Friday Full-Length: Rotor, 2

Posted in Bootleg Theater on August 28th, 2020 by JJ Koczan

There are many who swear by the 2005 second album from Berlin-based mostly-instrumentalists  Read More Heres. If you’ve arrived on this page, it probably means you’ve lost someone. I have no words to share other than I’m sorry. Rotor, and one can hardly argue. The German outfit got their start in 1998 — you might also see their name stylized as Quality source links are needed to service entrepreneurs in the areas local to Tallahassee, Fl., Gainesville, Fl., and Pensacola, Fl. Benefits RotoR — and released their 2001 self-titled debut LP through s from experts with knowledge in all writing aspects. You should entrust your writing assignments to the best specialists. Monster Zero Records, the same imprint that was home to concurrent offerings from the likes of  Alpha http://www.docomomoiberico.com/?master-thesis-proposal-for-computer-science provides you the best in class, plagiarism free and value for money Content at your convenient time from experts. Colour Haze,  Online custom essays, term papers, research papers, reports, reviews and homework assignments. Professional http://cheapessaywritings24.com/college-paper-writing-service/ offers high quality and Astroqueen and  Do My Essay Me. Tell us what you need done and get free quotes from skilled freelancers within minutes, view profiles, ratings and portfolios and chat with them. Zerocharisma. By the time  Best Ghostwriter Notes Service Our Custom Essay Paper Writing Service will help handle all your paper instructions according to your specifications. 2 showed up four years later, the then-three-piece had found a home on  Are you looking for someone to do homework for money? If yes then you have come to the right place. TFTH is one of the best How To Write Admission Essays website on the Elektrohasch Schallplatten, the label helmed by  http://www.hotelbiser.com.mk/?english-literature-with-creative-writing Services at affordable price Avail Here. Expert PhD level Dissertation Writers helps you for your Dissertation writing. Colour Haze‘s  hop over to here Online Primarily Ńěîňđĺňü âńĺ Muge Arseven Ancient particular idea or focus, usually one that you believe video lessons. Stefan Koglek, and they seemed at the same time to have found their niche in establishing a place for themselves between desert rock, classic progressive heavy, and an underlying touch of exploratory jamming. Their songs could crunch out along a riffy groove or dig into proggier vibes as they willed it, and though they released a split with  Enjoy professional writing options offered at our Home Page 24/7. Order your paper now or use one of the samples offered for free. Stonedudes and  Get http://kubsafety.ru/?the-house-on-mango-street-thesis-statements at affordable rates from the web's best online rewriting and paraphrasing service now. All documents are expertly rewritten by Drive by Shooting the same year through write buy research papers http://www.biotricoline.it/?doctoral-thesis-report Paper argumentative essay on customer service ghost writing service Nasoni Records that featured the track “V’Ger,” FREE Revisions & FREE reference professional How To Write A Scientific Essay for university page! Essays from professional writing service, get the 2 remains an essential piece of their ongoing catalog and a look at how German heavy rock developed coming out of the post- Request a free quote for professional read this article, business documents, and writing services by professional business writers. Kyuss desert fixations of the late ’90s and ultimately found its own identity, which it did in no small part thanks to bands like  Rotor.

They’ve never been big on lineup details, but at one point or another, the band was Marco Baale, Milan PfĂźtzenreuter and Tim Mentzel. Today, they list their membership as “4,” which I guess is fair enough; their album 4 (review here) came out in 2010. In any case, compared to what they’d go on to do stylistically, perhaps the fare throughout 2 is a bit less complex, certainly less mature, but the tradeoff there is the kind of vibe that can only come from a band excited to be discovering who they are as players and as a group. Comprised of eight songs and running 43 minutes, Rotor‘s 2 is deceptive in both its immersion and its patience, and the band cleverly rotor 2engage their audience with fuzzy tones and a sense of songcraft that builds off the no-nonsense approach of Karma to Burn but is decidedly their own. They’re an instrumental band, have always been known for being an instrumental band, and have not veered from that course, so naturally the first song on 2 has vocals. It’s one of two tracks to feature them, actually, with Samavayo‘s Behrang Alavi stepping in on lead cut “On the Run” and singing in Persian on the side B leadoff “Endlicht.”

This gives each half of the record not only a definitive starting point — i.e. “Endlicht” serving as a landmark to keep listeners from getting too lost in the proceedings as can sometimes happen in all-instrumental releases; sorry, the human brain is a simple thing and has evolved to hear words when they’re spoken — and seems to allow the band more space to play as they will in the subsequent three songs on each side. The energy of “On the Run” bleeds into the clever starts and stops and surges and pullbacks of “Auf Der Lauer,” which refuses for the better part of its five and a half minutes to resolve its mischievous bumps and bounces before finally doing so in a nodding roll and last crash, giving way to the interplay between jazz and thrust on “Supernovo” — a serene midsection offering a delightfully false sense of security — and side A closer “Nuhig Blut,” which begins with a warmth of tone to remind one that, indeed, Rotor were contemporaries of Colour Haze, and a winding progression of wah and rumbly bass that shoves forward at will into a roll that feels built off that in “Auf Der Lauer” but has even more nuance to offer as it goes, being part of the journey more than the destination as it is in the earlier cut.

As the side B launch and “On the Run” complement, “Endlicht” — the title translating to English as “Last Light” — features a return from Alavi and the aforementioned Persian lyrics. The guitar takes a Middle Eastern inflection to suit during the verses but opens to broader fuzz during the chorus, a flourish of psychedelia resulting that sets up some of the more ranging material still to come. “Endlicht” builds up, cuts out, builds again and recedes, in a quick barrage of changes, but the central energy remains, and turns over to the semi-acoustic, minute-long “Zeistau,” which I suppose is fair to call an interlude but rests well ahead of “Hellway”‘s more spacious course. It’s the penultimate piece, and its near-seven-minute runtime feels purposefully paired with the 7:31 closer “Kraftfeld” as the two seem to range more broadly from fuzz riffs to atmospherics. A more languid pace in the finale is welcome as well, as it shows Rotor working in a more patient sphere than they had up to that point with their songwriting. Following an improvised-feeling (if not actually improvised) midsection, there’s an uptick in tempo that drives into a quick, somewhat understated peak, and then finishes quietly enough to underscore the class of the performance on the whole.

Rotor‘s tenure on Elektrohasch resulted in two more studio albums, 2007’s 3 and the already-noted 4, as well as the 2011 live record, Festsaal Kreuzberg (review here), that was captured in their hometown. The five-year break between 4 and 2015’s FĂźnf (review here) was the longest of the band’s career, and it marked the beginning of their alliance with Noisolution that continued with 2018’s Sechs (review here) — both albums showcasing the progressive leanings that were very much present in Rotor‘s earlier work, as 2 shows across its span, but which were brought more into focus over time. With that album marking the 20th anniversary of the band, they set about stopping through various festivals and club shows to support, and of course had plans likewise for 2020 that includes Sonic Whip in the Netherlands, and Krach am Bach in Germany, both of which were called off. They’re set to appear at Esbjerg Fuzztival in Denmark next week, however, which as of now is still happening and has posted significantly detailed rules for social distancing. Whatever it takes, I guess.

I can only imagine seeing this band live during this time and engaging the deeply creative spirit of their work in-person. No doubt one would end up swearing by 2 as well as a representation of that time. As it stands these 15 years later, the prescience of Rotor is a prophecy self-fulfilled by the influence they’ve had on European heavy psych and instrumentalism — you can point to Truckfighters or Papir and I don’t think you’d be wrong in either case — and 2 not only holds up as a document of its era, but of the ability of the band to cast vivid images in the theater of the mind.

As always, I hope you enjoy. Thanks for reading.

This week sucked. Oh, it sucked. It sucked, it sucked, it sucked. The Pecan had a cold and was miserable — he’s still stuffy but has been better the last couple days, if you count periodically having epic breakdowns like your favorite early ’00s metalcore band and hauling off and smacking you as “better,” which actually, yes, I do — and The Patient Mrs.’ new semester started, all online so far, though they’re apparently going to reassess that in a couple weeks? And the dog. Ugh, the dog. The dog is fucking wretched. We were actually doing fine for a bit yesterday and I brought her out of the kitchen to play fetch in the living room. First thing she did was piss on the floor. Pretty much ruined my whole fucking day. Was on par with taking The Pecan to the zoo on Tuesday and watching him bite another kid on the playground (through his mask, but it was still enough to make the other kid cry). Oh, it sucked. All of it. Just awful. It was a shitty, shitty fucking week and the sooner it’s forgotten the better. I hope that by the next time I write about Rotor and inevitably come back to look at this post, I can’t even remember what I’m talking about here. “When was that?” and so on.

And so the dog chews my foot. Stop. So the dog chews the 200-year-old rocking chair my mother gave us when we had The Pecan. Stop. The dog chews a rug. Fine. She has bones. She has a kong. She has rawhide. She is awful. Fucking awful. And every time I try to talk to The Patient Mrs. about it it becomes an argument like she’s on team dog and I get to be my father the asshole (still dead, not yet buried for some fucking reason) who hates everything. Meanwhile, the dog bites. She chews. She pisses on the floor. She has a bark like a dying seal that is like sandpaper on my brain. I grew up with dogs. I have loved dogs my whole life. This is the dog we got our son so they could grow up together and it’s been five weeks and they can’t even be in the same room. It’s not working. The little voice in my head is telling me, “Punch out, Maverick.” Try again later.

And there’s nothing worse than not being heard.

I should go. I can hear The Pecan in the other room talking about hitting his trains, which means he’s frustrated about something and that’s not gonna stop. Yeah, now he’s biting himself and hitting himself.

Apparently we’re closing on the sale of this house (to us, from my mother) today? Never believe anything in real estate until a week after it’s happened, so I guess I’ll check in next Friday about that.

Great and safe weekend. No Gimme show today. Next week. Don’t forget to hydrate. So important.

FRM.

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NeĂ nder Post “Eremit” Visualizer; New Album out Oct. 9

Posted in Bootleg Theater on August 24th, 2020 by JJ Koczan

neander

It’s not quite what one would usually think of as a video, but atmospherically speaking, it definitely gets the point across. Also, the point is atmosphere, and it’s one that Berlin’s NeĂ nder — also stylized all-lowercase, neĂ nder, presumably to preserve the humility their tonal onslaught casts aside — make well on “Eremit,” which is the title-track of their upcoming full-length on Through Love Records. Set to release Oct. 9, its titular representative finds the band coursing between atmospheric sludge and doom — so yes, post-metal — with a particular strain of weight in the low end that seems to give all the more breadth to the upper register guitars, creating space enough for sharper lead lines as well as the seeming float of effects.

Coinciding with a solid march set by the drums, not too fast, but more than one might call a plod, the track builds toward its final 90-or-so seconds with increasing tempo and intensity, eventually hitting more extreme territory but handling it with no less a sense of control than the band has maintained all along. I haven’t heard the full album yet, but given what’s going on here, I would expect the combination of refinement and sheer weight to be consistent in progressive fashion. They earn the grey on that cover image.

But the video. Yeah, it’s not quite a video so much as a manipulation of the album cover. It goes into and out of focus in different parts slowly, zooms in and out. Basically it’s a way to feature the song. They’re calling it a visualizer and that’s fine by me. Visualize yourself listening to the track and you’re probably headed in the right direction.

I hear there might be tour dates in the works for the German outfit — must be nice — but in the interim and before the album comes out, you’ll find the a/v and more info below.

Please enjoy:

NeĂ nder, “Eremit” official visualizer

October 9th 2020 will see Berlin- based collective, neĂ nder, return with their brand new, sophomore album “eremit”, only one and a half year after releasing their critically acclaimed debut. With their upcoming magnum opus, neĂ nder continue to evolve their very own blend of heavy music that draws on musical elements of doom, ambient and black metal. A bleak and desolate atmosphere casts its shadow on this record, while the band cuts a dark crystal playing with variations of light and shade.

“We wanted to dig deeper into our own sound. As a result the riffs are slower and heavier than before and the epic parts are way more intense“ said the band earlier. “This album is all about finding your identity. Figure out who you are and then head out for the next chapter“ adds guitarist Jan Korbach. “We wrote our first album over a period of three years, but this one only took 6 months. And this really sticks it all together.“

Today, neĂ nder have premiered a moody visualizer to the crushing album title track, “eremit”. The single is available via several digital platforms here: https://linktr.ee/neandereremit

“We didn’t felt that the new song ‘Eremit’ needed a music video in the classical sense.“ Korbach continues. “Like some band playing in a warehouse (I can say it, because I’ve done this too many times). Like this one can focus 100% on the music. In my mind the visualizer reflects the mood of the song perfectly. A creature from outta space (so to say) – that is not to be named yet – created the 3D animation.”

Album Tracklist:
Purpur (prelude)
Purpur
Eremit
Ora
Clivina
Atlas

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NeĂ nder on Instagram

Through Love Records on Bandcamp

Through Love Records website

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The Sun or the Moon Sign to Tonzonen; Debut Album out Next Year

Posted in Whathaveyou on August 20th, 2020 by JJ Koczan

Not a lot of details yet about the forthcoming debut album from German psych/krautrockers The Sun or the Moon, but if you’re up for a little YouTube digging — if they have a Bandcamp, I couldn’t find it — they have a few singles out there that are enticing enough. The four-piece have been picked up by Tonzonen for the release and the countryman German imprint has proven reliable in terms of taste, so if they say there’s good stuff in the works, I’ve no real reason to doubt it. They cover “Julia Dream” — the last version of that I heard was from Boston’s Worshipper — so that’s something too.

The band is, of course, not to be confused with the Swedish Asteroid offshoot The Sun, The Moon & the Witch’s Blues, or I guess any other band with the words “sun” or “moon” in their moniker, of which there are plenty. In lieu of massive social media presence — they’re a relatively new band, they may get there — I’ve included two clips below. The first is “Trippin’ on Mars,” which is the A-side of what I understand is their latest single, and the second is the aforementioned Floyd cover. From there you’re on your own.

Tonzonen had this to say:

the sun or the moon

THE SUN OR THE MOON – Tonzonen

THE SUN OR THE MOON will release the debut album via Tonzonen Records in 2021.

THE SUN OR THE MOON is a powerfully creative new psychedelic Krautrock group currently emerging in Germany. Inspired by Can, Kraftwerk, early Pink Floyd, and Radiohead, the band has developed an expansive, brilliant, non-mainstream sound that dives deeply into the psyches of eclectic and intelligent listeners. Band members Frank Incense (vocals, bass, baritone guitar, guitar, electric sitar, electronics, keyboards), George Nowak (guitar, theremin, flute), Susanne Baum (keyboards), and Niclas Ciriacy (drums and percussion) have already released the singles “Cosmic”/“Julia Dream” and “Trippin’ on Mars”/“Quicksand,” .

Like musicians all over the world, The Sun or the Moon has seen its career trajectory altered by the COVID-19 pandemic. Since live gigs are out, the group has concentrated on writing and recording. Streaming platforms have replaced concert stages for the time being but the group is fueled by a true love of making this music and is determined to reach its fans by any means necessary. Listeners intrigued by the sounds of analog electronics, modular synths, guitars, and drums working together to attain new worlds need to discover The Sun or the Moon immediately. This is what the future sounds like.

The Sun or the Moon is:
Susanne Baum (keyboards)
Niclas Ciriacy (drums, percussion)
George Nowak (guitar, theremin)
Frank Incense (bass, electronics, vocals)

https://www.facebook.com/thesunorthemoonband/
https://www.facebook.com/Tonzonen/
https://tonzonenrecords.bandcamp.com/
https://www.tonzonen.de

The Sun or the Moon, “Trippin’ on Mars”

The Sun or the Moon, “Julia Dream” official video

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Colour Haze Post Full-Set Concert Video; Sept. Live Dates Announced

Posted in Bootleg Theater on August 14th, 2020 by JJ Koczan

colour haze live somewhere

Dear Colour Haze: Any time you want to go ahead and put this set out as a live album, that’ll be just fine, thank you. Mix it down and make it all nice if you must, but I’d happily take it bootleg-style too. Whatever works. Thanks as always.

Okay, so, what do we learn here? Well, as the Munich-based godfathers of European heavy psychedelia play through a killer and apparently socially-distanced set of classics new and old — yes I mean that — and announce two limited-ticket shows for next month in Germany, they’re also standing on the precipice of beginning a series of catalog reissues through Ripple Music that will give some of their albums proper North American distribution for the first time. That would seem to be plenty. But what we learn here, in this video specifically, is that the band would seem to be back to its trio configuration: bassist Philipp Rasthofer, drummer Manfred Merwald (who got a haircut since last I saw the band) and guitarist/vocalist Stefan Koglek.

The lesson there is kind of the opposite of what we’ve been learning over the last couple years since the band brought in formerly-part-time organist/synthesist Jan Faszbender in as a full-fledged fourth member. That was seeing what new dynamic emerged as keys of various sorts fleshed out melodies of older songs. Now it’s seeing how they manage a return to their root elements. You’ll note that among the seven songs they play, none are from most recent LP, 2020’s We Are (review here), but instead they launch with the massive jams in “Skydancer” from 2017’s In Her Garden (review here) and “Überall” from the preceding 2014 album To the Highest Gods We Know (review here).

It gets dark magically before they launch into “Labyrinthe,” but the song is plenty warm enough for the assembled, particularly as it moves into “Transformation” from 2012’s She Said (review here) and “Love” from their 2004 self-titled (discussed here) and the title-track of 2006’s Tempel (discussed here) ahead of the finale “Get it On,” which dips even further back, to 2000’s CO2. The video is a single-camera shot, or at least one at a time, since it does move at least once when it gets dark — they play “Labyrinthe” and “Transformation” largely in silhouette, by lamplight — but the sound is fantastic, especially for the instruments, and their jams are perhaps even more hypnotic with the camera holding still as it does, much as one might be awestruck seeing them play live for the first time on a stack. It’s like being slackjawed in virtual reality.

I don’t know where the “show” was, or when, but I know that when Colour Haze did the Freak Valley-sponsored Freak TV stream in June, Faszbender was still with them, so that change would have to be pretty recent. Maybe it’s a permanent thing, or maybe he just had something else to do that day. No idea. But 80 minutes of live Colour Haze is I think probably the best thing that’s going to happen today, so here it is.

Enjoy:

Colour Haze, Live 2020 at sunset

One of the few shows this year.
Color Haze played live like the bands in the 70s.
In addition to the band’s well-known tube amplifiers, there also was an all-tube PA used here.

0:00 Skydancer
17:20 Ueberall
25:17 Labyrinthe
33:40 Transformation
49:09 Love
57:56 Tempel
1:07:42 Get it on

Colour Haze September shows:
26.09 Aschaffenburg DE Colos-Saal
27.09 Dortmund DE Junkyard (Open Air)

Manfred Merwald – Schlagzeug
Philipp Rasthofer – Bass
Stefan Koglek – Gitarre, Gesang
Mario Oberpucher – Live Sound
Martin Zimmermann – Kamera, Schnitt

Colour Haze website

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Elektrohasch Schallplatten website

Ripple Music on Thee Facebooks

Ripple Music on Instagram

Ripple Music on Bandcamp

Ripple Music website

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Finding Comfort in Live Music When There Isn’t Any

Posted in Features on August 12th, 2020 by JJ Koczan

Bands and festivals have begun to announce 2021 dates and all that, but let’s be realistic: it’s going to be years before live music is what it once was. Especially in the United States, which is the country in the world hardest hit by the ol’ firelung in no small part because of the ineptitude of its federal leadership, an entire economic system of live music — not to mention the venues, promotions and other cultural institutions that support it on all levels — needs to be rebuilt from the ground up. It isn’t going to be just as simple as “social distancing is over and we can all crowd into the bar again.” Maybe not ever.

You’ve likely seen a band do a live stream at this point, even if after the fact, and I have too. Not the same as a real-life gig, duh, but if it helps raise some funds and keeps creative people working on something and gives an act a way to connect with its audience, you can’t call it bad. I’ve found, though, that with the dearth of live music happening and the nil potential that “going to a show” will happen anytime soon, I’ve been listening to more and more live albums.

This, in no small part, is because there are plenty to listen to. Some groups attempting to bring in cash either for themselves or relevant causes have put out live records in the last few months and made use of the downtime that would’ve otherwise been given to actually being on a stage or writing together in a room or whatever it might be. It’s been a way for a band to not just sit on its collective hands and wonder what the future will bring. When so much is out of your own control, you make the most of what you’ve got.

In that spirit, here’s a quick rundown of 10 recent live outings that I’ve been digging. If you’ve found you’re in the need of finding comfort in live music and whatever act you want to see isn’t doing a stream just this second, maybe you can put one of these on, close your eyes, and be affected a bit by the on-stage energy that comes through.

Thanks as always for reading, and thanks to Tim Burke, Vania Yosifova, and Chris Pojama Pearson for adding their suggestions when I asked on social media. Here we go, ordered by date of release:

Arcadian Child, From Far, for the Wild (Live in Linz)

arcadian child from far for the wild

Released Jan. 24.

Granted, this one came out before the real impact of COVID-19 was being felt worldwide, but with the recent announcement of Arcadian Child‘s next studio album coming out this Fall, including From Far, for the Wild (Live in Linz) (discussed here) on this list seems only fair. The Cyprus-based four-piece even went so far as to include a couple new songs in the set that’ll show up on Protopsycho as well this October, so it’s a chance to get a preview of that material as well. Bonus for a bonus. Take the win.

Kadavar, Studio Live Session Vol. 1

kadavar studio live session

Released March 25.

Germany began imposing curfews in six of its states on March 22. At that point, tours were already being canceled, including Kadavar‘s European run after two shows, and the band hit Blue Wall Studio in Berlin for a set that was streamed through Facebook and in no small part helped set the pattern of streams in motion. With shows canceled in Australia/New Zealand and North America as well, Kadavar were hoping to recover some of the momentum they’d lost, and their turning it into a live record is also a part of that, as is their upcoming studio release, The Isolation Tapes.

Øresund Space Collective, Sonic Rock Solstice 2019

Øresund Space Collective Sonic Rock Solstice 2019

Released April 3.

Of course, I’m perfectly willing to grant that Sonic Rock Solstice 2019 (review here) wasn’t something Øresund Space Collective specifically put out because of the pandemic, but hell, it still exists and that enough, as far as I’m concerned. As ever, they proliferate top notch psychedelic improv, and though I’ve never seen them and it seems increasingly likely I won’t at the fest I was supposed to this year, their vitality is always infectious.

Pelican, Live at the Grog Shop

pelican Live at The Grog Shop

Released April 15.

Let’s be frank — if you don’t love Pelican‘s music to a familial degree, it’s not that I think less of you as a person, but I definitely feel bad for you in a way that, if I told you face-to-face, you won’t find almost entirely condescending. The Chicago instrumentalists are high on my list of golly-I-wish-they’d-do-a-livestream, and if you need an argument to support that, this set from Ohio should do the trick nicely. It’s from September 2019, which was just nearly a year ago. If your mind isn’t blown by their chugging progressive riffs, certainly that thought should do the trick.

SEA, Live at ONCE

sea live at once

Released June 19.

Also captured on video, this set from Boston’s SEA finds them supporting 2020’s debut album, Impermanence (review here) and pushing beyond at ONCE Ballroom in their hometown. The band’s blend of post-metallic atmosphere and spacious melody-making comes through as they alternate between lumbering riffs and more subdued ambience, and it makes a fitting complement to the record in underscoring their progressive potential. The sound is raw but I’d want nothing less.

Sumac, St Vitus 09/07/2018

sumac st vitus

Released July 3.

Issued as a benefit to Black Lives Matter Seattle and a host of other causes, among them the Philadelphia Womanist Working Collective, this Sumac set is precisely what it promises in the title — a live show from 2018 at Brooklyn’s famed Saint Vitus Bar. I wasn’t at this show, but it does make me a little wistful to think of that particular venue in the current concert-less climate. Sumac aren’t big on healing when it comes to the raw sonics, but there’s certainly enough spaciousness here to get lost in should you wish to do so.

YOB, Pickathon 2019 – Live From the Galaxy Barn

YOB Pickathon 2019 Live from the Galaxy Barn

Released July 3.

They’ve since taken down the Bandcamp stream, but YOB’s Pickathon 2019 – Live From the Galaxy Barn (review here) was released as a benefit for Navajo Nation COVID-19 relief, and is an hour-long set that paired the restlessness of “The Lie that is Sin” next to the ever-resonant “Marrow.” Of all the live records on this list, this is probably the one that’s brought me the most joy, and it also inspired the most recent episode of The Obelisk Show on Gimme Metal, which jumped headfirst into YOB‘s catalog. More YOB please. Also, if you haven’t seen the videos of Mike Scheidt playing his guitar around the house, you should probably hook into that too.

Dirty Streets, Rough and Tumble

dirty streets rough and tumble

Released July 31.

If you’re not all the way down with the realization that Justin Toland is the man when it comes to heavy soul and blues guitar, Dirty Streets‘ new live record, Rough and Tumble, will set you straight, and it won’t even take that long. With the all-killer bass and drums of Thomas Storz and Andrew Denham behind, Toland reminds of what a true virtuoso player can accomplish when put in a room with a crowd to watch. That’s an important message for any time, let alone right now. These cats always deliver.

Amenra, Mass VI Live

amenra mass vi live

Released Aug. 7

Look, I’m not gonna sit here and pretend I’m the biggest Amenra fan in the world. I’m not. Sometimes I feel like they follow too many of their own rules for their own good, but there’s no question that live they’re well served by the spectacle they create, and their atmospherics are genuinely affecting. And I know that I’m in the minority in my position, so for anyone who digs them hard, they put up this stream-turned-record wherein they play a goodly portion of 2017’s Mass VI, and even as the self-professed not-biggest-fan-in-the-world, I can appreciate their effort and the screamy-scream-crushy-crush/open-spaced ambience that ensues.

Electric Moon, Live at Freak Valley Festival 2019

Electric Moon Live at Freak Valley Festival 2019

Releasing Sept. 4.

Yeah, okay, this one’s not out yet, but sometimes I’m lucky enough to get things early for review and sometimes (on good days) those things happen to be new live records from Germany psychonauts Electric Moon. The Always-Out-There-Sula-Komets are in top form on Live at Freak Valley Festival 2019 as one would have to expect, and they’re streaming a 22-minute version of “777” now that rips so hard it sounds like it’s about to tear a hole into an alternate dimension where shows are still going on so yes please everyone go and listen to it and maybe we’ll get lucky and it’ll really happen. The magic was in you all along.

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My Sleeping Karma Playing Shows This Month; New Song Snippet Posted

Posted in Whathaveyou on August 10th, 2020 by JJ Koczan

my sleeping karma

Well, anything new from My Sleeping Karma is welcome, up to and including a 30-second snippet of a yet-unnamed new song that carries their familiar warmth of tone and smooth psychedelic feel, but even if there wasn’t that occasion to mark, there are shows! It’s a band! Playing shows! No, I’m not going to any of the shows, but god damnit, the shows exist! Doesn’t that make your day better? It certainly does mine. Live streams are cool and all that, and I think they’ll have a place going forward — if nothing else as a way for bands to raise funds — but gosh, festivals are happening in Europe. We’re so, so, so far away from anything like that in the US it’s hard to imagine even an open-air event coming together — though did anyone see those pics from Sturgis Bike Week; they were insane — but I’m glad to know that shows are at least taking place somewhere.

And it’s all the more meaningful that it’s My Sleeping Karma playing the shows in question, since they’ve been sidelined not just by the global pandemic, but for over a year as their drummer underwent cancer treatment. So their comeback, as it were, is even more of a triumph. As for the fact that it’s been five years since they dropped their most recent studio album, Moksha (review here), well, let’s take it one thing at a time.

But new music! And shows!

Sound of Liberation put word out thusly:

my sleeping karma dates

MY SLEEPING KARMA – Summer Dates

It’s no secret that My Sleeping Karma are thankfully able to perform again after more than a year, and that indeed brings us hope that everything can and will get better eventually.

While the Munich show is sold out already, you can always catch MSK live in concert somewhere in the Swiss Alps or at our friends in Passau!

– 15/08 at PALP festival with Orange Goblin and Yet No Yokai
– 21/08 at OPEN YAIR! präsentiert euch: Blackdoor • Zauberberg • MFV with Mount Hush , FILISTINE and Ozymandias
– 22/08 at My Sleeping Karma + Mount Hush | SommerbĂźhne im Stadion (SOLD OUT)

Stay safe everyone and see you soon!

www.facebook.com/MySleepingKarma/
www.mysleepingkarma.com
https://www.facebook.com/Soundofliberation/
https://shop.napalmrecords.com/

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Album Review: Electric Moon, You Can See the Sound Of… (Expanded Version)

Posted in Reviews on August 6th, 2020 by JJ Koczan

electric moon you can see the sound of

Look carefully at the front cover of Electric Moon‘s You Can See the Sound Of… and you’ll note, in small letters at the top, the words ‘Extended Version.’ And so it is. The original, limited-to-500-copies edition of You Can See the Sound Of… (review here) was pressed to white 10″ vinyl and issued at Roadburn Festival in 2013 to coincide with a residency from Electric Moon guitarist/synthesist/noisemaker Dave Schmidt, aka Sula Bassana. At the time, Electric Moon consisted of the core duo of Schmidt — who also runs Sulatron Records — and bassist/effects-specialist/sometimes-vocalist/graphic-artist “Komet Lulu” Neudeck, as well as drummer Michael Orloff, who had taken over from original drummer Pablo Carneval, who, in turn, has since rejoined the band. At the time, Electric Moon were embroiled in an absolute creative flood, and between 2010 and 2012 they’d done no fewer than (and likely more than) 10 releases between splits, live recordings and studio offerings.

Their foundation in improvised heavy psychedelic exploration, in space-rock-infused jamming, and the fact that they were releasing through Schmidt‘s own imprint as well as respected purveyor Nasoni Records, which by then was well familiar with Schmidt‘s solo work under the Sula Bassana banner, helped foster this relentless pace, and though they wouldn’t keep it up forever — how could they? — they were able to establish a reputation for the quality of their work as well as for the frequency with which it showed up. Even now though, multiple Electric Moon releases in the span of a year isn’t a surprise. To wit, they’re already set next month to follow You Can See the Sound Of… (Extended Version) with a live album captured at the 2019 Freak Valley Festival in their native Germany. But it is the standard of performance and chemistry they set that continues to make it such a joy to follow their progression from one outing to the next, and the original edition of You Can See the Sound Of… has always been a standout for me as a fan of what they do.

The three songs that appeared on that 2013 EP, “The Inner Part,” “Your Own Truth” and “No Escape From Now” are now featured as side A of You Can See the Sound Of… (Extended Version), and they remain a synesthetic pleasure to behold, from the bright shimmering, swirling greens of the lead cut to the Sonic Youth-gone-surf experimental feel of “Your Own Truth,” with Neudeck‘s semi-whispered vocals holding sway over a tense drum progression and a guitar line that is hypnotic enough to not give away the fact that it’s building to a more fervent payoff of fuzz in the song’s second half. By then they’ve already set the trajectory across the six minutes of “The Inner Part,” instrumental and expansive with a strong rhythmic foundation under Schmidt‘s floating guitar lines. It is no less the root of Electric Moon‘s approach than it is the basis for the dynamic of any number of power trios — bass and drums lock the groove, guitar wanders as it will — but given the keys to this particular spaceship, Electric Moon do not at all fail to make it their own.

electric moon you can see the sound of original cover

And as with the best of their work, it doesn’t feel like it could be any other way as “The Inner Part” and “Your Own Truth” make way for the 11-minute “No Escape From Now,” which unfurls gradually, seeming to use multiple dimensions of its mix to set the drums deep within the soundscape of the guitars and effects, maybe-vocals coursing intermittently through the first half of the track in what might be spoken form manipulated by pedals/synth or might just be the band tapping into the hearing-voices subconscious of their listenership. Seven years after the fact, it’s still unclear, and that’s part of what makes it work so well. It’s not like Electric Moon are going to sound dated; time isn’t really a factor here, and the context in which this material is occurring isn’t one that depends on the moment in which it occurs, based on improv though it is. Once it’s out there, it’s timeless, because in a way, once it’s out there its time has already passed.

To that end, I’m left curious as to why the three songs that appear on the back half of You Can See the Sound Of… (Extended Version) didn’t make the cut initially. Side B — comprising “Windhovers” (6:15), “The Great Exploration of Nothing” (4:56) and “Mushroom Cloud No. 4” (11:19) — is taken from the same studio session, and is set up as a mirror for side A in terms of the runtime of each piece. The second here is a little longer, the third a little shorter, but still within a minute of each other from one side to the next, and while it’s true that in the case of the later songs — those added on to the new version of the release — that’s being done with fadeouts so that they’re in line with the originals, that does nothing to undercut what they bring to the proceedings in terms of atmosphere.

“Windhovers” sets itself to a patient drumbeat and gives some semblance of a post-rock vibe early — if it was the quiet midsection of an Amenra song, no one would blink — and executes a more linear build than anything on side A, while “The Great Exploration of Nothing” turns to more of an outward lumber, putting the bass forward as Schmidt seems to move back and forth to keys and Neudeck takes the lead as the guitar otherwise might. The result is almost a verse/chorus structure — at least a play back and forth — but of course that’s not where Electric Moon are at.

They push through and into a noise wash jam on “Mushroom Cloud No. 4” and cap hinting at a guitar line that could easily (and probably did in the studio) just keep going for some indeterminate amount of time. That is the band in their wheelhouse, touching multiple niches in terms of sound, but holding a flow and reach that is too much their own to be anything else. As a reminder of what they were up to at this point, You Can See the Sound Of… (Extended Version) brims with psychedelic vitality, but one should not discount the work they’ve done since — on 2017’s Stardust Rituals (review here), for example — because the breadth that is so palpable in this material has only continued to expand.

Electric Moon, You Can See the Sound Of… (2013)

Electric Moon on Thee Facebooks

Electric Moon on Bandcamp

Electric Moon website

Sulatron Records website

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Kadavar Post First The Isolation Tapes Single “Everything is Changing”

Posted in Bootleg Theater on August 6th, 2020 by JJ Koczan

kadavar everything is changing

Immediate points to Kadavar for accuracy when it comes to their new single. The first track to be unveiled from the upcoming The Isolation Tapes LP — available for preorder from the Berlin trio’s website as of today — is “Everything is Changing,” and I suspect that when frontman Christoph “Lupus” Lindemann intones the title, he’s talking about more than just the fact that he and drummer Christoph “Tiger” Bartelt have shaved their long-worn beards. The song, with synthesizer where a guitar might otherwise lead the way — not at all the band’s first foray into synth, if you’re wondering, but still a departure from expectation — is melancholy and autobiographical featuring, with Lindemann describing restlessness in lyrics like, “Trying to make sense at home/Like the new guy coming into town,” and “I said I wouldn’t be home tonight/But things have changed too fast.”

One has no trouble believing both those sentiments are true. Kadavar — rounded out by Simon “Dragon” Bouteloup — of course had tour plans scuttled by the COVID-19 pandemic, and they’ve been on the road so persistently and for so long, that it’s easy to imagine being stuck at home as they might’ve been earlier this year was a marked change personally as well as a dent in their always-busy album cycle. As the song unfolds over its six minutes, the lonely feeling suits a year marked by social distance broken only by social unrest, and in the last verse, restlessness turns into apathy as the last verse finishes, “Now I want to stay for a while/Resting my tired limbs/And I want to hide for a while/From the sound of my strings.”

Fair enough, but Kadavar aren’t exactly hiding. “Everything is Changing” is meticulously arranged and holds the mark of songcraft that has typified their material all throughout the creative progression that’s made them one of heavy rock’s most pivotal acts of the last decade. And to be surrounded by change is to be alive, but the consistency with which Kadavar bring their material to light is the rare reassurance of a steady hand, and even “Everything is Changing” — a willful step-down in energy from some of their more brazen moments — benefits from how much of themselves the band puts into it.

As noted, The Isolation Tapes is up for preorder as of today. It’s out Oct. 23 through Robotor Records — the band’s new self-release label; which seems to be an imprint of Pelagic? — and as one might expect, the different color vinyls look lovely.

Enjoy the video:

Kadavar, “Everything is Changing” official video

‘EVERYTHING IS CHANGING’ from the album ‘THE ISOLATION TAPES’ released on 23 October on Robotor Records.

PRE-ORDER: https://www.kadavar.com/
SUBSCRIBE: https://www.youtube.com/channel/UCVmS…

Lupus: ‘The time of isolation has been a very intimate one that would not invite to write another hard rock album just like that. At home I wasn’t looking for loud guitars or walls of sound: everything turned quiet, both inside and outside, until sound almost disappeared. I would start listening to things I usually wouldn’t, like water drops, steps, birds or wind… So we started recording out of this new mental state, we would use loops for the very first time or play around with sounds we have never used before, resulting in a trip through our minds that captured these special times where everything was changing.’

Directed and Edited by Victor Puigcerver

Head Of Production Xavi Galindo
Color Grading Lita Bosch

Thanks to
Robin Banks
Olivia Airey

Early morning breaks the night
I get up I’ve slept way too long
doubt is moving through my mind
its been some time that i’ve played my songs

33 and things are changing
so long I’ve served you well
living the dream for many years
left alone in the hotel

Everything is changing
And there’s nothing I can do
i see all the good times fading
while I’m trying to get through

trying to make sense at home
like the new guy coming into town
There’s a world out there and it calls my name
but i don’t know how to get along

33 and things are changing
so long I’ve served you well
living the dream for many years
left alone in the hotel

i said i wouldn’t be home tonight
but things have changed too fast

now i want to stay for a while
resting my tired limbs
and i want to hide for a while
from the sound of my strings

Kadavar on Thee Facebooks

Kadavar on Instagram

Kadavar website

Robotor Records on Thee Facebooks

Robotor Records on Instagram

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