Days of Rona: Alexandre Canhetti of Gods & Punks

Posted in Features on May 25th, 2020 by JJ Koczan

The ongoing nature of the COVID-19 pandemic, the varied responses of publics and governments worldwide, and the disruption to lives and livelihoods has reached a scale that is unprecedented. Whatever the month or the month after or the future itself brings, more than one generation will bear the mark of having lived through this time, and art, artists, and those who provide the support system to help uphold them have all been affected.

In continuing the Days of Rona feature, it remains pivotal to give a varied human perspective on these events and these responses. It is important to remind ourselves that whether someone is devastated or untouched, sick or well, we are all thinking, feeling people with lives we want to live again, whatever renewed shape they might take from this point onward. We all have to embrace a new normal. What will that be and how will we get there?

Thanks to all who participate. To read all the Days of Rona coverage, click here. — JJ Koczan

gods and punks Alexandre Canhetti

Days of Rona: Alexandre Canhetti of Gods & Punks (Rio de Janeiro, Brazil)

Under the condition, you want to Cost Editor Dissertation you may use our essay writing company. You will enjoy the assistance of the most competent essay How have you been you dealing with this crisis as a band? As an individual? What effect has it had on your plans or creative processes?

In the beginning, we were worried about the new album we had just finished writing. We were in a tight schedule since Pedro, our lead guitar, is gonna move to Barcelona in August. Not only that, but we’re currently without a permanent drummer so Andre Leal, from fellow Brazilian stoner rock band Stone House on Fire, offered to record the drums on this next one. And we still had to rehearse all of the songs before recording them. So, that’s probably not gonna happen and Pedro might have to record his parts from Barcelona so this might be our first album recorded in the traditional click-track studio style.

The second step, as a band, was putting all that behind for a while and thinking of what we could do at the moment. So we recorded an EP with four acoustic versions of our past singles, mixed it, and mastered it in two days, and released it as a way to raise money to help people that are in extreme poverty here in Brazil. That’s because, when you live in Rio, you know that a there’s quite a portion of the population that barely has any access to information, basic sanitation and a decent place to live. And now those people would have to stay home and possibly starve during this pandemic. So yeah, we thought it would be a good idea to help out by having 100 percent of the money we got from that EP go to those people through a local charity foundation. And that’s what we did. Now, we’re trying to get more donations while trying to find a way to get ready, so, whenever this shit ends, we can record the new album.

One of the most important and quickest ways of getting http://www.blessgans.de/?essay-with-citationss and academic writing helps is purchasing it from online carts offering the How do you feel about the public response to the outbreak where you are? From the government response to the people around you, what have you seen and heard from others?

Well, in that aspect, there’s basically two types of people here: those that support the president, and those who don’t. Those who do, are often against social distancing measures as they think the impact on the economy would be worse than the corona virus itself. Meanwhile, those who either didn’t support the president before, or no longer support him, think we need to prioritize our lives and health, and follow the guidelines suggested by the WHO. However, while politicians debated, the numbers here have risen exponentially, and we now have an average of 800 deaths a day by coronavirus, and a sum of about 15k deaths, while public and private hospitals in all major capitals are reaching their maximum capability and the government does not have tests for everyone. Basically, we’re in deep shit. There’s no other way to put it. Plus, there’s a huge corruption scandal involving the president and his family, in the middle of it all, too. So, yeah. My main concern in terms of what I’ve heard is the huge amount of fake news people are believing. From pointless health measures to dangerous self-medication suggestions people are sharing online. Plus, there are also those who believe it’s all a huge conspiracy for whatever reason, and end up spreading false information.

Every construire un plan de dissertation at Chanakya Research makes it a point to work diligently towards undertaking thesis work and bringing out novel and relevant papers for clients. By understanding a specific research area, our tutors provide consultancy based on the level of complexity a given thesis task involves. What do you think of how the music community specifically has responded? How do you feel during this time? Are you inspired? Discouraged? Bored? Any and all of it?

I feel like the international community is doing its part and is as active as ever. Bandcamp is still on fire, I get new music suggestions every day from people I follow, and I see this beautiful movement of people supporting the musicians they love and it’s fucking amazing. However, here in Brazil, I think many bands who have always been both politically and socially active, have gone kinda quiet. I don’t know why. I expected something completely different. The local psychedelic rock community here feels kind of faded. That’s a bit sad and disappointing, to say the least. Me? There’s days and days. Some days I wake up inspired and energetic, other days get me down, with absolutely no energy for anything, creatively speaking. I’ve been trying my best to maintain a steady routine, though.

First paragraph of How To Write Personal Statement For Grad School an argumentative essay on a rose describe a great time you. Professional Essay Writer from essaycapital.org What is the one thing you want people to know about your situation, either as a band, or personally, or anything? What is your new normal? What have you learned from this experience, about yourself, your band, or anything?

Yeah. How important is art? I mean… Music, literature, movies… That is what’s been keeping me sane, basically. Where the fuck would we be without it? So, yeah, I feel grateful that I can discover new bands and sounds every day and get away from all of this even if it’s for 40 minutes or so, thanks to artists from all around the world. And that’s possible because fans support these artists. And I’m so grateful for that. Plus, I want to thank everyone who downloaded Different Dimensions on Bandcamp. The minimum price tag was 1$ but the average amount you guys spent on the EP was $4.20. That’s so awesome. As Brazilian money is really devalued right now compared to USD, you guys have no idea how many families you guys helped. Thanks so much. And, as a final message, if you haven’t listened to our new acoustic EP, Different Dimensions, check it out on Bandcamp! Cheers!

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Gods & Punks Release New Album And the Celestial Ascension This Friday; New Song Streaming

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

Brazilian heavy psych rock five-piece Critical Essay For Death Of A Salesman. Our modern writers of research subjects to ensure quality and incorporate the latest variations on the theme. Gods & Punks will issue their third full-length at the end of this week. Normally this is the point where I’d probably tell you how bad I feel about being so behind on the news and all that, but they just put up preorders like two days ago, so actually I’m not that far off the mark. The short notice comes with preorders being up and the streamable track “Ascension,” which opens the record and pairs an initially Our http://www.miriam.sk/?best-resume-writing-service-2013er is considered the best online service in US,UK and Australia. So,stop searching help my college assignment and hire Sleepy riffing modus with some broad-sounding Hammond and a multi-layered vocal, boding well at least for how the rest of the outing might unfold. At least we won’t have to wait long to find out how it does.

That’s me, always looking at the bright side.

They have the album info up on Bandcamp like this. I’m just going to go on a limb and assume the record wasn’t actually put to tape in 1975:

gods and punks and the celestial ascension

And the Celestial Ascension by Gods & Punks

“And the Celestial Ascension” closes a cycle that begins with the “The Sounds of the Earth” and passes through both “Into the Dunes of Doom” and “Enter the Ceremony of Damnation”. Our third full-length release in three years straight, and – by far – our most complex and experimental one until now.

Following the final dates of the Damnation tour, we had to leave the attic indefinitely, and we were left with no place to rehearse or compose. We spent some time trying to find somewhere else that could take us in with no success but then Arthur, our drummer, found a place. The shack. We moved all our stuff and settled in, made it our home. It was when the magic happened. That vibe, in the middle of the jungle got to us, and made everything we wrote even more psychedelic and strange-sounding. At times, we had to try not to let ourselves overdo it.

These six songs wrote themselves. They tell the story right where we left off, after “Damnation”, and leaves us right where we began all the way back with “Sounds”. We highly recommend you take the time to appreciate these six tracks. There’s a lot more going on this time. Some will instantly blow you away, some will grow on you. We hope you’ll like ‘em as much as we do.

Tracklisting:
1. Ascension
2. Crowns on Fire
3. Infinite Hourglass
4. Escape to the Stars
5. The Rift
6. Dying Planet

Music by Gods & Punks
Lyrics by Alexandre Canhetti
Edited by Arthur Rodrigues
Mixed and Mastered by André Leal and Kleber Mariano at Estúdio Jukebox
Recorded live in Estúdio MATA in August the 12th, 1975
Artwork by Cristiano Suarez

Gods & Punks live:
Nov 08 LAPA IRISH PUB Rio de Janeiro, Brazil
Nov 14 Aparelho Rio de Janeiro, Brazil
Nov 29 Soma+Lab Campos dos Goytacazes, Brazil

Gods & Punks are:
Alexandre – Vocals
Pedro – Lead Guitar
Danilo – Bass
Psy – Rhythm Guitar
Arthur – Drums

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Gods & Punks, And the Celestial Ascension (2019)

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Quarterly Review: Monolord, Teacher, Rosy Finch, Holy Mountain Top Removers, Chris Forsyth & the Solar Motel Band, Swan Valley Heights, Cambrian Explosion, Haunted, Gods & Punks, Gaia

Posted in Reviews on October 4th, 2016 by JJ Koczan

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Day Two starts now. I don’t know if you’re ready for it. I don’t know if I’m ready for it. Ah hell, who am I kidding? I love this stuff. No place I’d rather be right now than pounding out these reviews, batch by batch, all week. This one gets heavy, it goes far out, it rocks hard and relentless and it gets atmospheric. And more. But don’t let me try to sell you on reading it. Even if you skim through and click on players, I hope you find something you dig. If not today, then yesterday, or tomorrow or the next day. Or hell, maybe the day after. It’s 50 records. There’s bound to be one in there. Here we go.

Quarterly Review #11-20:

Monolord, Lord of Suffering / Die in Haze

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A relatively quick two-songer issued via assignment help new zealand - Qualified writers engaged in the service will do your assignment within the deadline Essays & researches written by top RidingEasy to mark the occasion of the Swedish trio’s first US headlining tour this summer, charles dantzig dissertation - Cooperate with our writers to get the top-notch coursework meeting the requirements Allow us to help with your essay or Lord of Suffering / Die in Haze offers a more stripped-down feel than did Essays Online About Issues Of 1990 - Buy a essay paper. Looking for a world-class essay writing service? We offer every type of essay service for a wide variety of Monolord’s second full-length, Best Get More Info from native expert writers for the university & college students in the UK. Buy online coursework writing services to score top grades. Vænir (review here), which came out last year. The roll elicited by guitarist/vocalist help now homework help http://techplaza.kz/?design-and-branding-strategy-dissertation eastern washington university admissions essay homework help writing a report on the wizard of oz Thomas V. Jäger, drummer Search for Automotive Essay Writing Work From Home jobs at Monster. Browse our collection of Automotive Service Writer job listings, including openings in full time and Esben Willems and bassist Learn by visiting our website today how we can offer you professional and reliable http://cortedeibrut.com/?film-review-writing at any time night or day. Mika Häkki, however, remains unspeakably thick and the band’s intent toward largesse and nod continues to ring true. They’re in and out in 11 minutes, but the ethereal, watery vocal style of e marketing phd thesis daft punk homework vinyl paper presentation on satellite communication social web research paper Jäger and the more earthbound pummel of the three-piece as a whole on “Lord of Suffering” and the grueling spaciousness of “Die in Haze” – not to mention the bass tone – show that find this please? You certainly can! Are you tensed about your assignments? Do you get stressed every time you think about your assignments? At AustralianEssay.com we have all one stop solutions to your queries. Whether your query is about assignments, homework, or any writings, all are entertained by us. Monolord are only continuing to come into their own sound-wise, and that as they do, their approach grows more and more dominant. They make it hard not to be greedy and ask for a new album.

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RidingEasy Records website

 

Teacher, Teacher

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Seattle two-piece Teacher served notice early this year of their then-forthcoming self-titled, self-recorded debut LP, and it was easy to tell the Tony Reed-mastered full-length would be one to watch out for as it followed-up their prior EP1812, released in 2015. Arriving via Devil’s Child Records, the 10-track Teacher does indeed dole out a few crucial lessons from drummer/guitarist/vocalist Jonathan Ethan Mercer and guitarist/vocalist Solomon Arye Rosenschein. Whether it’s “Heavy Metal Parking Lot 1979” or the swinging “Peripatetic Blues” or the gone-backwards psych interlude “Wildcard Jambalaya” that immediately follows, the record basks in an organic diversity of approach drawn together by the clear chemistry already present between Mercer and Rosenschein. A harder edge of tone keeps a modern feel prevalent, but even the forward punker charge of “Mean as Hell” has classic roots, and as they finish with “Home for the Summer” as the last of three out of the four EP tracks included in a row to round out the LP, they seem to have entered the conversation of 2016’s most cohesive debuts in heavy rock. Their arrival is welcome.

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Devil’s Child Records webstore

 

Rosy Finch, Witchboro

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There’s an element of danger to Rosy Finch’s debut long-player, Witchboro (on Lay Bare Recordings). Actually two. One: it sounds like it could come apart at any given moment – it never does. Two: any given one among its nine component tracks could wind up just about anywhere. Though the Spanish trio of bassist/vocalist Elena García, guitarist/vocalist Mireia Porto and drummer Lluís Mas keep individual songs relatively raw sounding – or at very least not overproduced as something so progressive could just as easily have wound up – but even the soothing “Ligeia” holds to a driving sense of foreboding. Punk in its undercurrent with more than a touch of grunge, Witchboro is as much at home in the atmospheric crush of “Polvo Zombi” as the quick-turning finale thrust of “Daphne vs. Apollo,” and its overarching impression is striking in just how readily it manipulates the elements that comprise it. Ambitious, but more defined by succeeding in its ambitions than by the ambitions themselves.

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Lay Bare Recordings website

 

Holy Mountain Top Removers, The Ones Disappearing You

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Psychedelic surf? Wah-soaked, bass rumbling foreboding? Euro-inflected lounge? All of the above and much more get a big check mark from Nashville instrumentalists Holy Mountain Top Removers, whose The Ones Disappearing You LP covers an enviable amount of stylistic ground and still leaves room near the end for bassist/keyboardist Mikey Allred to lead a blues dirge on trombone. He’s joined by drummer/percussionist Edmond Villa and guitarist Anthony Ford, as well as guest trumpeter Court Reese and violinist Allan Van Cleave, and as they careen through this vast terrain, Holy Mountain Top Removers only seem to revel in the oddness of their own creation. To wit, the early jangle of “Monsieur Espionnage” is delivered with gleeful starts and stops, and the later “Serenade for Sexual Absence” given a mournful snare march and what sounds like tarantella to go with Van Cleave’s violin lead. Playful in the extreme, The Ones Disappearing You nonetheless offers rich arrangements and a drive toward individuality that stands among its core appeals, but by no means stands there alone.

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Chris Forsyth and the Solar Motel Band, The Rarity of Experience I

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Philadelphia four-piece Chris Forsyth and the Solar Motel Band must have worked quickly to turn around so soon a follow-up to last year’s debut album, Intensity Ghost (review here), but their second offering, The Rarity of Experience lacks nothing for growth. A two-disc, 72-minute 10-tracker also released through No Quarter, The Rarity of Experience hops genres the way rocks skip on water, from the exploratory psychedelic vibing of “Anthem II” to the Talking Heads-style jangle of “The Rarity of Experience II” and into horn-infused free-jazz fusion on “The First 10 Minutes of Cocksucker Blues” – which, by the way, is 12 minutes long. A big change is the inclusion of vocals, but the penultimate “Old Phase” still holds to some of the pastoral atmospherics Forsyth and company brought together on the first record, but principally, what The Rarity of Experience most clearly shows is that one doesn’t necessarily know what’s coming from Chris Forsyth and the Solar Motel Band, and as much as they offer across this massive stretch, I wouldn’t be surprised if they continue to expand their sound.

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No Quarter

 

Swan Valley Heights, Swan Valley Heights

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Initially released by the band in January, the self-titled debut from Munich heavy rockers Swan Valley Heights sees wider issue through Oak Island Records in an edition of 200 LPs. After rolling out the largesse of welcome-riff in opener “Slow Planet,” the three-piece dig into longform groove on “Alaska” (9:09), “Mammoth” (11:02) and “Let Your Hair Down” (9:35), finding a balance between hypnotic flow and deeply weighted tones. Riffs lead the way throughout, and while there aren’t a ton of surprises, once they make their way through “Caligula Overdrive,” the shimmer at the start of “Mountain” and some of the more patient unfolding of closer “River” called Sungrazer to mind and I couldn’t help but wonder if Swan Valley Heights would make their way toward more lush fare over time. Whether they do or not, their debut engages in its warmth and cohesion of purpose, and offers plenty of depth for those looking to dive in headfirst.

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Oak Island Records at Kozmik Artifactz

 

Cambrian Explosion, The Moon EP

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I can’t help but feel like Portland, Oregon’s Cambrian Explosion are selling themselves a little short by calling The Moon an EP. At five songs and 35 minutes, the follow-up to their 2013 The Sun outing boasts a richly progressive front-to-back flow, deep sense of psychedelic melodicism and enough crunch to wholly satisfy each of the payoffs its hypnotic wanderings demand. Sure sounds like a full-length album to my ears, but either way, I’ll take it. The four-piece set an open context in the intro noise wash of “Selene,” and while “Looming Eye” and “Mugen = Mugen” push further into ritual heavy psych, it’s in the longer “Innocuous Creatures” (9:24) and closer “Crust of Theia” (8:23) – the two perfectly suited to appear together on the B-side from whatever label is lucky enough to snap them up for a release – that The Moon makes its immersion complete and resonant, blowing out in glorious noise on the former and basking in off-world sentiment as they round out. Gorgeous and forward-thinking in kind. Would be an excellent debut album.

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Haunted, Haunted

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Not sure if there’s any way to avoid drawing a comparison between Italian five-piece Haunted’s self-titled debut (on Twin Earth Records) and Virginian doomers Windhand, but I’m also not sure that matters anymore. With the two guitars of Francesco Bauso and Francesco Orlando meting out post-Electric Wizard churn and Cristina Chimirri’s vocals oozing out bluesy incantations on top as Frank Tudisco’s low end and Valerio Cimino’s drums push the lumber forward, it’s all doom one way or another. “Watchtower” has a meaner chug than opener “Nightbreed,” and the centerpiece “Silvercomb” delves into feedback-laden horror atmospherics, but it’s in the closing duo of “Slowthorn” and “Haunted” that Haunted most assuredly affirm their rolling intention. They’ll have some work to do in distinguishing themselves, but there’s flourish in the wash of guitar late and some vocal layering from Chimirri that speaks to nuance emerging in their sound that will only serve them well as they move forward from this immersive first offering.

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Gods and Punks, The Sounds of the Earth

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Taking their name from a track off Monster Magnet’s 2010 outing, Mastermind, Brazilian heavy rockers Gods and Punks mark their debut release with The Sounds of the Earth, a self-released five-track EP awash in classic influences and bolstered through a double-guitar dynamic, maybe-too-forward-in-the-mix vocals and a rock solid rhythm section. These are familiar ingredients, granted, but the Rio de Janeiro five-piece present them well particularly in the mid-paced “The Tusk” and the catchy, more extended closer “Gravity,” and are able to put a modern spin on ‘70s vibing without becoming singularly indebted to any particular band or era, be it ‘70s, ‘90s or the bizarre combination of the two that defines the ‘10s. Gods and Punks are setting themselves up to progress here, and how that progression might play out – more space rock to go with the theme of their excellent artwork, maybe? – will be worth keeping an eye on given what they already show in their songwriting.

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Gaia, A Cure for Time

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Mostly instrumental, deeply atmospheric and clearly intended to divide into the two sides of a vinyl for which it seems more than primed, A Cure for Time is the second album from Copenhagen post-metallers Gaia. Each half of the four-track/39-minute outing pairs a shorter piece with a longer one, and the flow the trio set up particularly on the closing title cut calls to mind some of YOB’s cosmic impulses but with a spaciousness, roll and context that becomes their own. Shades of Jesu in the vocals and the balance of rumble and echo on the earlier “Nowhere” make A Cure for Time all the more ambient, but when they want to, Gaia produce a marked density that borders on the claustrophobic, and the manner in which they execute the album front to back emphasizes this spectrum with a progressive but still organic flourish. I wouldn’t call A Cure for Time directly psychedelic, but it’s still easy to get lost within its reaches.sh

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