Various Artists, The Sun, the Moon, the Mountain: Of Ancients and Futures

Posted in Reviews on September 13th, 2017 by JJ Koczan

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One should note immediately that the subtitle of The Sun, the Moon, the Mountain is ‘A Passage Through Greek Psychedelia.’ A passage. Not the passage. Because while the six-track debut offering from Archaeopia Records covers plenty of ground across its intricate, varied and obviously-curated 35 minutes — perfect for a limited LP made even earthier and more naturalistic via woodcut-screened cover art and hand-designed calligraphy — there’s just about no way it could be comprehensive at this point in drawing together all sides of Greece’s underground. The scope has simply gotten too big. Certainly to fit on one LP. You might get a sampling across three 12″ platters, but by then the cost is prohibitive and you too easily run the risk of losing listeners’ attentions somewhere along the “journey.”

No. Archaeopia head Theo Prasidis plays it smart with his assemblage here, bringing together seven acts diverse in sound to represent multiple sides of a Greek scene that’s undergone a massive boom in the last five to 10 years with acts like Planet of Zeus and 1000mods spearheading a presence becoming even more known across the wider sphere of Europe. As a movement, it’s still a nascent scene when one compares it to the decades-since established heavy rock output of countries like Sweden or Germany, but in taking influence from these places and bands, the acts represented in The Sun, the Moon, the Mountain bring something of their own — something definitively Greek — to the mix as well, and as that continues to be refined and defined in the years to come, it will no doubt be the foundation of an influence spreading within and without the country’s borders alike. As a document of that process’ beginnings, this passage through Greek psychedelia couldn’t be more welcome.

For convenience’s sake, the roster of bands and tracklisting:

SIDE A THE SUN, THE MOON
1. Tau & Villagers of Ioannina City, Wakey Wakey
2. The Road Miles, 600 Miles
3. Cyanna Mercury, The Flood
4. Sleepin’ Pillow, Amplifier in My Heart

SIDE B THE MOUNTAIN
5. Green Yeti, Monkey Riders
6. Craang, When in Ruins

Part of the challenge The Sun, the Moon, the Mountain puts to its audience is in helping figure out just what that “something definitively Greek” actually is. This may be a question never answered. Why is grunge grunge? What makes Southern heavy Southern? Where does one style end and another begin? Ultimately this kind of question is academic in its nature — it’s entirely possible to make your way through the songs here, not care at all and still have a perfectly good time — but as the leadoff cut “Wakey Wakey” by a collaboration between Tau (who are actually based in Berlin) and Villagers of Ioannina City delves into a ritualized Americana lyrical thematic and sets its foundation in strummed post-Monster Magnet laid back fuzz jangle, the message is clear: buckle up. “Wakey Wakey,” with mantra-esque vocals and an overriding moodiness marked by flourish of slide guitar deeper in the headphone-worthy mix, sets a distinctive tone, but it’s one of only multiple directions in which the release will decide to go.

the sun the moon the mountain woodcut

The Road Miles make a more classic impression with spacey organ and a fervent heavy push on their “600 Miles,” and Cyanna Mercury‘s “The Flood” seems to Europeanize All Them Witches-style heavy rock blues, their own keys a predominant factor but not overwhelming the strength of their chorus, which retains a link to Greek folk in its scale work and later jabbing starts and stops, reminding the listener that right across the border lies Turkey and the gateway to the Middle East. As side A rounds out with the sleek, electronic-beat-inclusive “Amplifier in My Heart” by Sleepin’ Pillow, an already expansive breadth pushes even further outward. A quiet and hypnotic verse rises to a volume swell of guitar for the chorus and rolls out an immersive groove thereafter, tying together with the somewhat darker ambience of “Wakey Wakey” earlier, but in a much different sonic context. And while the aural surroundings could hardly be more modern, somehow it feels appropriate that Sleepin’ Pillow should cap the first half of The Sun, the Moon, the Mountain with talk of an “ancient fire,” since that seems in part to be what’s driving the offering as a whole.

And that spirit — of offering, of passage — is one that only continues as side B pushes into the longer-form work of Green Yeti and Craang. Both acts are upstarts in the Greek scene, but both have already made a mark as well, and their respective inclusions, “Monkey Riders” and “When in Ruins,” are the two longest tracks at 8:21 and 7:56. Sure enough, the flow that results between them is all the more complementary for that, hitting a level of immersion even beyond side A between Green Yeti‘s rolling, feedbacking central riff on “Monkey Riders” and the galloping payoff that ends and Craang‘s patient but still deeply weighted heavy psych execution that caps with a prog-rock dreamscape of keys and fading, drifting guitar. There’s no mystery in the intention on the part of Archaeopia to take the audience to the edge of space and then give that last little shove, but as that scenario plays out, it seems even more crucial for the listener to realize the cultural interplay at work as well and the various traditions being engaged and built upon, by Craang and indeed by all their counterparts included here.

One might rightly accuse Archaeopia of aiming high with its first release. Indeed, little says scope like The Sun, the Moon, the Mountain — short of “the ocean,” you might as well have called the compilation “Light, Dark and Everything” — but what’s happening in these six pieces is not only a showcase of some of the sonic persona of Greece’s underground, but a representation of the forces modern and otherwise that have taken root and helped shape that persona in the first place. For many who engage it, that will of course be a secondary concern to just checking out a new track from Cyanna Mercury, or from Craang, or hearing what Tau & Villagers of Ioannina City bring to light in working together, and that’s fine too, but there’s an underlying message being conveyed, and in the end, it’s less about saying “these are the Greek bands you need to know” than “this is why you should know Greek bands.”

That works out to be a huge difference in the listening experience. I don’t know whether The Sun, the Moon, the Mountain is the beginning of a series or not from Archaeopia — that’s an awful lot to ask of a new label, and no doubt Prasidis wants to get down to the business of releasing proper albums, etc. — but it could be, and even if it’s only a fleeting, one-time passage, it serves notice of the arrival of yet another player of note in the Greek heavy underground in its conceptual purpose and the sheer class of taste behind its selections. “Wakey Wakey” indeed. Nicely done.

Archaeopia Records on Bandcamp

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Archaeopia Records on Instagram

Archaeopia Records on Twitter

Archaeopia Records on YouTube

Archaeopia Records website

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Archaeopia Records Announces The Sun, The Moon, The Mountain Compilation; Cyanna Mercury Track Premieres

Posted in audiObelisk, Whathaveyou on September 4th, 2017 by JJ Koczan

Click play at the bottom of this post to stream the premiere of a new Cyanna Mercury track featured on the upcoming compilation The Sun, the Moon, the Mountain from Archaeopia Records. The song is titled ‘The Flood’ and it’s one of five to be featured on the vinyl release, which is appropriately subtitled as ‘A Passage Through Greek Psychedelia,’ and which also features works by Tau in collaboration with Villagers of Ionnina City, The Road Miles, Craang, Green Yeti and Sleepin Pillow. Six bands on five tracks for a 36-minute deluxe LP that’s rich in vibe throughout and brimming with homage to Greece’s history in heavy, in mythology, and more.

At the same time, if you needed further evidence of the heavy psych and heavy rock explosion happening in Greece right now, at this very moment, look no further. Archaeopia isn’t just highlighting random bands — these acts have been selected and curated for an offering that flows from front to back across its two sides — and not only are they relevant to the past, but to the future of the Greek scene as well. As the label’s slogan goes: “Where Cosmic Beats Vibrate the Deathless Soil.” Clearly we’re looking to cross a span of time here.

That admirable mission bears some righteous fruit on the LP, about which you can read more below ahead of preorders going live in the coming weeks for the Fall release. I’ll have a review up as well soon, so keep an eye out, and the meantime, enjoy the track premiere:

va-the-sun-the-moon-the-mountain

The Sun. The Moon. The Mountain. Three fundamental elements of the Greek psyche. From the Homeric hymns of the fiery-stallion-riding sun-god Helios and his ethereal sister Selene, goddess of the moon, to the myriad myths and legends surrounding the highlands and the consecration of Mount Olympus as the dwelling of the gods, these inextricable components of the Greek landscape, brimming with rich symbolism and religious gravitas, have dominated indigenous lore, mythology, literature, poetry and music for millennia.

In modern-day Greece, one of the music genres that largely incorporated with such symbols and concepts of old -either lyrically or musically- is undoubtedly psychedelic rock. The pioneering work of Socrates Drank The Conium and Aphrodite’s Child in the seventies, established the connection between Greek psychedelic music and religious/folkloric themes. Vangelis’ epically toned solo career focused on mythical ideas, while psych bards Purple Overdose delved deeper into the magical mysticism of antiquity.

Today we’re amidst a full-on psychedelic rock revival. New bands emerge consecutively, recalling old motifs on one hand, contributing essentially to the genre with new ideas on the other, whereas occult and spiritual notions are commonplace. With this release we want to honour the ever-growing Greek psychedelic rock scene that stands strong in the current global renaissance of the genre.

Juxtaposing our title to the collection of songs featured on this vinyl, the following concept might arise: The sun represents psychedelic rock in its most lurid expression, a euphoric desert plain walkabout towards a bacchic celebration of light. The moon takes us on a slow-burning trip into the night, with the melancholic exaltation of glazed psychedelia. The mountain is manifested by a massive wall of sound, evoking visions of dark rites and primordial cults. Each featured band mirrors a singular element,
steering into a substantial whole.

The Sun. The Moon. The Mountain. As influential and imposing and radiant as ever. Enjoy!

Tracklisting:
SIDE A THE SUN, THE MOON
TAU & VILLAGERS OF IOANNINA CITY, WAKEY WAKEY
THE ROAD MILES, 600 MILES
CYANNA MERCURY, THE FLOOD
SLEEPIN PILLOW, AMPLIFIER IN MY HEART

SIDE B THE MOUNTAIN
GREEN YETI, MONKEY RIDERS
CRAANG, WHEN IN RUINS

All tracks are original recordings, except “600 Miles” by The Road Miles, featured in the album “Ballads for the Wasteland” and “Amplifier In My Heart” by Sleepin Pillow, featured in the album “Apples On An Orange Tree”, both newly remastered and presented in vinyl format for the first time.

Artwork by Fotis Varthis. Woodcut engraved, inked and printed by hand on Rosaspina Fabriano 180gr paper by the artist. Watch the entire procedure here: youtu.be/w5QI9L36ICE

www.behance.net/FotisVarthis
cargocollective.com/FotisVarthis

Assembled by Theo Prasidis
Post-mastered by George Nikoglou

https://www.facebook.com/archaeopia/
https://www.instagram.com/archaeopia/
https://twitter.com/archaeopia
https://www.youtube.com/channel/UCS5lYgdwyktMNpz1hawHsnQ
http://www.archaeopia.com/

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Quarterly Review: Novembers Doom, Abrams, The Grand Astoria, Hosoi Bros, Codeia, Ealdor Bealu, Stone Lotus, Green Yeti, Seer, Bretus

Posted in Reviews on July 13th, 2017 by JJ Koczan

quarterly-review-summer-2017

So, after kvetching and hemming and hawing and all that other stuff that basically means ‘fretting and trying to shuffle a schedule around’ for the last several days, I think I’ve now found a way to add a sixth day to this Quarterly Review. Looking at all the records that still need to be covered even after doing 50, I don’t really see any other way to go. I could try to do more The Obelisk Radio adds to fit things in, but I don’t want to over-tax that new server, so yeah, I’m waiting at the moment to hear back on whether or not I can move a premiere from Monday to Tuesday to make room. Fingers crossed. I’ve already got the albums picked out that would be covered and should know by tomorrow if it’s going to happen.

Plenty to do in the meantime, so let’s get to it.

Quarterly Review #31-40:

Novembers Doom, Hamartia

novembers-doom-hamartia

Look. Let’s be honest here. More than 20 years and 10 records in, one knows at least on a superficial level what to expect from Chicago’s Novembers Doom. Since their first album arrived in 1995, they’ve played to one side or the other between the spectrum of death-doom, and their work legitimately broke ground in the style for a US band and in general. After a push over their last couple albums including 2014’s Bled White (review here) into more deathly fare, Hamartia (on The End Records) brings 10 tracks and 58 minutes of the melancholy dramas – special hello to the piano/acoustic-led title-track – and gut-wrenching, crushingly emotive miseries – special hello to “Waves in the Red Cloth” and “Ghost” – that have defined them. One doesn’t expect a radical departure from them at this point and they don’t deliver one even as they turn to another side of their overarching aesthetic, but whether it’s the still-propulsive death gallop of “Apostasy” or the lush nine-minute finale “Borderline,” Novembers Doom reinforce their position as absolute masters of the style and give their longtime fans another collection of vital woes in which to revel.

Novembers Doom on Thee Facebooks

The End Records website

 

Abrams, Morning

abrams morning

Not a hair out of place in the execution of Morning, the Sailor Records second long-player from Denver three-piece Abrams (interview here). That has its ups and downs, naturally, but is suited to the band’s take on modern progressive heavy rock à la newer Mastodon and Baroness, and with production from Andy Patterson (of SubRosa) and Dave Otero (Khemmis, Cephalic Carnage, etc.), the crisp feel is both purposeful and well earned. Their 2015 debut, Lust. Love. Loss. (review here), dealt with a similar emotional landscape, but bassist/vocalist Taylor Iversen, guitarist/vocalist Zachary Amster and drummer Geoffrey Cotton are tighter and more aggressive here on songs like opener “Worlds Away” (video posted here), “At the End,” “Rivers,” “Can’t Sleep” and “Burned” (video posted here), and “Mourning,” “In this Mask” and closer “Morning” balance in terms of tempo and overall atmosphere, making Morning more than just a collection of master-blasters and giving it a full album’s flow and depth. Like I said, not a hair out of place. Structure, performance, delivery, theme. Abrams have it all precisely where they want it.

Abrams on Thee Facebooks

Abrams on Bandcamp

 

The Grand Astoria, The Fuzz of Destiny

the-grand-astoria-the-fuzz-of-destiny

Dubbed an EP but running 29 minutes and boasting eight tracks, The Grand Astoria’s The Fuzz of Destiny is something of a conceptual release, with the St. Petersburg, Russia-based outfit paying homage to the effect itself. Each song uses a different kind of fuzz pedal, and as the ever-nuanced, progressive outfit make their way through the blown-out pastoralism of opener “Sunflower Queen” and into the nod of “Pocket Guru,” the organ-inclusive bursting fury of “Glass Walls” and the slower and more consuming title-track itself, which directly precedes closer “Eight Years Anniversary Riff” – yup, it’s a riff alright – they’re able to evoke a surprising amount of variety in terms of mood. That’s a credit to The Grand Astoria as songwriters perhaps even more than the differences in tone from song to song here – they’ve certainly shown over their tenure a will to embrace a diverse approach – but in giving tribute to fuzz, The Fuzz of Destiny successfully conveys some of the range a single idea can be used to conjure.

The Grand Astoria on Thee Facebooks

The Grand Astoria on Bandcamp

 

Hosoi Bros., Abuse Your Allusion III

hosoi-bros-abuse-your-allusion-iii

Oh, they’re up to it again, those Hosoi Bros. Their 2016 full-length, Abuse Your Allusion III, from its Guns ‘n’ Roses title reference through the Motörhead riffing of “Saint Tightus” through the stoner punk of “Topless Gnome” and the chugging scorch of the penultimate “Bitches are Nigh” offer primo charm and high-order shenanigans amid the most professional-sounding release of their career. Across a quick 10 tracks and 36 minutes, Hosoi Bros. readily place themselves across the metal/punk divide, and while there’s plenty of nonsense to be had from opener “Mortician” onward through “Lights Out” (video premiere here) and the later swagger of “Unholy Hand Grenade,” the band have never sounded more cohesive in their approach than they do on Abuse Your Allusion III, and the clean production only seems to highlight the songwriting at work underneath all the zany happenings across the record’s span, thereby doing them and the band alike a service as they make a convincing argument to their audience: Have fun. Live a little. It won’t hurt that much.

Hosoi Bros on Thee Facebooks

Hosoi Bros. on Bandcamp

 

Codeia, “Don’t be Afraid,” She Whispered and Disappeared

codeia-dont-be-afraid-she-whispered-and-disappeared

There’s actually very little that gets “Lost in Translation” in the thusly-titled 22-minute opener and longest cut (immediate points) of German post-metallers Codeia’s cumbersomely-named Backbite Records debut album, “Don’t be Afraid,” She Whispered and Disappeared. With heavy post-rock textures and an overarching sense of cerebral progressivism to its wash underscored by swells of low-end distortion, the three-piece of guitarist/backing vocalist Markus L., bassist/vocalist Denis S. and drummer Timo L. bring to bear patience out of the peak-era Isis or Cult of Luna sphere, sudden volume shifts, pervasive ambience, flourish of extremity and all. Nine-minute centerpiece “Shaping Stone” has its flash of aggression early before shifting into hypnotic and repetitive groove and subsequent blastbeaten furies, and 16-minute closer “Facing Extinction” caps the three-song/48-minute offering with nodding Russian Circles-style chug topped with growls that mask the layer of melodic drone filling out the mix beneath. They’re on familiar stylistic ground, but the breadth, depth and complexity Codeia bring to their extended structures are immersive all the same.

Codeia on Thee Facebooks

Backbite Records website

Mountain Range Creative Factory website

 

Ealdor Bealu, Dark Water at the Foot of the Mountain

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“Water Cycle,” the 13-minute opener and longest track (immediate points) of Ealdor Bealu’s debut full-length, Dark Water at the Foot of the Mountain, introduces a meditative feel and a breadth of sound that helps to define everything that follows. The ostensible side B leadoff of the self-release, “This too Shall Endure” (11:04), offers no less depth of atmosphere, and the graceful psychedelic expanses of the penultimate “Behind the Veil” continue to add to the overall scope with interplay of tempo variety and acoustic and electric guitar, but even earlier, shorter cuts like the wistful indie rocker “Deep Dark Below” and the linear-building “Behold the Sunrise” have an underlying progressivism that ties them to the longer form material, and likewise the particularly exploratory feeling “Ebb and Flow,” which though it’s the shortest cut at just over five minutes resonates as a standout jam ahead of “Behind the Veil” and subtly proggy seven-minute closer “Time Traveler.” The Boise-based four-piece of guitarist/vocalist/spearhead Carson Russell, guitarist Travis Abbott (also The Western Mystics), bassist/vocalist Rylie Collingwood and drummer/percussionist/saxophonist Alex Wargo bring the 56-minute offering to bear with marked patience and impress in the complexity of their arrangements and the identifiable human core that lies beneath them.

Ealdor Bealu on Thee Facebooks

Ealdor Bealu on Bandcamp

 

Stone Lotus, Comastone

I can take spicier foods than I ever could before.

One might consider the title of “Mountain of Filth,” the second cut on Stone Lotus’ debut album, Comastone, a mission statement for the Southwestern Australian trio’s vicious ‘n’ viscous brand of rolling, tonal-molasses sludge. Yeah, the three-piece of guitarist/vocalist Dave Baker, bassist Samuel Noire and drummer Reece Fleming bring ambience to the interlude “Aum,” the slower loud/quiet shifts in “Anthropocene” and the subsequent “Umbra” that leads into the creepy launch of the title-track – in fact, quiet starts are something of a theme throughout Comastone; even the thudding toms that begin opener “Swamp Coven” pale in comparison to the volume swell of massive distortion that follows closely behind – but it’s the rhythmic lumber and the harsh vocals from Baker that define their course through the darker recesses of sludged-out misanthropy. No complaints there, especially on a first long-player, but Stone Lotus are right to keep in mind the flourish of atmosphere their material offers, and one hopes that develops parallel to all the crushing weight of their mountainous approach.

Stone Lotus on Thee Facebooks

Stone Lotus on Bandcamp

 

Green Yeti, Desert Show

I'm not sure if that's an effect of dropping carbs or how it would be, but it's strange.

Even before it announces its heft, Green Yeti’s Desert Show casts forth its spaciousness. The second offering from the Athens-based trio in as many years dogwhistles heavy riffing intent even unto its David Paul Seymour album cover, but the five track rollout from guitarist/vocalist Michael Andresakis, bassist/producer Danis Avramidis and drummer Giannis Koutroumpis, as it shifts from the opening salvo of “Black Planets (Part 1)” and “Black Planets (Part 2)” into the Spanish-language centerpiece “Rojo” (direct homage perhaps to Los Natas? if so, effectively done) and into the broader-ranging “Bad Sleep (Part 1)” and 15-minute closer “Bad Sleep (Part 2)” builds just as much on its atmosphere as on its newer-school stoner rock groove and fuzz riffing. It is a 41-minute span that, without question, speaks to the heavy rock converted and plays to genre, but even taken next to the band’s 2016 debut, The Yeti has Landed, Desert Show demonstrates clear growth in writing and style, and stands as further proof of the emergence of Greece as a major contributor to the sphere of Europe’s heavy underground. Something special is happening in and outside of Athens. Green Yeti arrive at the perfect time to be a part of it.

Green Yeti on Thee Facebooks

Green Yeti on Bandcamp

 

Seer, Victims

seer victims

Let’s just assume that Seer won’t be asked to play at Dorney Park anytime soon. The Allentown, Pennsylvania, three-piece dig into largesse-minded instrumental riffing someplace between doom and sludge and do so on raw, formative fashion on the two-song Victims EP, which features the tracks “Victims… Aren’t We All?” and “Swollen Pit,” which is a redux from their 2015 debut short release, Vaped Remains. Some touch of Electric Wizard-style wah in Rybo’s guitar stands out in the second half of the opener, and the closer effectively moves from its initial crawl into post-Sleep stonerized idolatry, but the point of Victims isn’t nearly as much about scope as it is about Rybo, bassist Kelsi and drummer Yvonne setting forth on a stomping path of groove and riff worship, rumbling sans pretense loud enough to crack the I-78 corridor and offering the clever equalizer recommendation to put the bass, treble and mids all at six. Think about it for a second. Not too long though.

Seer on Thee Facebooks

Seer on Bandcamp

 

Bretus, From the Twilight Zone

bretus-from-the-twilight-zone

Doom! Horror! Riffs! Though it starts out with quiet acoustics and unfolds in echoing weirdness, Bretus’ new album, …From the Twilight Zone, more or less shouts these things from the proverbial cathedral rafters throughout its seven tracks. The Catanzaro, Italy, foursome weren’t shy about bringing an air of screamy sludge to their 2015 sophomore outing, The Shadow over Innsmouth (discussed here), but …From the Twilight Zone shifts more toward a Reverend Bizarre trad doom loyalism that suits the Endless Winter release remarkably well. Those acoustics pop up again in expanded-breadth centerpiece/highlight “Danza Macabra” and closer “Lizard Woman,” and thereby provide something of a narrative thread to the offering as a whole, but on the level of doom-for-doomers, there’s very little about the aesthetic that Bretus leave wanting throughout, whether it’s the faster-chug into drifting fluidity of “The Murder” or the nodding stomp of “In the Vault” (demo posted here) and crypto-NWOBHM flourish of “Old Dark House” (video posted here). Not trying to remake doom in their own image, but conjuring an eerie and engaging take in conversation with the masters of the form.

Bretus on Thee Facebooks

Endless Winter Records

 

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Green Yeti: Preorders for Desert Show Start June 2

Posted in Whathaveyou on May 23rd, 2017 by JJ Koczan

If you’ve been following along the saga of Athenian heavy rockers Green Yeti this Spring, you already know that the three-piece signed to Cursed Tongue Records earlier this month to issue their second album in as many years, Desert Show, on vinyl, merely days after giving it an independent digital release on April 21 and merely days before embarking on their first-ever round of tour dates on May 3. It’s been a busy time, to put it mildly.

The story looks set to continue into summer as Cursed Tongue has set an Aug. 21 release for the Desert Show LP and will launch preorders for the limited vinyl on June 2. There are three editions available that you can see in the banner below, and if you’re wondering, Central European Time is five hours ahead of Eastern US Daylight Time. Just in case you didn’t want to Google “what time is it?”

Here’s all the info I’ve got:

GREEN YETI PREORDERS

We are launching pre-orders for CTR-003 that is Green Yeti – Desert Show vinyl lp on June 2nd via our bigcartel store. Slated release date is August 21.

Vinyl pressing has been ordered and we are awaiting the TP’s within few weeks.

Once again remastered for vinyl by Tony Reed who has done a stellar job making everything really pop.

People familiar with the genres should already be more than acquainted with this green, Greek super nugget of a stoner monster and know what to expect from the Green Yeti band, namely deep fat bass lines, slow pounding cave-man drumming seasoned with intelligent spaced out guitar playing and memorable riffs and hooks.

Stay tuned for further info very soon as this vinyl release will be here before you know it.

Please welcome Green Yeti to the CTR-family and now let us have a good time! Kick back, grab a green (leaf or bottle), indulge in the Yeti’s second march and enjoy the desert show.

Green Yeti is:
Bass: Danis Avramidis
Guitar & Vocals: Michael Andresakis
Drums: Giannis Koutroubis

https://www.facebook.com/greenyetiband/
https://twitter.com/GreenYetiBand
https://greenyeti.bandcamp.com/album/desert-show
https://www.facebook.com/CursedTongueRecords/
http://cursedtonguerecords.bigcartel.com/

Green Yeti, Desert Show (2017)

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audiObelisk Transmission 061

Posted in Podcasts on May 15th, 2017 by JJ Koczan

the obelisk podcast 61

Click Here to Download

 

Yes! A new podcast! Are you stoked? I’m stoked. If you’re not, you will be when you look at the list of bands included. In any case, let’s be stoked together, because rock and roll, and heavy psych and good music and, well, yeah. That’s pretty much stuff to be stoked about. It’s been absurdly long since the last time we did one of these. Too long. I don’t really have an excuse other than… gainful employment? Don’t worry, though. That’ll be over soon enough. Then it’ll be podcasts out the ass.

There’s some killer goods here though. Yeah, I decided to do a “Yeti” double-shot with Green Yeti into Telekinetic Yeti. That’s my version of me being clever. But both bands are righteous, and if you haven’t heard the Savanah record, or that new Tia Carrera jam, or the Cachemira or Big Kizz or Yagow or Vokonis or the Elder — oh hell, frickin’ all of it — it’s worth your time. That Emil Amos track just premiered the other day and I think will surprise a lot of people, and I liked the way it paired with the dark neofolk of Hermitess. And of course we get trippy in the second hour, as is the custom around here. But first a moment of prog clarity from the aforementioned Elder. That’s a good time as well.

As always, I hope you enjoy.

Track details follow:

First Hour:

0:00:00 Vokonis, “The Sunken Djinn” from The Sunken Djinn
0:06:47 Tia Carrera, “Laid Back (Frontside Rock ‘n’ Roll)” from Laid Back (Frontside Rock ‘n’ Roll)
0:16:33 Supersonic Blues, “Supersonic Blues Theme” from Supersonic Blues Theme / Curses on My Soul
0:19:28 Emil Amos, “Elements Cycling” from Filmmusik
0:22:28 Hermitess, “Blood Moon” from Hermitess
0:26:24 Savanah, “Mind” from The Healer
0:34:22 Yagow, “Non-Contractual” from Yagow
0:42:35 Big Kizz, “Eye on You” from Eye on You
0:45:53 Cachemira, “Jungla” from Jungla
0:52:05 Green Yeti, “Black Planets (Part 2)” from Desert Show
0:58:02 Telekinetic Yeti, “Stoned and Feathered” from Abominable

Second Hour:

1:02:10 Elder, “The Falling Veil” from Reflections of a Floating World
1:13:20 Riff Fist, “King Tide” from King Tide
1:24:15 Cavra, “Montaña” from Cavra
1:39:18 Causa Sui, “A Love Supreme” from Live in Copenhagen

Total running time: 1:55:53

 

Thank you for listening.

Download audiObelisk Transmission 061

 

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Green Yeti Sign to Cursed Tongue Records for Desert Show Vinyl

Posted in Whathaveyou on May 2nd, 2017 by JJ Koczan

As they get ready to head out on their first round of tour dates tomorrow, Athens-based heavy trio Green Yeti have secured a vinyl release for their new album, Desert Show. It’s their sophomore outing behind last year’s The Yeti has Landed, and the fact that it was recorded in February, was posted digitally on April 21, and has already been picked up for an LP pressing even before the band has gotten out to do shows to support it should tell you something about the vote of confidence behind these Greek riffbearers. Cursed Tongue Records (Devil’s Witches, Neon Warship) is expected to have preorders up shortly ahead of a summer release.

Madness ensues via the PR wire:

green yeti

GREEN YETI SIGNS TO CURSED TONGUE RECORDS

We are extremely happy and proud to let you all know that Greece, Athens premiere stoner psych doom desert rock band Green Yeti has joined ranks on the CTR roster for a release of their phenomenal second album ‘Desert Show’ on limited high quality vinyl this summer.

People familiar with the genres should already be more than acquainted with this green, Greek super nugget of a stoner monster and know what to expect from the Green Yeti band, namely deep fat bass lines, slow pounding cave-man drumming seasoned with intelligent spaced out guitar playing and memorable riffs and hooks.

We are already deep in the process with getting the album ready for vinyl production and soon we will reveal time and details for pre-orders. But for now we can assure you that this album will get the full red carpet treatment; 180 grams vinyl, multiple editions, posters, patches, stickers and all the usual stuff that hallmarks our vinyl releases.

Stay tuned for further info very soon as this vinyl release will be here before you know it.

Please welcome Green Yeti to the CTR-family and now let us have a good time! Kick back, grab a green (leaf or bottle), indulge in the Yeti’s second march and enjoy the desert show:

Green Yeti tour dates:
03/5 – Volos (GR) – @Manitou
04/5 – Thessaloniki (GR) – @Ypogeio
05/5 – Sofia (BG) – @Live n Loud
06/5 – Svishtov (BG) – @Club Disorder
07/5 – Bucharest (RO) – @Soundart Fest
19/5 – Athens (GR) – @Sonic Ritual Fest

Green Yeti is:
Bass: Danis Avramidis
Guitar & Vocals: Michael Andresakis
Drums: Giannis Koutroubis

https://www.facebook.com/greenyetiband/
https://twitter.com/GreenYetiBand
https://greenyeti.bandcamp.com/album/desert-show
https://www.facebook.com/CursedTongueRecords/
http://cursedtonguerecords.bigcartel.com/

Green Yeti, Desert Show (2017)

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Green Yeti Announce May Tour Dates

Posted in Whathaveyou on March 23rd, 2017 by JJ Koczan

green yeti

We all know it’s a special moment in the life of a band when they hit the road for the first time. Often it’s not more than a tentative weekender, maybe hitting a couple different towns over subsequent nights before going back to work on Monday, the 48-hour rock star in a packed van. Inside jokes, lousy food, plenty of volume — those are good times. Cheers to Athens trio Green Yeti on getting out for a few nights and making it happen. They’re hooked up with Total Volume Agency supporting their 2016 debut, The Yeti has Landed — streaming below — so I get the feeling that the five-night run they’ve got booked for early May won’t be their last, but only one tour can be your first tour, and I hope theirs is awesome.

Dates and the David Paul Seymour poster came in from the PR wire:

green yeti tour

Green Yeti – Mini Tour 2017

Brace yourselves! The Yeti is about to leave its cave and make a short trip to explore new, unforeseen lands!

Hailing from the feral wilderness of the Athenian underground, Green Yeti descended to the world of man three years ago, in order to spew out their savage psychedelic riffage. Featuring members of Brotherhood of Sleep, Reversed Nature, Stonenrow and Spacement, they have shared the stage with the likes of Stoned Jesus, Egypt, Dopelord and The Re-Stoned. Yeti’s full-length debut: “The Yeti Has Landed” launched last year; making its way fast to many 2016 best-of lists!

The heavy psych three-piece, is about to embark on its first Eastern European outing this May, on a mini tour organized by Total Volume, home of bands like Nightstalker, Egypt, Valley of the Sun and more. If monster riffs, bleak atmospheres, spaced out vocals and foggy psychedelia is your thing; then you’ve hit bullseye!

Come and celebrate with us, our 2017 Spring Tour!

Original artwork by David Paul Seymour.

Dates:
03/5 – Volos (GR) – @Manitou
04/5 – Thessaloniki (GR) – @Ypogeio
05/5 – Sofia (BG) – @Live n Loud
06/5 – Svishtov (BG) – @Club Disorder
07/5 – Bucharest (RO) – @Soundart Fest
19/5 – Athens (GR) – @Sonic Ritual Fest

Green Yeti is:
Bass: Danis Avramidis
Guitar & Vocals: Michael Andresakis
Drums: Giannis Koutroubis

https://www.facebook.com/greenyetiband/
https://twitter.com/GreenYetiBand
https://greenyeti.bandcamp.com/
https://www.totalvolumeagency.com
https://www.facebook.com/totalvolumebackline

Green Yeti, The Yeti Has Landed (2016)

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