Review & Track Premiere: Skraeckoedlan, Eorþe

Posted in Reviews on January 11th, 2019 by JJ Koczan

skraeckoedlan earth

[Click play above to stream the premiere of Skraeckoedlan’s translated-lyric video for “Creature of Doggerland.” Their new album, Eorþe, is out Feb. 15 on Fuzzorama Records. Preorders are here.]

I generally assume that if I’m writing about something, you already know about it because you’re cooler than I am, because, frankly, that’s how it usually works. But if you haven’t heard of Skraeckoedlan — especially if you don’t live in Sweden — there’s a decent chance it’s because they sing in Swedish. The fuzz rockers have parted with bassist Tim Ångström since their 2015’s Sagor (review here) with Robert Lamu moving from guitar to bass in addition to vocals, while Henrik Grüttner handles the lone guitarist role as well as more vocals and Martin Larsson remains on drums. One might think the band’s third album and first for Fuzzorama Records, Eorþe, would be more stripped down as a result, but the truth is it’s the most progressive record they’ve made in the decade they’ve been together. Their 2011 debut, Äppelträdet (review here) — also recently reissued by The Sign Records from the original release on Transubstans — blended fuzz-drenched tonality with a post-Mastodon style of metal, but they’ve only grown more since then, and as they align with Fuzzorama, they continue an association with sadly-defunct countrymen Truckfighters that extends all the way back to the recording of their first album.

Indeed, one might look at Eorþe as inheriting the mantle of fuzzprog that the last couple Truckfighters albums were working toward, running a fluid nine songs and 54 minutes with a greater depth of melody and broader sonic reach than they’ve ever shown. Songs like “Mammutkungens Barn,” the earlier highlight “Kung Mammut,” the 10-minute “Elfenbenssalarna” and the acoustic closer “Peggys Sång” demonstrate the range of their composition, while even a song like the under-four-minute “Tentakler & Betar” finds a way to hit new ground with vocal harmonies and a pointedly forward thrust. Whether it’s an extended piece like “Creature of Doggerland” (note the English title), or the opener “Guldåldern” or the drum-led beginning of “Angelica,” Eorþe wants nothing for heft either in tone or construction — indeed, tone has been a strength of Skraeckoedlan all along and very much remains one — but even as they hold onto their stylistic weight, they turn into a more nuanced and individualized unit.

When it comes right down to it, Eorþe is Skraeckoedlan reestablishing themselves after a change in their dynamic. The shift from two guitarists to one, even covered in the studio by layering guitar tracks and whatever else, is not a minor one. It affects songwriting as well as how the material is played. And Skraeckoedlan pull that off, no question. For a band who’ve been around for 10 years and have experience recording and touring, that’s not a huge surprise. They should know what they want to sound like — at least to some basic degree — and be able to make that happen. Fine. Where Eorþe really succeeds though is in not only finding Skraeckoedlan make this claim on who they are as a band, but in moving their sound forward from where it was three years ago. Their work is richly textured and in listening to the melody in the chorus of “Mammutkungens Barn,” one can hear their heritage in Scandinavian metal coming through in more than just the language they’re using, but like the grunge-style opening riff of that song — reminds of something from the early-mid ’90s; is it Sonic Youth? — they bring each of their influences into a context that is their own.

They did the same on Äppelträdet in imagining a fuzz-metal stomp in the first place, but with just about every move they make on Eorþe, they do so with a greater scope and identity born of the maturity of their composition. As a result, Eorþe isn’t just Skraeckoedlan‘s finest hour, but a way forward for them in this new incarnation that builds on what they’ve done before. In the tension of “Guldåldern” or the atmosphere of the penultimate instrumental “Angra Mainyu,” their ability to craft a flow and mood across disparate elements brought into a single presentation is engrossing, and the confidence with which they execute the material is what allows them to carry the audience along every step of the way. LamuGrüttner and Larsson are in absolute control of their sound in these tracks, and the potential that always seemed to be residing in their sound has begun to bear fruit accordingly.

Skraeckoedlan have generally kept to a unifying science-fiction thematic over their years, writing about monsters and in this case specifically, mammoths and beasts that may or may not have tentacles and tusks, etc., but whether or not a given listener speaks Swedish, there’s no mistaking the intent of their craft. They are a band who have worked diligently to hone their approach, and while Eorþe is dense, and not a minor undertaking at 54 minutes long, they remain accessible through their use of melody and rhythmic momentum. The fluidity of Eorþe is not to be understated, and while I don’t know if they’re telling a unified story in the lyrics, the underlying point is that the album itself is unified, and the trio are unified in their mission to grow as a band. They have. They do. One hopes they’ll continue to.

In the largesse-laden instrumental stretches of “Elfenbenssalarna,” Skraeckoedlan make clear not only how they’ve developed, but that their commitment is to keep evolving as a creative force, and that the impact that was so much of their initial appeal remains an important factor in what they do. Listening to Eorþe, one can only be glad that’s the case, but the truth is that Skraeckoedlan have expanded their aesthetic to the point that they’re about so much more than just the volume at which one hears them. The melody, the quick turns, the ambience of Eorþe have just as much of an effect on the overarching experience of the songs as the fuzzy tones, shouts and consistent sense of lumber. Whatever it is that has one hearing them, though, they’re a band who deserve more attention than they’ve gotten, and regardless of whatever language barrier there might be with a broader public, Skraeckoedlan break through it like one of the tentacled mammoths of their own creation.

Skraeckoedlan’s website

Skraeckoedlan on Instagram

Skraeckoedlan on Thee Facebooks

Skraeckoedlan on Twitter

Fuzzorama Records

Fuzzorama on Bandcamp

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Review & Video Premiere: Deville, Pigs with Gods

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

deville pigs with gods

Deville, ‘Cut it Loose’ official video premiere

[Click play above to watch the official premiere of Deville’s ‘Cut it Loose’ video. Their album, Pigs with Gods, is out Oct. 26 on Fuzzorama Records.]

Sweden’s Deville seemed to lay self-aware claim to their straightforward approach to heavy rock and roll on their last album, 2015’s Make it Belong to Us (review here), which was their first outing through Fuzzorama Records after issuing their third LP, Hydra (review here), through Small Stone. But things change, and in the case of the Malmö four-piece, that extends to the lineup of the band, as guitarist/vocalist Andreas Bengtsson is now the sole remaining founding member of Deville, with lead guitarist Andreas Wulkan having joined before Hydra and the dual-Martin rhythm section of bassist Martin Nobel and drummer Martin Fässberg coming aboard in 2016. As Deville come upon their 15th anniversary in 2019, their latest collection, Pigs with Gods, will be the album that carries them through it, and it’s another forward step in their ongoing sonic development.

As to how much the Andreases and Martins share writing duties among them, I don’t know, but Deville has always had Bengtsson at the center, and that remains true throughout the substantial, LP-limit-pushing 12 tracks and 51 minutes of Pigs with Gods, but as cuts like “Came for Nothing,” “Hell in the Water,” “Cut it Loose” and “Gold Sealed Tomb” remind, the star when it comes to Deville‘s work has always been the songs themselves. Structurally tight, crisply produced and executed with a full, professional sound and energy, the material on Pigs with Gods offers little by way of surprises in the overall quality of its work. That is, after their last couple albums especially and even going back to 2007’s Come Heavy Sleep (which Heavy Psych Sounds pressed to vinyl in 2013) and 2009’s Hail the Black Sky (discussed here), they’ve worked to a high standard of output. With Bengtsson as the consistent factor in the band all along, one can at this point read a certain level of auteurship to their work, but again, it’s the songwriting that’s the proper focus.

And whether it’s the lumbering riffer “Lightbringer” or the one-two punch of opener “Lost Grounds” and the title-track right behind it, Pigs with Gods wants nothing as regards songwriting. The real shift as regards Deville‘s style is in the aggression level of the material overall. “Lost Grounds” puts that out immediately and sets a context for the rest of what follows such that even the uptempo push of “Cut it Loose” or the bombastic “Wrecked” later on seem informed by it. They play around with the dynamic, as one would think for a group of their established professionalism, and “Acid Meadows” mellows out while “Dead Goon” turns it somewhat darker ahead of “Came for Nothing” and the ending shove of “Medicated on a Concrete Road” and closer “In Reverse,” which tops six minutes in grand finale fashion with a striking vocal harmony, but the core tonality of Pigs with Gods — and even the title itself, unless they’re referencing Margaret Atwood — retains more of an aggro edge than anything they’ve done before.

deville

The effect there is to toe the line between heavy rock and hard rock, and taken in concert with the accessibility that their penchant for hooks grants them, one might read a commercial aspect to their sound, but I don’t think that’s what they’re going for. Whether they’re reflecting the times or some personal strife or whatever it might be, their intention seems not to make the widest-reaching album possible, but to push themselves into making the best album possible, and while Pigs with Gods is a considerable undertaking at 51 minutes — Make it Belong to Us was 37, to compare — they stave off redundancy with malleability and succeed in moving their aesthetic forward to someplace it’s never been. As to how much the arrival of Nobel and Fässberg might have to do with the sharper take, I can’t say, but it’s crucial that even as raucous as Pigs with Gods gets, on “Gold Sealed Tomb” or  “Wrecked” or even “Lost Grounds” at the outset, there’s no sacrifice of melody or catchiness in the name of making a show of being pissed off.

Nor should there be. Instead, Deville hit this new nuance in their modus with the same level of pro-shop confidence they’ve had for the better part of the last decade, and I firmly believe that’s because they keep the songs themselves as the core of the band. At no point does Pigs with Gods sound like Bengtsson sat WulkanFässberg and Nobel down at a band meeting and told them it was time to get mad. What it sounds like is that Deville wrote a new collection of tracks to follow-up the last one and the songs went where they wanted to go naturally. I’ve mentioned a couple times by now Pigs with Gods hitting expectations. In songwriting, in performance, etc. And it does, but that shouldn’t be taken to mean that it lacks passion or that it’s somehow otherwise flat, just hitting its marks and content with that. While there are steady elements to their approach and I wouldn’t say they ever come close to losing their tight grip on what they do, Deville are just working to a high standard, and surpassing where they were before is a part of that.

One would expect no less from them, no matter who’s in the band, or it simply wouldn’t be Deville. And with the rolling-forward riff of “Dead Goon” and the spacious time-taking of “In Reverse” — the bass of which is satisfyingly dirt-caked in its post-midpoint showcase — Pigs with Gods is unquestionably Deville. It shows how recognizable their sound has become over time and just how much the ownership they acknowledged their last time out has allowed them to do what they want with their songwriting and take it to places it hasn’t yet been. Whatever the future holds for them as they move beyond a decade and a half — one assumes they won’t have another album out next year, given past pacing — Deville give zero sign of letting go of the willfully grounded craft that serves as their foundation. As regards Pigs with Gods, it is only a source of strength for what they do.

Deville on Thee Facebooks

Deville website

Fuzzorama Records

Fuzzorama on Bandcamp

 

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Review & Track Premiere: We Hunt Buffalo, Head Smashed In

Posted in Bootleg Theater, Reviews on September 20th, 2018 by JJ Koczan

we hunt buffalo head smashed in

[Click play above to stream the premiere of We Hunt Buffalo’s lyric video for ‘The Giant’s Causeway.’ Their new album, Head Smashed In is out Oct. 26 on Fuzzorama Records and New Damage Records.]

As images go, ‘head smashed in’ is as vivid as it is succinct and violent. We Hunt Buffalo, who made their debut on Fuzzorama Records in 2015 with their second album, Living Ghosts (discussed here), return with Head Smashed In as a nine-song/43-minute collection of beefed-up modern progressive-styled heavy, bordering often on metal in songs like “Angler Must Die” with the popping snare of drummer Brandon Carter backing the dual-vocal hook from guitarist Ryan Forsythe and bassist Cliff Thiessen, or in the lumbering moments of finale “God Games.”

Those stretches, though, aren’t without contrast, and We Hunt Buffalo wind up with a sneakily dynamic style that takes on heavy rock directly in cuts like “Keep it Refreshing,” which to my New England-dwelling ears seems to have a bit of Roadsaw in its chorus, and centerpiece “Industry Woes,” which engages harsher vocals but has a classic round of starts and stops that not only shows a tightness on the part of the band instrumentally, but easily crosses genre lines in a way that sounds natural and familiar while still remaining stylistically nuanced. That nuance is in part thanks to the production, which is crisp and brings out a tension in a way that Living Ghosts seemed more open and looser on the whole, but is full in its overall affect and massive sounding especially in the guitar and bass tones.

Big choruses pay off dug-in movements, and from opener “Heavy Low” through “Angler Must Die” and “Prophecy Wins” and into the instrumental “Get in the Van,” the balance between proggy detail-making, weighted force of tone and rhythm and traditional-feeling earwormery makes Head Smashed In true to its titular sense of impact without necessarily the direct one-on-one violence that “smashed” brings to mind. In the end, there are many ways to cave in a skull.

we hunt buffalo

The shouts in “Industry Woes” feel well-enough earned by that song’s theme, and they have a likewise well-placed effect on the context of the record as a whole, speaking to roots in the Mastodon-informed sphere of modern underground thrust, but for the most part, Head Smashed In works at a comfortable pace. Later, “God Games” takes on an almost post-rocking feel in its subdued verses, but even “Prophecy Wins” — the longest cut at 6:12 and the last chapter of the opening salvo — has a steady, obviously-in-control rollout that never flies too far off the handle on its way to its engaging melodic finish. “The Giant’s Causeway” finds Carter double-timing his ride cymbal in the chorus, and that adds a sense of urgency, but in that song as well there’s no danger of We Hunt Buffalo losing their way. They might be at their speediest on “Get in the Van,” but the same applies, and ultimately, the range on Head Smashed In is more about volume and melody than about tempo.

That’s not to say there’s no changing it up, as the back-to-back run of “Anxious Children” into “God Games” demonstrates, just that the impression the tracks make draws more from the trades between Forsythe and Simpson on vocals and the shifts between louder and quieter parts than playing grind on one track and doom on another. Their pacing helps draw the material together and create a flow that moves the listener from start to finish, and it’s in how they work within that sphere that We Hunt Buffalo emanate a maturity in their approach that even just three years ago they simply didn’t have. It might not come across as such on a first time through, but Head Smashed In is actually pretty classy. The performances are sharp, the mix is deep and allows for emotional resonance in the melodies that are so crucial to the memorable nature of the songs, and there is an overarching groove that results in an all-the-more coherent vibe. Very much a third album. Very much the product of a group who know what they want to do, who are steady in their approach, confident in the studio, working how they want to work and able to bring a sense of energy to their output regardless of the outward push. It’s not the kind of record a band could make their first time out.

And maybe that’s part of the idea behind the title — to mask some of that intricacy in a notion of brute force. Fair enough. Influences from the likes of Elder situate We Hunt Buffalo in a forward-thinking heavy sphere with the likes of Forming the Void, and like the lines in its cover art, which also features a smashed head or two, it’s the pinpoint details in the songs that make their third LP succeed in the manner it does. They bolster the strong choruses of cuts like “Prophecy Wins” and “The Giant’s Causeway” and “Keep it Refreshing,” while giving those who’d rightfully return for multiple listens all the more reason to keep coming back. It’s songwriting. But just like one might look at the name of the album and prejudge an expectation of what’s coming, there’s more to the proceedings in the individual pieces than their plus-sized riffs and stories about monsters. Though there’s plenty of that too for anyone who’d readily take them on.

We Hunt Buffalo, Head Smashed In (2018)

We Hunt Buffalo on Thee Facebooks

We Hunt Buffalo website

We Hunt Buffalo on Bandcamp

Fuzzorama Records website

Fuzzorama Records on Thee Facebooks

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Skraeckoedlan Announce New Album Eorþe for 2019 Release

Posted in Whathaveyou on August 13th, 2018 by JJ Koczan

skraeckoedlan (Photo Mats Ek)

Well how about that? I said a thing might happen and it’s happening. Are you impressed at my prescience? No? Yeah, me neither. Fact is, that when Swedish fuzzlifters Skraeckoedlan announced the 180g vinyl reissue of their first album, Äppelträdet (review here), on The Sign Records, it wasn’t such a huge leap to think a new full-length would follow sometime soon.

Their third, it follows behind 2015’s Sagor (review here) and has been given the title Eorþe. The word translates to ‘earth,’ which makes sense given that the ‘þ’ character roughly equates to a “th” sound (if I learned nothing else from Icelandic black metal, I learned that), and while it’s a pretty ambitious stage-setter in terms of scope, Skraeckoedlan have only grown increasingly progressive as time has gone on, so it’s likewise easy to imagine the planet is only a launching point for the ground the record will actually cover.

There’s a teaser clip playing now — or at least it’s playing after you click play — at the bottom of this post that gives a quick sampling of the fuzzy depth of tone the band brings to bear this time around for what, suitably enough, will be their debut on Fuzzorama Records. The label announcement follows, via the PR wire:

skraeckoedlan logo

SKRAECKOEDLAN announces new album!

Fuzzorama Records proudly presents, from the imaginarium of author Nils Håkansson: Eorþe. As the enlightened has predicted since the birth of the aeons, 2019 will set in motion events of cosmic proportions. Be they good or evil or beyond our understanding of intent, questions better asked of species to come, for dim lay the waters of tomorrow’s reflection. But take heart, the seas will part in the springtime, and that which was meant for the depths will reemerge anew.

This fuzzy masterpiece will be released early 2019!

Skraeckoedlan:
Robert Lamu – Vocals/Guitar
Henrik Grüttner – Guitar
Tim Ångström – Bass
Martin Larsson – Drums

http://www.skraeckoedlan.com/
http://instagram.com/skraeckoedlan
https://www.facebook.com/SKRAECKOEDLAN/
http://twitter.com/skraeckoedlan
http://www.fuzzoramarecords.com/
https://www.facebook.com/Fuzzorama
https://twitter.com/fuzzorecords

Skraeckoedlan, Eorþe teaser

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Deville Announce New Single & European Tour Dates

Posted in Whathaveyou on May 4th, 2018 by JJ Koczan

deville

Swedish heavy rockers Deville are gearing up to hit the road once again next month. It’ll be their first tour in some time, and it comes along with the release of a new single through Fuzzorama Records called Gold Sealed Tomb. This in itself is a precursor to the band’s next album, which will follow behind 2015’s Make is Belong to Us (review here), after which the lineup for the band was revamped.

Given the discussion below from drummer Martin Fässberg about the more metallic influence showing itself on the new track, I’m interested to hear where it goes and if that’s something that might apply to the album as a whole in addition to this individual track. Much to discover, as always.

All kinds of dates for the calendar-marking:

New Deville single and european tour in May!

Deville will release a new single “Gold Sealed Tomb” 11th of May taken from the forthcoming album through Fuzzorama Records and will start a European tour the 9th of May.

Martin Fässberg on “Gold Sealed Tomb”:

When we first started writing music for a new album it became evident to all of us that we were quite tired of the traditional doom/stoner/sludge genre. Wulkan had this riff he used to play during soundchecks and we all liked it but a question was raised… Was it too much metal?

After some time though, it became clear that more metal was what we all wanted! Thus the album was given a very metal feeling and an effort was made to focus on traditional songwriting.

“Gold Sealed Tomb” starts with that very riff from soundchecks past and is an introduction to the full-length coming later this year.

Deville on tour:
09.05 Oldenburg, DE, MTS LP’s CD’s
10.05 Kreuzlingen, CH, Horst Klub
11.05 Salzburg, AT, Rockhouse Salzburg
12.05 Oberentfelden, CH, Böröm pöm pöm
13.05 Milano, IT, Kraken Pub
14.05 Pescara, IT, Scumm
15.05 Rome, IT, Let It Beer
16.05 Busto Arsizio, IT, Comunità Giovanile
17.05 Torino, IT, BLAH BLAH
18.05 Pisa, IT, Café Albatross Pisa
19.05 Arnstadt, DE, Rockkneipe ‘Jungfer’
20.05 Kiel, DE, Die Kieler Schaubude

Deville lineup:
Andreas Bengtsson: guitar/vocals
Andreas Wulkan: guitar
Martin Nobel: bass
Martin Fässberg: drums

http://deville.nu/
https://www.facebook.com/devilleband
http://www.fuzzoramarecords.com/
https://www.facebook.com/Fuzzorama
https://twitter.com/fuzzorecords

Deville, Make it Belong to Us (2015)

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Asteroid End Hiatus; Playing Høstsabbat in October

Posted in Whathaveyou on March 19th, 2018 by JJ Koczan

Norway-based festival Høstsabbat will be held Oct. 5 and 6 and has been making lineup announcements on successive Fridays since January that apparently I’ve just completely whiffed on because I totally suck at this. In the meantime? The roster of acts looks fucking awesome. Electric Moon, Elephant Tree, Toner Low, Krokofant (about whom I know absolutely nothing but who win on name alone), Brutus, Taiga Woods — and now frickin’ Asteroid. To think I could’ve spent the last two months sweating this excellent frickin’ lineup as it came together. I feel like a dope.

I caught the Asteroid announcement because, well, I wouldn’t call it stalking exactly, but I get notifications when they put out an update on Thee Facebooks, and as they’ve been on hiatus since last summer, there hasn’t been much coming through. That’s changed now, clearly. In addition to Høstsabbat, they’ll play April 20 at Truckstop Alaska in Gothenburg with Weedeater and Nebula, so some pretty killer stuff all around.

And needless to say, I’ve started “not stalking” Høstsabbat as well, so I’ll be keeping up with that as best as I’m able as they continue to reveal more groups playing this year’s fest.

Here’s their Asteroid announcement:

ASTEROID HOSTSABBAT 2018

On this crispy March Friday, we’re proud to announce a somewhat legendary band.

Out of Ørebro, Sweden, Asteroid has played an influential role together with their hometown allies in Truckfighters. Asteroid has delivered fuzzy and groovelicious tunes to a hungry audience for over fifteen years, combining hard rock with a psychedelic and bluesy sound as their imprint.

The band went on total hiatus in 2013, but are finally back in motion again. We couldn’t be happier, or hippier, to welcome them to Høstsabbat in October.

Asteroid speaks for itself, you better come watch them glaze our main stage Saturday October 6th…

https://www.facebook.com/Asteroidband/
http://www.fuzzoramastore.com/en/bands/asteroid/
https://www.facebook.com/hostsabbat/
https://www.facebook.com/events/1394090067384672/

Asteroid, “Til’ Dawn” official video

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Truckfighters Announce “Long, Long” Indefinite Hiatus

Posted in Whathaveyou on February 26th, 2018 by JJ Koczan

Bummer news out of Sweden in that Örebro-based fuzz forerunners Truckfighters have decided at least for now. The band, helmed by the core founding duo of Oskar “Ozo” Cedermalm and Niklas “Dango” Källgren, have spent the last decade-plus touring Europe and beyond, acting as a pioneering act proving that indeed there’s an appetite in the North American market for European heavy rock. Their latest album, V (review here), was the first in a licensing alliance between their own Fuzzorama Records imprint and Century Media. It may well be their last.

Hard to say what the ultimate impact of Truckfighters‘ work will have been — Cedermalm and Källgren working with a succession of drummers including Oscar “Pezo” Johansson, who was featured in the 2012 band-doc Fuzzomentary (review here) and would go on to do a stint in Witchcraft  — because, frankly, it’s still shaking out. Truckfighers made their debut in 2005 with Gravity X (discussed here), and between that and their ultra-well-earned reputation for on-stage calisthenics as captured on the 2016 live album Live in London (review here), delivering flawless sets while headbanging, jumping up and down — Dango could get some air — and generally physically engaging with their audience and their music itself, their influence continues to spread not only throughout Sweden, but greater Europe and the US as well. A new generation of fuzz rockers might have come along one way the other, but there’s no question its shape would be much different without Truckfighters spending the better art of the last decade on the road so actively kicking ass.

Truckfighters‘s studio work also became increasingly progressive over their five albums, Gravity X and it 2007 follow-up, Phi, signaling just the beginning of a sonic expansion that would continue steadily through 2oo9’s excellent Mania (review here), 2014’s Universe (review here), and of course V itself, which earned the band some controversy surrounding their video for “Calm Before the Storm” (posted here). That notwithstanding, V had a generally melancholic vibe in some of its tracks that left one wondering how the band would meld that with their high-energy stage presentation. As I was fortunate enough to find out for myself late in 2016 on seeing the band play in Oslo, they simply did it and it worked. I guess having more than 10 years under your belt lets you do that kind of thing and pretty much anything else you want when you’re actually just a really good band.

They pushed their sound pretty far with V, but it’s still a bummer to lose Truckfighters even for what they’re calling a “long, long” indefinite hiatus. Never say never in rock and roll — one doesn’t even have to leave Örebro to find Graveyard as an example of a band-breakup that simply didn’t stick — but if they are done, they went out on their own terms having delivered top quality performances both in the studio and on stage, and achieved worldwide notoriety and influence as a result. Frankly, that’s more than most get, when it comes right down to it. Still, they’ll be missed.

All the best to Cedermalm and Källgren going forward. Here’s their announcement from the social medias:

truckfighters

Sad news for some, but totally necessary. Truckfighters is on a long, long hiatus. Might come back stronger than ever (that’s the only way) or not at all! We’ve been releasing many albums that we’re very proud of and the key is that we’ve always played because of the pure fun out of it. That’s the only thing that counts and in the end made us do what we did so good for so many years… We’re not that kind of band continuing doing something just because we make money out of it ;)

A big THANK YOU to all the amazing fans and people we’ve meet over the years, some more amazing that others but you all deserve a big hug.

Fuzz n’ out!

http://www.truckfighters.com
https://www.facebook.com/truckfighters
https://twitter.com/truckfighters
https://www.youtube.com/user/TruckfightersTV
http://www.centurymedia.com/

Truckfighters, Live in London

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Asteroid Premiere Official Video for “Til’ Dawn”

Posted in Bootleg Theater on October 3rd, 2017 by JJ Koczan

asteroid

It was a marked bummer earlier this year when Swedish fuzz rockers Asteroid announced in June that the reignition that had led them to produce their most-welcome third album, III (review here), for Fuzzorama Records in 2016 was essentially cutting short in order to return to an immediate hiatus. Health issues were mentioned and that’s about the last that’s been heard from the three-piece of guitarist/vocalist Robin Hirse, bassist/vocalist Johannes Nilsson, and drummer Jimmi Kolscheen, the latter of whom had joined the band in place of Elvis Campbell after the LP recording. Particularly as the full-length offered a newly energized sound and still managed to keep the organic warmth of the Örebro natives’ prior two outings, 2010’s II (review here) and 2007’s self-titled debut (discussed here), it was sad to see them call it quits for some yet-TBD amount of time just when they seemed to have so much momentum on their side heading into the Fall festival season.

So it goes. One can — apparently — sit and lament all day. One can also check out the band’s new video for the track “Til’ Dawn” from III as a refresher of just how righteous that outing was and still very much is. Of course, since they’re not really together at the moment, Asteroid themselves don’t actually appear in the clip, but the band and Fuzzorama partnered with Minneapolis-based production company Know Idea Productions, who also previously created the video for Truckfighters‘ “Calm Before the Storm” (posted here) that proved controversial when it came out that the narrative was based on a true story and hit a little close to home in Sweden. I don’t know if the plotline of “Til’ Dawn” is similarly ‘ripped from the headlines,’ but its nighttime chase atmosphere and fluid slow motion shots resonate with the song itself and lend an emotional depth to the aural proceedings, which seems pretty much like the ideal.

Also noteworthy just how recognizable the cinematography of “Til’ Dawn” was after “Calm Before the Storm.” Even before I looked it up to confirm, I said to myself, “I bet these are the same people who did that Truckfighters video. Sure enough. So kudos on that.

The hope of course is that at some point Asteroid decide to pick back up and continue to move forward in supporting and eventually pushing beyond III. I’ve got no timeline on when or if that might happen, but a new video isn’t nothing and I’m happy to host the premiere of “Til’ Dawn” below, again, as a refresher for anyone for whom it might’ve been a minute since the last time they put on III. To be perfectly honest, it was enough to get me to play not only that record, but then to go back and grab II and the self-titled as well for a runthrough. I’ve kind of made an afternoon of it, and no complaints.

Credits and links follow. Please enjoy:

Asteroid, “Til’ Dawn” official video premiere

The official music video for the Asteroid song “Til’ Dawn” on Fuzzorama Records.

Written & Directed by: Aiden Kangas
Produced by: Kalaia Bouley
Cinematography by: Tony Perkins
Edited by: Joshua Harris Braun & Aiden Kangas
Color Grading: Tony Perkins
Starring: Joshua Harris Braun & Holly Peterson

Know Idea Productions website

Asteroid on Thee Facebooks

Asteroid on Twitter

Asteroid website

Fuzzorama Records webstore

Fuzzorama Records on Thee Facebooks

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