Sons of Alpha Centauri Announce Buried Memories Collaborative LP with JK Broadrick & James Plotkin

Posted in Whathaveyou on August 20th, 2019 by JJ Koczan

Sons of Alpha Centauri 2019

You have to give it to Sons of Alpha Centauri: they keep good company. These are gentlemen of refined taste. Their last album? Produced by Aaron Harris of Isis and mastered by John McBain, formerly of Monster Magnet. Before that, oh, they’d worked with the likes of Gary Arce and Karma to Burn, and so on, producing killer splits and collaborative offerings in the process. Now? They’ve got a kinda-EP/kinda-LP called Buried Memories coming that has four songs total — one is a revisit of a song from their first record — with mixes by Justin Broadrick, who does three different versions of “Hitmen” in various guises as Justin K. Broadrick, JK Flesh and Jesu, and James Plotkin, who’s only James Plotkin throughout but when you played in Khanate that’s enough as far as I’m concerned. Sons of Alpha Centauri‘s sense of sonic adventurousness continues to extend to a meta level, and if you’re not intrigued to hear this, you probably just haven’t paid enough attention. Snap to it.

It doesn’t actually say so below, but the press kit lists Oct. 13 as the release date through H42 Records, so let’s go with that. They’ve got a quick teaser posted as well, and you’ll find that at the bottom of the post, along with the stream of 2018’s Continuum (review here). Enjoy:

SONS OF ALPHA CENTAURI Buried Memories Cover

H42 Records: SONS OF ALPHA CENTAURI Announce New Album with JK BROADRICK and JAMES PLOTKIN!

Sons of Alpha Centauri are back to release Buried Memories, a collaborative post metal colossus and the second part of the journey that started with last album Continuum!

The new album Buried Memories has been mixed by industrial metal icon Justin K. Broadrick (Godflesh, Jesu…) and ambient gloom metal maestro James Plotkin (Khanate, Jodis etc.). Buried Memories contains two 10 minute slabs of eclectic ambient progressive rock and a series of interpretative remixes of the theme tracks by both Broadrick and Plotkin.

Justin Broadrick collaborates with the band on side A through the progressive riff saga of Hitmen which he has mixed and also provided two remixes in his guise as Jesu and another as the eponymous JK Flesh. These three staggering pieces of music elapse over 27 minutes of pure instrumental voyage in a way only Sons of Alpha Centauri and Justin Broadrick could deliver!

James Plotkin and SOAC collaborate through several tracks including Warhero a sprawling 10 minute odyssey and a masterful remix of SS Montgomery – the single from the bands classic instrumental landmark debut album.

After entering the Continuum (2018) the listener must now bury their memories. The darkness will envelope the listeners in this second part of their epic sprawling progressive dark rock saga.

The LP version of Buried Memories comes on a selection of 180 gram heavyweight colored vinyl in a gatefold sleeve with photo inlay and download code.

Tracklist
1. Hitmen [Justin K. Broadrick Mix]
2. Hitmen [Jesu Remix]
3. Hitmen [JK Flesh Remix]
4. Warhero [James Plotkin Mix]
5. Remembrance [James Plotkin Mix]
6. SS Montgomery [James Plotkin Remix]

https://www.facebook.com/sonsofalphacentauri
https://sonsofalphacentauri.bandcamp.com/
http://www.sonsofalphacentauri.co.uk/
https://www.h42records.com

Sons of Alpha Centauri, Buried Memories teaser

Sons of Alpha Centauri, Continuum (2018)

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Quarterly Review: Salem’s Bend, Motorpsycho, Sigils, Lord Dying, Sunn O))), Crimson Heat, Molior Superum, Moros, Glitter Wizard, Gourd

Posted in Reviews on July 2nd, 2019 by JJ Koczan

quarterly-review

Today is Tuesday, I’m pretty sure, and hey, that’s nifty. I thought yesterday kicked off the Summer 2019 Quarterly Review really well, and any time I get through one of these without my head caving in on itself, I feel like that’s a victory, so yeah. Now we wade even deeper into what will ultimately be a 60-review plunge, with another 10 offerings of various stripes and takes on heavy. Some higher profile stuff in here, which is fine, I guess, but most of it is pretty recent, so if there’s something you haven’t heard yet, I hope you find something you dig, as always.

Quarterly Review #11-20:

Salem’s Bend, Supercluster

salems bend supercluster

This is the sound of a band who’ve figured it out. Salem’s Bend have taken retroist boogie and modern tonalism, production and melody and turned it into something of their own. Supercluster (on Ripple) follows the Los Angeles trio of guitarist/vocalist Bobby Parker, bassist/vocalist Kevin Schofield and drummer Zach Huling‘s 2016 self-titled debut (review here), and with an uptick in the complexity of songwriting overall and particularly in the arrangements of dual-vocals, it is a marked step forward palpable as much in the hook of “Ride the Night” — and if you’re gonna call a song that, you better bring it — as the heavy crash ending “Heavenly Manna” and the languid, lucidly dreaming groove in “Infinite Horizon,” which appears ahead of the acoustic hidden track “Beltaine Chant.” That won’t be the last time these guys unplug, but whether it’s the raw Zeppelin vibe of “Show Me the Witch” or the crunching low-end nod of “Thinking Evil” or the leadoff thrust in “Spaceduster,” the message is clear that Salem’s Bend have arrived.

Salem’s Bend on Thee Facebooks

Ripple Music webstore

 

Motorpsycho, The Crucible

motorpsycho the crucible

The latest in Motorpsycho‘s nigh-on-impossible-to-chart and ever-growing discography is The Crucible, issued through Stickman Records, and taking some of the heavy rock push of 2017’s The Tower (review here) and stretching out to more willfully progressive execution across three increasingly extended tracks. Running from shortest to longest, the album begins with “Psychotzar” (8:44) which resolves itself in maddening turns after fleshing through an energetic beginning, and rounds out side A with the 11-minute “Lux Aeterna,” with vocal harmonies and mellotron building into a graceful swell of volume before a headspinner solo and jam take hold, break to near-silence and finish in a burst of directly earliest-King Crimson majesty. This all before the 20:51, side B-consuming title-track crashes in with immediate tension and plays back and forth at releasing that through a course that is rife with melody and an emphasis on the mastery of Motorpsycho over their sound and direction. Onto the list of the year’s best records it goes.

Motorpsycho on Thee Facebooks

Stickman Records website

 

Sigils, You Built the Altar, You Lit the Leaves

Sigils You Built the Altar You Lit the Leaves

Hypnotic and immersive heavy post-rock and metal becomes the genre tag well enough, but what New York’s Sigils do on their markedly impressive self-recorded, self-released debut album, You Built the Altar, You Lit the Leaves, is more soulful and emotive than “post-” anything generally conveys. With four tracks/38 minutes best taken as a whole, single listening experience, the band offer resonant depths of tone and vocal echoes centered around airy but still weighted guitar and consuming rhythms brought to bear with the patience of an organic Jesu. The ultimate triumph is in the melody and payoff of 13-plus-minute closer “The Wicked, the Cloaked,” which seems to manifest the haunting sensibility that “Samhain” and “Ritual” advocate on side A, but neither will I discount the chug of the prior “Faceless” or the underlying churn in those two leadoff tracks. Especially as a first album, You Built the Altar, You Lit the Leaves casts a sonic identity for itself that is striking and sees the band already beginning to push themselves forward. One hopes they continue to do so.

Sigils on Thee Facebooks

Sigils on Bandcamp

 

Lord Dying, Mysterium Tremendum

Lord Dying Mysterium Tremendum

Following 2015’s Poisoned Altars (review here), subsequent years of touring and a jump from Relapse to eOne Metal, Lord Dying‘s Mysterium Tremendum is enough of a stylistic melting pot that the best thing to do is call it progressive and just let it roll. Comprised of 11 tracks themed around death and the afterlife, the record takes the Portland, Oregon, outfit’s prior death-doom ways and expands them to incorporate an array of styles and melodies, like a vocoder-less Cynic or even Atheist, but more focused on the songs themselves. It’s being widely hailed as one of 2019’s best metal releases, and honestly I can’t speak to that because who the hell knows what “metal” even means, but it sees Lord Dying pull off a major sonic leap and if this is the direction they’re headed from now on, then I guess “metal” is going to be whatever the hell they want. So there. Expect to see a lot of Lord Dying t-shirts around in the years to come.

Lord Dying on Thee Facebooks

eOne Heavy on Thee Facebooks

 

Sunn O))), Life Metal

sunn life metal

The core of Sunn O)))‘s sound — that is, the drone-riffed tonality of Greg Anderson and Stephen O’Malley, has proven amorphous enough over the last two decades to either be orchestral, minimalist, impossibly bleak, or now, something brighter. The Steve Albini-recorded Life Metal is one of two purported Sunn O))) releases slated for this year, and it follows behind 2015’s Kannon (review here) in manifesting their project in a new way. It is 68 minutes long, comprised of four tracks — the first, “Between Sleipnir’s Breaths,” is notable for the inclusion of vocals from Hildur Guðnadóttir; the rest is instrumental — and while one wonders how much is the power of suggestion amid their colorful artwork and titular presentation, “life” as opposed to death metal, etc., their resonance throughout “Aurora” (19:07) and “Novae” (25:24) strips away much of the flourish that has engulfed Sunn O))) in their post-maturity years and reminds of the power at their center. They chose the right producer.

Sunn O))) on Bandcamp

Southern Lord Recordings website

 

Crimson Heat, Crimson Heat

Crimson Heat Crimson Heat

With a handful of tracks of dirt-coated Sabbathian doom rock, Crimson Heat make their debut with a self-titled demo/EP in no small part defined by its lack of pretense. I’d buy the tape at the show. You’d buy the tape at the show. The download is free. Clearly this is a band figuring out what they want to do and trying to catch a few ears, but the sound is right on. Notable as well for the participation of Sam Marsh of Sinister Haze, tracks like “At My Door” blend Tee Pee Records-style skate vibes with darker traditionalist crunch, and the subsequent acoustic interlude “Firewood” indeed adds a bit of burning-stove smell to the procession ahead of doomed shuffler finale “Deep Red.” They might be new, but from the nod of “Premonition” and the double-layered guitar of “Fortune Teller,” they very clearly know where they’re coming from. What they do with that from here will tell the tale, but for now, selling the tape at the show isn’t nothing. Guess they better get on pressing some up.

Sinister Haze on Thee Facebooks

Crimson Heat on Bandcamp

 

Molior Superum, As Time Slowly Passes By…

Molior Superum As Time Slowly Passes By

The boogie runs strong in Molior Superum‘s first album in seven years, As Time Slowly Passes By… (on H42 Records), the title of which might just hint at the distance between their two full-lengths. Their debut was Into the Sun (discussed here) in 2012, and they answered that with 2014’s Electric Escapism (review here), but for a band who sound so energized on cuts like “Att Födas Rostig” and “Through Valleys of Wonder,” the time differential from one record to the next is curious. Still, no question the Swedish four-piece make the most of the 36 minutes they present on their sophomore offering, realizing classic vibes and fuzz tones through modern production that recalls the likes of GraveyardJeremy Irons and the Ratgang Malibus and even, on “Into the Grey,” Demon Head‘s doomier fare, with an overarching bluesy sensibility that remains exciting even in moments like the hypnotic midsection build of centerpiece “Divinity Blues.” Even the closing soft-guitar title-track has movement. They sound hungry in a way that suggests maybe it won’t be another seven years before a third LP arrives.

Molior Superum on Thee Facebooks

H42 Records

 

Moros, Weapon

moros weapon

Just because Philly is leading the Eastern Seaboard in terms of psychedelic charge, that doesn’t mean there isn’t room for the guttersludge extremity of a unit like Moros. The destructive three-piece’s first full-length, Weapon (on Hidden Deity Records), is vicious in its bite and downright nasty in its groove, abrasive from the static intro “(Vortexwound)” onward through “We Don’t Deserve Death” and “Devil Worshipper,” which recalls slower Napalm Death in its riff but is met with a harsh scream as well as shouts. The brutality continues through “Wizard of Loneliness” and into the outright pummel of “Death Nebula,” such that the locked-in nodder groove in the second half of “Every Day is Worse Than the Last” feels almost like a lifeboat, though there’s little salvation on offer in the closing title-track, which fades out on a noisy note in much the same way it faded in. Filthy, mean and heavy. The crust is real and it is thick.

Moros on Thee Facebooks

Hidden Deity Records website

 

Glitter Wizard, Opera Villains

glitter wizard opera villains

I was enticed to dig further into Glitter Wizard‘s Opera Villains (on Heavy Psych Sounds) by the recent video for opener “A Spell So Evil” (posted here), and it’s not a choice I regret. The San Fran-based weirdo collective are putting on a show, no doubt, but the quality of their songwriting on “The Toxic Lady” and the punkish underpinning of “Dead Man’s Wax,” etc., puts them in a classic rocking no man’s land in which they absolutely revel. The laser-strewn drama of “March of the Red Cloaks” and the organ- and flute-laced swing of “Hall of the Oyster King” embrace the grandiose in brazen fashion, and thereby make it that much easier for the listener to join them on this wavelength that is so thoroughly their own. Closer “Warm Blood” taps prog-of-old pomposity in its largesse while the earlier “Fear of the Dark” seems to do the same thing with just an acoustic guitar and some vocal harmonies. A record that knew exactly what it wanted to be and then became that thing. Awesome.

Glitter Wizard on Thee Facebooks

Heavy Psych Sounds website

 

Gourd, Moldering Aberrations

gourd moldering aberrations

Ambient darkness is inflicted with only the cruelest of spirit throughout Gourd‘s Moldering Aberrations EP, the Irish two-piece alternating minimalist spaciousness with gurgling drone intensity, the extremity of which doesn’t so much come through in pummel or drive, but in the swell of volume and its contrast with the emptiness surrounding. Also the growls. Three tracks are offered up like monuments to pain, and through “Befoulment,” “Mycelium” and the title-track, they conjure a heft of atmosphere as much as one of low end, the claustrophobic feeling of their craft coming through even in the relatively peaceful opening of the last song. That peace, of course, isn’t so much moment of respite as it is precursor to the next plunge, and either way, Gourd work in grueling fashion over 23 minutes to dismantle consciousness and expectation with a grim, distortion-fueled chaos from which there seems to be no escape, until the rumble and noise leave “Moldering Aberrations” and there’s just residual hum and a cymbal crash left. Madness.

Gourd on Thee Facebooks

Cursed Monk Records on Bandcamp

 

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Daal Dazed Premiere “Invisible Prison” from Self-Titled Debut EP

Posted in audiObelisk on July 2nd, 2019 by JJ Koczan

daal dazed

German six-piece Daal Dazed release their self-titled debut EP on Aug. 9 through H42 Records. “Invisible Prison” is the leadoff cut on the three-song outing, and it quickly nestles into a comfortable heavy blues vibe, organ and two guitars interweaving melodic lines behind the vocals of Philipp Staab, who makes his presence felt early in soulfully belting out the lyrics, and in the course of an efficient 4:41, the song sets the Aschaffenburg outfit apart for their clarity of sound amid a horde of fuzz-overloaders, and the subsequent “Freedom” follows suit despite a jammier vibe, ebbing and flowing through semi-psychedelic liquidity, shuffling drums and percussion adding movement all the while. A more weighted groove persists in the chorus of closer “Angel Babe,” though that’s accompanied by a driving punctuation of snare in the verse, so there’s a balance between the build and release of tension as it plays out.

There’s nothing overly fancy happening in Daal Dazed, but the straightforward tack of the songwriting isn’t to be discounted just daal dazed daal dazedbecause it’s not a wash of tone. Rather, Daal Dazed have an all the more classic sound for their to-the-point aspects. “Freedom” is under four minutes long and “Angel Babe” is under three, so there isn’t really much messing around anywhere you look. That’s fitting enough for a debut EP — they’ll grow into their sound and flesh it out over time — but even an early emphasis on crafting their material bodes well for wherever they might be headed next. Nothing against those who want to jam or fuzz themselves into oblivion, but for Daal Dazed, they seem to be shooting for something else, and the focus on songwriting is what’s allowing and what will continue to allow them to get there.

Would that I could be as efficient in language as they are in music. What it rounds out to is the EP is a rocker by rockers and for rockers. You’ll hear classic elements at play with modern production methods and a bluesy spirit throughout. If you need anything more than that to get you through the track, well, the cover artwork also rules, and there’s that organ too.

So have at it, and enjoy:

DAAL DAZED announced their debut release, a self-titled 3-song 12” EP! It’s a raw and bluesy hard rocker featuring bottleneck guitars and a percussion heavy rhythm section.

Available as:
12″-vinyl on clear vinyl with silkscreened ‘Moon’ b-side (ltd. 100)
12″-vinyl on universe black with handsigned b-side (ltd. 120)
download/stream on all platforms

Release will be August 9th 2019!
Presale starts July 9th 2019 via H42 Records.

Invisible Prison starts out as a smooth opener before climaxing into an organ-driven, heavy finale.
Freedom combines funky drumming with Hendrix-esque guitars & vocal delivery!
And lastly, Angel Babe closes the EP with a bang!

Daal Dazed is:
Philipp Bergmann: Drums
Philipp Staab: Vocals
Michael Imhof: Percussion
Julian Kaatz: Bass
Simon Steigerwald: Guitar
Kim Steigerwald: Guitar

Daal Dazed on Thee Facebooks

Daal Dazed on Instagram

H42 Records website

H42 Records on Thee Facebooks

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Mount Atlas Premiere “The Unknown” from Mistress EP

Posted in audiObelisk on March 4th, 2019 by JJ Koczan

mount atlas

German Hammond-soaked heavy rockers Mount Atlas will release their Mistress EP on May 10 through H42 Records. The four-songer runs a crisp 15 minutes, and while the keys provided by Christoph Ramke bring an inevitable classic flair to the proceedings, neither the production nor the style of the band is outwardly retro in the “vintage” sense of analog worship. Rather, the opening title-track and subsequent “Pace,” “Evil Side” and “The Unknown” are presented with pro-shop clarity and fullness, and the guitars of Jonas Willenbrink (also vocals) and Lars Rempe, the bass of Florian Eckey, Hendrik Kurre‘s drums and the aforementioned organ come through with an energy fitting for a band getting their start — having come together in 2016 — but still plainly moving ahead of their 2017 debut, Titan, in terms of reach and structure, “Pace” tapping into NWOBHM style classic metallurgy as “Evil Side” tap more of a swing, the latter being the only song over four minutes long and accounting for that differential with a still-relatively-quick midsection break.

The point, I guess, is it’s straight-ahead classic-derived-but-not-classic-imitating heavy rock and roll, but that alonemount atlas mistress does little to note the emphasis Mount Atlas put on clarity of performance and on songwriting. “Evil Side”‘s hook is catchy and delivered with an ’80s arena-metal spirit, and “The Unknown” would seem to follow-suit in its general base of influence. Classic rock meets classic metal meets modern riffing — Mistress has no trouble drawing strength from multiple sides, and Mount Atlas seem to be perfectly comfortable in going over the top sound-wise. Titan was a little bit rougher around its edges, but the ensuing cohesiveness of these songs is another unmistakable sign of the band’s growth. They may or may not still be maturing as a group, but even if that’s the case, a foundation of craft only ever serves well, and it does throughout this EP too. Mount Atlas are well comfortable interweaving guitar and organ on “Mistress” itself, and with that, they set the tone for a mini-showcase of their wares; a bit of a sampler for those who either did or didn’t catch the first offering when it came out to let all concerned parties know where they might be heading. A choice EP, in other words.

And a bit of unpretentious little-of-this-little-of-that-and-a-lot-of-melody heavy rock never hurts, so I’m happy today to host the premiere of “The Unknown” from the EP. You’ll find it below, followed by more from the PR wire.

Please enjoy:

Mount Atlas’s bubbling sound of the Hammond organ, their rough guitar riffs as well as the floating melodies will bring you back to the 70s and 80s. At the same time, they manage to maintain their individual sonority. They alternate between spherical sounds and heavy doom riffs, which sound as if played whilst wearing equally heavy leather jackets.

Their first record “Titan” has been leaving its marks on the international rock and metal scenes since April 2017. The new EP “Mistress” will be released on Vinyl, CD and digitally May 10, 2019.

Mount Atlas is:
Jonas Willenbrink (Vocals / Guitar)
Christoph Ramke (Organ / Synth)
Hendrik Kurre (Drums)
Florian Eckey (Bass)
Lars Rempe (Guitar)

Mount Atlas on Instagram

Mount Atlas on Thee Facebooks

Mount Atlas on Twitter

H42 Records website

H42 Records on Thee Facebooks

H42 Records on Twitter

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Molior Superum Premiere “Sweet Oblivion”; New Album As Time Slowly Passes By… Due in March

Posted in audiObelisk, Whathaveyou on January 4th, 2019 by JJ Koczan

molior superum

Stomping through classic heavy rock vibes like they’re wearing bottoms thoroughly belled, Swedish four-piece nonetheless cut the cutting edge when it comes to their production sound and progressive tendencies. The Stenungsund outfit will release their new album, As Time Slowly Passes By…, in March through H42 Records, and to advance its coming, they’ll have the new single “Sweet Oblivion” out on Jan. 24. The band’s last release was late-2014’s Electric Escapism (review here), but it’s been since 2012’s debut, Into the Sun (discussed here), that they last put out a long-player, so they’re well due.

The single, which seems to break midstride in order to embark on a proggy adventure in melody, is still just three and a half minutes long, so tight enough to be an earworm, but broad in its reach nonetheless. They bring it back to a full-sounding rush before they’re done, no worries, and make it plain that whatever else might happen with As Time Slowly Passes By…, Molior Superum have the songcraft well under control.

Some more info follows. Enjoy the track at the bottom of this post:

molior superum sweet oblivion

Molior Superum – Sweet Oblivion

Molior Superum is back with their new track “Sweet Oblivion”! Released on the major digital platforms the 14th of January it’s a teaser for our upcoming full length album “As time slowly passes by…” that will be out on vinyl through H42 Records in March 2019.

The making of this album has been quite a roller coaster; the recording was fun and ran like a clockwork. The phases after have been dragging on though, and made us wonder if these songs ever would be released before we lost interest altogether. The title of the album quite clearly describes the process in making this album, and all that can happen along the way. Sometimes time flies fast, and so much happens in just a few months. Or nothing at all.

Sweet Oblivion is a natural single track, with the high tempo groovy riffing that we love so much, we really hope you will dig it as well! It was recorded and mixed in Welfare Sounds Studios by Kalle Lilja (Långfinger/Wolves in Haze). Mastered by Magnus Lindberg and artwork by Hanna Haraldsson. Its B-side will feature an outtake from Into the Sun called “Our Lady Above the Stars.”

https://www.facebook.com/Molior-Superum-418651215180/
https://moliorsuperum.bandcamp.com/
http://www.h42records.com/
https://www.facebook.com/H42Records
https://twitter.com/H42Records

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Kamchatka to Release New Single Stone Cold Shaky Bones; German Tour Announced

Posted in Whathaveyou on August 15th, 2018 by JJ Koczan

Stone Cold Shaky Bones b/w Midnight Charmer is the first offering from Swedish traditionalist heavy rockers Kamchatka. Set for release this October, it follows behind 2015’s full-length, Long Road Made of Gold (review here), which found the band out supporting it at Desertfest Berlin and elsewhere. They’ve got a string of German dates announced for October and a festival weekender in November as well, leading to December’s Sankt Hell fest, where they’ll take the stage with Colour Haze, Mustasch, Horisont and many more.

There isn’t an exact release date listed beyond October — I’d assume it’s whenever they’re back from the press and ready to be shipped — but with the timing of the tour and whatnot that seems pretty firm. The PR wire updates on all the doings and gives some history on the band:

kamchatka stone cold shaky bones

New Kamchatka 7″ vinyl after a three years break from H42 Records

KAMCHATKA is finally back on the boards of the European stages. Close to a compulsory break of almost 3 years, they will release new songs on a 7″ this October and do a small tour through germany.

Kamchatka are no strangers to the Swedish hard rock/heavy metal scene; having begun well over a decade ago, they released their first album in 2004, and have rubbed shoulders with the legendary Clutch on multiple tours and and have recently taken on new bassist Per Wiberg (ex-keys player for Opeth, Spiritual Beggars, Candlemass), who also produced their latest album. Rounding out the line-up is Tobias Strandvik on drums and Thomas ‘Juneor’ Andersson on guitar and vocals.

Their sound is a mix of stoner rock (very similar to Clutch and Kyuss) and a very traditional blues-based hard rock sound that pays homage to such classic groups as Uriah Heep, Cream, and The Allman Brothers.

Growing up in Varberg, a small town on the west coast of Sweden, Roger, Thomas and Tobias were all rehearsing at the same place,though in different bands, except for the occasional weekend jamsession. In their mid teens, Roger and Thomas moved to pursue their musical career elsewhere,Roger to the east and Thomas to the north, while Tobias continued his back home. Some learnful years of touring and recording albums with all kinds of different acts later,they met up again in Varberg for a Jimi Hendrix tribute concert in 2001, and after a successful performance the guys simply came to the conclusion that they should start a band.Roger came up with the name Kamchatka, and the band was formed.

KAMCHATKA live:
23.08 DE-Duisburg, Steinbruch
24.08 CH-Herzogenbuchsee, Kreuz
25.08 DE-Sirzenich, Rebel Run Festival

Germany w/ Basement Saints
05.10 DE-Düsseldorf, Pitcher
06.10 DE-Cottbus, Zum Faulen August
07.10 DE-Weinheim, Cafe Central
09.10 DE-Stuttgart, Keller Club
10.10 DE-Frankfurt, Das Bett
11.10 DE-Erfurt, Museumskeller
12.10 DE-Oldenburg, Cadillac
13.10 DE-Münster, Hot Jazz Club
16.11 DE-Marsberg, Diemelkult Festival
17.11 DE-Passau, Blackwood Music Fest
27-28.12 DE-Hamburg, Sankt Hell, Gruenspan

KAMCHATKA
Per Wiberg – Bass & Vocals
Thomas Juneor Andersson – Guitar & Vocals
Tobias Strandvik – Drums

https://www.facebook.com/Kamchatkaofficial
https://twitter.com/KamchatkaSWE
https://instagram.com/kamchatkaofficial
http://kamchatka.se/
http://www.h42records.com/
https://www.facebook.com/H42Records
https://twitter.com/H42Records

Kamchatka, Long Road Made of Gold (2015)

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Sons of Alpha Centauri Post “Solar Storm” Video

Posted in Bootleg Theater on August 13th, 2018 by JJ Koczan

Sons of Alpha Centauri

So there’s this submarine. And it’s in a lake. And it’s huge. And the video starts out and there’s all this movement and driving and going through different scenes and where are we going I don’t know but it works really well with the riff so just roll with it and so on. Eventually, we get up to the lake. Maybe a pond? A relatively small-ish body of water. We get there and Sons of Alpha Centauri arrive and there’s no way they all came in the same car because there isn’t enough room for all their gear but whatever that’s not the point. All the while “Solar Storm” is playing and it’s got this crazy kind of tension to it and the band walk out to a spot by the water on what seems to be some pretty nice farmland.

It’s all in black and white until they start playing. And then like purple and orange lasers come out of their guitars and whatnot and start to hit the submarine like they’re rerouting power from the auxiliary systems to feed through the dilithium core — am I right? — and then the submarine shoots into space at what looks an awful lot like warp six. If I had to guess. And then the submarine careens through outer space like it’s the dude in 2001: A Space Odyssey for a while, it breaks through water and then the clip cuts back to the band, who pack up their gear — I still think it’s studio magic to think they fit two guitars, a bass, a full drum kit and themselves in that car, but maybe they’re Tetris pros — and split. The end.

Video of the year? Maybe.

“Solar Storm” comes from Sons of Alpha Centauri‘s new album, Continuum (review here), on H42 Records and Cobraside Distribution and it’s produced by Aaron Harris, who was in Isis when they were a band. Sons of Alpha Centauri recently shared stages with Yawning Man in the UK and have other stuff going on, but quite frankly I’ve delayed enough. You should just dig in here and enjoy:

Sons of Alpha Centauri, “Solar Storm” official video

The journey into instrumental progressive rockers SONS OF ALPHA CENTAURI’s new album “Continuum” progresses, as the video for “Solar Storm” lands today on all channels.
“Solar Storm is the cumulative blend of fast, slow, heavy, progressive styles of SOAC all encapsulated within a five minute adrenaline shot. Working with Simon Risbridger on this video was awesome as he completely understands our visual aesthetic and secluded introspective approach. We wanted the video to represent the different segments and styles within the track as part of the journey – it has been highly stylised with multiple references and subliminal messages. Embark the journey and embrace the storm!’ states SOAC bassist Nick Hannon.

The video starts a black and white fine art epic shot in and around the spiritual home of SOAC, Swale and the Isle of Sheppey and the story progresses into a cinematic visual feast of intergalactic travel through space and time. The introspective journey of ‘Solar Storm’ has been directed by long term collaborator Simon Risbridger who worked with Sons of Alpha Centauri on visuals including live performances with A Storm of Light.

SOAC IS
Marlon King – Guitars
Nick Hannon – Bass
Stevie B. – Drums
Blake – Textures

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Review & Full Album Premiere: Sons of Alpha Centauri, Continuum

Posted in audiObelisk, Reviews on May 28th, 2018 by JJ Koczan

Sons of Alpha Centauri Continuum

[Click play above to stream Continuum by Sons of Alpha Centauri in full. Album is out June 1 via H42 Records and Cobraside Distribution.]

Much as one hesitates to use the word ‘unique’ generally, I can’t think of anything quite so fitting to describe the path that’s led UK instrumental four-piece Sons of Alpha Centauri to Continuum, their second album. Released through Cobraside Distribution in the US and Canada and H42 Records in the rest of the world, the eight-track/39-minute sophomore offering — the sophmoffering? — arrives some 11 years after Sons of Alpha Centauri made their self-titled debut (discussed here) and follows a period of multiple collaborations with US-based acts Karma to Burn and Yawning Man — I still regard Yawning Sons‘ 2009 album, Ceremony to the Sunset (review here), as one of the finest atmospheric desert rock albums ever made — as well as splits with A Death Cinematic and Hotel Wrecking City Traders/WaterWays (review here). They also played Desertfest London in 2013 (review here) and have regularly played out, so as I’ve said before, it’s not like the four-piece have been sitting on their ass for the last decade plus.

They just haven’t been putting out Continuum, which is something that guitarist Marlon King, bassist Nick Hannon, drummer Stevie B. and keyboardist/synthesist Blake — actually credited with “textures” — at last correct, bringing together a slow motion whirlwind of patient and progressive instrumentalist execution under the direction of producer/mixer Aaron Harris, formerly of Isis. In returning to work in the context of a full-length, Sons of Alpha Centauri don’t see unaffected by how they spent their intervening years, and one can hear the reach of Gary Arce‘s desert-setting guitar tone from King on “Interstellar” and the A-to-B straightforward heavy rock of Karma to Burn on “Solar Storm” and intermittently early on in 11-minute closer “Return Voyage.” The missing link, then, would seem to be Isis, but with Blake‘s textures on keys, synth, loops and presumably somewhere in there a laptop permeating so much of the record and giving King time to breathe on guitar, there’s plenty of post-metal vibe as well.

Sons of Alpha Centauri, then, would seem to draw from the environments in which they place themselves, and that’s kind of the ideal purpose of collaboration in the first place. More importantly, they sound comfortable shifting the balance from one side to the other and the other, which gives Continuum an all the more multifaceted style. At the same time, there’s a marked sense of momentum that takes hold as intro/opener “Into the Abyss” patiently takes hold, part Vangelis, part Isis, leading directly into the starting drum roll of the subsequent “Jupiter,” which in turn will give over to the more straightforward “Solar Storm.” Even here, the fuzzy, careening central “verse” riff is backed by a consistent layer of synth — not quite a drone, but an ever-present ambient melody — that fills out the sound and adds to the proceedings what the band are ultimately right to call texture.

Sons of Alpha Centauri

There are many ways an instrumental band compensates for a lack of vocals. Lead guitar is one. Not compensating at all has arguably worked for Karma to Burn since, well, since they nixed the idea of a vocalist after their first record. Some others fill out arrangements with varying instrumentation. Sons of Alpha Centauri‘s approach, I suppose, is most like the latter, but the four-piece are more subtle about it than many. Blake‘s work on Continuum might be the factor that ties the tracks’ varying moods together, from the side A intro “Into the Abyss” to the side B intro “Surfacing for Air” and all along as each half of the record that unfurls from there, he enhances the ambience of “Interstellar” and brings progressive flair to “Jupiter” and “Solar Storm” at the record’s heavier post-intro outset. Though even this portion of the record is fairy dynamic, as King leads the way through loud/quiet tradeoffs in “Jupiter” that seem to mirror what will unfold on a grander scale with “Return Voyage” at the end of the record. They’re not quite going back the way they came, but one can read some symmetry there anyhow.

And it’s worth noting that the balance of Continuum, which takes its audience on this journey to Jupiter that the band seems to be making, is on the outward. “Return Voyage,” as the final statement they offer, certainly has its impact and fittingly provides a musical summary to coincide with being the final chapter of the narrative, but with one song about getting back to earth and seven about leaving or having left — the penultimate 2:47 piano piece “Orbiting Jupiter” is about having arrived — there’s little question as to which direction is the band’s priority when it comes to evoking a sense of story. Sons of Alpha Centauri are about the going and having gone. And the results of that, while grounded in their structure and presentation thanks to the foundation of Hannon‘s bass and Stevie‘s drumming, are more directed than your standard everything-hang-loose psychedelia, space is obviously still a factor sonically as well as thematically. The final build in “Return Voyage” as it crosses its midpoint might be the most Isis-reminiscent moment on Continuum, but like the rest of their discernible influences, this too is recontextualized in a sound that is the band’s own.

As, frankly, one would hope for a record having been a decade-plus in the making. I won’t say Sons of Alpha Centauri wasted their years, because they’ve clearly been able to enrich their own style by collaborating with those outside the confines of their own lineup. Rather, the fact that Continuum is their second full-length is somewhat deceptive given all the experience and sense of purpose they’ve been able to garner since their debut, which even then had a fervent progressive streak at its foundation. What Continuum represents, though, is significant growth on multiple fronts for the band, and an awaited moment of declaration of who they are and who they can be in aesthetic and performance terms. Will it be another decade before album number three? I don’t know, but if it is, it will still be worth keeping track of how and with whom Sons of Alpha Centauri choose to spend that time, since invariably they’ll continue to learn lessons that will feed into their own work later. That process has unquestionably worked to their advantage here.

Sons of Alpha Centauri, Continuum teaser

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