice — I’m just curious, that’s all.

Something to think about while you’re watching Mr. Grey regurgitate adhesives. Gross. Ha.

These guys know what they’re doing. Enjoy the clip:

Starmonger, “Dark and Gloomy” official video premiere

Psychic, seer, fortune-teller…? Starmonger gives glimpses of their divinations through spellbinding melodies and rhythms, occult revelations and fantastic, extravagant stories.

In 2015, Steve (bass) and Arthur (guitar) began incorporating modern stoner rock influences and orientations to their jams. They quickly recorded their first homemade demo, “Revelation”, and after offering several drummers in ritual sacrifices, they were joined by Seb in 2017 on heavy-drumming duty.

With their next EPs, “Revelation II” and “III”, Starmonger continued its search for expanding and thickening its own sound. As they refuse to stay stuck with the same old recipe, Steve, Arthur and Seb keep experimenting with old school 70s rock and mesmerizing, fuzz-soaked stoner rock beats, while adding a progressive dimension to the raw power and efficiency of a power-trio format. Throughout their songs, the band evoke strange and phantasmagoric B-movies and pulp stories, from post-apocalyptic deserts to unfathomable beasts from the abyss.

2019 is packed with promises, with a new music video for “Dark & Gloomy” (from “Revelation III”) along with multiple gigs around Paris. Starmonger is also polishing their new songs for another homemade, self-produced EP. Stay tuned…

Their 3 self-produced EPs are available on bandcamp: https://starmonger.bandcamp.com/

Next live gigs :
23 May 2019 : le Klub, Paris (with Stoned Void, Dead Acid People, Qilin)

Starmonger are :
Steve : bass & vocals
Arthur : guitars
Seb : drums

Starmonger, Revelation III EP (2018)

Starmonger on Thee Facebooks

Starmonger on Bandcamp

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Hors Sujet Announces New Album Avec la Distance out June 10

Posted in Whathaveyou on May 3rd, 2019 by JJ Koczan

What makes Hors Sujet stand out in my mind from the hordes of single-person ambient/drone outfits out there is the evocative and emotional resonance of the work. There’s an experimentalist side to it, of course, but listening to “À l’œil baigné par la mer” from the new album, Avec la Distance, it’s clear that Florent Paris, who indeed is the only individual behind the project, is putting that experimentalism to a purpose of expression. That makes it even less of a surprise that Hors Sujet has been tapped for live soundtracks and things of that sort. I can very easily imagine watching a set with some film or other as a backdrop — closed captioning on, of course.

The new album — he calls it an EP, but it’s over 50 minutes long, so yeah, that’s an album in my book — will be out June 10 and available digitally through Bandcamp and the other usual suspect purveyors. There’s a teaser playing now that barely scratches the surface of the depths portrayed in Hors Sujet‘s sound, but I mean, take what you can get, I guess. In any case, think of it as one to keep in your head, even if you’re not always into this kind of thing.

From the PR wire:

hors sujet avec la distance

Hors Sujet – ‘Avec la distance’ new album release 06/10/19

The France-based musical project Hors Sujet is proud to announce the release of its new album, Avec la distance. This new album composed by Florent Paris, marks through 54 minutes of music a new turning point in the musical project’s career.

Intimate and cathartic, this album deals sometimes with the rhythmic and lonely struggle between wind and tides, sometimes the implacable silence of absence.

The soundscape is drawn through multiple audio cassettes, field recordings, synthesizers and ethereal guitars in a great emotional release.

The official release will be on June 10, 2019, and the EP will be available on musical platforms (Bandcamp, Spotify, iTunes).

Hors Sujet is the personal and musical project of Florent Paris, mainly fluctuating between post-rock, instrumental ambient, drone, doom and experimental. As soon as EPs, albums and live concerts were stated, Hors Sujet started to contribute to a lot of various artistic projects, such as cine-concerts, video live performance, original soundtracks, contemporary dance plays…

‘Avec la distance’ songs & artwork are composed, recorded, mixed & mastered by Florent Paris
Voices – Guillaume Bec
Saxophones – Géraldine Pallu

https://horssujet.bandcamp.com/
https://www.youtube.com/user/horssujet21
https://www.facebook.com/horssujetmusic
https://twitter.com/HorsSujetMusic
https://www.instagram.com/horssujetmusic/
http://www.horssujet.fr

Hors Sujet, Avec la Distance teaser

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Mars Red Sky to Release The Task Eternal Sept. 27; Teaser Posted

Posted in Whathaveyou on April 30th, 2019 by JJ Koczan

What will otherwise be known as “the one they wrote in the castle,” Mars Red Sky‘s impending fourth album, The Task Eternal, is set to release on Sept. 27 through Listenable Records. The Bordeaux three-piece will have a limited-run self-released EP out in June as a precursor to the full-length’s release — which is standard practice for them — and have tour dates and festival appearances set into the Fall with likely many more to follow. They got some good mileage out of steady touring for 2016’s Apex III (Praise for the Burning Soul) (review here) and subsequent vinyl-only EP, Myramyd (discussed here), but they’ve always been a band to move forward, and they’re poised to do exactly that with the new record.

I already sent my email begging to hear the album early, and I think once you see the teaser clip at the bottom of this post it’ll be clear why. I have been and remain a sucker for this band, and the realization of a new album from them is just-made-my-week kind of news. I hope you feel the same.

Info follows from the PR wire:

MARS RED SKY (Photo by Julien Dupeyron)

MARS RED SKY: new album “The Task Eternal” coming September 27th on Listenable Records

French heavy psychedelic rockers MARS RED SKY announce the release of their fourth full-length “The Task Eternal” on September 27th via Listenable Records, and share an exclusive teaser today.

Three years after the “Apex III (Praise For The Burning Soul)” odyssey, French heavy psych torchbearers MARS RED SKY are ready to add a new cornerstone to the pharaonic sonic monument they’ve been building for over a decade. Written in a medieval castle in 2018, “The Task Eternal” is set for a September 27th release via Listenable Records. The band will debut the first single off the new album on May 29th, with more info being unveiled very soon!

Says the band, “In 2018, we spent much time to rehearse in a medieval castle. Today, we are beyond happy to announce the release of our fourth full-length “The Task Eternal” on September 27th via Listenable Records. As an appetizer, we are sharing an exclusive teaser!!! Teaser directed by Seb Antoine.”

“We will unleash an exclusive EP K7 entitled “Collector” in June 14th on MRS Red Sound!!! This limited edition contains a track from “The Task Eternal” album also called “Collector”! This particular song will be on any good streaming platforms on May 29th.”

Mars Red Sky live:
07.05 PARIS (75) La Maroquinerie w/ Earthless
15.06 PORT SAINT-LOUIS (13) Camargue Sessions
03.08 CHEVANCEAUX (17) Laryrock
16.08 SAINT-NOLF (56) Motocultor Festival
27.09 NEW ALBUM “THE TASK ETERNAL” OUT!
12.10 STRASBOURG (67) La Laiterie
17.10 SAINT BRIEUC (22) Carnavalorock
09.11 KRAKOW (PL) Soulstone Gathering festival

http://www.marsredsky.net/
http://www.facebook.com/marsredskyband/
http://www.marsredsky.net
http://www.twitter.com/MarsRedSky1
http://www.listenable.net
http://www.facebook.com/listenablerecs

Mars Red Sky, The Task Eternal teaser

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Abysmal Growls of Despair Announce Sentir le Poids des Montagnes et Trouver la Paix Dans les Ténèbres 66-Minute Single

Posted in Whathaveyou on April 26th, 2019 by JJ Koczan

If you think you’re up for mega-low-end drone, throat-singing and a willfully grueling expanse, by all means, test your constitution against that which France’s Abysmal Growls of Despair have on offer. The litmus doom outfit have released no fewer than 17 full-length releases in the last six years, and their upcoming-or-maybe-it’s-out-already-I-don’t-know Sentir le Poids des Montagnes et Trouver la Paix Dans les Ténèbres is one song clocking in at 66 minutes and six seconds — get it? — issued through UK imprint Blue Tapes on cassette and CD. It is not for the faint of heart or anyone not looking to have their perceptions challenged or moods altered. It is a work that is purposefully oblique as well as purposefully bleak, and, well, it was apparently recorded with six basses. I would imagine that, in a live setting, it simply sounds like death.

So enjoy:

abysmal growls of despair release

Doom for Martians! New release from Abysmal Growls of Despair!

Incoming! Epic abyssal kargyraa-doom

Exploring hitherto unchartered abysses with its ultra-ultra-low-frequency 432Hz recording of six basses, six guitars and rumbling, tectonic kargyraa vocals, blue twenty-nine: Abysmal Growls of Despair maybe is what doom sounds like on Mars.

The landscape of Mars is known as ‘chaos terrain’ and nothing on Earth resembles it. It consists of irregular blocks, some that are tens of kilometres across and and a hundred or more meters high patterned with craters that are hundreds of metres deep – a terrain ravaged by geological wars between countless ice ages and planet-reshaping activity from Mars’ three god-named volcanos – Elysium Mons, Hecates Tholus and Albor Tholus.

Consisting of one 66 minute and 6 second track, Sentir Le Poids Des Montagnes Et Trouver La Paix Dans Les Ténèbres, blue twenty-nine would make an excellent soundtrack to navigating these alien crevasses and subterranean glaciers, with the ethereal throat-singing of Hangsvart (Abysmal’s one-man doom army) chasing around the ragged stalagmites and stalactites of Sunn 0)))-crushing guitar like Martian ghosts.

Highly recommended for fans of Phurpa, Senayawa, Huun-Huur-Tu or even Blue Tapes’ own Jute Gyte, be warned that you do not so much ‘listen’ to this music as let it penetrate you. But don’t let the band name fool you, there is great ecstasy to be found in surrendering to this planet-eating sound.

Listen to Sentir Le Poids Des Montagnes Et Trouver La Paix Dans Les Ténèbres back-to-back with our last release – The Blue Tapes House Band’s equally epic Chase Me Before The Plague – and consciousness may never feel quite the same again.

Available on pro-dubbed C66.6 with onbody printing and O-card featuring Blue Tapes artwork; or on CD with obi strip and artwork by Atraxura.

https://abysmalgrowlsofdespair.bandcamp.com/
http://facebook.com/bluetapesUK
http://twitter.com/BlueTapesUk
http://bluetapes.co.uk/

Abysmal Growls of Despair, “Sentir le Poids des Montagnes et Trouver la Paix Dans les Ténèbres” excerpt

excerpt from blue twenty-nine: Abysmal Growls of Despair from xeroxboy on Vimeo.

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Pencey Sloe to Release Debut Album Don’t Believe, Watch Out on Prophecy Productions

Posted in Whathaveyou on April 25th, 2019 by JJ Koczan

pencey sloe

Among the great many things for which I’m an absolute sucker is a total immersive wash of melody. One can hear shades of post-black metal in Pencey Sloe‘s new single, “Lust of the Dead,” but more than that, what stands out is the fullness of sound as the track progresses, the spaciousness it creates and then occupies with rich-but-still-floating tonality. Their debut EP was apparently enough to get the attention of Prophecy Productions, and that venerable imprint will release the trio’s debut album, Don’t Believe, Watch Out, later this year. You can hear the new track at the bottom of this post, and consider this your recommendation that you do so.

No release date for the record as yet, but there’s plenty of 2019 left for it to show up. I’d guess September, if not before? Either way, I think particularly after you hear the song you’ll agree it’s one to look out for.

Dig:

pencey sloe lust of the dead

Prophecy Productions signs French prodigy Pencey Sloe

Paris-based Pencey Sloe seemingly came out of nowhere only two years ago, which is hard to believe while listening to their rich, elegant songs. Born out of a casual exchange of ideas between guitarist, singer and main composer Diane Pellotieri, lead guitarist Valentin Beaucourt and drummer Clément Aulnois, the threesome’s music reflects a distinctly original spin on shoegaze and dream pop.

With somnambulistic certainty and a name harking back to American novelist J.D. Salinger, the trio creates soundscapes of beautifully psychedelic color with some darker tinges that urge you to glimpse into your own inner abyss. Diane and her fellows craft songs with both youthful abandon and astounding maturity. There is a particular deftness in Pencey Sloe’s harmonic interplay between jangling guitars and the front woman’s angelic voice, all held together by infectiously straight drumming.

After recording a demo EP and performing just a few shows on their home turf, Pencey Sloe quickly came onto the radar of Prophecy Productions, who immediately recognized the band’s vast potential. Though still a relatively new act, Pencey Sloe already have their admirers, amongst them Alcest’s Stéphane “Neige” Paut, who says about his young compatriots: “I discovered Pencey Sloe when they released their EP and instantly fell in love with their dark, ethereal sound. I think they are one of the most promising French bands, and their music will surely appeal to fans of Slowdive, Low or Chelsea Wolfe.”

Diane says with regards to the signing, “We are thankful to be part of the Prophecy family. We adore their devotion and true passion for different music and artists, with whom they have an incredible relationship of trust and respect.”

Pencey Sloe just recorded their first album, “Don’t Believe, Watch Out”, at Drudenhaus Studio (Alcest, Les Discrets), to be released later in 2019. In anticipation, the first single, ‘Lust Of The Dead’, is now available digitally.

Pencey Sloe is:
Diane Pellotieri
Clément Baptiste
Valentin Beaucourt

https://www.facebook.com/Penceysloe/
https://penceysloe.bandcamp.com
https://www.facebook.com/prophecyproductions/
https://prophecy-de.bandcamp.com/
http://en.prophecy.de/

Pencey Sloe, “Lust of the Dead”

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