Giöbia to Release New Album in 2020

Posted in Whathaveyou on September 19th, 2019 by JJ Koczan

I’m not saying I’ve heard it or anything, but if you think you have a sense of what Giöbia are all about, you’re probably want to going to expand that definition. The Milan-based four-piece get even more spaced out on their next full-length than they were on 2015’s Magnifier (review here), which is fair enough since it was four years ago. They’ve of course been plenty busy since that last album, touring Europe and playing fests like Freak Valley, which they hit in 2016 and released a set from the next year as the Live Freak live album that you can stream below, as well as the 2017 7″ What Have You Done through H42 Records. If you heard any of that stuff, you know it was plenty spaced. Well, get ready to get more spaced. Space space space.

Let’s assume that since the announcement of the album’s existence came in the other day and I’m only now getting this posted that the title and album details have been unveiled as of about three minutes ago and this post is already out of date. The internet is awesome.

From the PR wire:

giobia

Heavy Psych Sounds to announce a band re-signing: GIÖBIA are coming back with a brand new album

HEAVY PSYCH SOUNDS is so stoked to welcome back one of the best european psychedelic bands GIÖBIA with a brand new album coming out in early 2020 !!!

The mystical day 60s rock met neopsychedelic rock mixing up to the point of losing consciousness of their own essence, in an overwhelming and incessant soundtrack with an unmistakable Italian taste, that’s when Giöbia’s acid rock was born. In a vortex that leaves no way out, the unique melodies of this quartet take the listener into a world where the boundaries of reality are no longer defined and anything can ever happen. After their debut in 2009 with ‘Hard Stories’, the band firmly established itself in 2013 with ‘Introducing Night Sounds’, which suddenly brought them to the most important stages of Europe. In 2016 the milestone ‘The Magnifier’ assigned them a place among the most influential bands of the scene. Unable to stop in front of any challenge, Giöbia decided to go on astonishing their audience again finally forging a NEW ALBUM, which will see the light in 2020 via Heavy Psych Sounds, with the promise to upset and reconfirm them as the forefather of a genre that fascinates and amazes anyone who dare to leave themselves behind without fear of never returning.

PRESALE STARTS:
September 26th

The band will be also touring Europe in two slots:
– from February 28th to March 11th, including HPS Fests in Paris, Antwerp and London
– from May 22nd to June 2nd

GIÖBIA is:
Bazu – Vocals and String Instruments
Saffo – Organs / Violins / Vocals
Detrji – Bass
Betta – Drums

https://www.facebook.com/giobiaband
http://www.giobia.com/
https://giobiagiobia.bandcamp.com/
www.heavypsychsounds.com
heavypsychsoundsrecords.bandcamp.com
https://www.facebook.com/HEAVYPSYCHSOUNDS/

Giöbia, Live Freak (2017)

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Humulus Announce New Album The Deep out Next Year on Kozmik Artifactz

Posted in Whathaveyou on September 18th, 2019 by JJ Koczan

Brew-loving Italian heavy rockers Humulus will release their next album, The Deep, in Feb. 2020 through Kozmik Artifactz. Sounds like something that’s going to happen way, way in the future when we have flying cars and colonies on Alpha Centauri and not-at-all a rising tide of right wing fascism? Well, it’s like five months from now, so unless we’re in for the most condensed stretch of awesome progress ever — and not to play the cynic but I’m guessing we’re not — it’ll probably just be more of that rising tide thing. The good part, however, is new Humulus. Keep up. Also, it’s happening on Kozmik Artifactz, which seems like a fair jump for the Bergamo/Brescia three-piece, who’ve worked with Kozmik-offshoot Oak Island Records in the past, including for 2017’s Reverently Heading into Nowhere (review here), as well as with Taxi Driver Records.

Drummer Massimiliano Boventi had some cool stuff to say about The Deep, so you’ll find below what he sent to me. They did some light touring for the last record, so I’d expect no different this time out:

humulus

Humulus – The Deep

Our new LP will be out in february 2020 for german label Kozmik Artifactz Records. The title will be “The Deep”.

We started working on this record less or more one year ago between tours and gigs around…one fun fact : when we met the first times for take decision about the direction of the new songs we said like “let’s try to compose shorter songs”, maybe just for make something easier to listen for more people…so not too much later the first 2 songs were ready, the first was 9 minutes long the second 15 minutes — so in a totally spontaneous and natural way we realized that this is our direction… we love to jam and make different atmosphere during our rehears and the result is that we can’t cut our songs.

So I can say the one of the detail of the new record is that more than in the previous one songs are more and more a mix between doom and stoner rock riffs and psychedelic and trippy atmospheres…

For the first time there will be also an acoustic song in the record.

As the last works (Reverently Heading Into Nowhere and Walrus EP) this record was recording during this summer at Indiebox Music Hall in Brescia by Giovanni Bottoglia.

Humulus is:
Andrea Van Cleef: guitar, voice
Giorgio Bonacorsi: bass
Massimiliano Boventi: drums

www.facebook.com/humulusband
www.humulus.bandcamp.com
http://kozmik-artifactz.com/
https://www.facebook.com/kozmikartifactz

Humulus, Reverently Heading into Nowhere (2017)

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The Elephant Sign to Karma Conspiracy Records; New Song Streaming

Posted in Whathaveyou on September 11th, 2019 by JJ Koczan

the elephant

Preorders are up now through Bandcamp for the debut album from Italian heavy rock newcomers The Elephant. It’s been given an Oct. 25 release, which since you can buy it now is I guess fair enough, and the band make a compelling argument for themselves with the efficient two-minute asskicker “River,” which is led by a noise-rock-style bassline and vocals that seem to pull from the QOTSA oeuvre in a way that doesn’t let the hook sound too redundant. I’ve never heard the three-piece before — they formed last year — and in addition to liking writing about new bands, I like writing about new bands with debut albums, so here we are. New band with new album and new music streaming? All the better.

Obviously I haven’t heard the full album yet, but just going by the quick sample of “River,” it’s interesting to read below Karma Conspiracy — who’ll helm the release — talking about how it doesn’t feel like a debut. I think that comes through in the short track in the level of swagger behind what The Elephant are doing. Just something to listen for, but a definite appeal that piques interest heading into the record.

From the PR wire:

the elephant the elephant

Stoner Rock ‘n Rollers THE ELEPHANT sign with Karma Conspiracy Records & Reveal Full Album Details!

Many bands ( and label promo sheets ) may tell us they are different, unique, and are evolving their sound to a new level you have never heard before. This Italian trio in contrast, The Elephant, truly is. The blues and stoner rock ‘n rollers, formed just last year, have even signed a worldwide record deal with Karma Conspiracy, who will release the band’s first full length on October 25th.

“When we listened to the master of this debut by The Elephant, it didn’t really seem to have a band to debut. This year is a fundamental turning point for our label and this album will be another confirmation.“ Says label owner Phil.

Feeding on a sound that is characterized by the combination of two (!) distorted basses, stubborn and obsessive rhythms with their roots in the blues, alternated with alienating and psychedelic atmospheres; it’s especially also this unique voice of singer and bassist Giovanni Murolo, who gives the trio its very special vibes, soul and grooves. The Elephant’s self-titled album is the result of a year’s work, with themes heavily inspired by the poetry of William Blake, Dylan Thomas and Henry Michaux. Today we get to hear a first track of The Elephant’s upcoming debut, titled River.

“This is the song that started The Elephant project, and made us meet again after years. More than a song, it represents for us our musical bond and friendship.”

The album tracklisting will read as follows:
1. Mud Song
2. River
3. Quicksand Morning
4. Black White Alice
5. Monkey Demon
6. Catfish
7. Summer Blood
8. The Stoker
9. Walk With The Sun

Set for release on October 25th with Karma Conspiracy Records, you can already pre-oder your album copy HERE!
Watch out for many more news and tunes to follow in the days ahead, as one is sure: The Elephant came to stay and revive your blues spirit!

The Elephant is:
Giovanni Murolo – Bass & Vocals
Marco Catacchio – Bass & Vocals
Marco Sanchioni – Drums & Percussion

www.theelephantband.bandcamp.com
www.facebook.com/karmaconspiracyrecords
www.karmaconspiracy.it

The Elephant, “River”

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Premiere: Chron Goblin & Isaak Stream Split Tape in Full

Posted in audiObelisk on September 6th, 2019 by JJ Koczan

chron goblin

isaak

Today, Sept. 6, marks the arrival of the new split tape from Canadian and Italian outfits Chron Goblin and Isaak. Issued name-your-price through Spikerot Records in a soon-to-be-gone limited edition of only 100 tapes, the offering features one track from each band, each representing something different from them. To wit, Chron Goblin are about to put out their fourth album, Here Before (track premiere here), on Sept. 27 through Grand Hand Records. Isaak, meanwhile, were last heard from with 2015’s Sermonize (review here) on Heavy Psych Sounds. The Chron Goblin track, “Signs,” however, was recorded in 2015 at the same session as their third album, Backwater (review here). The Isaak song, “Taste,” was tracked at the end of last year. So the split arises from some pretty complex circumstances. For one band, it represents a chance to showcase something older as they move onto something newer, and for the other, it marks a return after a few years’ absence from the studio, a kind of refresher for their audience and a reminder of what they do as a group. It’s a fair amount of context to pack into an eight-minute release.

Fortunately, in listening to “Signs” and “Taste,” there’s plenty to dig into for those who’d otherwise, you know, just want to listen to some previously unheard material. Chron Goblin begin with a bit of amp noise and are all-go, soon enough launching into a Roadsaw-style verse that careens through a gang-shout hook en route to a winding slowdown and bluesy solo in thechron goblin isaak split second half. The key moment is when everything but the bass drops out and the nod takes full shape before dropping out to complete the efficient 4:25. Done. Flip tape. Chron Goblin are in and out of “Signs” with an assurance of songwriting that leaves little to wonder why they’d dig up the track four years after the fact and still find it relevant enough to release: because quality songcraft is always relevant.

Isaak‘s answer back in “Taste” by building up over the first minute-plus to finally unleashing a forceful pummel of a riff met with likewise burly vocals. They’ve never wanted for brashness, and “Taste” is no exception to this as the low-end takes central position tonally and they cycle through the verse again as though coming back out of the corner for round two. The tension they manifest turns in the third minute to a more straightforward pop of snare and seems to run a little more forward rather than circular, but the let’s-kick-ass-and-worry-about-the-rest-later vibe remains consistent. They too finish clean. Surprisingly so for having seemed to throw so much sonic mud around, but maybe after a few years it’s just a sense of relief to be back with new material at all. I won’t speculate as to what their plans are without knowing, but Isaak certainly sound like they still have plenty more to say, as they did on their last record too.

And for Chron Goblin, there’s already the advantage of knowing the direction they’d take after recording “Signs,” so yeah, it’s a bit of a different situation from one band to the other, but the bottom line is it’s two tracks of hard-edged heavy rock and roll marked out by zero pretense and an efficient delivery, pressed up to a limited tape that will likely sell out before it even lands on the merch table, so yeah, there’s really no way to lose here. Bonus to anyone who listens to the stream on a Walkman.

Credits follow. Enjoy the tracks:

Link to the store here:
http://bit.ly/ChronGoblin_Isaak

Chron Goblin – Signs
Recorded and mixed by Adam Pike at Toadhouse Studios in Portland, OR in February, 2015
Mastered by Stephan Hawkes at Interlace Audio

Chron Goblin are:
Josh Sandulak
Devin Purdy
Richard Hepp
Brett Whittingham

Isaak – Taste
Recorded and Mixed by Mattia Cominotto at Greenfog Studio in Genoa in December 2018
Mastered by Andrea De Bernardi at Eleven Mastering

Isaak are:
Giacomo Boeddu
Francesco Raimondi
Davide Foccis
Gabriele Carta

Chron Goblin on Thee Facebooks

Chron Goblin on Instagram

Chron Goblin on Bandcamp

Isaak on Thee Facebooks

Isaak on Instagram

Isaak on Bandcamp

Spikerot Records on Thee Facebooks

Spikerot Records on Instagram

Spikerot Records website

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Chron Goblin & Isaak to Release Split Tape this Week

Posted in Whathaveyou on September 2nd, 2019 by JJ Koczan

So Isaak haven’t released anything since 2015’s Sermonize (review here) and Chron Goblin are putting out their new record, Here Before (discussed here) at the end of September. Isaak are in Italy. Chron Goblin in Canada. These seem like two bands in very different situations, and yet this week they’ll team up for a cassette split that’s also the first tape ever to come out through Spikerot Records. You know what? I’d check that out. I like a tape, I like a split, and I’d like to know how these two bands got hooked up in the first place, so yeah, I’ll give this one a listen when the time comes. Why the hell not? Do the circumstances even matter? Of course not. The riffs matter.

Release is coming up quick, so keep an eye out for it. I’ll also be interested to see if it leads to more from Isaak anytime soon, as their last outing was a banger.

Here’s Spikerot‘s post about the tape:

chron goblin isaak

Chron Goblin Vs Isaak. Split Tape through Spikerot Records

Spikerot has been all about Vinyls and CDs so far, but cassettes have dignity too, so why not?

We’re proud to be releasing our first tape ever under the banner of international Stoner Rock with two previously unreleased tracks from Canadian boogie facepunchers Chron Goblin and Italian riffalicious gang Isaak. Those who know each band’s signature sound will not be disappointed, both tracks are sheer energy, pairing melody with groove and distortion for a fresh interpretation of heavy music.

RELEASE DATE: September 6th

TRACKLIST
SIDE A: Chron Goblin – Signs
SIDE B: Isaak – Taste

Artwork by SoloMacello

Chron Goblin are:
Vocals: Josh Sandulak
Guitar: Devin ‘Darty’ Purdy
Bass: Richard Hepp
Drums: Brett Whittingham

Isaak are:
Vocals – Giacomo H Boeddu
Bass – Gabriele Carta
Drums/Vocals – Davide Fox Foccis
Guitars – Francesco Raimondi

https://www.facebook.com/ChronGoblin/
https://www.instagram.com/chrongoblin/
https://chrongoblin.bandcamp.com/

https://www.facebook.com/isaakband
https://www.instagram.com/isaakmusic/
https://isaakmusic.bandcamp.com/

https://www.facebook.com/spikerotrecords/
https://www.instagram.com/spikerotrecords/
www.spikerot.com

Chron Goblin, Here Before (2019)

Isaak, Sermonize (2015)

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Esogenesi Premiere “Decadimento Astrale” from Self-Titled Debut out Oct. 4

Posted in audiObelisk, Reviews on August 30th, 2019 by JJ Koczan

ESOGENESI

Milano death-doomers Esogenesi will release their self-titled debut album on Oct. 4 through Transcending Obscurity Records. The four-piece are a relatively new band, having formed in 2016, but as the five-track/39-minute full-length plays out, it becomes increasingly clear they’re doing more with the collection than just getting their feet wet in the style. They’re doing that too, to be sure, but if we’re sticking with the liquid idiom, they’re much more “up to neck” than “wet feet” when it comes to the particular grueling atmosphere that typifies the death-doom aesthetic — that ultra-dark churn marked out by a severe emotional conveyance, a mournfulness that gives the death metal aspects of the sound a that-much-truer resonance. Esogenesi‘s background as players varies, between black metal, hardcore, classical and, presumably, some doom as well, but even as album-closer “Incarnazione Della Conoscenza” hits its crescendo with blastbeating insistence, the commitment to the whole-album ambience remains firm. In other words, though they haven’t done it before, they know what they’re doing.

There’s comfort in that for the present and promise for the future, of course. Esogenesi show quickly what the crux of their first offering will be in the brooding guitar and bass intro of opener “Abominio,” one of three cuts to top nine minutes on the vinyl-ready outing. ESOGENESI ESOGENESISoon double-kick enters, but the tone of patience is already set, and that will prove crucial to both band and listener as “Abominio” unfolds into its morose riff and speedier chug en route to the subsequent “Decadimento Astrale,” which essentially flips the structure to fast-slow instead of slow-fast in terms of its buildup, establishing a fluidity that carries into the standalone guitar of “…Oltregenesi…” — which in another context I’d directly liken to Dylan Carlson — which is joined in its second half by understated drums before it kind of disintegrates into the start of “Esilio Nell’Extramondo,” the penultimate and longest inclusion on Esogenesi at 9:51 and perhaps also the darkest of processions the band here unfurls. A quiet beginning is mirrored in the ambient midsection, but on either side of that is a dirge procession that finds the band — guitarist Davide Roccato bassist Carlo Campanelli, vocalist Jacopo Marinelli and drummer Michele Adami — pushing toward a new level of extremity in aural gruel that, yes, will pick up some speed by the end, but still remains pummeling in its finish in a manner consistent with how they started out. It’s a gorgeous execution of style.

And taken in kind with “Incarnazione Della Conoscenza” as it would be on side B of a vinyl release, it further demonstrates where Esogenesi are coming from in their initial approach to death-doom, which is straightforward at least in the microgenre’s own terms. I wouldn’t be surprised to find them adding keyboard, or strings, or even just more guitar effects to flesh out arrangements as they move forward, but as a flag-planting endeavor, Esogenesi‘s self-titled lays claim to a chunk of space in death-doom and proceeds to make that space its own. The band’s trades between loud and quiet stretches, fast and slow stretches, the interlude vibe in “…Oltregenesi…” and the sharper-edged riffing that caps the pre-apex burst of “Incarnazione Della Conoscenza” — they end on their most extreme push, as noted — all feed together to make an overarching impression of bleakness that is consuming, but still not overwhelming or redundant simply because at under 40 minutes, it doesn’t stick around long enough to be. A certain amount of repetition is fair game, one might argue essential, to what they’re doing, but one of the things Esogenesi get right on their first LP is realizing that it doesn’t need to be 65 minutes long to get its point across, and whether that’s a conscious decision on their part or an instinct and how it worked out with the timing of recording or whatever else, it’s another impulse that will only serve the band well as they seek to follow-up this impressive debut.

Happy today to host the premiere of “Decadimento Astrale” below, which you’ll find followed by more info from the PR wire.

Please enjoy:

Esogenesi, “Decadimento Astrale” official track premiere

Death/doom metal band Esogenesi have concocted a sublime blend that harnesses the power of death metal with the poignancy of doom metal, backed with an able, organic yet powerful sound that the band can call it their own. Even though this is only their debut, the quartet have outdone themselves in creating music with unfathomable depth and emotional poise. The five songs plod along with subtle but effective changes in mood, tempo and groove, and it often becomes imperative to revisit them to catch the brilliant nuances ensconced in the rumbling death metal-spiked parts. This is as good a debut as any to come out in the genre and it only solidifies the band’s place in the increasing death/doom roster of Transcending Obscurity.

Tracklisting –
1. Abominio
2. Decadimento Astrale
3. …Oltregenesi…
4. Esilio Nell’Extramondo
5. Incarnazione Della Conoscenza

Lineup –
Jacopo Marinelli – Vocals
Davide Roccato – Guitars
Carlo Campanelli – Bass
Michele Adami – Drums

Cover art by Korvo
Internal layout and graphics by Luca Brusa

Esogenesi on Thee Facebooks

Esogenesi on Bandcamp

Transcending Obscurity Records on Thee Facebooks

Transcending Obscurity Records website

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Bretus Premiere “The Third Mystic Eye” from Aion Tetra

Posted in audiObelisk on August 27th, 2019 by JJ Koczan

bretus

Italian doomers Bretus will release their new album, Aion Tetra, on Sept. 20 (Sept. 27 in North America). Out as their first offering through Ordo MCM, the 43-minute release collects nine tracks that continue along the sonic path set by 2017’s …From the Twilight Zone (review here), which departed from the sludgier fare of 2015’s The Shadow over Innsmouth (discussed here) and their formative 2012 debut, In Onirica, that followed two demos that were the band’s only releases to that point after forming in 2000. In place of the scream-topped dirges, there has emerged in Bretus‘ sound a traditionalism that calls to mind practitioners of the style’s truest incarnations — the doom metal of Candlemass, of Reagers-era Saint Vitus, of Black Sabbath and Reverend Bizarre, kin to US bands like Orodruin and Ogre and others who might seek to bring doom to bear with as little distraction from their purpose as possible. One wouldn’t say Aion Tetra lacks an individual personality, just that the Catanzaro four-piece — vocalist Zagarus, guitarist Ghenes, bassist Janos and drummer Striges — are clear about what they want that personality to be doing. They want it to be dooming the fuck out. And so it is.

And while I know crazier things have happened in the universe than a sludgy band cleaning up their vocal approach and going in a different direction, among the distinguishing factors in Aion Tetra is just how poised Bretus sound in doing so. bretus aion tetraHaving come through the last record, they would seem to have taken the lessons of that stylistic shift and implemented them into tracks like “Mark of Evil” or earlier cuts like opener “The Third Mystic Eye” (premiering below) or the keyboard-laced second track “Priests of Chaos.” Bretus are able to careen and lumber through an atmosphere of the purest doom simply because they execute their material without any hesitation. They’re all in. Even on the quiet interludes “Aion Tetra” and “Fields of Mars” — the former instrumental, the latter with vocals appearing as an intro for closer “City of Frost” — the brooding execution is paramount, and as they dip into willfully grandiose fare like the centerpiece “Deep Space Voodoo” or the classically metal “Cosmic Crow,” they do so with an underlying sense of the weird that speaks to not only where Bretus are as a band these 19 years after they first got together, but where they still might be going. It is that perspective, the point of view they ultimately will take on doom, that will define their work going forward, and one can hear the foundations of that in this material. It serves to make Aion Tetra an even more exciting listen.

In the chugging verse of “Prisoner of the Night” or the plodding stomp of “The Third Mystic Eye” and its subtly layered hook, Bretus show that they quite simply have figured it out. They know who they are as a band, and more, who they want to be, and they’re putting in the effort to realize that vision. Aion Tetra, like …From the Twilight Zone and their early work before it, demonstrates that their sound is in progress, but nearly two decades on from their start, there’s no way to see that as anything other than admirable. Bretus continue to explore, to grow darker and more efficient in their sonic communication, and Aion Tetra is their finest hour to-date in its manifestation of the tenets of doom. Wherever they might go from here, they’ve very obviously mastered the form. Nailed it.

You can hear “The Third Mystic Eye” premiering on the player below, courtesy of Ordo MCM. More PR wire info follows.

Please enjoy:

ORDO MCM is proud to present BRETUS’ highly anticipated fourth album, Aion Tetra, on CD and vinyl LP formats. The release date shall be September 20th for Europe and September 27th for North America.

Alas, although it’s only been a couple years since their last full-length, the critically acclaimed …from the Twilight Zone, TOTAL DOOM arrives with BRETUS’ fourth album, Aion Tetra. Sweaty, swaggering, and more than a bit bluesy, Aion Tetra is sound of BRETUS hitting a fever pitch of creativity. Almost effortlessly, the band unload one molten crusher after another, with each opening up to reveal new, deeper corridors to their signature sound.

Tracklisting:

1. The Third Mystic Eye
2. Priests of Chaos
3. Prisoner of the Night
4. Aion Tetra
5. Deep Space Voodoo
6. Mark of Evil
7. Cosmic Crow
8. Fields of Mars
9. City of Frost

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

Bretus on Thee Facenooks

Bretus on Bandcamp

Ordo MCM on Thee Facebooks

Ordo MCM website

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Rancho Bizzarro Premiere “King of the Van” Video; Possessed by Rancho EP out Friday

Posted in Bootleg Theater on July 30th, 2019 by JJ Koczan

RANCHO-BIZZARRO

We all know the King of the Road says you move too slow. I’m not sure what the King of the Van says, mostly because Italy’s Rancho Bizzarro — that’s two ‘z’s and two ‘r’s — are instrumental, with time neither for lyrics nor pretense amid their fuzzy riffs and forward movement. Across the 23-minutes of their new EP, Possessed by Rancho — out this Friday on Argonauta Records — the Livorno four-piece careen through a desert cruising vibe, kicking up sand behind them as they push through in straightforward fashion, like if Karma to Burn had been from California instead of West Virginia, or I guess in this case on the west coast of Northern Italy. Fair enough. Either way, once they’re through the opening jam of “Open Bar Deluxe” — also the longest track on the release by far at 7:55 — the band settle with “King of the Van” into the heavy rocking sway that will ultimately define their course, as they follow-up their 2017 self-titled debut with further development in tone and rhythm, working from a familiar foundation, but bringing character to moments like the brash, drum-led outset of “El Motardo Loco,” with a classic-rocking riff that balances energies off each other between its guitar solo and insistent groove, before a sample from The Road Warrior opens “The Vengeance of Lord Humungus” with the song’s titular character indeed promising the song’s titular vengeance. Nothing if not appropriate.

“The Vengeance of Lord Humungus” shoves through with the expected brashness and “Giusquiamo Slow Drink” pulls back the drums to round out with atmospheric guitar and feedback lines.RANCHO-BIZZARRO-POSSESSED-BY-RANCHO-COVER It’s a departure, figuratively in terms of sound and literally in terms of the EP ending, but an effective wrap-up just the same. Certainly by then Rancho Bizzarro have gotten their point across in the energetic “King of the Van” and “El Motardo Loco,” the more expansive layered leads of “Open Bar Deluxe” — that must’ve been some selection of beverages — and the bruiser Truckfighters-style rollout of “The Vengeance of Lord Humungus.” They just wrapped up a string of Spring and Summer live dates, so I won’t claim to know what Rancho Bizzarro are up to for the Fall to come as they celebrate the release of Possessed by Rancho, but for a band who obviously base a lot of what they do sonically in terms of being able to build and harness momentum the EP release does precisely that for them on another level, keeping up the vitality of the prior record and acting as a step along the way toward the next one. Plus, if you don’t have 20 minutes of your day to dedicate to quality riffs, you may want to rethink your priorities. I’m not trying to tell you how to live your life, but yeah, I guess I kind of am. Quit your job. Go party. Rock and roll.

No, really, do it. I’ll wait.

One more time: Rancho Bizzarro‘s Possessed by Rancho is out Aug. 2 on Argonauta. Here’s the video for “King of the Van,” followed by a bit of the ol’ PR wire whatnot.

Please enjoy:

Rancho Bizzarro, “King of the Van” official video premiere

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 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!

Rancho Bizzarro is:
Izio (bass) / Matt (guitar) / Mark (guitar) / El Meloso (drums)

Rancho Bizzarro on Thee Facebooks

Rancho Bizzarro on Instagram

Rancho Bizzarro on Tumblr

Argonauta Records website

Argonauta Records on Thee Facebooks

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