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)

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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.”

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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

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http://kamchatka.se/
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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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Sons of Alpha Centauri to Release Continuum June 1

Posted in Whathaveyou on April 16th, 2018 by JJ Koczan

Sons of Alpha Centauri

Space is the apparent theme of Sons of Alpha Centauri‘s sophomore long-player. Continuum is set to release on June 1 through H42 Records and Cobraside, and it follows 11 years after the band made their self-titled debut (discussed here). What have they been doing in all that time? Mostly releasing splits and collaborations. They took part in Yawning Sons with Yawning Man and Alpha Cat with Karma to Burn offshoot Treasure Cat, put out no fewer than three splits with Karma to Burn proper, as well as a split with WaterWays and Hotel Wrecking City Traders and a split with A Death Cinematic.

So they’ve been keeping plenty busy, in other words, just not putting out an album. Well, the eight-track/39 minute Continuum changes that with graceful progressive flourish and more weighted stretches to match its breadth of atmosphere in cuts like “Solar Storm” and “Interstellar.” A science-driven post-rock pulses through “Io” while the penultimate “Orbiting Jupiter” offers reflective piano ahead of the 11-minute closer “Return Voyage.”

Not saying I’ve heard it yet or anything, but it’s an album that covers a lot of ground and well earns its voyaging aspects. Here’s info from the PR wire:

Sons of Alpha Centauri Continuum

Sons of Alpha Centauri announce details from upcoming album “Continuum”

Over a decade since the release of their debut album, UK’s stoner/progressive metallers Sons of Alpha Centauri return for their sophomore album – an epic introspective journey of abrasive and ambient progressive electronic alt rock entitled Continuum.

Over a decade in development, Continuum is driven with a raw infusion of power that only Aaron Harris from ISIS and Palms (which features members from Deftones) could deliver from the producing and mixing helm. Harris has driven his unique and deep understanding of the genre to channel the album to compare against contemporaries such as the debut Palms album and the ISIS masterpiece Panopticon.

This raw and cathartic performance further reinforces that this is Sons of Alpha Centauri at their heaviest with Continuum wrought with dark anthems, intense textures, introspective interludes and tidal waves of immersive distortion.

Having just recently released a boxset of their collaborations with Karma to Burn and their partnership with Yawning Man known as Yawning Sons being widely regarded as a cult act the return of Sons of Alpha Centauri is something to really watch in 2018.

Continuum sees a development of the heavier blended concepts expressed on the debut album and Sons of Alpha Centauri re-emerge with Aaron Harris as the instrumental electronic alt rock titans!

New Sons of Alpha Centauri album Continuum will be released on 1 June 2018. H42 Records – Worldwide and on Cobraside Records – United States & Canada

Aaron Harris from post metal band ISIS and Palms (featuring members of Deftones) has engineered and produced the Continuum.

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Sons of Alpha Centauri, Continuum teaser

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Rattlesnake Premiere New Single “Dirt in My Eyes”

Posted in audiObelisk on March 22nd, 2018 by JJ Koczan

In a collaboration between In for the Kill Records and H42 Records, newcomer New Yorker classic-style Southern rockers Rattlesnake will issue their debut seven-inch in May. The two-tracker boasts brand new material from the four-piece-maybe-turned-trio which features the likes of Adam Kriney of The Golden Grass and La Otracina on drums/vocals, J.P. Gilbert of JP and the Gilberts on guitar/vocals as well as bassist Don Berger, and comes in three different vinyl incarnations, all of course subject to limited pressings. Because that’s how it goes. If you don’t get it, it’s gone.

rattlesnake posterRattlesnake made a not-at-all-quiet entry last year, playing their first show in May and offering the three-song cassette demo, Outlaw Boogie (review here), that served as one of 2017’s best short releases. Its aesthetic seemed locked in, its presentation was professional, and the songwriting was ace in its structure and execution. “Dirt in My Eyes,” the premiere of which you can listen to via the YouTube player below, is no different but takes a step forward in its melodic reach and its meld of boogie and harder-edged impulses. It shares a brightness of perspective with The Golden Grass, but has an edge of its own in its harmonies and uptempo pulse. And yes, if you’re wondering, it’s maddeningly catchy.

In my experience, Kriney isn’t someone who embarks on a new project lightly. It could well be that Rattlesnake was started on a whim after a night of boozing among friends, but I doubt it. The Golden Grass had a plan, a timeline, goals, and given how much effort Rattlesnake puts into “Dirt in My Eyes,” I wouldn’t be the least bit surprised if they do as well. Fair enough as far as I’m concerned. All that means is we’re likely to hear from them again soon, which I think as you dig into the interplay of bass and airy guitar in the second half of the track before the final “woo!” is delivered, you’ll agree isn’t a negative in the slightest.

You can read more about the three versions of Dirt in My Eyes / Picture Perfect and head to the preorders via the PR wire info below — the test pressing is signed and limited to 20, if that piques your interest– and of course get a preview of “Dirt in My Eyes” via the player immediately following.

Please enjoy:

Rattlesnake, “Dirt in My Eyes” official premiere

Rattlesnake “Dirt In My Eyes”
A-side of the Rattlesnake “Dirt In My Eyes”/”Picture Perfect” 7″ issued on H42 Records/In For The Kill Records May 2018.

For those who dig the heavy strut of Classic Southern Rock, when it dipped it’s country shufflin’ toes into the sweet honey of Progressive Rock & early-Heavy Metal, well you’re gonna find a real treat in this debut 7” from RATTLESNAKE. A rock-solid display, both earnest & creative, overflowing with killer vocal harmonies, powerful guitar solos, tough riffs, devastating bass runs, & tasty drum fills (featuring Adam Kriney of THE GOLDEN GRASS on vocals/drums, JP GILBERT of J.A.C.K. on vocals/guitar & Don Berger on bass/vocals).

*Available in black or yellow or green vinyl. Black vinyl comes in the brown sleeve. Yellow & Green vinyl comes in the green sleeve. Please specify vinyl colour choice in the comments section on the order form!

*Also available in a limited edition of 20 test pressings, with special signed and numbered “skull” sleeves!

*Comes with digital download card.

North American Preorder available via: http://www.goo.gl/GdCuoC

Rest of the World Preorder available via: http://www.h42records.8merch.com/services/store

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Review & Full Album Premiere: Various Artists, Legends of the Desert Desertfest 12″

Posted in audiObelisk, Reviews on March 16th, 2018 by JJ Koczan

va legends of the desert 4 way split

For the last several years, German imprint H42 Records has partnered with Desertfest to create a special limited split release for in honor of the Spring festivals in London and Berlin. Past editions have included Karma to Burn and Sons of Alpha Centauri, Raging Speedhorn together with Monster Magnet, and Greenleaf locking heads with Steak — the tracks generally with some measure of exclusivity, be they previously unreleased, a remastered oldie (which I seem to recall was the case with Greenleaf), etc. In 2018, a year where the entire universe has unveiled its conspiracy against humanity to be completely overwhelming, H42 has also decided to up its game, though it does so in particularly serene fashion.

This year’s Desertfest split is titled Legends of the Desert, and in addition to jumping from 7″ vinyl to a full 12″, it also doubles the amount of acts included from two to four, bringing together the interrelated projects Fatso Jetson, Yawning Sons, WaterWays and Mario Lalli und Matthias Schneeberger to each present one cut seemingly representing one aspect or another of the Californian desert that the principle figures involved call home. Speaking of, while there are four groups included on Legends of the Desert, the platter is really telling the story of two key figures of California’s initial low desert rock scene in Mario Lalli and Gary Arce. Arce‘s trademark shimmering surf-derived guitar tone features on two of the four inclusions — Yawning Sons’ “Down in the Street,” and WaterWays‘ “Three Rivers” — while Lalli is aboard for three as a member of Fatso Jetson, WaterWays and of course his solo-project with Schneeberger, whose production work not only for Fatso Jetson but also the likes of earthlings?, Nick Oliveriand Gutter Twins, among many, many others, has made him a crucial presence behind the board in that scene.

As they should, Fatso Jetson lead off the proceedings with “Semi Lost,” which even if it weren’t the only track to include vocals would probably still be the catchiest song here. Aside from their “desert legends” status, which is basically irrefutable more than 20 years into their career, Fatso JetsonMario Lalli on guitar/vocals, Dino von Lalli on guitar, Larry Lalli on bass and Tony Tornay (now also of All Souls) on drums — have retained the experimentalist sensibility of their songwriting. As their last album, 2016’s Idle Hands (review here) reminded, their songwriting process is deeply varied, and as they open side A with “Semi Lost,” it’s a more laid back feel than some of their more forward punk-blasting groovers. Just so happens — total coincidence, I’m sure — that in addition to providing that landmark hook, it suits the vibe of the split really well.

Last I heard, Mario Lalli and Tony Tornay were both in WaterWays as well, featuring as the rhythm section alongside Gary Arce‘s inimitable guitar tone, derived from surf and goth rock but unmistakably of the desert itself. Though the two groups are very different, Arce serves as the uniting force between WaterWays closing out side A with the four-minute just-too-active-to-really-be-drift-but-kind-of-drifting-anyway “Three Rivers,” his guitar tone echoing out spacious as ever and evocative of the desert in a manner that groups from around the world have done their best to emulate and generally fallen flat in the effort. “Three Rivers” is resoundingly hypnotic, despite being just four minutes long, and though it’s twice the length and has a much fuller arrangement owing to the complete lineup of UK progressive instrumentalists Sons of Alpha Centauri, Yawning Sons‘ “Down in the Street” might dip lower in low end tone, but ultimately winds up in a similarly broad sphere, the ambience stretching out comfortably and patiently for the song’s duration, no less trance-inducing leading off side B than “Three Rivers” was in capping side A, though I will readily admit to being a sucker for Yawning Sons as I still consider their lone full-length, 2009’s Ceremony to the Sunset (review here, vinyl review here), among the finest releases Californian desert rock has ever produced. Anything new from them is welcome as far as I’m concerned.

Legends of the Desert ends with a particular note of intrigue in Mario Lalli und Matthias Schneeberger‘s “Spector,” which at 4:17 brings together the clear collaborative elements of the former’s guitar and the latter’s keys, but there are also drums and bass involved and I’m not sure who handled them. If it’s a studio project, it could’ve certainly been either party or someone like Tornay stopping through for the afternoon, but the real question is why “Spector” isn’t a Fatso Jetson song. Sure it’s instrumental, but Fatso Jetson have done plenty of instrumentals over the years, and Schneeberger, aside from producing, has been a regular guest contributor to their work. One can easily imagine, then, it was a conscious decision to adopt the Lalli/Schneeberger banner, and extrapolate from that the curiosity as to whether the two will collaborate directly on some future release apart from Lalli‘s work in Fatso Jetson, and what that might sound like. “Spector,” for what it’s worth, continues in the open-feeling spirit of Yawning Sons and WaterWays before it — a bit darker in tone — and whether or not it’s a harbinger of things to come, it makes a satisfying closing argument to Legends of the Desert, each side of which tells the tale of arid-climate-born fluidity and resonates with a creative force unlike anything from anywhere else. These Legends are still being told, still being shaped, but there’s no question that the impact they’ve had on the worldwide underground is massive, and if that’s what’s being celebrated here, you’ll get no argument from me.

I have the pleasure today of streaming the complete Legends of the Desert 12″, which officially releases May 4. You’ll find it below courtesy of H42 Records and Desertfest, and it is presented with my gratitude to both of them as well as to you for reading and listening.

Please enjoy:

DESERTFEST is just around the corner in May. 2018. For the past three years we contributed in collaboration with the DesertFest team the vinyl for the FEST. We decided to change the format into the 12″ vinyl format this year.

And what fits better to the DesertFest, as an album with bands with a very big relation to the ‘desert’? So we called the album LEGENDS OF THE DESERT (RELEASE MAY 4th 2018). For this fantastic vinyl we could won great bands and musicians, each of them with a previously unreleased song:

FATSO JETSON, YAWNING SONS, WATERWAYS and a solo project under the direction of MARIO LALLI & MATHIAS SCHNEEBERGER. As always ALEXANDER VON WIEDING was responsible for artwork and layout: a slightly variation of the original 7″ art.

Desertfest London website

H42 Records on Thee Facebooks

H42 Records on Bandcamp

H42 Records website

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