Posted in Whathaveyou on October 25th, 2016 by H.P. Taskmaster
I gotta tell you, I never wanted there to be a band called Yul Brynner so badly in my entire life, just so they could go on tour with Lee Van Cleef and do a poster for every single show in a Spaghetti Western theme. As it stands, I suppose Lee Van Cleef could probably pull that one off on their own and get away with it. The newcomer Napoli four-piece are streaming their debut album, Holy Smoke, in its echoed-out mostly-instrumental heavy psych spaciousness below — if it wasn’t already on Bandcamp, I’d have asked to do a stream with a review, make no mistake — and Berlin-based White Dwarf Records will have a vinyl edition out on Nov. 25. No word on a tour to support, never mind posters, but for a group who’ve been around less than a year and are already putting their first LP out, I’d say they’ve got plenty enough to go on as they get started.
Italy’s emergence as a major player in the European heavy underground continues. Don’t be surprised if Lee Van Cleef start popping up in festival lineups for 2017.
This from the PR wire:
LEE VAN CLEEF – Holy Smoke (WHD 007)
The project LEE VAN CLEEF was born as a joke at the end of 2015 and is the result of long jam sessions between Marco Adamo, guitarist (La polvere di Bodélé), Guido Minervini, drum (Efesto, Lamarck) and Pietro La Tegola, bass (Whiskeycold Winter). Influenced by bands like Earthless, Black Bombaim, Harsh Toke (to name a few) The first work “Holy Smoke” was recorded mixed and mastered in the Godfather studio of Naples. The artwork was done by Robin Gnista.
Limited edition of 150 copies on purple marbled 180 gram vinyl! Inside-out-cover, including download card!
Limited edition of 350 copies on black 180 gram vinyl! Inside-out-cover, including download card!
TRACKLIST: 1. Heckle Yuppies 07:27 min. 2. Banshee 13:18 min. 3. Hell Malo 05:12 min. 4. Mah?na 08:27 min. 5. Towelie 07:11 min.
Label: White Dwarf Release: 25.11.2016
LEE VAN CLEEF are: Marco Adamo (Guitar) Pietro Trinità La Tegola (Bass) Guido Minervini (Drums)
Posted in Whathaveyou on October 19th, 2016 by H.P. Taskmaster
Play your cards right — and by that I mean find the Bandcamp player at the bottom of this post — and you can stream a pair of new songs from DSW‘s second album, Tales from the Cosmonaut, which is out Jan. 14 on Acid Cosmonaut Records. In those two tracks, the Italian four-piece reaffirm the blend of straightforward post-Kyuss heavy rock and more languid, jammy roll that typified their 2012 self-titled debut (review here), while demonstrating as well the clear work they’ve done on their sound. When the first record came out, they were called Dust Storm Warning, but they seem to have opted firmly for the acronym instead, as the cover art and info below demonstrate.
From the PR wire:
DSW 2nd album is finally here: get ready to hear the Tales from the Cosmonaut!
After four long years, Italian stoner rockers DSW are finally ready to reveal to the world their second studio album: Tales from the Cosmonaut will be released by Acid Cosmonaut Records on January 2017. Seven brand new songs able to cover all the ranges of modern heavy psych, showing the evolution of their style, achieved also thanks to a large number of gigs supporting acts like like Elder, Mos Generator, Mutoid Man, Zippo, L’Ira del Baccano, Void of Sleep, Karl Marx was a Broker and Anuseye.
The pre-order is limited for the first 50 buyers, that will obtain: – A hand numbered copy of the album on vinyl – The immediate download of two tracks – A CD copy of Dust Storm Warning, the first DSW album – A link to download a digital copy of a special jam EP recorded during the Tales from the Cosmonaut sessions, that will be available only for this occasion – Random bonus material, like pins and miniposters
Release date: January 14, 2017
Tracklist 1. Vermillion Witch 2. Classified 3. The Well 4. Mother in Black 5. Crash Site 6. El Chola 7. Acid Cosmonaut
Two songs from the album (El Chola and Acid Cosmonaut) are available for streaming on our Bandcamp page: prepare to be psychically assaulted!
DSW: Stefano “Wolf” Lombardi – Voice Marco Papadia – Guitar Stefano Butelli – Bass Guitar Marco Mari – Drums
Posted in Whathaveyou on October 17th, 2016 by H.P. Taskmaster
So, two things: First, Dead Witches are a band. Second, their debut album is coming early in 2017 via Heavy Psych Sounds. Those are both crucial pieces of information. On a secondary level, it’s worth noting that Dead Witches are fronted by Virginia Monti, most recently heard from at the fore of the cultishly strong Psychedelic Witchcraft and drummed along their dirge march by Mark Greening, whose work in With the Dead and Ramesses is killer enough that I don’t even feel compelled to list the band he was in before either of them. You can see it in the PR wire info anyway, if you feel like cheating. But yeah, some pedigree to go around here.
They’re keeping mostly mum so far as regards details of their forthcoming debut album, which, again, Heavy Psych Sounds will have out early next year. That means no title, songs — other than “Ouija,” teased below — song titles, recording info, other background, etc. But you can get a glimpse of the vibe they’re going for in the track snippet and the others on their TubesofYou channel, I think, and that’ll have to do for now.
To the PR wire:
Occult ritualists DEAD WITCHES ink deal with Heavy Psych Sounds Records for their upcoming 2017 release!
Heavily occult supergroup DEAD WITCHES (with former members of Electric Wizard and Psychedelic Witchcraft) have just inked a deal with European powerhouse Heavy Psych Sounds Records. The newly formed outfit will release their debut album early 2017.
Former member of Electric Wizard drummer Mark Greening (also of Ramesses, With The Dead) and vocalist Virginia Monti (Psychedelic Witchcraft) joined forces to found the heaviest occult psych superbeast to see the light this year, taking the shape of DEAD WITCHES.
Keeping it mysterious, the band has only released a couple of nippets for their upcoming works, which can be previewed HERE.
Beware as the witches are coming to take your soul.
DEAD WITCHES IS Virginia Monti – Vocals Mark Greening – Drums Carl Geary – Bass Greg Elk – Guitar
Posted in Whathaveyou on October 14th, 2016 by H.P. Taskmaster
Italian trio Black Rainbows really began to show they were on a trajectory for more than just sand-stylized fuzz with their second record, Carmina Diabolo. Originally issued in 2010 on Longfellow Deeds Records, it hit some three years after their Twilight in the Desert debut in 2007, and found the band immediately pushing the boundaries they had set for themselves on the first record. That progression would continue unabated right up to this year’s Stellar Prophecy (review here), and as they’ve become forerunners of Italy’s fertile and varied heavy rock/psych scene, it seems only fair for them to look back at Carmina Diabolo, which they’ll do with a new reissue of the album next Friday, Oct. 21, via Heavy Psych Sounds.
The following came from the label via the PR wire:
HPS002 BLACK RAINBOWS-“Carmina Diabolo” (reissue)
RELEASE DATE: OCTOBER 21st
LIMITED 12″ WHITE SINGLE VINYL
BLACK 12″ SINGLE VINYL
‘Carmina Diabolo’ starts off with the neatly carved ‘Himalaya’ who brings you the finest in fuzz rock and just like the title says, this is a giant! Good vocals and great riffs, everything you could want is on the list. This smooth running ‘motor’ is fuelled with gallons of first class rocket fuel more than enough to hurl anyone into orbit. The following gem ‘Babylon’ together with the fourth act ‘What’s In Your Head’ run in the same vein and are just as dusty as desert rock should be. Other tracks worth mentioning are ‘Bulls & Bones’ and the outstanding ‘Return To Volturn’. They grab you by the balls just like most of the songs on the album.
TRACKLIST: A1 Himalaya A2 Babylon A3 Under The Sun A4 What’s In Your Head A5 Bulls & Bones A6 Carmina Diabolo B1 In The City B2 Return To Volturn B3 The Witch B4 Space Kingdom
BLACK RAINBOWS IS Gabriele Fiori – Guitar & Vocals Alberto Croce – Drums Giuseppe Guglielmino – Bass
Posted in Whathaveyou on October 12th, 2016 by H.P. Taskmaster
As reinterpreted by Italian heavy psych rockers Deadpeach, Open Mind‘s ‘Magic Potion’ sounds like it could’ve been the starting horn for the Psychedelic Era. Of course, the actual history of that is more complicated, but in revitalizing the original version from 1969, Deadpeach play directly toward their own roots, which is something they’ve done increasingly over the last couple years. And fair enough. Their last full-length, Aurum (review here), was released at the end of 2014, and last year they looked back to their very beginnings with a reissue of their 2004 debut EP, Old Fuzz Generation (review here). 12 years on from that initial outing, why shouldn’t they be looking outward as well as inward when it comes to their motivations and inspirations?
Particularly when the results are as engaging as “Magic Potion” turns out to be, the project’s appeal deepens further. I don’t know if this is a one-off or if Deadpeach might have other covers in the works, but I think it’s telling to note that the recording was started in 2011, half a decade ago. That’s enough to make me think Deadpeach might have a host of tracks laid down to one level of completion or another from over the years, though how many of them might surface to educate their listenership as “Magic Potion” does, I wouldn’t speculate. Maybe it’s better just to groove along to what we’ve got and let the rest play out as it will. That at least seems to be the spirit of the track itself.
You can watch the video for “Magic Potion” below or download it from the band. They sent along the following announcement:
Take a drink from a magic potion
Deadpeach’s new single is out now. ‘Magic Potion’ is a 1969 song of the band Open Mind.
Recorded started at Daniele Marzi studio (2011) and ended at Deposito Zero in Forlì (2016). Mixed at Deposito Zero in Forlì (2016). The new single comes along with a new video.
Download Magic Potion and support Deadpeach on bandcamp.
[Stream Varego’s Epoch in full by clicking play above. Album is out today, Oct. 10, on Argonauta Records.]
It’s not always easy to find, but for each tempest that Italian atmospheric sludge rockers Varego create on the six tracks of their second full-length, Epoch, there is a calm center at the core. That is, while their material offers a veneer of chaos, they never let go of an underlying sense of control, and whether it’s the metal influence that shows up late in the guitar work on “Swarms” or the closing “Dominion,” the earlier Ufomammut-style cosmicrush of the prior-issued single “Phantasma,” or the progressive impulses that seem to be at play there and beneath the churn of “The Cosmic Dome,” the Argonauta Records release succeeds in conveying a diversity of influence on a cohesive, heavy and intriguingly opaque package.
Like Varego‘s 2012 debut, Tumultum — they were a five-piece at the time, they’re now the foursome of bassist/vocalist Davide Marcenaro guitarists Alberto Pozzo and Gero Lucisano (also the head of Argonauta) and drummer Simon Lepore — the prevailing impression on first listen is one of strange immersion. This is thanks in no small part to a heavy effects treatment on Marcenaro‘s vocals, but that semi-psychedelic, spacious echo, in combination with a range of guitar soundscapes, winds up doing a lot of the work of tying Epoch‘s manageable 36-minute run together. It is an album with a sense of presentation more than pretense, but as the sparse guitar build of opener and longest track (immediate points) “Alpha Tauri” gives way to the ensuing rush that sounds something like Mastodon beamed in across several lightyears’ of interstellar signal decay, it’s clear Varego are up for a bit of exploration as well.
As to where that exploration takes them, they seem to display some measure of self-awareness of the journey they’re on. To wit, titles like “Alpha Tauri,” “Flying King,” “The Cosmic Dome,” and even “Dominion” — not to mention the otherworldly mastery conveyed through the album’s cover art, objectification notwithstanding — speak to elements of space, of moving from one place to the next, of something grander than the human sphere, and the music within backs that up with a fervent hypnosis that carries through as “Alpha Tauri” shifts directly into “Phantasma,” which likewise bleeds into “Flying King.”
Bringing the bass forward in the mix gives Epoch an immediate strike of heft, and sets up the dynamic of the buried vocals and the far-out guitar work of Pozzo and Lucisano, but it might be Lepore holding the songs together ultimately. “Flying King” finds him cycling through fills as the guitars and vocals stretch themselves to and beyond oblivion, and though it’s the shortest cut on the album at 4:44, and among the more straightforward, particularly after the thrust of “Phantasma,” from its beginning keyboard flourish to its capping wash of noise, it seems to be the drums providing that center around which the rest of the track swirls — though in this case, that center is anything but calm.
Each of the three songs that follow, “The Cosmic Dome,” “Swarms” and “Dominion,” lead the listener further along a path of consuming bleakness. One finds tortured shouts echoing behind furious riffing on “The Cosmic Dome,” and with the somewhat extended droning intro to that song, it all the more gives the feeling of having shifted from one side to another, side A to B, even in a linear (digital/CD) format. Reinforcement arrives as “Swarms” launches with its slow-Slayer nodding lead line and ping ride and continues to unfurl more downer vibes in the ensuing post-metallic build, increasing in tempo before receding again to a calm and somewhat morose contemplation across a long fade where even the snare drum is coated in reverb.
Like much of the album before it, this is a moment of grayed-out psychedelia, and that vibe carries into the finale “Dominion.” If this is the place to which Epoch has been leading, it’s an alternate dimension of far-ranging sludge and space-metallic thrust, marked out by its build and the rousing finish to which it progresses, the vocals holding all the while to the aforementioned sense of control that has underscored Varego‘s work across this massive but still efficiently-executed span.
At the end of “Dominion,” that seems to be exactly what Varego have established over this strange, sometimes confusing sonic territory. They are fully at home in it. They make it their own. They twist it to suit their purposes on a given track, in a given expression. That they’d develop further into their own sound on a second album four years after their debut isn’t necessarily surprising, but the progressive vision of sludge they present on Epoch that’s neither lacking atmosphere nor purely derivative of post-metal only becomes more satisfyingly individualized on repeat listens, which speaks even more of the band having fully realized the impressive scope of their intentions.
Posted in Reviews on October 4th, 2016 by H.P. Taskmaster
Day Two starts now. I don’t know if you’re ready for it. I don’t know if I’m ready for it. Ah hell, who am I kidding? I love this stuff. No place I’d rather be right now than pounding out these reviews, batch by batch, all week. This one gets heavy, it goes far out, it rocks hard and relentless and it gets atmospheric. And more. But don’t let me try to sell you on reading it. Even if you skim through and click on players, I hope you find something you dig. If not today, then yesterday, or tomorrow or the next day. Or hell, maybe the day after. It’s 50 records. There’s bound to be one in there. Here we go.
Quarterly Review #11-20:
Monolord, Lord of Suffering / Die in Haze
A relatively quick two-songer issued via RidingEasy to mark the occasion of the Swedish trio’s first US headlining tour this summer, Lord of Suffering / Die in Haze offers a more stripped-down feel than did Monolord’s second full-length, Vænir (review here), which came out last year. The roll elicited by guitarist/vocalist Thomas V. Jäger, drummer Esben Willems and bassist Mika Häkki, however, remains unspeakably thick and the band’s intent toward largesse and nod continues to ring true. They’re in and out in 11 minutes, but the ethereal, watery vocal style of Jäger and the more earthbound pummel of the three-piece as a whole on “Lord of Suffering” and the grueling spaciousness of “Die in Haze” – not to mention the bass tone – show that Monolord are only continuing to come into their own sound-wise, and that as they do, their approach grows more and more dominant. They make it hard not to be greedy and ask for a new album.
Seattle two-piece Teacher served notice early this year of their then-forthcoming self-titled, self-recorded debut LP, and it was easy to tell the Tony Reed-mastered full-length would be one to watch out for as it followed-up their prior EP1812, released in 2015. Arriving via Devil’s Child Records, the 10-track Teacher does indeed dole out a few crucial lessons from drummer/guitarist/vocalist Jonathan Ethan Mercer and guitarist/vocalist Solomon Arye Rosenschein. Whether it’s “Heavy Metal Parking Lot 1979” or the swinging “Peripatetic Blues” or the gone-backwards psych interlude “Wildcard Jambalaya” that immediately follows, the record basks in an organic diversity of approach drawn together by the clear chemistry already present between Mercer and Rosenschein. A harder edge of tone keeps a modern feel prevalent, but even the forward punker charge of “Mean as Hell” has classic roots, and as they finish with “Home for the Summer” as the last of three out of the four EP tracks included in a row to round out the LP, they seem to have entered the conversation of 2016’s most cohesive debuts in heavy rock. Their arrival is welcome.
There’s an element of danger to Rosy Finch’s debut long-player, Witchboro (on Lay Bare Recordings). Actually two. One: it sounds like it could come apart at any given moment – it never does. Two: any given one among its nine component tracks could wind up just about anywhere. Though the Spanish trio of bassist/vocalist ElenaGarcía, guitarist/vocalist Mireia Porto and drummer Lluís Mas keep individual songs relatively raw sounding – or at very least not overproduced as something so progressive could just as easily have wound up – but even the soothing “Ligeia” holds to a driving sense of foreboding. Punk in its undercurrent with more than a touch of grunge, Witchboro is as much at home in the atmospheric crush of “Polvo Zombi” as the quick-turning finale thrust of “Daphne vs. Apollo,” and its overarching impression is striking in just how readily it manipulates the elements that comprise it. Ambitious, but more defined by succeeding in its ambitions than by the ambitions themselves.
Holy Mountain Top Removers, The Ones Disappearing You
Psychedelic surf? Wah-soaked, bass rumbling foreboding? Euro-inflected lounge? All of the above and much more get a big check mark from Nashville instrumentalists Holy Mountain Top Removers, whose The Ones Disappearing You LP covers an enviable amount of stylistic ground and still leaves room near the end for bassist/keyboardist Mikey Allred to lead a blues dirge on trombone. He’s joined by drummer/percussionist Edmond Villa and guitarist Anthony Ford, as well as guest trumpeter Court Reese and violinist Allan Van Cleave, and as they careen through this vast terrain, Holy Mountain Top Removers only seem to revel in the oddness of their own creation. To wit, the early jangle of “Monsieur Espionnage” is delivered with gleeful starts and stops, and the later “Serenade for Sexual Absence” given a mournful snare march and what sounds like tarantella to go with Van Cleave’s violin lead. Playful in the extreme, The Ones Disappearing You nonetheless offers rich arrangements and a drive toward individuality that stands among its core appeals, but by no means stands there alone.
Chris Forsyth and the Solar Motel Band, The Rarity of Experience I
Philadelphia four-piece Chris Forsyth and the Solar Motel Band must have worked quickly to turn around so soon a follow-up to last year’s debut album, Intensity Ghost (review here), but their second offering, The Rarity of Experience lacks nothing for growth. A two-disc, 72-minute 10-tracker also released through No Quarter, The Rarity of Experience hops genres the way rocks skip on water, from the exploratory psychedelic vibing of “Anthem II” to the Talking Heads-style jangle of “The Rarity of Experience II” and into horn-infused free-jazz fusion on “The First 10 Minutes of Cocksucker Blues” – which, by the way, is 12 minutes long. A big change is the inclusion of vocals, but the penultimate “Old Phase” still holds to some of the pastoral atmospherics Forsyth and company brought together on the first record, but principally, what The Rarity of Experience most clearly shows is that one doesn’t necessarily know what’s coming from Chris Forsyth and the Solar Motel Band, and as much as they offer across this massive stretch, I wouldn’t be surprised if they continue to expand their sound.
Initially released by the band in January, the self-titled debut from Munich heavy rockers Swan Valley Heights sees wider issue through Oak Island Records in an edition of 200 LPs. After rolling out the largesse of welcome-riff in opener “Slow Planet,” the three-piece dig into longform groove on “Alaska” (9:09), “Mammoth” (11:02) and “Let Your Hair Down” (9:35), finding a balance between hypnotic flow and deeply weighted tones. Riffs lead the way throughout, and while there aren’t a ton of surprises, once they make their way through “Caligula Overdrive,” the shimmer at the start of “Mountain” and some of the more patient unfolding of closer “River” called Sungrazer to mind and I couldn’t help but wonder if Swan Valley Heights would make their way toward more lush fare over time. Whether they do or not, their debut engages in its warmth and cohesion of purpose, and offers plenty of depth for those looking to dive in headfirst.
I can’t help but feel like Portland, Oregon’s Cambrian Explosion are selling themselves a little short by calling The Moon an EP. At five songs and 35 minutes, the follow-up to their 2013 The Sun outing boasts a richly progressive front-to-back flow, deep sense of psychedelic melodicism and enough crunch to wholly satisfy each of the payoffs its hypnotic wanderings demand. Sure sounds like a full-length album to my ears, but either way, I’ll take it. The four-piece set an open context in the intro noise wash of “Selene,” and while “Looming Eye” and “Mugen = Mugen” push further into ritual heavy psych, it’s in the longer “Innocuous Creatures” (9:24) and closer “Crust of Theia” (8:23) – the two perfectly suited to appear together on the B-side from whatever label is lucky enough to snap them up for a release – that The Moon makes its immersion complete and resonant, blowing out in glorious noise on the former and basking in off-world sentiment as they round out. Gorgeous and forward-thinking in kind. Would be an excellent debut album.
Not sure if there’s any way to avoid drawing a comparison between Italian five-piece Haunted’s self-titled debut (on Twin Earth Records) and Virginian doomers Windhand, but I’m also not sure that matters anymore. With the two guitars of Francesco Bauso and Francesco Orlando meting out post-Electric Wizard churn and Cristina Chimirri’s vocals oozing out bluesy incantations on top as Frank Tudisco’s low end and Valerio Cimino’s drums push the lumber forward, it’s all doom one way or another. “Watchtower” has a meaner chug than opener “Nightbreed,” and the centerpiece “Silvercomb” delves into feedback-laden horror atmospherics, but it’s in the closing duo of “Slowthorn” and “Haunted” that Haunted most assuredly affirm their rolling intention. They’ll have some work to do in distinguishing themselves, but there’s flourish in the wash of guitar late and some vocal layering from Chimirri that speaks to nuance emerging in their sound that will only serve them well as they move forward from this immersive first offering.
Taking their name from a track off Monster Magnet’s 2010 outing, Mastermind, Brazilian heavy rockers Gods and Punks mark their debut release with The Sounds of the Earth, a self-released five-track EP awash in classic influences and bolstered through a double-guitar dynamic, maybe-too-forward-in-the-mix vocals and a rock solid rhythm section. These are familiar ingredients, granted, but the Rio de Janeiro five-piece present them well particularly in the mid-paced “The Tusk” and the catchy, more extended closer “Gravity,” and are able to put a modern spin on ‘70s vibing without becoming singularly indebted to any particular band or era, be it ‘70s, ‘90s or the bizarre combination of the two that defines the ‘10s. Gods and Punks are setting themselves up to progress here, and how that progression might play out – more space rock to go with the theme of their excellent artwork, maybe? – will be worth keeping an eye on given what they already show in their songwriting.
Mostly instrumental, deeply atmospheric and clearly intended to divide into the two sides of a vinyl for which it seems more than primed, A Cure for Time is the second album from Copenhagen post-metallers Gaia. Each half of the four-track/39-minute outing pairs a shorter piece with a longer one, and the flow the trio set up particularly on the closing title cut calls to mind some of YOB’s cosmic impulses but with a spaciousness, roll and context that becomes their own. Shades of Jesu in the vocals and the balance of rumble and echo on the earlier “Nowhere” make A Cure for Time all the more ambient, but when they want to, Gaia produce a marked density that borders on the claustrophobic, and the manner in which they execute the album front to back emphasizes this spectrum with a progressive but still organic flourish. I wouldn’t call A Cure for Time directly psychedelic, but it’s still easy to get lost within its reaches.sh
Posted in Whathaveyou on September 26th, 2016 by H.P. Taskmaster
Italian heavy rockers Isaak took a major step forward late last year with their second album, Sermonize (review here). Released through Heavy Psych Sounds and Small Stone Records — two rousing endorsements to have — it found the band going well beyond the confines of 2012’s The Longer the Beard the Harder the Sound (streamed here) and toward a much more individual approach. After spending a decent portion of the last few years, the band has announced they’ve just swapped out drummers, and while one expects that will change their dynamic some going forward, I’d expect their growth will continue onto whatever it is they do next. Some momentum you just don’t stop.
I got sent a shorter version of the statement below, but wanted to print the thing in full since I think it speaks well of how much this music means to the people who are making it, and I guess that’s really what it’s all about. So here you go:
Isaak line up Change
Loads of things have happened after that dinner in a Mexican restaurant, choosing the name ISAAK after “some” Margarita.
What is the reason of starting with this sentence? We are going to explain you in a while, but we believe a short introduction is doubtless needed. ISAAK wasn’t just a change of name from Gandhi’s Gunn. Isaak became (and continue being nowadays) a completely different band from that moment. After that dinner we turned the page on the past and we looked forward, we always did it musically and not only. Band has been always more important than the single members and this shared belief has often allowed us to go ahead despite difficulties.
Who has been part of this project is perfectly aware of what we’re talking about. This band survived the distance, the adaptation to changes, the thefts, the necessities of life of the single members. This band has survived to the fact that it was possible to rehearse only during weekends. This situations has lasted for YEARS and only when we managed to be there all together (we also managed to make a record this way!). These are sacrifices that each one of us has done with pleasure and that each one of us would blindly be willing to do it again, from the first to the last.
For those who don’t know , Andre (our drummer) has been living in a city that is nearly 4 hours far away from Genoa. During three years he held it on, giving priority to our band and giving up on many other things. He did it for real. He did his best for the band.
Today Andre leaves the band but he will be always part of this family. He has significantly contributed on this project, he believed in ISAAK and we have been witness of it. He has definitely helped us to make this dream come true.
A simple post on Facebook certainly cannot summarize all this. Andre passes the baton to another great genoese drummer a great friend who will join us on the Isaak path, is name is Davide Foccis! We’ll see you under the stage to give him an eager welcome to the family!
Giacomo H Boeddu – Vocals Gabriele Carta – Bass Davide Fox Foccis – Drums/Vocals Francesco Raimondi – Guitar