Mother Engine Sign to Heavy Psych Sounds; Hangar Due this Fall

Posted in Whathaveyou on July 17th, 2017 by JJ Koczan

German instrumentalist trio Mother Engine will issue their third long-player, Hangar, this Fall via Heavy Psych Sounds. The Italian label and booking company continues its ascent as a major player in the European heavy underground, and after picking up a slew of acts from the American West Coast’s heavy psych boom, Mother Engine offer a different take in sound and overall approach. They’ve been a steady presence at fests from Desertfest Berlin to Freak Valley to last year’s Setalight Festival and others as you can see below, and with two records already under their belt(s) in 2015’s Absturz and 2013’s Muttermaschine, they seem primed to make even more of an impression as they head into their next offering.

No doubt the six-week tour that Heavy Psych Sounds hints at below will help in that effort as well. With the likely promise of more to come, here’s the announcement as posted by the label:

mother engine

Mother Engine – Heavy Psych Sounds

HEAVY PSYCH SOUNDS Records & Booking is really proud to announce a new band in the roster!

***MOTHER ENGINE***

The German trio Mother Engine plays instrumental rock music influenced by Stoner and Postrock as well as the trippy Psychedelic Rock of the 60s and 70s and the indigenous German Krautrock. It’s no real surprise that that the journey of that spaceship actually began at the tent stage of a big German Stoner Rock festival in the year 2013. What we talk about is a spirit of DIY, uncompromising endurance and the strong will to play every single stage.

After two records (‘Muttermaschine’ 2013, ‘Absturz’ 2015) and appearances at many of the most important European scene festivals like Stoned from the Underground, Freak Valley Festival, SonicBlast Moledo, Into the Void or Rotormania, it seems like they got their landing permission at the European stages for heavy psychedelic music. In fall 2017 they will release their third studio album ‘Hangar’ and doing a 6-week-tour through whole Europe presenting the new material.

People who heard the new songs live talk about a kind of stoner prog and maybe this impression hits right on the spot.

MODERN ENGINE are:

Chris Trautenbach (guitar)
Cornelius Grünert (drums)
Christian Dressel (bass)

https://www.facebook.com/MotherEngineRock/
https://motherenginerock.bandcamp.com/
https://www.facebook.com/HEAVYPSYCHSOUNDS/
www.heavypsychsounds.com

Mother Engine, Absturz (2015)

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Quarterly Review: Les Discrets, Test Meat, Matus, Farflung, Carpet, Tricky Lobsters, Ten Foot Wizard & Chubby Thunderous Bad Kush Masters, The Acid Guide Service, Skunk, The Raynbow

Posted in Reviews on July 10th, 2017 by JJ Koczan

quarterly-review-summer-2017

My friends, the time has come. Well, actually the time came about two weeks ago at the end of June, but I won’t tell if you don’t. Better late than never as regards all things, but most especially The Obelisk’s Quarterly Review, which this time around features releases recent, upcoming and a bit older, a mix of known and lesser known acts, and as always, hopefully enough of a stylistic swath to allow everyone whose eyes the series of posts catches to find something they dig between now and Friday. As always, it’ll be 50 records from now until then, 10 per day, and I see no reason not to jump right in, so let’s do that.

Quarterly Review #1-10:

Les Discrets, Prédateurs

les discrets Prédateurs

After offering a preview of their marked stylistic turn in last year’s Virée Nocturne EP (review here), Lyon, France’s Les Discrets return with the suitably nighttime-urbane vibing of their Prédateurs full-length via Prophecy Productions. Five years after Ariettes Oubliées (review here), Fursy Teyssier and company reinvent their approach to the sonic lushness of their earlier work, departing the sphere of post-black metal they previously shared with sister band Alcest in favor of an anything-goes heavy experimentalism more akin to Ulver on cuts like “Le Reproche” or the deeply atmospheric “Fleur des Murailles.” Drones pepper “Rue Octavio Mey” and closer “Lyon – Paris 7h34” effectively conveys the sense of journey its train-schedule title would hint toward, and indeed Les Discrets as a whole seem to be in flux throughout Prédateurs despite an overarching cohesion within each track. It’s a fine line between multifaceted and disjointed, but fortunately, Teyssier’s grip on melodicism is unflinching and enough to tie otherwise disparate ideas together here.

Les Discrets on Thee Facebooks

Les Discrets at Prophecy Productions

 

Test Meat, Demo

test meat demo

Considering the pedigree involved in guitarist/vocalist Darryl Shepard (ex-Milligram, Blackwolfgoat, Kind, etc.), bassist Aarne Victorine (UXO, Whitey) and drummer Michael Nashawaty (Planetoid, Bird Language), it’s little surprise that Test Meat’s Demo would have a pretty good idea of where it wants to come from. The five-track first showing from the Boston trio blends raw-edge grunge and noise rock on “He Don’t Know” after opening with its longest inclusion (immediate points) in the 3:50 “Cuffing Season,” and though centerpiece “Done” nods at the starts-and-stops of Helmet, the subsequent 2:35 push of “If You Wanna” is strikingly post-Nirvana, and closer “Permanent Festival” rounds out by bridging that gap via a still-straightforward heavy rock groove. Formative, yeah, but that’s the whole point. Test Meat revel in their barebones style and clearly aren’t looking to get overly lush, but one can’t help but be curious how or if they’ll develop a more melodic sensibility to go with the consuming, full buzzsaw tones they elicit here.

Test Meat on Thee Facebooks

Test Meat on Bandcamp

 

Matus, Intronauta

matus intronauta

Worth noting that while the opening cut here, “Claroscuro,” shares its title with Matus’ 2015 full-length (review here), that song didn’t actually appear on that album. Does that mean that the Lima, Peru, classic progressive rockers are offering leftovers from the same sessions on their new EP and perhaps final release, Intronauta? I don’t know, but the four tracks of the digital outing are a welcome arrival anyway, from the laid back easy vibes of the aforementioned opener through the riffier “Intronauta (Including Hasta Que El Sol Descanse en Paz),” the Theremin-soaked finish of the harder-driving “Catalina” and the acoustic-led four-part closer “Arboleda Bohemia,” which unfolds with lushness that remains consistent with the naturalism that has always been underlying in the band’s work. They’ve said their last few times out that the end is near, and if it’s true, they go out with a fully-cast sonic identity of their own and a take on ‘70s prog that remains an underrated secret of the South American underground.

Matus on Thee Facebooks

Matus on Bandcamp

 

Farflung, Unwound Celluloid Frown

farflung unwound celluloud frown

The jury, at least when it comes to the internet, still seems to be somewhat divided on whether the name of Farflung’s five-track/34-minute EP is Unwound Celluloid Frown or Unwound Cellular Frown. I’d say another argument is whether it’s an EP or an LP, but either way, let the follow-up to the more clearly-titled 2016 album (review here) demonstrate how nebulous the long-running Los Angeles space rockers can be when it suits them. Hugely and continually underrated, the troupe once again aligns to Heavy Psych Sounds for this release, which is rife with their desert-hued Hawkwindian thrust and weirdo vibes, permeating the rocket-fuel chug of the title-track and the noise-of-the-cosmos 13-minute headphone-fest that is “Axis Mundi,” which seems to end with someone coming home and putting down their car keys before a slowly ticking clock fades out and into the backwards swirling intro of lazily drifting closer “Silver Ghost with Crystal Spoons.” Yeah, it’s like that. Whatever you call it, the collection proves once again that Farflung are a secret kept too well.

Farflung on Thee Facebooks

Heavy Psych Sounds website

 

Carpet, Secret Box

carpet secret box

Immersive and progressive psychedelia unfolds from the very opening moments of Carpet’s third album, Secret Box (on Elektrohasch Schallplatten), as the Augsberg, Germany-based five-piece explore lush arrangements of Moog, Rhodes, trumpet, vibraphone, etc. around central compositions of fluid guitar-led melodies and engaging rhythms. Their 2015 Riot Kiss 7” (review here) and 2013 sophomore long-player, Elysian Pleasures (review here), came from a similar place in intent, but from the funk wah and percussion underscoring the pre-fuzz-explosion portion of “Best of Hard Times” and the okay-this-one’s-about-the-riff “Shouting Florence” to the serene ambience of “For Tilda” and ethereal fluidity of “Pale Limbs” later on, the secret of Secret Box seems to be that it’s actually a treasure chest in disguise. Opening with its longest track in “Temper” (immediate points), the album hooks its audience right away along a graceful, rich-sounding melodic flow and does not relinquish its hold until the last piano notes of the closing title-track offer a wistful goodbye. In between, Carpet execute with a poise and nuance all the more enjoyable for how much their own it seems to be.

Carpet on Thee Facebooks

Carpet on Bandcamp

 

Tricky Lobsters, Worlds Collide

tricky lobsters worlds collide

Full, natural production, crisp and diverse songwriting, right-on performances and a name you’re not about to forget – there’s nothing about Tricky Lobsters not to like. Worlds Collide is their sixth album and first on Exile on Mainstream, and the overall quality of their approach reminds of the kind of sonic freedom proffered by Astrosoniq, but the German trio of guitarist/vocalist Sarge, bassist/vocalist Doc and drummer/vocalist Captain Peters have their own statements to make as well in the stomping “Battlefields,” the mega-hook of “Big Book,” the dreamy midsection stretch of “Father and Son” and the progressive melody-making of “Tarred Albino” (video premiere here). The emphasis across the nine-song/42-minute outing is on craft, but whether it’s the patient unfolding of “Dreamdiver Pt. I & II” or the harp-and-fuzz blues spirit of closer “Needs Must,” Tricky Lobsters’ sonic variety comes paired with a level of execution that’s not to be overlooked. Will probably fly under more radars than it should, but if you can catch it, do.

Tricky Lobsters on Thee Facebooks

Tricky Lobsters at Exile on Mainstream Records

 

Ten Foot Wizard & Chubby Thunderous Bad Kush Masters, Special

ten-foot-wizard-chubby-thunderous-bad-kush-masters-special

Dubbed Special for reasons that should be fairly obvious from looking at the cover art, this meeting of minds, riffs and cats between Manchester’s Ten Foot Wizard and London’s Chubby Thunderous Bad Kush Masters brings four tracks – two per band – and goes so far as to find the groups collaborating on the former’s “Get Fucked,” which opens, and the latter’s “Dunkerque,” which begins their side of the 7”, as vocalists The Wailing Goblin (of Chubby Thunderous) and Gary Harkin (of Ten Foot Wizard) each sit in for a guest spot on the other band’s cuts. Both bands also offer a standalone piece, with Ten Foot Wizard digging into heavy rock burl on “Night Witches” and Chubby Thunderous blowing out gritty party sludge in “Nutbar,” which rounds out the offering, and between them they showcase well the sphere of the UK’s crowded but diverse heavy rock underground. Kind of a niche release in the spirit of Gurt and Trippy Wicked’s 2016 Guppy split/collab, but it works no less well in making its impact felt.

Ten Foot Wizard on Thee Facebooks

Chubby Thunderous Bad Kush Masters on Thee Facebooks

 

The Acid Guide Service, Vol. 11

the acid guide service vol 11

It turns out that Vol. 11 is actually Vol. 1 for Garden City, Idaho, three-piece The Acid Guide Service, who dig into extended fuzz-overdose riffing on the 52-minute nine-tracker, proffering blown-out largesse even on shorter cuts like the five-minute “Into the Sky” while longer pieces like opener “Raptured” (7:16), “EOD” (9:38) and closer “Black Leather Jesus” (10:04) skirt lines between structure and jams as much as between heavy rock and psychedelia. Proffered by the trio of guitarist/vocalist Russ Walker, bassist/vocalist Tyler Walker and drummer Nick McGarvey, one can hear shades of Wo Fat in the guitar-led expanse of “Rock ‘n’ Roll (Is the Drug I’m On),” but on the whole, Vol. 11 speaks more to the late-‘90s/early-‘00s post-Kyuss stoner rock heyday, with flourish of Monster Magnet and Fu Manchu for good measure in the hard-swinging “Dude Rockin’” and its chugging companion piece, “Marauder King.” Big tones, big riffs, big groove. The Acid Guide Service are preaching to the converted, but clearly coming from a converted place themselves in so doing. Right on.

The Acid Guide Service on Thee Facebooks

The Acid Guide Service on Bandcamp

 

Skunk, Doubleblind

skunk doubleblind

Professing a self-aware love for the earliest days of heavy metal in idea and sound, Oakland’s Skunk offer their full-length debut with the self-released Doubleblind, following up on their 2015 demo, Heavy Rock from Elder Times (review here). That outing featured four tracks that also appear on Doubleblind – “Forest Nymph,” “Wizard Bong,” “Black Hash” and “Devil Weed.” Working on a theme? The theme is “stoned?” Yeah, maybe, but the cowbell-infused slider groove and standout hook of “Mountain Child” are just as much about portraying that ‘70s vibe as Skunk may or may not be about the reefer whose name they bear. Presumably more recent material like that song, “Doubleblind,” closer “Waitin’ Round on You” and leadoff cut “Forest Nymph” coherently blend impulses drawn from AC/DC, Sabbath and Zeppelin. John McKelvy’s vocals fit that spirit perfectly, and with the grit brought forth from guitarists Dmitri Mavra and Erik Pearson, bassist Matt Knoth and drummer Jordan Ruyle, Skunk dig into catchy, excellently-paced roller riffing and cast their debut in the mold of landmark forebears. Mothers, teach your children to nod.

Skunk on Thee Facebooks

Skunk on Bandcamp

 

The Raynbow, The Cosmic Adventure

the raynbow the cosmic adventure

As they make their way through a temporal drift of three tracks that play between krautrocking jazz fusion, psychecosmic expansion and Floydian lushness, Kiev-based explorers The Raynbow keep immersion central to their liquefied purposes. The Cosmic Adventure (on Garden of Dreams Records) is an aptly-titled debut full-length, and the band who constructed it is comprised of upwards of eight parties who begin with the 16-minute opener and longest track (immediate points) “Changes,” which builds toward and through a metallic chug apex, sandwiching it on either side with ultra-patient molten tone and soundscaping that continues to flourish through the subsequent “Cosmic Fool” (5:17) and “Blue Deep Sea Eyes” (8:18), the whole totaling a still-manageable outward trip into reaches of slow-moving space rock that whether loud or quiet at any individual moment more than earns a volume-up concentrated headphone listen. The kind of outfit one could easily imagine churning out multiple albums in a single year, The Raynbow nonetheless deliver a dream on The Cosmic Adventure that stands among the best first offerings I’ve heard in 2017.

The Raynbow on Thee Facebooks

Garden of Dreams Records on Bandcamp

 

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Deadsmoke Announce Sept. 29 Release for Mountain Legacy

Posted in Whathaveyou on June 30th, 2017 by JJ Koczan

deadsmoke

Italian sludgers Deadsmoke will issue their second album for Heavy Psych Sounds this September. With the title set as Mountain Legacy, and newly-unveiled artwork keeping on theme with their 2016 self-titled debut (review here), it seems pretty safe to expect the same kind of formidable tones and riffs that album promulgated in cuts like “Endless Cave” and “Wolfcurse.” Some songs just sound heavy before you even hear them, and certainly the stated thematic the record will examine is one of considerable heft. We’ll see how it goes, I guess.

Either way, one looks forward to hearing Mountain Legacy when the time comes. Presales start Sept. 1, as the PR wire informs:

deadsmoke mountain legacy

HPS Records & Booking presents a new release: DEADSMOKE – Mountain Legacy

THE NEW ALBUM OUT SEPTEMBER 29TH

PRESALE START SEPTEMBER 1ST

Mountain Legacy is an album exploring something fundamental to humanity: ISOLATION

The illusion of silence, which is a natural non-existing concept, is perfectly described by synthetized sounds and noises of the newly acquired band member Clavdio Rocchetti (In Zaire). These sounds are missing on the first self-titled release of Deadsmoke, so now the old tracks have been enriched and new ones have been composed providing a consistent psych-disturbed synthetized sound.

Everybody experiencing isolation and solitude on the mountain knows that the mind is constantly speaking. With a language made of noises. And the mountain itself is speaking. With a language made of slow, deep, grating, growling movements. This is what we try to represent with this album: a translation of how isolation can be felt. This is a precious legacy. The legacy of the previous album, the legacy of the mountain.

TRACKLIST

MALEVOLENT PATH
ENDLESS CAVE
HISS OF THE WITCH
EMPEROR OF SHAME

WOLFCURSE
FOREST OF THE DAMNED
MOUNTAIN LEGACY

Deadsmoke is an Italian doom sludge band that sounds like amplifiers buried in the deep, with down-tuned monolithic guitar riff scraping the soil down to the core of the earth.
Slow, hypnotic, dissonant cadences recall the eternal need for isolation and the atavistic fear of nothingness. Sub-frequencies corrode the one last trace of human cognition, apprehension and judgment.

Your soul is already burned, smoke is what remains.

https://www.facebook.com/deadsmokedoom/
https://www.facebook.com/HEAVYPSYCHSOUNDS/
http://www.heavypsychsounds.com/

Deadsmoke, Deadsmoke (2016)

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Turn Me on Dead Man Sign to Heavy Psych Sounds

Posted in Whathaveyou on June 16th, 2017 by JJ Koczan

Italian imprint Heavy Psych Sounds sends word of an allegiance with San Francisco psych weirdos Turn Me on Dead Man. This comes only days after the label picked up The Lords of Altamont and continues a focus on signing West Coast US bands that has also seen them snagging the likes of Banquet, Farflung, The Freeks, Fatso Jetson, Glitter Wizard, and Cosmic Wheels, among others. No word yet on when Turn Me on Dead Man might make their debut through the label, but the band released their latest album, Heavymetal Mothership, in Dec. 2016, so it seems entirely possible they might start with a reissue of that before moving forward. Just speculation on my part, but plausible enough.

More on that as I hear it. The announcement of the signing came through the PR wire:

turn me on dead man

Heavy Psych Sounds Records & Booking presents: TURN ME ON DEAD MAN new signing

HEAVY PSYCH SOUNDS Records & Booking is really proud to welcome in the HPS family the Heavy Psychedelic-Space-Metalz masters

TMODM are an heavydelic space rock band from San Francisco. Turn Me On Dead Man combines Heavy Metal and Psychedelia to forge a music that is both transcending and unforgettable. The songwriting plunges listeners into the heavydelic landscapes of 60’s experimentalism and 70’s bombast, creating a disc that is enthralling, imaginative, hugely entertaining, and incredibly hard rocking!

The group have been creating their unique brand of lysergic-soaked rock since their inception in 2000, gigging extensively throughout the San Francisco bay area and garnering praise from all over their home turf and the country, spurred on by heavy rotation at the influential WFMU station in New Jersey. Alternative Tentacles founder Jello Biafra was suitably impressed by the band’s spaced-out, glammed-up, turned-up brand of audio mayhem enough to re-release their first epic record, “God Bless the Electric Freak” on A.T.!

Live, Turn Me On Dead Man is a spectacle of epic proportions; a visceral sonic boom that spans the spectrum from the meanest, most gorgeous anthems of rock to the exotic ragas of modern psych, creating an explosive and diverse stage performance as energetic as it is uncommon. Simply put, Turn Me On Dead Man plays Heavy Crush Bliss Rock breaking the sound barrier on their own private Lear Jet headed straight to HELL!

The bands twin guitar harmonization, melodic rhythmic switchbacks and trippy apocalypto- mystical lyricism keep California’s psychedelic rock tradition alive

“Mind melt music for the sick and twisted, heavydelic super rock for the ultimate freak out”

HEAVY PSYCH SOUNDS Records quote:
It’s almost two years we are dealing with the band, and finally we reached the point.
TMODM is finally part of the HPS Records family!!
Their sound and attitude reflect a lot which is the label target in terms or Space Rock, Psychedelic Rock and Heavy Rockness

Turn Me on Dead Man:
Mykill ZIggy: Guitars, Vocals, Synthesizers, Bass, Phasers and Lasers
Nick Doom: Guitars and Music Theory
Christopher Melville Lyman: Drums, Percussion, and Vocals
Attis Ngo: Bass, Keyboards

https://www.facebook.com/TurnMeOnDeadManSF/
https://www.instagram.com/turn_me_on_dead_man/
https://tmodm.bandcamp.com/
https://www.facebook.com/HEAVYPSYCHSOUNDS/
www.heavypsychsounds.com

Turn Me on Dead Man, Haters, Space Invaders, and Clones (2015)

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The Lords of Altamont Sign to Heavy Psych Sounds

Posted in Whathaveyou on June 13th, 2017 by JJ Koczan

This past December, long-running Los Angeles heavy punkers The Lords of Altamont were in the studio with Paul Roessler of The Screamers working on their sixth album. There’s video at the bottom of this post for proof. That record, it’s now been revealed, will be issued via Heavy Psych Sounds as the band’s debut on the label. It’s their first outing since 2014’s Lords Take Altamont, and though I’ve yet to see a solid release date or title for the record, The Lords of Altamont have tour dates listed on their site (snagged and included below) that will find them on the road in Europe next month.

That’d be a quick turnaround from hey-this-band-is-signed to okay-here’s-the-record, but stranger things have happened. Here’s the announcement from Heavy Psych Sounds:

the lords of altamont

THE LORDS OF ALTAMONT – Heavy Psych Sounds

HEAVY PSYCH SOUNDS Records & Booking is really proud to announce a new band in the roster!

THE LORDS OF ALTAMONT news about new projects on the way soon!

The Lords of Altamont bring forth raw rock and roll fury birthed from the ultimate end to the era of peace and love. What was billed to be the “Woodstock of the West,” the infamous Altamont Free concert on December 6th, 1969 was highlighted instead by heavy drugs, motorcycle chains and brass knuckles and later punctuated with shoving matches and fist fights. This palpable sense of bawdy foreboding resulted in four births, four deaths and extensive property damage.

While the hippies had been grooving and mellowing out in the Bay Area, the forefathers of the Lords of Altamont were playing high energy rhythms in the beer soaked venues of Detroit and the dingy clubs along LA’s Sunset Strip. Mid-60s London RnB shares equal space with the scruffy 70s NYC Bowery among the influences of The Lords also. They take their other cues from kids banging out primitive riffs on cheap guitars all across the USA in garages alongside chopped bikes and American v-8 muscle, lingering exhaust fumes mixing with sweat to conjure the rare elixir of real rock n roll.

The story of the band who would come to be known as The Lords of Altamont gets a proper start in late 1999. A son of Southern California and a veteran of the SoCal music scene, Jake Cavaliere – with numerous bands and projects from garage to punk dating back to the late 80s under his belt – enlisted fellow motorcycle rider and bandmate of the instro/surf sensation The Bomboras, Johnny Devilla, to form something new. Max Eidson, Doran Shelley, and Gabriel Hammond rounded out the original lineup known as “The First Five”. Besides holding their first show at the legendary venue The Garage in Hollywood, high points include touring as the support act for their primitive rock n roll idols The Cramps, infamous rock gods The Who as well as counting the late Michael Davis of the MC5 as a past member.

Through personnel changes and various adventures over the past 17+ years, The Lords of Altamont continue to release albums and Jake “The Preacher” Cavaliere, along with his assemblage of gritty and talented personalities, continues to captivate audiences with unparalleled hard driven performances the world over.

The Lords Of Altamont are:
Jake Cavaliere
Dani Sindaco
Rob Zimmerman
Steven Van Der Werff

The Lords of Altamont live:
28 July Macon, FR
29 July Sanguinetto, IT
30 July Lugo di Vicenza, IT
31 July Sezzadio, IT
01 Aug Marina di Ravenna, IT
02 Aug Torino, IT
05 Aug Waarschoot, BE

https://www.facebook.com/LordsOfAltamont/
http://lordsofaltamont.com/
https://www.instagram.com/lordsofaltamont/
https://www.facebook.com/HEAVYPSYCHSOUNDS/
www.heavypsychsounds.com

The Lords of Altamont in the studio

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Mothership European & UK Tour Starts June 17

Posted in Whathaveyou on May 24th, 2017 by JJ Koczan

mothership (Photo Jason Goodrich)

Next month, Texas heavy rock exports Mothership will head back to Europe and the UK for a tour to support their 2017 third album, High Strangeness (review here). Launching with a revisit to Germany’s Freak Valley Festival, from which they previously released a live album, the power trio will make their way in the company of desert legends Yawning Man to the UK for a stretch alongside Ripple Music compatriots Poseidon, after which they’ll meet up with Karma to Burn and Egypt and work their way toward the finish of the run July 14 at Stoned from the Underground, also in Germany. Almost a full month on the road, shows all around Europe, and it comes full circle at German fests. Awesome.

Word came through the PR wire about the UK shows, and I’ve added the complete European run info here — because one likes to be thorough about these things. Check it out:

mothership euro tour square

MOTHERSHIP Set to Storm the U.K. for the HIGH STRANGENESS’ UK Album Tour 2017

Mothership took the world by storm with their latest album, “High Strangeness”, their 4th release for California Heavy Rock leader, Ripple Music. After months of non-stop touring in America, now the Texan hard rockers take their high energy, guitar-mad show to Europe. Be sure not to miss ‘HIGH STRANGENESS’ UK Album Tour 2017. Tickets on sale now!

Joining them on the U.K. highways are Ripple Labelmates, post-metal doomsters, Poseidon, who’ll be touring their Ripple Music debut, “Prologue”

17 June – Siegen, DE – Freak Valley Festival (SOLD OUT)
18 June – Berlin, DE – Badehaus*
19 June – Hamburg, DE – Hafenklang*
21 June – Landgraaf, NL – Oefenbunker
22 June – Utrecht, NL – dB’s
23 June – Bourlon, FR – Rock In Bourlon
24 June – Brussels, BE – Magasin 4
25 June – Milton Keynes, UK – Craufurd Arms+
26 June – Coventry, UK – The Phoenix+
27 June – Manchester, UK – Factory+
28 June – Edinburgh, UK – Bannermans+
29 June – Cardiff, UK – Fuel+
30 June – Bournemouth, UK – The Anvil+
01 July – London, UK- The Black Heart+
03 July – Paris, FR – Le Glazart**
04 July – Nantes, FR – Le Scene Michelet**
06 July – Barcelona, ES – Rocksound
07 July – Turin, IT – Blah Blah
08 July – Povegliano Veronese, IT – Art Pollution Festival
09 July – Parma, IT – App Colombofili
10 July – Treviso, IT – Benecio Live Gigs***
11 July – Vienna, AUT- Arena
12 July – Nuremberg, DE – MUZclub
13 July – Munich, DE – Feierwerk
14 July – Erfurt, DE – Stoned From The Underground Festival
* W/ Yawning Man
+ W/ Poseidon
**W/ Karma To Burn & Egypt
***W/ Karma To Burn

Mothership is:
Kelley Juett – Guitars/Vox
Kyle Juett – Bass/Vox
Judge Smith – Drums

mothershipusa.bandcamp.com
mothershiphaslanded.com
facebook.com/mothershipusa
twitter.com/mothershipusa
ripple-music.com
ripplemusic.bandcamp.com
https://www.facebook.com/HEAVYPSYCHSOUNDS/
www.heavypsychsounds.com

Mothership, High Strangeness (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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Review & Full Album Stream: Cachemira, Jungla

Posted in audiObelisk, Reviews on May 12th, 2017 by JJ Koczan

cachemira jungla

[Click play above to stream Cachemira’s Jungla in full. Album is out today, May 12, on Heavy Psych Sounds.]

More than most records, let alone most debuts, Cachemira‘s first offering, Jungla, gives the front-to-back impression of a live set. With “Ouverture” — French for “opening” — the Barcelona three-piece gradually bring the Heavy Psych Sounds release to life over the course of its first four minutes, and from there, it’s all about the naturalist chemistry that emerges as one song feeds into the next over the course of four pieces on two vinyl sides. When taken together, those two sides, “Ouverture” included, comprise a tight 30-minute set that showcases the band’s personality in what is apparently their formative stage. That is, while Cachemira may not sound like it as they round the hairpin turns of eight-minute tracklist centerpiece and side A closer “Goddess,” which follows “Sail Away” after “Ouverture,” they’re are a pretty new group.

The lineup has some measure of pedigree, as guitarist/vocalist Gaston Lainé has played in Brain Pyramid, bassist Pol Ventura in 1886 and drummer Alejandro Carmona in Prisma Circus, but Jungla is their debut outing together following a recorded early version of the album’s instrumental title-track and a posted leak of “Goddess,” which when taken together here comprise the whole of side B. I suppose one could call it boogie rock with all the scorching guitar-led shuffle in “Goddess” or “Jungla” itself, but the classic-rocking sensibility Cachemira elicit owes more to the likes of Radio Moscow than to Graveyard, and among the most appealing aspects of Jungla is its unpretentious, organic vibe.

Most especially for the heavy rock converted, it’s an easy listen that asks little of its audience other than they tag along for a slew of guitar solos and jam-based songcraft. Anyone who’s heard Prisma Circus can tell you Carmona is a monster shuffle-drummer, and he showcases some of that here, finding complement in the warm low tone of Ventura‘s bass as the band works in classic power trio construction — Carmona and Ventura the powerhouse rhythms section to Lainé‘s frontman presence. As recorded by Lainé‘s Brain Pyramid bandmate, Baptiste Gautier-Lorenzo, the spirit in “Ouverture” is immediately warm with a subtle underscoring of organ for the sweet guitar tone, and as they build toward “Sail Away,” transitioning via that same organ line, the groove that takes hold remains informed by the relatively patient start they give the album.

cachemira

In terms of the basic elements at play, Jungla works in familiar terrain — guitar, bass, drums, vocals, some flourish of keys — but it’s really about what these players bring to it and how well they work together that lets Jungla impress in the way it does. The band has said outright that this is the product of their beginnings, some of their earliest work from about a year ago, and that may well be the case, but that also shows clearly that what they have most going for them at this point is the fluidity of the instrumental conversation between LainéCarmona and Ventura, as the smoothness of their delivery throughout becomes enough to even out the purposeful choppiness and bounce of their writing style such that even the more raucous back half of “Goddess” — drum solo and all — holds firm to its overarching languid mood. Even when they’re in a rush, they don’t sound like they’re in any rush whatsoever.

That’s not to say they don’t build some significant momentum throughout Jungla, because they most certainly do. Even as “Goddess” breaks before the side flip brings on the closing duo of “Jungla” and “Overpopulation,” the sense of motion to the songs is clear, and whether they’re running in circles as “Jungla” builds to a head in its second half, underscored by persistent, insistent crash from Carmona on drums and a steady throb from Ventura on bass, almost jazzy by the finish after a wah-soaked, forward-driven start, or squealing through the starts and stops and winding progression of the finale, that motion is as varied and multidirectional as it ultimately is maintained. If Jungla is to represent Cachemira‘s beginnings, then their beginnings find them not at all afraid of flying off the handle as they twist around complex rhythm structures, and proven that they’re right not to be.

Whether it’s from their collective experience in other outfits or just happenstance that they work so well together — or, I suppose, some combination of the two — the basic fact of the matter is Cachemira‘s debut offers explosive moments amid a liquid, welcoming, almost understated presentation for what they’re actually doing, and in addition to its own accomplishments, it sets them up to move forward and develop along the course they’re setting here. Primarily, though, it speaks to what would seem to be their force as a stage act, and though it’s a short set, there’s no question they leave their audience wanting more. One suspects it won’t be all that long until we get it, but until then, Jungla‘s balance between the head-spinning and the molten makes their first album a significant preach well worth engaging. It would be a hell of a live show.

Cachemira on Thee Facebooks

Cachemira on Bandcamp

Cachemira at Heavy Psych Sounds website

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