Cities of Mars Announce Debut Recording Plans

Posted in Whathaveyou on February 25th, 2015 by H.P. Taskmaster

cities-of-mars

Never heard of Cities of Mars? Don’t sweat it. I hadn’t either until bassist/vocalist/spacetime-transmissionist Danne Palm (formerly of Monolord) reached out yesterday to inform of his intentions to lead the newcomer trio into the studio this Spring to record their debut album. No audio yet, but the band’s concept sold me on it anyway, inventing a tale of a successful Soviet expedition to Mars in the 1970s and chronicling the experience there of a female cosmonaut who arrives to discover an ancient civilization.

Sounds pretty awesome, right? I’d read that short story, and when the time comes, I’ll check out the record. Until they go in to track the beast, with Monolord‘s Esben Willems no less, there’s just the basic announcement to go by, so here’s that in case you’d like an early glimpse at what they’ll be going for in the studio:

cities of mars logo

The Cities of Mars revealed via Monolord producer in 2015

Vocalist/bassist and Cities of Mars’ main songwriter Danne Palm co-formed and wrote material with Swedish doom titans Monolord in early 2013, formed from the ashes of Sweden’s hardest working boogie rock band Marulk. Wanting to pursue another musical direction, Cities of Mars emerged in 2014 with guitarist/vocalist Christoffer Norén (also in Benevolent) and drummer Anders Runesson. Keeping a close friendship with the guys in Monolord, drummer/engineer/producer Esben Willems was happy to offer his massive-sound producing skills for a two track single scheduled for recording in late spring 2015.

Not only a power trio with experienced musicians, Cities of Mars also features an extensive background story dating back to 9000 BC, closely knit into the lyrics and artwork – an extra treat for those sci-fi, fantasy and comic aficionados out there.

In short:

In the early 1970’s, the Soviet Union made several attempts to land on Mars. Officially, they failed.

What if the opposite was true, that a highly trained female operative succeeded in landing on the red planet and found a dark ancient civilization buried beneath the surface?

Cities of Mars has risen to tell this tale, with an asteroid-sized hulk of spaced out, fuzz-drenched, high gravity riffage. With three experienced rock musicians cranking the best out of their songcraft and high wattage amps, a dramatic interplanetary mythology dating back thousands of years is revealed, piece by piece, song by song.

Spacetime transmissions will begin in mid-2105.

Danne Palm: bass,vox & spacetime transmissions
Christoffer Norén: guitar, vox & vortex navigation
Anders Runesson: drums, vox & black hole calculations

https://www.facebook.com/pages/Cities-of-Mars/844239638921754
info@citiesofmars.se
 

Tags: , , ,

Galvano Sign to Candlelight Records

Posted in Whathaveyou on February 3rd, 2015 by H.P. Taskmaster

galvano

Gothenburg two-piece Galvano have signed a deal to release their next album on Candlelight Records. The guitar/drums duo of Mattias Nööjd (also vocals) and Fredrik Käll made their full-length debut with 2012’s Two Titans on Devouter Records and have been steadily playing shows and have been confirmed for an appearance at this year’s Desertfest London alongside their labelmates in Orange Goblin, who’ll headline with Red Fang.

The band sent this update down the PR wire:

galvano logo

Candlelight Records Sign Swedish Sludge Duo GALVANO

From the deepest, nastiest recesses of Gothenburg comes crushing Swedish sludge duo Galvano. Now comprising Mattias Nööjd (guitars/vocals) and Fredrik Käll (drums), Galvano originally started out as a three-piece in 2005. Within two years a demo was released and live shows played.

Galvano embarked on their first mini tour in 2010 visiting Denmark and a set of German cities. That same year the band were asked to feature on a split so they went into the studio and recorded the epic single “The Librarian” which was mixed and mastered by the legendary Billy Anderson (Orange Goblin, Cathedral, Eyehategod). This was released as a 10” in 2011 on SM Musik from Leipzig, Germany. The release was then followed up by a full European tour.

After this tour the band said goodbye to their fourth bass player and decided to move on as a duo. Early in 2012 they teamed up with UK based label Devouter Records for the release of their debut full-length album “Two Titans”. The album was released on December 5th and was very well received by both fans and media.

Since then the band has played over 35 shows during several European tours including UK and Ireland and are confirmed to play this year’s Desertfest in Camden, London.

In January 2015, Galvano signed with Candlelight Records and the band had this to say:

“Candlelight is a label with such an impressive roster throughout the years and we’re very happy to join the ranks alongside bands like Orange Goblin, Corrosion of Conformity and our buddies in Zatokrev just to name a few. We’re also very fond of the people working there. Looking very much forward to this release.”

https://www.facebook.com/GALVANOgbg/
http://galvano.bandcamp.com/
http://galvanomusic.com/
http://www.candlelightrecords.co.uk/

Galvano, Two Titans (2012)

Tags: , , ,

On Wax: Molior Superum, The Inconclusive Portrait 7″

Posted in On Wax on December 11th, 2014 by H.P. Taskmaster

molior-superum-the-inconclusive-portrait-cover-and-record

The Inconclusive Portrait is Swedish four-piece Molior Superum‘s first offering since their 2012 full-length debut, Into the Sun (review here), and it shows the Gothenburg-based unit in a somewhat different light. Released on 7″ vinyl by H42 Records – 340 copies; 140 on black vinyl, 100 green, 50 gold exclusive to the label, and 50 die-hards on clear-purple vinyl with different art — it’s just two songs, or even two parts of one title-track, but it’s both fuller in its tone and more modern than the long-player, and the shift in style is audible. The lineup of guitarist/vocalist Carl Isaksson,guitarist Oskar Öberg, bassist/vocalist Lars Sandström and drummer/vocalist Jens Fuglede hasn’t changed, and they still bear some sonic resemblance to the UK’s Stubb, but where that band’s second album found them searching for a more natural, psychedelic meditation, Molior Superum have turned expectation on its head and opted for a more straightforward feel, less boogie (which is different from none at all), more direct dynamic between the two guitars molior superum the inconclusive portraitand a thrust of groove that gives their hooks an urgency that serves the short release well.

Both sides of The Inconclusive Portrait – simply “Part 1″ and “Part 2″ on back of the 7″ sleeve — begin at a rush. Vocalist Joakim Segerfelt Steby of Brutus guests on “Part 1,” which is the shorter of the two, announcing its stylistic turn immediately in a modern-sounding crash and fuzz push that moves quick into the first verse. Understand, Molior Superum are still indebted to the heavy ’70s for a lot of their methods and influence, but it’s a more current feel that permeates the single than did the album. If you want to relate it to other Swedish bands, it’s more Greenleaf than Graveyard, and it works for Molior Superum, whose energy bleeds through the recording as plain to hear as the riffs themselves. Steby‘s contributions mesh smoothly, and a current of backing organ (or something thereabouts) fleshes out the chorus of “Part 1″ almost in a call and response to the vocals amid the fury of chugging. At just over five minutes, “Part 2″ would seem to have room for the band to flesh out some, but instead, they keep the high-impact spirit of “Part 1″ pulsing through for the duration with no real letup either in vibe or volume. “Part 2″ isn’t a direct continuation of “Part 1″ from what I can tell, but if Molior Superum were to play one into the next live, I’m sure it would soundmolior superum close enough to make sense, as it does when one listens to the single digitally, without having to flip the record.

There’s something brash about “Part 2″ that makes it stand out. Its central riff is hook enough, and they put it to work, but there’s an intensity to it that feels even more prevalent than on “Part 1,” a guitar solo kicking in late before a return to the chorus, and the whole band taking what in another context, perhaps slower, would almost certainly be vintage swing and setting it to kick-in-the-teeth pace. As it is, it distinguishes Molior Superum from a still-growing league of ’70s worshipers and is a credit to the recording job by Micke Nilsson (ex-Bonafide) at Music a Matic for helping to foster this level of performance. A lot can happen to a band in two years, and I wouldn’t necessarily have expected Molior Superum to make the turn they do here, or to pull it off so well, but I think it makes them stronger, and perhaps most importantly, it builds intrigue for what they might do next. It’s a quick, eight-minute release, but says a lot about the band’s hopefully ongoing development.

Molior Superum, The Inconclusive Portrait 7″ (2014)

Molior Superum on Thee Facebooks

Molior Superum on Bandcamp

H42 Records on Thee Facebooks

The Inconclusive Portrait at H42 Records webstore

Tags: , , , , ,

Wino Wednesday: Saint Vitus Perform as Trio in Gothenburg

Posted in Bootleg Theater on November 12th, 2014 by H.P. Taskmaster

wino wednesday

“Where’s Wino?” Well, it would seem he’s been deported. From Norway. Last night in Göteborg, Sweden, for what I believe might have been the first time in the band’s 35-year history, Saint Vitus performed their set as a three-piece. It was bassist Mark Adams, drummer Henry Vasquez and guitarist Dave Chandler on stage, and Chandler himself took up vocal duties, calling it, “the weirdest Saint Vitus show [the crowd] has ever fucking seen.” I don’t doubt it.

Martyn Millard of Orange Goblin, who are co-headlining the current Vitus tour in Europe, had posted a picture of the trio on Thee Facebooks but gave no comment as to the situation itself. I emailed Season of Mist this morning but hadn’t heard back, and then just a little bit ago, Vitus posted the following:

Saint Vitus would like to regretfully inform all of our European fans that our lead vocalist Wino was detained by the Norwegian police and immigrations officers for possession of illegal substances since Sunday November 9th. As of 4 pm yesterday evening (Nov. 11th) we were informed by his Norwegian defense attorney that he would more than likely be released that same day and be able to continue the remaining dates of our European tour. This morning we received notification that Wino was being deported today back to the U.S. with no hope to remain in Scandanavia or anywhere in the EU.

SAINT VITUS WILL CONTINUE THE REMAINING DATES OF THE TOUR!!!

Our sincere apologies to all of our fans, the promoters, booking agents and especially our Norwegian fans and promoter for the cancelled show. We will still deliver the HEAVY sound to all of our friends in Europe and it is our hope that everyone will understand our position to go forward with the remaining dates without Wino. David Chandler and Henry Vasquez along with a few surprise guests will take over vocal duties and this will be a rare opportunity to see Vitus with main songwriter David Chandler vocalizing his tormented tales of pain, heartache and DOOM. We hope to still see all of you on our remaining dates. FUCK THAT WEAK SHIT!!!!

So there you have it. Detained and deported back to the US, leaving the band to improvise who’s going to handle the vocals. I bet Orange Goblin‘s Ben Ward gets a turn if he wants one, and there’s bound to be someone in Germany — where the four remaining dates of the European tour will take place — who’s up for filling in for Wino. Booted out of the EU. That must have been one hell of an “illegal substance.” Like plutonium. As a testament to Vitus fucking the weak shit of their circumstances, here is ChandlerAdams and Vasquez doing an encore of “Born too Late” in Göteborg, for the first-ever Wino-less Wino Wednesday.

Enjoy:

Saint Vitus, “Born too Late” Live in Gothenburg, Sweden, Nov. 11, 2014

Tags: , , ,

Horisont Post Video for New Single “Break the Limit”

Posted in Bootleg Theater on November 7th, 2014 by H.P. Taskmaster

horisont break the limit video

With classic metal riffs and enviable moustaches, Swedish retro rockers Horisont have unveiled a new video for the A-side of their Rise Above single, “Break the Limit.” The clip basks in classic VHS-style graininess, reminding of something Motörhead or Scorpions might have had out, and that suits the song itself well, with its immediately memorable hook and 8-track-ready sensibility. Horisont are on tour in Europe now, and the 7″ for Break the Limit is available in a handful of different varieties with amazing horisont break the limit covernot-Gimli cover art, all of which are sure to be gone by the time this post goes live. Because that’s how it goes, man. You snooze, you hope for a repress.

If Horisont‘s stage left guitarist looks familiar, it’s because it’s Tom Sutton, who took the place of Kristofer Möller this summer. Sutton is probably best known as the former boogie-bringer for Church of Misery, but also made a debut this year on Napalm with the new band The Order of Israfel. I guess you never know where he’ll show up next.

In case you’re looking to get down:

Horisont, “Break the Limit” official video

Directed, shot & edited by Magnus Delborg & Christian Hillén / B-TV Productions.

Swedish hard-rocking classic metallers return with Break the Limit, a stop-gap release between albums. Following the success of third album, Time Warriors, the titans do not hold back with this relentless, anthemic slab of full on heavy metal glory.

Backed with the synthesizer enhanced Yellow Blues, it’s a good indication of how far these guys have come and what a monstrous prosposition their fourth studio album is looking to be.

Track Listing
1. Break The Limit
2. Yellow Blues

Colours
100 x Crystal Clear
200 x White
200 x Trans. Green (200 of these should have gone direct to the band, we will have 25)
200 x Purple
500 x Black
200 x Red

See Horisont Live across Europe!

NOV 07 – AT, Neubichl, Baamhakke
NOV 08 – DE, Lichtenfels, Paunchy Cats
NOV 09 – SI, Nova Gorica, Mostovna
NOV 10 – IT, Milan, Lo Fi Club
NOV 11 – AT, Innsbruck, Weekender
NOV 12 – CH, Winterthur, Gaswerk
NOV 13 – FR, Paris, Glazart
NOV 14 – UK, Pwhelli, Hard Rock Hell
NOV 15 – UK, Glasgow, Classic Grand
NOV 16 – UK, London, Underworld
NOV 17 – UK, Manchester, Roadhouse
NOV 18 – UK, Birmingham, Oobleck
NOV 19 – BE, Gent, Decadance
NOV 20 – DE, Dusseldorf, Pitcher
NOV 21 – NL, Den Bosch, W 2
NOV 22 – DE, Kassel, Hellroom

Horisont on Thee Facebooks

Rise Above Records

Tags: , , , , ,

My Brother the Wind Premiere Video for “Song of Innocence”

Posted in Bootleg Theater on October 3rd, 2014 by H.P. Taskmaster

my brother the wind

On their third album, Once There was a Time When Time and Space were One, Swedish improv jammers My Brother the Wind present “Song of Innocence” as divided into two parts with a track break in between, the second piece emerging at a fairly upbeat clip — relative to some of the record’s more languid stretches, anyhow — from the first, no less a wash of echoes and tones, but moving more with a forward drum beat from Daniel Fridlund Brandt to propel the airy guitars of Nicklas Barker and Mathias Danielsson and match lockstep with Ronny Eriksson‘s bass. The transition is fluid — the whole album (review here) is like a river that carries you along its currents, some rough, some smooth — but there’s a clear break, and that’s true in the video as well.

The clip for “Song of Innocence” actually goes a long way toward explaining why the two pieces are broken up but given the same name. Footage for “Song of Innocence” was shot exactly as the material was being recorded, the version of “Song of Innoence” we hear My Brother the Wind tracking is the one that went to tape to wind up on Once There was a Time When Time and Space were One, and though one jam comes to an end after about seven minutes in (we get a piece of what became “Prologue” as well at the start), the other picks right up without any real break in between. They’re two parts of the same moment captured on the recording, and thus, they’re presented together. It’s more honest to how the session actually took place, rather than name one part “Song of Innocence” and the other something else.

We get to see the room where My Brother the Wind – who also released a Live at Roadburn 2013 live record this year — made the album, their configuration all facing each other while they played, and get a sense of how they follow each other through the jams. And of course, there’s “Song of Innocence” itself, which with its lush and instrumental feel gives an excellent sense of what to expect from Once There was a Time When Time and Space were One, driven by the chemistry between these players and the carefully woven interplay of the work they do.

“Song of Innocence” was Filmed by Eleni Liverakou Eriksson and Per Karlsson and edited by Patrik Roos. Please find the clip on the player below and enjoy:

My Brother the Wind, “Song of Innocence” official video

My Brother the Wind‘s Once There was a Time When Time and Space were One is out Oct. 14 on Free Electric Sound. Below, guitarists Nicklas Barker and Mathias Danielsson comment on the video:

Says Nicklas Barker:

“The video was recorded at the actual take of ‘Song of Innocence.’ We were happy that Eleni and Per were there during the recording and captured this for us very special song. As always, we record live onto an analog tape machine from 1969 with no overdubs and everything is improvised from scratch. The mixing was done the day after by us with some help from the great Love Tholin who is a big part of creating the sound of My Brother the Wind. I think it turned out great. Especially Mathias wonderful guitar solos and Daniel’s very unique drum playing. We are very happy with how the sound turned out on this one. The studio we record in is tricky since the sound in it differs from day to day. Probably because of all the vintage analog gear. The afternoon we recorded ‘Song of Innocence’ the tape machine, mixing console, tape echoes and plate reverbs were in perfect harmony.”

Says Mathias Danielsson:

“I wish that all of you could see what I experienced when recording this piece. Since the music is totally improvised we connect to each other on another plane. It’s hard to describe but I guess it’s almost astral. I have my eyes open but the sight isn’t the main sense I’m using while we’re playing, it’s the ears. But when concentrating so hard on what we create together I see wonderful colors and waves before my eyes. It’s almost like meditation. We connect to the core of the music and form it together with mindcraft. I’ve never before experienced it on this level with any band. Being unable to show you that, this video is the perfect visual to go with the music. This is the way it happened!”

My Brother the Wind on Thee Facebooks

Free Electric Sound

Tags: , , , , , , ,

My Brother the Wind, Once There was a Time When Time and Space were One: Gardens Growing

Posted in Reviews on October 1st, 2014 by H.P. Taskmaster

my-brother-the-wind-once-there-was-a-time-when-time-and-space-were-one

Lush and instrumental for its duration, My Brother the Wind‘s third full-length, Once There was a Time When Time and Space were One (released by Free Electric Sound/Laser’s Edge), rolls out of the speakers much easier than its title rolls off the tongue, though both title and the work itself satisfy rhythmically. The Swedish four-piece — they now seem to be a bass-less trio with Nicklas Barker (Anekdoten) and Mathias Danielsson (Makajodama) on electric/acoustic 12-strong guitar and Daniel Fridlund Brandt on drums, but Ronny Eriksson plays bass on the album — reportedly recorded live to two-inch tape on a vintage machine, and the passion they put in bleeds readily into the nine-song/45-minute outing, fleshed with liberal splashes of Mellotron courtesy of Barker to play up a ’70s prog feel in a piece like the 12-minute “Garden of Delights.” That’s hardly the only point at which those sensibilities emerge, but even more than that, the primary vibe here is one of gorgeous heavy psych exploration, the band adventuring and feeling their way through the material as they go.

On peaceful moments like the title-track, which arrives as the penultimate movement before “Epilogue” leads the way back to reality — accordingly, “Prologue” brings us in at the start — that exploration is positively serene, the 12-string complemented by spacious electric tones spreading out across vast reaches, but Once There was a Time When Time and Space were One offers more than drone and psychedelic experiments. Subtly pushed forward by Brandt‘s drums, pieces like “Into the Cosmic Halo” and even “Epilogue” enact classic space rock thrust, and even “Song of Innocence Part 1,” the first part of the journey after the backward atmospherics of “Prologue” introduce, has some cosmic feel amid its echoing solos. Its subsequent complement, “Song of Innocence Part 2,” swells to life on an even more active roll, waves of amp noise up front while drums and bass groove out behind, waiting for the guitars to catch up, which they do in a suitably glorious payoff, relatively brief but masterfully engaging, setting a momentum that continues well into “Garden of Delights,” a focal point for more than its length.

my-brother-the-wind-(Photo-by-Eleni-Liverakou-Eriksson)

Because the songs flow so well one to the next, some directly bleeding, others giving a brief pause, and because later cuts like “Thomas Mera Gartz” — named in honor of the drummer for ’70s Swedish proggers Träd, Gräs och Stenar — and the title-track have a quieter take, it’s tempting to read some narrative into the shifts of Once There was a Time When Time and Space were One, but with the material not being premeditated, I’m not sure that’s the intention so much as a signal it’s well arranged. In any case, the album offers an immersive, resonant listen, with tonal richness to spare and the presence of mind to keep a sense of motion even in its stillest parts and a balance of organic elements — Danielsson‘s recorder and Brandt‘s percussion on “Misty Mountainside,” the 12-string, etc. — amid a wash of effects and swirling psychedelia. This attention to sonic detail makes Once There was a Time When Time and Space were One more than just a collection of jams, and adds further purpose to the already worthy cause of My Brother the Wind‘s thoughtful musings, wandering and not at all lost.

My Brother the Wind, Once There was a Time When Time and Space were One album trailer

My Brother the Wind on Thee Facebooks

My Brother the Wind at Laser’s Edge Group webstore

Tags: , , , , , , ,

The Order of Israfel to Release Debut this Fall on Napalm Records

Posted in Whathaveyou on April 3rd, 2014 by H.P. Taskmaster

No word on an album title yet for the debut from Swedish outfit The Order of Israfel, but the four-piece have signed a deal to release what will be their debut on Napalm Records this fall. The Order of Israfel came together last year in Gothenburg after former Church of Misery guitarist Tom Sutton moved to the country for reasons that, well, really need no explaining. Seriously, if presented with an opportunity, why wouldn’t you move to Sweden? Particularly for someone whose riffy softshoe is so dead on, it’s the only logical choice.

Given his and the rest of the band’s pedigree, it makes sense they’d get picked up by Napalm/Spinning Goblin, and though audio is pretty sparse as yet, a few live clips herald the doom to come.

The PR wire says dig it:

THE ORDER OF ISRAFEL SIGNS WITH SPINNING GOBLIN / NAPALM RECORDS!

When Tom Sutton left the doom band Church of Misery, it was to make his long-established grand vision of an epic doom band come true. To accomplish this, he moved to Sweden and hooked his strings together with Patrik Andersson Winberg (ex Doomdogs ), Hans Lilja as Lotus (which for a period had Brian Robertson, ex Thin Lizzy as guitarist) and Staffan Bjorck from the band Wildebeest. Together with his and the band’s Doom and Heavy Metal influences, folk music, twinguitars and feel of old horror movies to create dark divine music, they became THE ORDER OF ISRAFEL. The band has now signed a record deal with Spinning Goblin / Napalm Records, and commented the signing as follows:

“THE ORDER OF ISRAFEL are thrilled to announce that we have signed to Napalm Records, and will be releasing our first album, ‘Wisdom’, in the Autumn, 2014. We’re extremely proud of the record, and know that Napalm will be the perfect home for it. We are also very excited to be sharing a label with the extremely legendary Candlemass, who have been one of the biggest influences on the sound of the band from the beginning. Cheers!”

For More Info Visit:
www.theorderofisrafel.com
https://www.facebook.com/TheOrderOfIsrafel
https://www.facebook.com/napalmrecords

The Order of Israfel, “Wisdom” Live

Tags: , , , ,