Review & Full Album Stream: 1782, 1782

Posted in Reviews on May 23rd, 2019 by JJ Koczan

1782 self titled

[Click play above to stream 1782’s self-titled debut in its entirety. Album is out May 24 on Heavy Psych Sounds.]

If you go and look up the year 1782 in Wikipedia, you’ll find a rundown of what are considered the noteworthy events that happened across that 12 months. It’s a lot of war and governmental action, people being born, people dying — basically the stuff you’d expect when you think of who was keeping records in the 18th century. None of it is the story Italian doomers 1782 are telling however. The Roman two-piece of Marco Nieddu (vocals, guitar, bass) and Gabriele Fancellu (drums, backing vocals) are focused on the later witch trials in Europe, in particular the case of Anna Göldi, who indeed was tortured and eventually decapitated by the Swiss state in 1782 as a witch after she allegedly put needles in the milk of the child of the family for whom she was working as a maid. In 2007-2008, the Swiss government acknowledged it as a “miscarriage of justice,” so better late than never, but Göldi is considered the last witch to be executed in Switzerland if not wider Europe and her story — including an affair and child with the head of that household, who was married and had her arrested — is emblematic of the treatment of women at the time.

The two-piece don’t take an outwardly critical stance on the subject matter, but neither are they glorifying chopping ladies’ heads off, which is something of a relief. The eponymous “1782,” which appears as the last original cut of the eight inclusions ahead of closer “Celestial Voices,” a Pink Floyd cover with guest vocals and organ, is instrumental, but in “She Was a Witch” and the slow rolling subsequent track “Black Sunday,” they seem nonetheless to be passing judgment of their own on the reasoning of centuries past; fair enough given the enduring spirit of masculine entitlement to control over a woman’s body and life. More than direct commentary, though, 1782‘s self-titled debut — which runs eight songs and 39 minutes delivered through Heavy Psych Sounds with a guest appearance from label honcho Gabriele Fiori (also of Black Rainbows, Killer Boogie and The Pilgrim) on guitar for the aforementioned “She Was a Witch” — prefers to stake its claim in dense-fog doom and nodder groove.

Nieddu‘s vocals are pushed low and echoing in the spirit of true post-Electric Wizard witch doom, and as a result, the tonality surrounding feels all the more viscerally massive. The recording’s overarching rawness — the album was produced by Alfredo Carboni at RKS Studios in Sardinia — only bolsters the bleak aesthetic and makes moments like the chanting toward the end of “The Spell (Maleficium Vitae)” come across as especially resonant ahead of the wah-bass finish. The album begins, suitably enough, with the ringing bell of “Intro (…To the Church)” and moves quickly into the riff-led “Night of Draculia,” a shorter and quicker leadoff that may or may not tie into the witchy thematic but makes a rousing introduction to the sound of the record more generally, with Fancellu‘s drums thud and crash backing the thick guitar and bass tones and Nieddu‘s vocals left to cut through that swamp of low end. The later, hooky “Oh Mary” is more angular, but still something of a complement in terms of overall approach, with the vocals particularly blown out at the forefront of the mix.

1782

That leaves the trio of “The Spell (Maleficium Vitae),” “She Was a Witch” and “Black Sunday” as the doomed heart of 1782, as well as the point of the switch between sides A and B, but the latter seems to be less of a concern for the band than a linear flow from front to back. As they push deeper into the villainous fuzz and damned melodicism, the sense of plunge is palpable, and their take on doom, well informed by the likes of Saint Vitus and of course Black Sabbath, nonetheless holds a modern edge in its willingness to cast off the trappings of frill in favor of the most straight-ahead-into-the-abyss vibe possible. Small turns here and there like Fiore‘s guitar solo in “She Was a Witch,” or the already-noted chanting in “The Spell (Maleficium Vitae),” or the organ showing up in the second half of “1782” in order to tie it more fluidly to the capping Floyd cover, do much to distinguish individual pieces, but clearly 1782 are thinking in terms of their first offering as a whole experience.

And it is their first offering. They are a new band, formed in Dec. 2018 and hit the studio this past February. Nieddu and Fancellu have worked together previously in the band Raikinas — whose vocalist, Alfredo Carboni, sings on “Celestial Voices” while Nico Sechi adds Hammond beneath — and that prior experience helps stave off some of the formative feel that might otherwise typify an effort from a group so nascent, but there’s little doubt in listening that 1782 are doing the work here of finding their sound and their place in the sphere of doom, discovering what they want to say with their sound and how they want to go about it. There are moments where the album feels disjointed, as in the jump from “Oh Mary” to “1782,” but the band make clear their foundation in these tracks, and as an initial connection, it still proves largely cohesive thanks in part to its conceptual basis and tonal consistency.

It is one to grow on, and listening to the hint at vocal harmony in the second half of “She Was a Witch,” 1782 give hints of their intention to do just that. In the meantime, their debut under the banner of obscure history gives them an immediately distinguishing place from which to grow. They’re neither strictly traditional doom nor cult rock, stoner riffing nor retro-style throwback, but there are of course elements of all of them at play and more besides. Where 1782 might lead them, I’d expect natural progression around what they’re doing here, with a mindset toward craft coming forward in kind with the clear purpose in their overall sound. They may stay this raw and they may not, but it works for them here.

1782 on Thee Facebooks

Heavy Psych Sounds on Thee Facebooks

Heavy Psych Sounds website

Heavy Psych Sounds on Bandcamp

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Rancho Bizzarro to Release Possessed by Rancho EP Aug. 2

Posted in Whathaveyou on May 15th, 2019 by JJ Koczan

rancho bizzarro

Italian desert-style heavy rockers Rancho Bizzarro — that’s two ‘z’s and two ‘r’s, just so you know; I’ve had it wrong before — will release a new EP titled Possessed by Rancho on Aug. 2 through Argonauta Records. The same countryman imprint issued the band’s debut album last year and has had them on its Argonauta Fest as well, so certainly familiar terrain, but the instrumentalist four-piece are still giving a tease of what the new release portends in streaming “Open Bar Deluxe,” the 7:55 opening track, which is nothing short of a fuzzy delight sure to earn approving nods from the converted. I have to think “Open Bar Deluxe” will be among the longer cuts on Possessed by Rancho, if only for the simple fact that if it’s five songs and they’re all upwards of eight minutes long, well, that’s an album, not an EP. I guess we’ll see when we get there.

Info (and tour dates) from the PR wire:

RANCHO-BIZZARRO-POSSESSED-BY-RANCHO-COVER-710x710

RANCHO BIZZARRO announce brand new EP, coming this Summer!

Tour Dates to kick off in May!

When Palm Desert tunes meet Detroit sounds, it’s time for RANCHO BIZZARRO to take over! The Italian four-piece, known from their excellent jam sessions drenched into fuzzy instrumental Stoner Rock with the hint of a classic 70’s attitude, has just announced the release of a brand new EP, coming on August 2nd 2019 via Argonauta Records! Following the band’s self-titled 2017 debut album and their critically acclaimed MONDO RANCHO EP (2018), the upcoming ‘Possessed By Rancho’ EP will deliver a new trip of a sound between motorcycles, vans, women and bars:

The tracklist reads as follows:
1. Open Bar Deluxe
2. King of the Van
3. El Motardo Loco
4. The Vengeance of Lord Humungus
5. Giusquiamo Slow Drink

Get possessed by the Rancho, and make sure to catch RANCHO BIZZARRO’s unique and heavy live performance at the following dates, to kick off this May:

18.05.19 IT – Montepulciano / Tap Room Olmaia
21.05.19 DE – Dresden / Ostpol
22.05.19 DE – Berlin / Toast Hawaii
23.05.19 DE – Bielefeld / Ptemkin Bar
24.05.19 DE – Tunzenberg / Kulturbraurei
25.05.2019 CH – Kreuzlingen / Horst Klub
27.06.19 IT – Milano / Magnolia Stone III

https://www.facebook.com/ranchobizzarro/
https://instagram.com/rancho_bizzarro
https://ranchobizzarro.tumblr.com/
http://www.argonautarecords.com
https://www.facebook.com/ArgonautaRecords/

Rancho Bizzarro, “Open Bar Deluxe”

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Bretus to Release Aion Tetra on Ordo MCM; “Cosmic Crow” Video Posted

Posted in Whathaveyou on May 15th, 2019 by JJ Koczan

bretus

Signing to Ordo MCM makes Italian doomers Bretus kin to a wide variety of darker and extreme metalurgists, from Apshyx to Thangorodrim. The Catanzaro four-piece released their last album, …From the Twilight Zone (review here), which was something of a departure from their prior Lovecraftian themes, in early 2017, and they’ll make their debut on the new label with their fourth album overall, Aion Tetra, this Fall. No exact date has yet been given for the release. Circa-Halloween would make sense, of course, but I haven’t heard anything.

The last album was notable for pulling away from the band’s prior sludge-infused ways, particularly in a shift moving from periodically screamed to exclusively clean vocals. Bretus had been plenty doomed before, of course, but it was a turn that really brought that out in their sound. As to how Aion Tetra will answer that development, I don’t yet know, since I haven’t heard it. But Bretus are giving an initial sampling in the video you can see below for “Cosmic Crow” from the record, and that’s at least something to go on until the rest of the thing shows up later this year.

The video takes footage from old horror movies and live performance clips and brings them together — I’d swear I caught a shot of Murnau’s Nosferatu in there — and sure enough fits the mood of the song effectively.

Dig:

bretus aion tetra

Aion Tetra will be out for the European cult label Ordo MCM (MOURNFUL CONGREGATION, MORTIIS, ASPHYX).

From Ordo MCM:

“We’re proud to announce that the master of Italian doom Bretus signed with us for the release of their new album. Will be released in limited edition cd, vinyl and digital this autumn. Soon more news!”

Bretus is:
Ghenes (High/Low Guitars and Fx),
Zagarus (Vox),
Janos (Bass),
Striges (Drums)

https://www.facebook.com/BretusDoom/
http://bretus.bandcamp.com/
https://www.facebook.com/OrdoMCM/
http://ordomcm.com/

Bretus, “Cosmic Crow” official video

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Mr. Bison Sign to Ripple Music; New LP & Split with Spacetrucker Coming Soon

Posted in Whathaveyou on May 7th, 2019 by JJ Koczan

Look, I’m a gentleman of a certain age, so I remember the first time I encountered the character who in the US version was called M. Bison in Street Fighter II. He whipped my ass. I got mine in the end, and so on through the TurboHyper and sundry other editions of the game, but the threat from M. Bison never dissipated. As such, even now when I see Mr. Bison — the name given to the character everywhere else — coming to the US to play Planet Desert Rock Weekend this month and announcing they’ve been signed to Ripple Music, there’s a decent sense of threat in my mind. Watch out for Mr. Bison because if you’re not ready they’ll whip your ass.

Maybe that’s true and maybe not. Their 2018 outing, Holy Oak (review here), had a more complex agenda, much to its credit, and a broader sonic reach suited the band. Apparently well enough to catch the ear of Ripple, which is saying something. Planet Desert Rock Weekend won’t be their first time in the States, but it feels celebratory nonetheless as they move forward toward their next LP and it’s revealed they’ll take part in Ripple‘s new Turn to Stone split series, following up on the wildly successful The Second Coming of Heavy 10-part excursion.

Good stuff all around. I like a feelgood story, so here’s one:

mr bison

Mr Bison Sign To Ripple Music, Record New Album and Prepare to Storm the Stage at Planet Desert Rock Weekend in Las Vegas

Preparing to deliver on the promise of their 2018 album Holy Oak, heavy psychedelic trio Mr Bison has signed with US purveyors of riff-heaviness, Ripple Music, to bring the band’s latest mesmerizing slab of acid jamming to the world.

MR. BISON, formed by Matteo Barsacchi (Guitar/Vocal), Matteo Sciocchetto (Guitar/Vocal), and Matteo D’Ignazi (Drum/Sound Effect/Vocal) established themselves as one of the most exciting combos in the heavy psych underground. After We’ll Be Brief and the critically acclaimed Asteroid , their singular assault on heavy, distorted blues couldn’t help but be noticed. A U.S.A tour soon followed then dozens of gigs in the Italian peninsula, opening for the likes of DANKO JONES, RED FANG, MONDO GENERATOR, KARMA TO BURN, MY SLEEPING KARMA, and many more. Following a sold out European tour, the trio raged back with the critically-hailed HOLY OAK.

Now it’s time for the next step. Signing to Ripple Music, the band keeps its unusual lineup, two guitars, drums and . . . no bass! In other hands this set up could be a disaster, but in the capable hands of these maestros, the two guitars together create a massive wall of sound where you won’t even notice the absence of bass. First coming out with a 12″ side of vinyl for the new Ripple Music Split LP Series, “Turn to Stone” where they share vinyl with US space rockers Spacetrucker, a new full-length will follow in 2020.

Imagine being in an overloaded black van on the roads of the Big South, playing nothing but early 70’s legendary acts like the almighty Capt Beyond, Orang-Utan mixed with one of the most powerful band of our days, Motorpsycho. And that’s Mr Bison. A refreshingly uplifting blast of gutsy, 70s-inspired stoner rock, played with passion and high energy that puts the power back into the classic power-trio formula.

About the new songs, Matteo D’Ignazi says, “The new songs are a concentration of stoner rock and psychedelic moments, dilated atmospheres that alternate with monolithic riffs. We are proud to be part of the Ripple family, one of the labels that has produced dozens of albums that we have always treasured! Being part of it now is a dream come true.”

Look for “Turn to Stone” the new split series to hit the streets early late 2019/early 2020. And be sure to catch Mr Bison live as they hit the stage at Planet Desert Rock Weekend in Las Vegas.

For more information on Planet Desert Rock Weekend: https://www.facebook.com/VRRProductions/

For Tickets:

https://www.eventbrite.com/e/planet-desert-rock-weekend-v2-weekender-pass-tickets-56264327117

www.facebook.com/mrbisonband
http://mrbison.bandcamp.com/
https://www.facebook.com/theripplemusic/
https://twitter.com/RippleMusic
https://ripplemusic.bandcamp.com/
http://www.ripple-music.com/

Mr. Bison, Holy Oak (2018)

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The Pilgrim Premiere “Dragonfly” from Walking into the Forest

Posted in audiObelisk, Reviews on April 3rd, 2019 by JJ Koczan

the pilgrim

Available to preorder since January, the debut album from The Pilgrim will be released April 26 through Heavy Psych Sounds. The 10-song/38-minute Walking into the Forest is a new venture for Gabriele Fiori, who’s already well known for being the head of the Heavy Psych Sounds label and booking agency as well as the frontman of Black Rainbows and Killer Boogie. Hey, some people like to stay busy.

Before the album was being announced, I was fortunate enough to be asked to write the bio for The Pilgrim, and of course I jumped at the opportunity as I tend to do. My motivation was pretty simple, and I think listening to Walking into the Forest makes the argument perhaps best of all, which was why I was so keen to host the premiere of “Peace of Mind,” the album’s opening track, when the time came for the announcement to go out. With The PilgrimFiori and his cohort drummer Filippo Ragazzoni don’t just take on new textures, but as songs like the Hawkwind cover “Brainstorm” show, there’s a definite tie-in with the work Fiori has done in the past. It comes in a more peaceful form throughout “The Time You Wait” and the finger-picked beginning of “Pendulum,” perhaps, but that sense of collective psychedelic trip is still there, and it feels all the more resonant for its foundation in earthy acoustic guitar, to which quiet-but-welcome drums/percussion are added along with keys and vocals. “Peace of Mind” begins the record at a hippie ramble, and soon enough after, “Sailor” seems to speak to the exploration that’s getting underway in this material, with a broader melodic scope and an affecting, bigger finish.

Because that’s what Walking into the Forest is: the beginning of a new exploration. It’s right The-pilgrim-walking-into-the-forestthere in the title in the word “into,” which implies you’re starting from somewhere else and entering the forest, and it’s right there in the prominent front foot of the Maarten Donders cover art. These songs may have been years in the making, but the recording unites them in the purpose of feeling out and establishing this unfamiliar sonic terrain, where it’s not about the effects wash or the space rock thrust, or about the classic ’70s shuffle, but about creating a not entirely dissimilar atmosphere through the most natural of folkish elements — a guitar and a voice. That’s the core of what The Pilgrim does, but of course Fiori and Ragazzoni expand the sound with drums and keyboards, echo on the vocals and so on. It’s all part of conjuring an acid folk vibe, and they do it well from “Peace of Mind” through the relatively subdued guitar/keys finish of “Suite #2.” Not every song is trying to manifest the same idea — that would invariably lead to a monotonous listening experience, which the album isn’t, but they all work together in order to create the sense of journeying along with the duo in the creative process.

When asked for the bio, Fiori described the song “Dragonfly” as a “mind-dream,” which I like a lot, as well as his favorite on the album. Indeed, the track traffics well in the ethereal, and makes its presence felt through early intertwining of soft vocals and guitar with spaced-out keys before the strumming and drumming picks up before the two-minute mark. Those keyboard droplets stay consistent throughout, and late in the track a sweeping solo comes forward in the mix and ends up gently leading the way out just past the song’s fifth minute — it’s the only inclusion on Walking into the Forest to cross that line.

Fiori, as noted, or at least implied, has a fairly manic (and admirable) work ethic, so it’s easy to imagine that, should he choose to focus on it, a second The Pilgrim record could arrive sooner than the years it took to put together Walking into the Forest. Between Black RainbowsKiller Boogie, putting out other bands’ albums and booking events like the Obelisk-co-presented Heavy Psych Sounds Fest tour in the US (info here), he’s not exactly short on current projects, but sometimes once you start on a path through the forest, the best thing to do is just keep going and see where it leads you.

I’ve included that bio I wrote for the album here, in case you’re interested. It’s under the player with the premiere of “Dragonfly” and a quick comment from Fiori about the track specifically.

Please enjoy:

Gabriele Fiori on “Dragonfly”:

Dragonfly is the fourth track of the album and the one I personally like the most because its different phases; one is heavenly and choral, but then suddenly starts with rhythm parts and nice vocals, to end with a guitar solo that intertwines with the other instruments to create something truly magic.

The Pilgrim’ debut album Walking Into The Forest will be released on April 26th via Heavy Psych Sounds. Cover art by Maarten Donders.

Preorder available now: https://www.heavypsychsounds.com/shop.htm?#HPS092

Bio:

Gabriele Fiori — already frontman of Rome-based outfits Black Rainbows and Killer Boogie and a key figure in Europe’s heavy underground as the head of the Heavy Psych Sounds label and booking agency — was not exactly lacking for things to do. And yet, a couple years back, The Pilgrim started to nebulously take shape as an idea for a solo-project, something different than the hard-driving psychedelia and garage heavy rock for which he’d already been so revered.

It wasn’t until Jan. 2018 that he really got to putting songs together, but the end result on Walking into the Forest is a space-folk release with a personality unto itself. Songs like opener “Peace of Mind” evoke some of Fiori’s more rocking side, while “Sunset in the Desert” feels like an ode to the acoustic album Kyuss never made, and side B, which starts with the Hawkwind cover “Brainstorm” and ends with the moody strum of “Suite #2” — originally from Void Generator’s 2004 debut EP; when Fiori was in the band — hones a cosmic drift and textures that nonetheless remain accessible and organic thanks to their acoustic foundation.

“The main point in common with Black Rainbows is the diversity of the songs,” Fiori explains. “You have mind-dreams like ‘Dragonfly’ or ‘Sailor,’ or the more folk rock ‘Peace of Mind,’ passing through space with ‘The Time You Wait’ and the melodic-melancholic ‘When I Call Your Name.’”

In completing the arrangements, Fiori turned to Black Rainbows drummer Filippo Ragazzoni, and as he says, “Songs came out so spontaneously and easy. I always played acoustic guitar and wanted to push further on this path. The songwriting, rehearsing and recording approach was so different from usual Rainbows or Boogie style, both to me and Filippo for drums, because all the instruments needed to be played smoothly, softly.”

With Walking into the Forest, Fiori evokes a sound that is both classic and fresh, melodically rich and creatively constructed. It is a new outlet for Fiori that demands spiritual as well as auditory engagement, and an all-things-permissible sonic context that one can only hope The Pilgrim continues to explore.

The Pilgrim on Thee Facebooks

Heavy Psych Sounds on Thee Facebooks

Heavy Psych Sounds website

Heavy Psych Sounds on Bandcamp

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Elevators to the Grateful Sky Release Nude this Month; Two New Songs Posted

Posted in Whathaveyou on April 3rd, 2019 by JJ Koczan

elevators to the grateful sky

April 19 is the release date for Elevators to the Grateful Sky‘s new album, Nude. It’ll be out through Greece’s Sound Effect Records after the band were caught up in the whole WTF-ness that took hold with HeviSike, their former aligned purveyor. That someone would pick them up isn’t a particular surprise — 2016’s Cape Yawn (review here), was good times all the way around — but that it’s a label with the psychedelic taste of Sound Effect should tell you something.

Mostly, when it comes right down to it, it should probably tell you to listen to the two new tracks the band have streaming in lyric videos embedded below. If it doesn’t tell you that, I will. So yeah, go ahead and give those a once-over. And it’s two of 11 total inclusions, so expect the band to have another trick or five up their collective sleeve.

Album info follows, courtesy of the label:

elevators to the grateful sky nude

Elevators to the Grateful Sky – Nude

Elevators to the Grateful Sky are back with their third firey full-length album. ‘Nude’ showcases an extremely focused sound where early 90’s Seattle-Sub Pop vibes melt with seducingly psychedelic sections, heavy riffage and dreamy, sun-burnt instrumentals. Mastered at famed Mammoth Sound Mastering studio by Dan Randall (Iron Reagan, Noothgrush, The Walking Dead OST and countless others) and decorated by carefully hand-drawn imagery by vocalist Sandro Di Girolamo, the album comes in both coloured and black vinyl versions for the first time ever on Sound Effect Records. ‘Nude’ out on April 19th 2019.

Formed in sunny Palermo, Sicily in 2011, the band has since released one self-financed demo EP and two full-length albums, Cloud Eye (2013) and Cape Yawn (2016) on Transubstans Records (SWE) and Hevi Sike Records (UK) respectively. Their new, 11-songs album showcases a mature band whose varied songwriting has blossomed into distinctive compositions influenced by 90’s grunge, stoner and alternative rock acts such as SOUNDGARDEN, ALICE IN CHAINS, MASTERS OF REALITY, QOTSA, GODMACHINE and even DEAD MEADOW and EARTH. ETTGS’s hard-hitting edge has remained intact as they cross the entire spectre between psych jamming, acoustically soothing and straight heavy music.

“Nude” has been recorded and mixed by Silvio “Spadino” Punzo between Southern and Northern Italy in different sessions along 2018, and mastered by Dan Randall at Mammoth Sound Mastering (Maine, USA).

Preorder here: https://www.soundeffect-records.gr/nude

Elevators to the Grateful Sky is:
Sandro di Girolamo – vocals and percussion
Giorgio Trombino – guitars, bass, alto saxophone, congas, keyboards, alternate lead vocals
Giuseppe Ferrara – rhythm guitars
Giulio Scavuzzo – drums, darbouka, tambourine, percussion and alternate lead vocals

https://www.facebook.com/ElevatorstotheGratefulSky/
http://elevatorstothegratefulsky.bandcamp.com/
http://www.soundeffect-records.gr
https://www.facebook.com/SoundEffectRecords/

Elevators to the Grateful Sky, “Song for July” lyric video

Elevators to the Grateful Sky, “Insects in Amber” lyric video

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1782 Self-Titled Debut Preorders Available; Album out May 24

Posted in Whathaveyou on March 26th, 2019 by JJ Koczan

Together, Marco Nieddu and Gabriele Fancellu served as the rhythm section of the heavy rock outfit Raikinas, who issued their last album, Arkadia, in late 2016 through H42 Records. Signed to Heavy Psych Sounds under their newfound moniker 1782, the duo will release their self-titled debut full-length in May, and are streaming the song “Oh Mary” to mark the occasion of the album announcement. Unlike some of the tracks you can see listed below that feature a range of guests — including Heavy Psych Sounds label head and Black Rainbows/Killer Boogie guitarist/vocalist Gabriele Fiori and their Raikinas bandmate Alfredo Carboni, who contributes vocals — “Oh Mary” is just the duo on their own, so should give a decent impression of where they’re headed with their sound on the whole.

Oh maybe it doesn’t, I don’t know. Haven’t heard the record. Fuck it. Riffs are cool. Have some.

PR wire says:

1782 self titled

1782 SIGN TO HEAVY PSYCH SOUNDS + PREMIERE WITCH HAUNTING SINGLE FROM UPCOMING DEBUT ALBUM

Due out May 24th 2019!

It was a cold December day in 2018, when Marco Nieddu and Gabriele Fancellu formed a Doom band called 1782, in honor of all the “witches” murdered by the bigoted minds of many generations. Just a month later, the band entered the studio to record the single “She Was A Witch”, released by Electric Valley Records in within the same month. Only a few days after its release, the single turned out to be a great success, especially on social media and by listeners of the genre. On February 8th, 1782 started recording their homonymous debut album with Alfredo Carboni at the RKS studios in Ossi, Sardini, and inked a worldwide record deal with the leading cult & fuzz rock label Heavy Psych Sounds Records!

May 24th 2019 will see 1782 release their self-titled debut of a doom metal masterpiece, dedicated to a lady called Anna Göldi, who was condemned, tortured and killed, in one of the last witchcraft trials happened in Europe. 1782 deal with macabre themes: from spells to ruthless torture, from the pleasure of sex to the most perfidious revenge. This record got seven tracks of pure Doom Metal sounds with mega-riff Stoner Doom intervals, accompanied by a rhythm section of powerful drums, intense bass and super-fuzzy guitars. The band’s first full-length album also features high class guest musicians such as BLACK RAINBOWS ‘Gabriele Fiori shredding a blistering guitar solo in ‘She Was A Witch’, guest vocals by Alfredo Carbon of RAIKINAS or Nico Sechi on Hammond.

Today 1782 are proudly sharing with us a first single to the track ‘Oh Mary’! Says the band: „The lyrics of this song tell the story of a woman, who really existed and joined the circle of Sardinian legends. Maria, forced to marry an old man and pointed out by the women of her village because she was pregnant, decides to kill herself by throwing into a well. According to the myth, Maria kidnapped the children of all the women who had humiliated her, while taking them to her grave to feed on their bodies.“

Preorder here: https://allthatisheavy.com/collections/pre-orders-1?view=list

Tracklist:
1. Intro (…To the Church)
2. Night Of Draculia
3. The Spell (Maleficium Vitae) [feat. Alfredo Carboni]
4. She Was A Witch [feat. Gabriele Fiori]
5. Black Sunday
6. Oh Mary
7. 1782 [feat. Nico Sechi]
8. Celestial Voices [Pink Floyd cover, feat. Alfredo Carboni & Nico Sechi]

Coming May 24th with Heavy Psych Sounds, the album will be available in the following album formats:

– TEST PRESS
– ULTRA LTD GOLD
– RED BACKGROUND SPALTTER Black-Blue-White-Gold
– BLACK VINYL
– CASSETTE via Electric Valley Records
– DIGIPAK
– DIGITAL DOWNLOAD

To Pre-Order your album copy, visit:
www.heavypsychsounds.com/shop.htm#HPS106

1782 is:
Marco Nieddu – Guitar, Bass and Vocals
Gabriele Fancellu – Drums and Backing Vocals

www.facebook.com/1782doom
www.heavypsychsounds.com

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Quarterly Review: Kungens Män, PFUND, Crystal Spiders, The Misery Men, Hubris, Woorms, Melody Fields, Oreyeon, Mammoth Grove, Crimson Devils

Posted in Reviews on March 19th, 2019 by JJ Koczan

quarterly-review-spring-2019

I used to be pretty artsy and write poetry. Let’s give it a shot:

There was an old man who wore no-toe shoes.
He said, I’mma go do 60 reviews.
He was out of his head,
Should’ve gone back to bed,
But he loves him some dirty psych blues.

Years from now, when I link back to this post for a “(review here)”-type scenario, I’m going to see that and I’ll still think it’s funny. The planet’s dying. I’d say a bit of silly is more than called for.

Quarterly Review #11-20:

Kungens Män, Chef

kungens man chef

Krautrockers, assemble! Or, you know, whatever krautrockers do — I assume it involves homemade spacecraft that, yes, absolutely fly. Perhaps one of these days I’ll ask Stockholm’s Kungens Män, whose latest outing for Riot Season, simply titled Chef, is an outbound delight of psych-infused progressivism. Beginning with the opening throb of “Fyrkantig Böjelse” and moving into the volume swells, steady drum line and wandering guitar that starts “Öppen För Stängda Dörrar” on side A, its four extended tracks craft otherworldly textures through a meld of organic instrumental flow and waves of synth, the second cut building to a tense wash of distortion all the while keeping that hypnotic march. The two corresponding 10-minute-plus cuts on side B waste no time in offering cosmic boogie in “Män Med Medel” with a more active rhythmic flow, and closer “Eftertankens Blanka Krankhet” — longer than the opener by one second at 11:24 — fades in on meditative guitar and explores a serene minimalism that only underscores the all around joy of the album.

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PFUND, PFUND

pfund pfund

The self-titled, self-released debut full-length from Kiel, Germany’s PFUND arrives and departs with a guesting horn section, and while that inevitably adds a bit of grandeur to the proceedings, the bulk of the outing is dedicated to straightforward, semi-metallic heavy rock, held to ground even in the seven-minute “Spaceman” by a considered sense of structure and an earthy drum sound that draws the songs together, whether it’s the classic riff rock in “Sea of Life” or the moodier sway in the earlier “Lost in Rome.” Dual guitars effectively multiply the impact, and the vocals showcase a nascent sense of melody that one imagines will only continue to grow as the band moves forward. At nine songs and 44 minutes, it shows some breadth and nuance in “Exhaustion” and “Paranoia,” the former tapping into an edge of progressive metal, but the primary impact comes from PFUND‘s heft of groove and how it blends with a rawer edge to their production. The Kyuss-referencing centerpiece here might be called “Imbalance,” but that’s hardly representative of what surrounds, horns and all.

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Crystal Spiders, Demo

crystal spiders demo

Three songs, 11 minutes and three distinct vibes from the aptly-titled Demo demo of North Carolinian three-piece Crystal Spiders. On “Tigerlily,” “Flamethrower” and “Devil’s Resolve,” the trio of bassist/vocalist Brenna Leath (also Lightning Born), guitarist/vocalist Mike Deloatch and drummer/backing vocalist Tradd Yancey careen from bluesy spaciousness to hard-driving catchiness and end up — because why not? — in repeating cult-sludge chants, “Come to the devil’s resolve!” like Black Widow trying to lure people to the sabbat, except shouting. If the purpose of a demo is for a new band to try different methods of working and thereby take a first step in discovering their sound, Crystal Spiders are well on their way, and for what it’s worth, there isn’t anything within their scope as they present it that doesn’t work for them. There are edges to smooth out, of course, but that too is a part of the process starting here.

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The Misery Men, Deathspiration

The Misery Men Deathspiration

If you’d asked, depending on which part of Deathspiration was on, I’d probably have called The Misery Men a bass/drum duo, but nope, that’s guitar. Tonally one is reminded of At Devil Dirt from Chile, but the Portland, Oregon, two-piece of vocalist/guitarist Corey G. Lewis and drummer Steve Jones are entirely more barebones in their craft, eschewing digital involvement of any sort in the recording or mixing process and sounding duly raw as a result throughout the subtle earworm of “C.W. Sughrue” and the lumbering “Harness the Darkness.” The subsequent “Night Creeps In” brings a Northwestern noise payoff to quiet/loud trades and the near-10-minute closer “Stoned to Death,” well, it seems to meet an end befitting its title, to say the least. As their stated intent was to capture the most organic version of their sound possible, and made a point of working toward that ideal in their recording, one could hardly fault them for the results of that process. They wanted something human-sounding. They got it.

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Hubris, EP #II Live

hubris ep ii live

Some — not all — of what one needs to know about HubrisEP #II Live is right there in the title. Indeed, it’s their second EP. Indeed, it was recorded live. And indeed, like using a ‘#’ sign with a Roman numeral, there’s something about the way the three included songs from the Toulouse, France-based outfit sound that’s just a little bit off-kilter from what you might expect. “Zugzwang” (7:19), “Tergo” (19:58) and “Biotilus” (27:04) are arranged shortest to longest, and while the opener starts off like Queens of the Stone Age on an Eastern-tinged psychedelic bender, the lengthy jams that follow — the first of them with a fervent drum punctuation, the second a gradual intertwining of synth and guitar with hardly any percussion at all until after its 22nd minute. The instrumental flow that ensues from there is almost like a hidden bonus track, at least until they Hubris get to minute 26 and the whole thing explodes in crash and plod. The underlying message, of course, is that if you think you’re safe at any point, you’re not.

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Woorms, Slake

woorms slake

Lumbering fuckall pervades the debut full-length, Slake, from Baton Rouge, Louisiana, sludgers Woorms — also stylized all-caps — which incorporates past singles “Find a Meal Find a Bed Find a God” and “Mouth is a Wound” amid the sample/noise barrage of “Our Lady of Perpetually Shitfaced” and the willfully brash “Racist Kevin” that follows. There’s an edge of Melvinsian chug to the proceedings, but Woorms‘ take, though presented in finished compositions, comes across as almost nihilistic rather than making a show of its experimentalism. That is, they’re trying to say they don’t give a fuck, and in listening, they make it kind of easy to believe, but there’s still something about the cohesiveness of “Veni Vidi Fucki” and “Rice Crispy” and the saved-the-best-nod-for-last finale “Sore Afraid” that undercuts the notion even while making the listening experience all the more pummeling, and from the intro “Corpse Corps” through “Urine Trouble Now”‘s echoing shouts and the closer’s unmitigated stomp, there’s still plenty of exploration being done.

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Oreyeon, Ode to Oblivion

Oreyeon Ode to Oblivion

Rebranded since their 2016 debut, Builders of Cosmos (discussed here), from their more phonetically intuitive original moniker, Orion, Italy’s Oreyeon issue a cosmically expansive spacescape follow-up in their six-song/40-minute sophomore outing, Ode to Oblivion, also their first release through Heavy Psych Sounds. Echoing vocals pervade “Big Surprise” after the introductory “T.I.O.” and “Trudging to Vacuity” establish the wide-cast mix and anti-grav rhythmic density, and the nine-minute side A finale title-track runs mostly-instrumental circles around most of what I’d usually call “prog” only after it lays down a sleek hook in the first couple minutes. After “Big Surprise,” the 8:45 “The Ones” trades volume back and forth but finds its breadth at about the sixth minute as the dramatic lead turns on a dime to desert rock thrust en route to wherever the hell it goes next. Honestly, after that moment, everything’s gravy, but Oreyeon lay it on thick with closer “Starship Pusher” and never neglect melody in the face of nod. Worth a deeper dig if you get the chance.

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Melody Fields, Melody Fields

melody fields melody fields

Sometimes you hear a record and it’s like the band is doing you a favor by existing. To that, thanks Melody Fields. The Gothenburg psych troupe lace their lysergic flow with folkish harmonies and an open sensibility on their self-titled debut that comes coupled with enough tonal presence to still consider them heavy not that it matters. They break out the sax on “Morning Sun” to welcome effect, and the sun continues to shine through “Liberty” and the garage-buzzing “Run” before “Rain Man” turns water droplets into keyboard notes and Beatlesian — think “Rain” — voice arrangements atop soothing instrumental drift, every bit the centerpiece and an excellent precursor to the acoustic-based “Fire” and the 10-minute “Trädgränsen,” which is the crowning achievement of this self-titled debut, which, if I’d been hip to it in time, would’ve made both the 2018 best albums and best debuts list. They cap with a reprise of “Morning Sun” and underscore the solid foundation beneath the molten beauty of their work throughout. To ask for another album seems greedy, but I will anyway. More, please.

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Mammoth Grove, Slow Burn

mammoth grove slow burn

Okay, look, enough screwing around. It’s time for someone to sign Mammoth Grove. The Calgary natives have been putting out quality heavy psych rock since their 2011 self-titled debut (review here), and their latest long-player, the four-song Slow Burn is a righteous amalgam of peace-thru-rock that lives up to its freewheeling vibes in “Seasons” after the methodical opener “Valleys” and rolls out a bit of melodic ’70s biker rock bliss in “Black Meadow” before the side-B-consuming “Gloria” (18:42) asks early if you’re ready to go and then goes like gone, gone, gone, and gone further. Given the analog mindset involved and the heart on display throughout, there’s something fitting about it being pressed up in an edition of 100 hand-screenprinted LPs and 100 CDs likewise, but the more people who could hear it, the merrier, so yeah, some label or other needs to step up and make that happen, and I dare you to listen to the solo that hits past the 14-minute mark in “Gloria” and tell me otherwise. Dare you.

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Crimson Devils, A Taste for Blood

crimson devils a taste for blood

Since pared down to a trio from the four-piece incarnation they present here, Austin’s Crimson Devils first released their debut, A Taste for Blood, in 2017, but gave it a vinyl revisit last year and it’s little mystery why. The record comprises 11 sharply-composed tracks of Small Stone-style heavy rock, taking cues from Sasquatch in modern-via-classic modus, picking and choosing elements of ’70s and ’90s rock to conjure formidable groove and engaging hooks. There’s considerable swagger and weight in “They Get It,” and while opener “Dead and Gone” seems to show an influence in its vocal patterning from Elder, as the album unfolds, it’s more about the blast of “Captain Walker” or the penultimate “Nothing to Claim” and the straight-ahead vibes of “Bad News Blues” and “No Action” than anything so outwardly prog. There’s plenty to dig in the rock-for-rockers mindset, and it’s the kind of offering that should probably come with an octane rating. However such things are measured, safe to say it would not be low.

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