Deadpeach Reissue Psycle; New Album Coming Soon

Posted in Whathaveyou on December 11th, 2013 by H.P. Taskmaster

I picked up a copy of Deadpeach‘s Psycle a few years back from All That is Heavy and dug it for even more than its ultra-stoner earlier-Malleus cover art. The Italian outfit released a follow-up in 2011, aptly-titled 2, and reportedly have a new one coming called Aurum that will see release in 2014. To tide fans over into the New Year or at very least hopefully get word out about the new release, Deadpeach have made Psycle available again, digitally this time, through iTunes and Amazon.

The band sent word about both Psycle‘s reissue and the impending Aurum, and there’s a link where you can check out the earlier record, but I thought I’d post it with the teaser for the newer album instead, in case anyone unfamiliar with the band wants to get a feel for what they’re doing now as opposed to 2006, when the debut came out.

Groovy:

The new album of Deadpeach will be titled ‘Aurum’. Is a 5 track album, songs are : Calcutta, Gold, The line, Stomper, Traffic, (about 40 minute). The album was recorded and mixed by Epi at the godownrecords studio, Mastering Alessandro Cenciarini.

The album’s artwork is edited by Neal Williams epicproblems.com, that already has done posters for Soundgarden, Dinosaur jr, Opeth, Neurosis and other.

While waiting for the release date, of the third studio album by Deadpeach, is available from today, the digital version of their debut album titled Psycle; it was released in 2006 by godowrecords and reprinted in 2007 on vinyl,picture disk and cd digipack by the Nasoni-records.

“Psycle”, is a psychedelic fuzz rock grooves album. Artwork by Malleus.

Seven tracks of wild and amazing fuzz rock, psychedelic landscapes from the early 60s/70s, space trippy sounds.

Current line up: Federico Tebaldi (drums), Mr. Steveman (bass), Giovanni Giovannini (guitar, lead vocals), Daniele Bartoli (guitar & slide guitar).

LISTEN HERE TO PSYCLE!
http://player.zimbalam.com/player/8016670448648/6/black/0/0/0/it/

https://www.facebook.com/Deadpeachrock
https://www.deadpeach.com

Deadpeach, Aurum Teaser

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Reviewsplosion II: The Return of 10 Records in One Post

Posted in Reviews on October 16th, 2012 by H.P. Taskmaster

I am constantly working at a deficit. Financially, yes, because like many of my countrymen I’m am tens of thousands of dollars in debt — but also in terms of reviews. I’malwaysbehind on reviews. Hell, it was into July of this year before I finally put the kybosh on writing up anything from 2011, and I’m pretty sure if I hadn’t put my foot down on it, I’d still have year-old albums going up or older. My to-do list grows like a witchcult.

It’s not something to complain about and I’m not complaining. I’m stoked people give enough of a shit to send their CDs in to be reviewed — especially those who actually send CDs — and it’s for that reason that I do this second reviewsplosion (first one here).

Yeah, as ever, I’m behind on reviews, but I’m also working on being more concise — I swear I am; check out the At a Glance reviews if you don’t believe me — and one of the things I liked so much about the last reviewsplosion was it forced me to get to the fucking point. As direct a line as possible to a review. Boiling the idea down to its essential core.

With that in mind, here’s my attempt to both balance my review budget and be as clear as humanly possible. Hope you dig:

 

Altar of Oblivion, Grand Gesture of Defiance

The subject of some spirited debate on the forum, the second record from Danish five-piece Altar of Oblivion revels in traditional doom methods. There’s an air of pomp in some of the songs — “Graveyard of Broken Dreams” lays it on a little thick — but by and large, Grand Gesture of Defiance (Shadow Kingdom) is a more than solid showing of genre. Classic underground metal flourishes abound, and while it’s not a record to change your life, at six tracks/34 minutes, neither does it hang around long enough to be overly repetitive. You could do way worse. Altar of Oblivion on Thee Facebooks.

 

Blooming Látigo, Esfínteres y Faquires

Primarily? Weird. The Spanish outfiit Blooming Látigo make their debut on Féretro Records (CD) and Trips und Träume (LP) with the all-the-fuck-over-the-place Esfínteres y Faquires, alternately grinding out post-hardcore and reciting Birthday Party-style poetry. They reach pretty hard to get to “experimental,” maybe harder than they need to, but the on-a-dime stops and high-pitched screams on tracks like “Onania” and “Prisciliano” are well beyond fascinating, and the blown-out ending of “La Destrucción del Aura” is fittingly apocalyptic. Who gave the art-school kids tube amps? Blooming Látigo on Bandcamp.

 

El-Thule, Zenit

Five years since their second offering, Green Magic, left such a strong impression, Italian stoner rock trio El-Thule return with Zenit (Go Down Records), which makes up for lost time with 50 minutes of heavy riffs, fuzzy desert grooves and sharp, progressive rhythms. The band — El Comandante (bass), Mr. Action (guitar/vocals) and Gweedo Weedo (drums/vocals) — may have taken their time in getting it together, but there’s little about Zenit that lags, be it the faster, thrashier “Nemesis” or thicker, Torche-esque melodic push of the highlight “Quaoar.” It’s raw, production-wise, but I hope it’s not another half-decade before El-Thule follow it up. El-Thule on Thee Facebooks.

 

Botanist, III: Doom in Bloom

It’s a nature-worshiping post-black metal exploration of what the History Channel has given the catchy title “life after people.” If you’ve ever wondered what blastbeats might sound like on a dulcimer, Botanist‘s third album, III: Doom in Bloom has the answers you seek, caking its purported hatred of human kind in such creative instrumentation and lyrics reverent of the natural world rather than explicitly misanthropic. The CD (on Total Rust) comes packaged with a second disc called Allies, featuring the likes of Lotus Thief and Matrushka and giving the whole release a manifesto-type feel, which suits it well. Vehemently creative, it inadvertently taps into some of the best aspects of our species. Botanist’s website.

 

GravelRoad, Psychedelta

Say what you will about whiteboys and the blues, the bass tone that starts “Nobody Get Me Down” is unfuckwithable. And Seattle trio GravelRoad come by it pretty honestly, having served for years as the backing back for bluesman T-Model Ford. The album Psychedelta (on Knick Knack Records) jams out on its start-stop fuzz in a way that reminds not so much of Clutch but of the soul and funk records that inspired Clutch in the first place, and though it never gets quite as frenetic in its energy as Radio Moscow, there’s some of that same vibe persisting through “Keep on Movin’” or their Junior Kimbrough cover “Leave Her Alone.” Throaty vocals sound like a put-on, but if they can nail down that balance, GravelRoad‘s psychedelic blues has some real potential in its open spaces. GravelRoad on Thee Facebooks.

 

The Linus Pauling Quartet, Bag of Hammers

Texas toast. The Linus Pauling Quartet offer crisp sunbursts of psychedelic heavy rock, and after nearly 20 years and eight full-lengths, that shouldn’t exactly be as much of a surprise as it is. Nonetheless, Bag of Hammers (Homeskool Records) proffers a 41-minute collection of heady ’90s-loving-the-’70s tones while venturing into classic space rock on “Victory Gin” and ballsy riffing on “Saving Throw.” Being my first experience with the band, the album is a refreshing listen and unpretentious to its very core. Eight-minute culminating jam “Stonebringer” is as engaging a display of American stoner rock as I’ve heard this year, and I have to wonder why it took eight records before I finally heard this five-man quartet? Hits like its title. LP4′s website.

 

Odyssey, Abysmal Despair


It’s the damnedest thing, but listening to Abysmal Despair, the Transubstans Records debut from Swedish prog sludge/noise rockers Odyssey, I can’t help but think of Long Island’s own John Wilkes Booth. It’s the vocals, and I know that’s a really specific association most people aren’t going to have, but I do, and I can’t quite get past it. The album is varied, progressive, and working in a variety of modern underground heavy contexts nowhere near as foreboding as the album’s title might imply, like Truckfighters meets Entombed, but I just keep hearing JWB‘sKerry Merkle through his megaphone. Note: that’s not a bad thing, just oddly indicative of the greater sphere of worldwide sonic coincidence in which we all exist. If anything, that just makes me like Abysmal Despair more. Odyssey on Soundcloud.

 

Palkoski, 2012 Demo

Conceptual Virginian free-formers Palkoski released the three-track/67-minute 2012 demo earlier this year through Heavy Hound. Most of it sounds improvised, but for verses here and there that emerge from the various stretches, and the band’s alternately grinding and sparse soundscapery results in an unsettling mash of psychotic extremity. It is, at times, painful to listen, but like some lost tribal recording, it’s also utterly free. Limited to 100 CDs with a second track called “The Shittiest  EP Ever” and a third that’s a sampling of Palkoski‘s ultra-abrasive noise experimentation live, this one is easily not for the faint of heart. Still, there’s something alluring in the challenge it poses. Palkoski at Heavy Hound.

 

Radar Men from the Moon, Echo Forever

Following their charming 2011 EP, Intergalactic Dada and Space Trombones, the Eindhoven instrumental trio Radar Men from the Moon (On the Radar’ed here) return on the relative quick with a 51-minute full-length, Echo Forever. More progressive in its jams, the album’s psychedelic sprawl shows the band developing — I hesitate to compare them to 35007 just because they happen to be Dutch, but the running bassline that underscores “Atomic Mother” is a tempter — but there’s still an immediacy behind their changes that keeps them from really belonging to the laid-back sphere of European jam-minded heavy psychedelia. They’re getting warmer though, stylistically and tonally, and I like that. Interesting to hear a song like “Heading for the Void” and think Sungrazer might be burgeoning as an influence. Cool jams for the converted. Radar Men from the Moon on Bandcamp.

 

Sound of Ground, Sky Colored Green

There are elements of of Yawning Man, or Unida or other acts in the Californian desert milieu, but basically, Moscow’s Sound of Ground sound like Kyuss. They know it. Their R.A.I.G. debut full-length, Sky Colored Green, makes no attempt to hide it, whether it’s the “Green Machine” riffing of “Lips of the Ocean” or the speedier Slo-Burnery of “El Caco,” though the metallic screaming on “R.H.S.” is a dead giveaway for the band’s youth, coming off more like early Down than anything Josh Homme ever plugged in to play. While not necessarily original, the trio are firm in their convictions, and Sound of Ground tear through these 11 tracks with engaging abandon. The Russian scene continues to intrigue. Sound of Ground on Thee Facebooks.

Thanks for reading.

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Underdogs, Revolution Love: Desert Ride of the Mother Fuzzers

Posted in Reviews on January 11th, 2012 by H.P. Taskmaster

Heavy rocking Italian trio Underdogs got together in 2005 and released their Go Down Records debut in the form of 2007’s Ready to Burn. That record was rife with straightforward desert-hued rock and fuzz, and their sophomore outing following 2009’s unplugged download-only EP, Dogs without Plugs, Revolution Love, continues the thread started by the first album. Underdogs – joined here by new drummer Alberto “Trevi” Trevisan – ably capture their appreciation for the sound of the Californian desert. The guitars of Michele “Jimmy” Fontanarosa have a crunch and compression to them that will be familiar to anyone who’s spent time with Songs for the Deaf or Lullabies to Paralyze-era Queens of the Stone Age, and though bassist Simone “Sabbath” Vian (also vocals) has a punkish bent to his playing at times and a cleaner, less directly fuzzed tone, the three-piece work well together in carrying across their musical ideas and influences. Vian’s vocals remind in places of earliest Dozer, and though they’re not blindingly original, the songs have a sense of character to them that comes out over the course of repeat listens, be it the sub-psych brooding stonerism of “Into the Wild (O.W.K.)” or the catchy upbeat drive of opener “Prove You Wrong” and it’s “Burn motherfucker, burn motherfucker, burn,” chorus. Perhaps unsurprisingly, sex is a regular feature on Revolution Love, “Devil Dancing (Pyramida)” opening with a solid bass groove and some “Oh baby, slowly” moaning from Vian. It kind of felt like listening to someone getting a blowjob in that verse, but I guess that’s probably what Underdogs were going for. Fair enough.

That song picks up into one of Revolution Love’s most complex structures, running from one rocking riff to the next and only returning to the bass-led opening part for its outro section. As a late-album sidestep from the well-established (by then) ethic of straightforward songwriting, it works well and is made all the more effective by its still-catchy chorus. In general, the second half of the album begins to move away from some of the earlier cuts’ methods, but the accessibility of “Prove You Wrong” and “Beautiful Optional Girl” remains high throughout, and as “(Feel Like) Mad Cow” puts Vian’s bass in the leadership role for the first time, Fontanarosa driving the chorus but stepping back for the verse, their moves aren’t entirely unannounced. Interplay between the guitar and bass, maybe even more than between the bass and the drums or the guitar and the drums, proves to be the crux of Revolution Love – whether or not that’s due to when Trevisan came on board, I don’t know – and that’s not a slight on the drummer’s playing. However, as Vian lays down a warm groove for the more subdued, quiet Truckfighters-esque “Helpless,” I’m more drawn to Fontanarosa’s accenting notes than Trevisan’s drum work. On the whole, the trio works well together, but one gets the feeling that there’s more integration to come from this lineup, though by the time the start-stop verse of “Half a Blowjob” hits, it hardly feels like a concern at all.

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Fango, Icarus: Drowning in the Sun

Posted in Reviews on November 14th, 2011 by H.P. Taskmaster

Making their home at the foot of the Alps in Northern Italy, the four-piece Fango made their debut in 2010 with the full-length, Nel Buio. Signed in 2011 to the respectable purveyors of the heavy at Go Down Records, Fango released the 10” EP Icarus earlier this year. In defiance of their landscape, guitarists/vocalists Simo and Cina, bassist Berna and drummer Lorenzo play a straightforward, desert-hued rock that owes its tonality mostly to mid-period Kyuss or any number of European acts fallen under their influence, up to and including earliest Dozer, Truckfighters and Lowrider. Seems like esteemed stylistic company for Fango to keep, and they’re certainly not the only ones keeping it, but the four tracks on Icarus (two per side) hold fast to their methodology, never quite veering from desert rock into the purely stoner or otherwise drugged-out, but also never losing sight of the heaviness in their riffing. Not having heard Nel Buio (which featured a different rhythm section and so might not make the best sample anyway), I don’t know how much they change up their songwriting in a full-length scenario, but although Simo and Cina switch vocal prominence and the back half of Icarus has a few turns, there isn’t much different happening structurally between any of these songs. “Drown” and “Icarus” on the first side and “Frantumi” and “What I Think (Reprise)” on the second make use of strong verses and choruses with some marked interplay between the guitarists, clear, full production and a bit of synth on the closer.

The result isn’t necessarily original, but it is well-executed and should hopefully serve this lineup well going into their next LP, with Simo and Cina working together on vocals and guitar to lend the songs character. They do so almost immediately on Icarus opener “Drown,” which plays hooky lead lines off underlying rhythm riffs to earn the above Truckfigthers comparison. Lorenzo peppers the verses with tom fills for a mellow flow that’s offset by the more active chorus. Groove is paramount, and while the connection between Fango and the myth from which their EP has taken its name isn’t clear, the band don’t seem to be flying low enough to get where they’re going without too much wax-melting flash or showy ambition. They nestle themselves into desert rock on the first half of Icarus and fit well there, the title-track lacking nothing in accessibility or charm. The final minute of the song finds solo tradeoffs bringing back the chorus for one last go before the ending, and if nothing else, Fango prove capable songwriters as they punctuate “Icarus” with a last-second growl on the line “Riding through the sun.” The desert-cruising ethic is pervasive in the music but not wholly redundant in light of the side two shifts in atmosphere, and while one could probably get hung up on drawing lines between Fango and other bands, at four songs, 14 minutes, it seems excessive to do so.

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The Sade, Damned Love: Casting Futures in Dead Men’s Bones

Posted in Reviews on August 4th, 2011 by H.P. Taskmaster

Stepping out from his role as one of two six-stringers in OJM, Italian guitarist Andrew Pozzy also takes on vocal duties with The Sade. The Padova trio’s debut, Damned Love (Go Down Records), is lucky 13 tracks of mostly straightforward, classically-minded – thinking more Led Zeppelin than Bach – heavy rock. Given OJM’s deeply individualized progressive bent and The Sade’s clear love of heavy ‘70s riffing, catchy songcraft and upbeat, energetic approach, I’m tempted to liken the differences between The Sade and OJM to those between Greenleaf and Dozer, but though there are some sonic similarities, particularly on the organ infused centerpiece “Borderline,” that’s mostly a conceptual analogy, rather than one of actual sonics. Damned Love mostly resides in the three-to-four-minute range in terms of its tracks, but in that time, the band – obviously led by Pozzy, but with the rhythm section of Mark Kimberly (bass and backing vocals) and Mat Zoombie (drums) also making formidable contributions – maintain the energy they put forth in their first couple songs, while also showing influences from punk and stoner rock.

The strive here isn’t so much to expand a sound or show sonic diversity as it is to work within a given structure to create something both familiar and unique. With the help of crisp production and a few guests along the way – Fab Shaman joins Kimberly on backing vocals on many of the tracks and OJM bassist Stefano Pasky handles organ and piano throughout, Lou Silver of Small Jackets contributes harmonica to “Dead Man’s Bones (The Dead Man Blues)” and engineer/mixer Maurizio Baggio adds percussion and guitar – The Sade does just that, sounding full but casual on gas pedal cuts like “Nice Trash” or the earlier “Run for Me Darling,” which features one of Damned Love’s most effective choruses. “Run for Me Darling” follows instrumental opener “Sadism,” which sounds to my Jerseyan ears like some of the guitar runs one might hear kicking off a record by a less fuzzed-out The Atomic Bitchwax, but is likely just getting down with the same Ritchie Blackmore jams. It’s a strong beginning for Damned Love, either way, and with “Live You Again” bringing a Social Distortion-type punkabilly feel – aided by Pasky’s piano – and all of the first three tracks being under three minutes, it’s clear The Sade wanted to start their debut with as much energy as possible. In this too, they meet with success.

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3 Mexicans From Gorma, G.O.R.M.A.: There are Cowboys in Verona

Posted in Reviews on May 10th, 2011 by H.P. Taskmaster

It’s worth noting immediately that no one in the band 3 Mexicans From Gorma is actually Mexican. They’re Italian. The band hails from Verona and its three members – Luigi Calzavara on vocals/guitar, Marco Dal Molin on bass and Igor Lanaro on drums – make their debut on G.O.R.M.A. (Go Down Records), a narrative concept album that tells the story of a cowboy who wanders into a ghost town and gets trapped there by demons and forced to stay for eternity, and in case you’re wondering about style, as it says on the back panel of the jewel case artwork, “3 Mexicans From Gorma plays ONLY FUCKING hard Mexicans stoner music.” So right away, we know they are definitely not not fucking.

G.O.R.M.A. – the name of the town in the plot said to be derived from the band members’ names (I can see it with Lanaro and Dal Molin, though I don’t know how you account for Calzavara in that) – has several sketch interludes, complete with windy backdrop, heavily-accented speech and old-time radio sound effects of horse hooves and opening and closing doors. There’s one in the beginning, one in the middle, and one at the end, and between them, the trio riff rocks their way through songs mostly derivative of the desert/stoner mainstays without adding too much to the mix in terms of their own individuality. As I listen though, I almost wish both the sketches and the lyrics to the songs – we open with “Preface/Back to the Desert…” before “Intro” and “Intermission” take hold, so yes, it’s a while before the album gets going – were in Italian, and that there was more of a Western feel in the music. 3 Mexicans From Gorma touches on that, but with Italy’s rich history in the film genre of the Western – not to mention the accompanying music and incredibly influential work of Ennio Morricone – it feels like there’s an opportunity that Calzavara, Dal Molin and Lanaro are letting slip through their collective fingers. Our hero meets a mariachi later into the album, a two-and-a-half-minute acoustic interlude ensues that sets up the Kyuss-esque instrumental “Wah Wah,” and there was another acoustic interlude earlier in the form of “First Day, Jen… When I See You…” but that hardly feels like it’s all 3 Mexicans From Gorma could have done to play with the aesthetic they’ve taken on, and with all the interludes, sketches, intros and outros, there’s never really a flow established on G.O.R.M.A. from one song to the next.

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Pater Nembrot, Sequoia Seeds: Here Amongst the Trees

Posted in Reviews on March 25th, 2011 by H.P. Taskmaster

The Italian stoner scene continues to flourish as Longiano natives Pater Nembrot release Sequoia Seeds, their second album through Go Down Records. The hour-long, nine-track collection (plus a hidden cut called “Dark Age Dawn”) embarks on a systematic exploration of the varied sides of the stonerly genres, elements of space rock, psychedelia, drone and crunchier doom coming out of their surprisingly varied material. It may not sound like much on first listen, but subsequent sessions find the trio demonstrating a melodic awareness and an underlying ‘90s-style grunge feel that sets Pater Nembrot apart from those who simply worship the fuzz (not that there’s anything wrong with that, provided it’s done well). Guitarist, vocalist synth-specialist and occasional flautist Philip Leonardi seems to shift his tone to match whatever a given song is trying to evoke, coming across on opener “The Weaner” with a semi-doomed groove that’s a hook before the chorus even arrives.

It’s not track-by-track genre defiance by any stretch, but Pater Nembrot does stave off redundancy across Sequoia Seeds, varied track lengths from about two to about 10 minutes adding to the apparent complexity of their songwriting formula as much as bassist Jack Pasghin’s thickness provides the foundation for the stoner bop of “H.a.a.r.p.,” on which producer Enrì (Mondo Cane) contributes guest organ work following a dead stop. Leonardi doesn’t shred, but neither is he shy in his leads, bridging verses and choruses fluidly and adding an element of continuity to whatever turn Pater Nembrot might be looking to take. Drummer Alfredo “Big J” Casoni is similarly adaptable, adjusting his fills to best suit Leonardi’s Soundgarden-esque vocalizing toward the end of the track. In this way, Pater Nembrot’s playing off each other makes Sequoia Seeds work. “Supercell,” which is probably as fuzz-caked as they get, includes a Pasghin-led space-inflected break. All hail the bass solo, short though it may be. Waves and swirls of psychedelic noise fill out the background and the song proves to be one of Sequoia Seeds’ several high points.

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