Posted in Whathaveyou on December 16th, 2014 by H.P. Taskmaster
Since pretty much nothing is known about Ufomammut‘s new album at this point other than it’s done, you’ll pardon me if my eye wanders down in the press release to the part where it mentions their “first major tour of the continent,” meaning North America, which will take place in 2015 around their appearance at Maryland Deathfest. A US run for Ufomammut is probably overdue at this point, but better late than never. I’ll look forward to finding out with whom they’re hitting the road. I suppose it’s too much to think they could join forces with Conan and lay waste to everything in their path. Ah, to dream of that bill.
And while I’m looking forward, here’s that word about the album, snagged hastily from the PR wire:
UFOMAMMUT Completes Seventh Studio Full-Length For Spring Release Via Neurot Recordings
Italian power trio, UFOMAMMUT, is putting the final details on the band’s anticipated seventh studio full-length in order for the album to see an early Spring 2015 worldwide release, once again through Neurot Recordings. While virtually no specific details on the album are yet to be revealed to the public, the album is fully mixed, mastered and going into production now. The record’s title, release date and much more will be unveiled at the dawn of 2015, and mass album and tour updates will ensue through the rest of the year.
In October, UFOMAMMUT proudly released XV, a DVD documenting the band’s intense fifteen year lifespan to date, through their own Supernatural Cat label with support from Neurot. For nearly two years UFOMAMMUT has been working on this special video project delivered through XV’s more than three hours of footage documenting their vast discography and live accomplishments. The DVD features Magickal Mastery Live, a twelve-song live act, as well as interviews, outtakes, and extras, captured over the past decade and a half.
Orders for the XV DVD can be placed in the USHEREand internationallyHERE, and the digital audio version of Magickal Mastery Live only can be orderedHERE.
Additional info on the upcoming album will be released in the coming weeks as UFOMAMMUT prepares to return to North America for their first major tour of the continent in 2015, including a performance at Maryland Deathfest 2015.
UFOMAMMUT Tour Dates: 5/21/2015 Maryland Deathfest – Baltimore, MD
Posted in Reviews on December 1st, 2014 by H.P. Taskmaster
For their third full-length, Italian heavy psych rockers Deadpeach offer five varied explorations, each with its distinct personality. Aurum, which takes its name from the elemental name of gold, is out on vinyl through Nasoni Records and splits well into two sides, but still works as a front-to-back listen with engaging turns and a blend of jammed and structures approaches to which the four-piece of guitarist/vocalist Giovanni, guitarist Daniele Bartoli, bassist Mr. Steveman and drummer Federio Tebaldi are amiably suited. On a superficial level, there isn’t anything in the span of Aurum‘s 38 minutes that couldn’t fall under the heading of heavy psychedelia, and I don’t think there’s anything present that’s intended otherwise, but Deadpeach prove bold within those parameters and find themselves ranging beyond genre confines more than it might at first seem. Side A, in particular, is an ambitious beginning, with just two songs — “Calcutta” (10:01) and “Gold” (9:14) — that comprise the first half of the record. As someone who gives immediate credit to records that open with their longest tracks, to find the longest two by a considerable margin pushed to the front of Aurum is a rare-enough treat to be remarkable, but even within themselves, they begin to show some of the range that unfolds as the album plays out, recalling the earlier fuzzy riff rock of their 2006 Psycle debut and the development that showed itself on the 2011 follow-up, 2, while continuing to push into newer, jammier ground for the band. Whether one approaches Aurum as two sides or in linear form, the first two tracks and subsequent “The Line,” “Stomper” and “Traffic” reveal an act capturing a vital spirit of creative spontaneity while also following a decided course.
Aurum has an easy appeal for the already converted among heavy rock heads. Giovanni and Bartoli offer up enough fuzz and riffs in “The Line,” “Gold” and the early going of “Stomper” that, if there’s a quota, it’s met. What really pushes that basic appeal to another degree is the shifts that take place between the songs and how well Aurum moves with them. Perhaps unsurprisingly, the 10-minute “Calcutta” unfolds gradually to reach its full breadth, but immediately the guitars and bass set an atmospheric foundation that becomes the basis from which the rest of the album is built. Light chanting and, later, lyrics emerge in a style not too far from Lamp of the Universe, but lead guitar is the focal point and the movement playing out behind it. Hypnotic, the jam comes to a head about halfway in and quickly recedes, only to be constructed again, a little faster the second time, and given an ambient leadout that smoothes the way into “Gold,” which takes Mr. Steveman‘s bassline as its driving element and, rather than split its build, follows a single line over the course of its nine minutes, hitting a stride of fuzz and crash after a midpoint break, shifting into more straightforward-seeming stonerly swing and verses, a Hawkwindy space factor not at all lost among the proceedings. Thinking of Aurum as one song flowing into the next, “Gold” bridges a gap between “Calcutta” and “The Line,” with a jammy first half leading to a more traditionally structured second, but the track itself has more substance to it than a mere transitional moment, be it in classically layered leads or the tonal weight of the push running alongside them. To discount either part as simply feeding out of or into something else doesn’t do the song justice, or acknowledge the fact that in putting the two sides next to each other and making it work as smoothly as Deadpeach do, they’re summarizing a good portion of the album’s appeal on what’s also as close as they come to a title-track. Even way out in space, there’s consciousness at work.
“The Line,” which leads off the second half of Aurum, is the shortest track included at 4:55, and true to the latter end of “Gold,” it’s a more straightforward fuzz rocker, updating classic heavy methods with a modern vibe. Giovanni‘s vocals still echo out from under the fuzz, and Mr. Steveman runs circles around the central riff, but whether it’s as a centerpiece of the five tracks or as the start of side B, no question “The Line” is a major shift from “Calcutta” and “Gold” before it, despite consistency of mood and swirl. Deadpeach find room in their only-song-under-five-minute rush to jam a bit behind a solo section, but with deft songwriting in their favor, they return to the chorus before finishing out, ending noisy and satisfying en route to the similarly rocking launch of “Stomper,” though it’s Tebaldi who takes that track over, turning an instrumental rocker into essentially a drum jam peppered with airy guitar. To his credit, he holds it together, and to the band’s, they bookend with a resurgent progression similar to that which led into the percussive stretch, a symmetry that keeps the vibe of Aurum steady even as Deadpeach move toward their finale and yet more ground to cover. Presumably because by now their listener might expect a fuzz-toned jam of one kind or another, the band dial back the distortion and close out with a jazzy instrumental movement that — while, yes, it kicks later into a fuzzy conclusion — provides one last turn from a foursome who’ve already shown plenty of variety. What the initial stages of “Traffic” demonstrate, however, is that there’s more to Deadpeach‘s fluidity than a pedal board. The vibe is maintained in the chemistry between players, but to jump back from “Traffic” to “Calcutta,” it would be easy to imagine you were hearing two different bands. Again, what makes Aurum work so well through this is the band’s ability to carry the listener along with them for the trip. As wide a range as Aurum works with, it never lets go of that connection.
Posted in Whathaveyou on November 28th, 2014 by H.P. Taskmaster
Italian three-piece Doctor Cyclops will round out 2014 supporting their latest album,Oscuropasso, with dates in Austria, Germany and Switzerland, preaching their doomly gospel of ’70s prog worship and heavy riffage 10 nights in a row. The record — still on my desk — was released by World in Sound and boasted warm tones and an excited feel that one imagines is a mirror for energy the trio bring to their live show (not having seen them, I can’t really comment). It’s a quality album. I still feel guilty for not reviewing it in some fashion.
Should you happen to be in Austria, Germany or Switzerland next month — it could happen — don’t let my baggage stop you from checking out what will likely be a cool show. They’re calling it the “Riding a Dream” tour, and I hope it works out that way. Earlier this year, the bandumentary Borgopasso – Doctor Cyclops Not the Movie was released, and you’ll find that under the tour dates below should you want to learn more about them:
DOCTOR CYCLOPS – Riding a Dream Tour December 2014
Doctor Cyclops (World in Sound rec.) heavy 70s rockers will break through Austria, Germany and Switzerland from next week. 11 gigs in 11 days, from wednesday the 3rd to saturday the 13th. Choose your city, get your show!! Join the Cyclops Partying Circus, may the Trolls be with you.
One Eyed Promotions, World in Sound Records and DAREDEVIL RECORDS presents:
Doctor Cyclops is a seventies-style power trio playing heavy rock music inspired by a vintage sound, eldest son of glorious Balck Sabbath and of other more underground heroes from the 70ies and early 80ies such as Truth and janey, Sir Lord Baltimore, Captain Beyond, Witchfinder General. Even later and more modern references are warm-vintage style ones: Witchcraft, Firebird, Cathedral, Spiritual Beggars just to say some.
Posted in Reviews on November 21st, 2014 by H.P. Taskmaster
I’ve expressed my nerdy idolatry for Italian ‘zine Vincebus Eruptum on numerous occasions — each new issue seems to bring out a feeling of admiration for their project and their accomplishment of it — but as I flip through the latest edition, No. 18, of the vaunted publication, even more of a standout is just how together the Vincebus Eruptum product is. Editor Davide Pansolin has been slowly, steadily expanding the brand over the last year plus, taking Vincebus Eruptum from a reactivated fanzine to a state-licensed associazione culturale, beginning to work directly with bands as a label and promotion vehicle and continuing to give Italian heavy rock and psychedelia its best public representation as the scene grows in no small part because of its own efforts. An example? When I removed Vincebus Eruptum from its plastic sleeve, inside I found a CD copy of Essay on a Drunken Cloud (review here) by Anuseye. It’s not the first time Vincebus Eruptum has tied in Vincebus Eruptum Recordings releases with the publication itself, but even the sheer amount of coordination involved was impressive, since not only was the album placed right between the two pages containing an interview with guitarist/vocalist Claudio C. (also ex-That’s all Folks!), but those two pages were also the dead-center of the issue itself.
Attention to detail like that, coupled with the psychedelic design and unabashed readiness to support the European heavy psych scene make Vincebus Eruptum indispensable. The Anuseye CD, which is only available with the issue (vinyl is for sale separately), is also reviewed — I won’t begrudge Pansolin laying it on a bit thick in the self-promotion department as the ‘zine celebrates its 15th anniversary — and as usual, the company it keeps is an impressive swath of recent heavy rock and psych releases from groups like Octopus Syng, Fatso Jetson/Herba Mate, Hot Lunch, L’Ira del Baccano, Vibravoid, Electric Moon and so on. Of course, Italy is thoroughly represented, both in independent bands and through labels like Go Down Records, Heavy Psych Sounds and Vincebus Eruptum Recordings. As ever, the pieces are concise and to the point — there’s a lot to fit — but informative and give a sense of what the groups are going for and whether or not they get there, and I find myself with an expanding wishlist of stuff to check out. Business as usual, in that regard, but it’s no less true reading No. 18 than it ever is, Pansolin handling all of the reviews by himself this time out except for Essay on a Drunken Cloud, which he turns over to Roberto Mattei.
Being a sucker for that kind of thing, I tend to go to the reviews first, but interviews with Electric Wizard, Swedish sleeper-hitters Jeremy Irons and the Ratgang Malibus and retro cyclone Prisma Circus make for fascinating fare, and having seen their name with an increasing frequency, I appreciated a chance to get a better sense of Australia’s Child as well. Da Captain Trips, who also have a record out through Vincebus Eruptum Recordings, are interviewed, though I think most fascinating of all is the chat with Wolf, who heads the German imprint World in Sound, and is responsible for fostering quality acts like Samsara Blues Experiment, the aforementioned Prisma Circus, The LoneCrows, Doctor Cyclops and many others. Topped off by Kabuto cover art recreating the Malleus cover of the first issue 15 years ago, a stirring note in the beginning from Pansolin himself, and the Anuseye album for a soundtrack, and Vincebus Eruptum seems to be passing the 15-year mark going stronger than ever. As someone always happy to nerd out on what Pansolin and his crew have going, I couldn’t be happier for them and hope we get another 15 years of quality, dedicated psychedelia coverage and much more.
Posted in Reviews on November 13th, 2014 by H.P. Taskmaster
The concert DVD is about as dead as dead gets. They still make them, and they’ll continue to for some time, but with streaming on demand, YouTube, festivals live-streaming their events and so on, bands might as well put out VHS tapes and at least get some retro novelty points out of the deal. All the same, every now and again there’s a worthy occasion — in the case of Italian cosmic doomers Ufomammut, it was their 15th anniversary — and it seems prudent that some band-sanctioned document of it exist into perpetuity. Thus arrives XV: 15 Years of Ufomammut on the band’s own Supernatural Cat imprint with minimalist artwork courtesy of their visual-arts alter-ego, Malleus; a rare moment of backward reflection from an otherwise relentlessly forward-thinking trio, who have become — and I say this with as much impartiality as I can muster — one of the worldwide heavy underground’s most pivotal acts. Their two-part 2012 full-length, Oro (reviews here and here) on Neurot was really just the latest step in a groundbreaking psychedelic progression that’s been underway since they started in 1999, their releases — 2000’s Godlike Snake, 2004’s Snailking, 2005’s Lucifer Songs, 2007’s Supernaturals Record One collaboration with Lento, 2008’s Idolum, 2010’s Eve (review here) and the aforementioned Oro – serving as landmarks of each stage of their development, their continued will for experimentation and outdoing themselves unwavering across each outing. So after a decade and a half, Ufomammut wanted to take a step back and see how far they’ve come before moving ahead again with their next record? Well, that seems fair.
Ufomammut‘s late-2013/early-2014 “Magickal Mastery Tour” was something special because where the trio of guitarist/keyboardist Poia, bassist/vocalist/keyboardist Urlo and drummer Vita generally keep their focus more recent when it comes to live shows, this time they dipped all the way back to Godlike Snake and the preceding 1999 Satan demo for “Superjunkhead” and covered a little taste of everything between that and “Sulphurdew” from Oro: Opus Alter. A single set spanning a seven-album run isn’t easy to put together, particularly when Ufomammut have grown a tendency to write long-form material, but they did it and for fans, it was something apart from their own version of the “ordinary.” If you’re an ardent disbeliever in the form of concert videos, XV isn’t likely to change your mind, but it’s something the band have clearly put thought and effort into, where so many are slapped together from three-camera shoots and just sort of plopped out there like an unbaited fishhook to see which fans will bite. The feel over the course of Ufomammut‘s 80-minute set is more like a music video. They run the performance footage, captured live at SOMS “Il Progresso” in Sarezzano, Italy, by longtime engineer Lorenzo Stecconi, through a range of psychedelic effects and intersperse strange still images, all the while bouncing between more cameras than I can count, GoPros, hand-helds, and stationary. It’s a feature-length, live music video more than a concert recording. If there was an audience that night in Sarezzano, they’re never showed. Possible the band rented out the space so they, as Malleus, and Barbra Baader Meinhof could have freer access with cameras, but I don’t know that.
They bounce gloriously around their catalog and unsurprisingly are planetary in their heaviness throughout, but again, if you’re absolutely unable to get on board with a concert DVD, their switches between color, black and white, blurs and visual swirls are probably going to leave you cold. Wisely, and I’ll admit more intriguing to me as well, is the documentary portion of XV. in which the band (with subtitles) tell their own story and check in with those who knew or helped them at some stage or another in their career. Their story isn’t one filled with drama — Poia and Urlo played together in a band called Judy Corda that broke up, they started Ufomammut, found a killer drummer in Vita, were well received and set about growing their sound — but there is a lot of humor and charm throughout. Of particular note is when The Flyeater, who apparently handled Korg for them for two shows, makes an appearance in the same luchador mask he wore on stage, and we get to see Stecconi, who has become a big part of Ufomammut‘s sound since making his debut behind the board for them with Idolum, which the band describes as their darkest album. If this is to be their moment of reflection, they make the most of it, and it’s fascinating to hear them putting their work in context with itself, moving from one record to the next while conscious of the creativity at play. They wind up discussing Oro and then move into some of the theory behind where they are as a band, playing live — there’s some Roadburn footage in there — and developing the visual side of their approach. At the very end, we even get to hear from Lu, who contributes to Malleus but not Ufomammut proper. She speaks over psychedelic visuals and backed by airy guitars, and they finish out by thanking everyone who’s helped them along the way and showing fan footage during the credits, people from around the world extolling the virtues of the band.
Honestly, I could probably do the same, if you wanted or if I haven’t already in this review. It’s hard not to think XV as closing a chapter in Ufomammut‘s career, but the truth of the matter is each record they do does the same thing: They make an album and then move on. With a new full-length due out next year as a follow-up to this and Oro, that evolution seems to be continuing unabated, and hearing the band talk about their processes and what goes into making them who they are, I look forward even more to finding out what the next stage might hold. And as for the concert DVD being dead? Well, sometimes these dead formats have a tendency to come back to life, and just in case, having a copy of XV on hand might not be the worst idea.
Posted in Whathaveyou on November 13th, 2014 by H.P. Taskmaster
I guess with San Francisco’s Wild Eyes rolling through town, Rome’s Heavy Psych Sounds imprint decided to make an event of it. Label head Gabriele Fiori has done so in style, with a two-night showcase bringing in Ufomammut – fresh off the recording of their new album — to headline one night with his own band, Black Rainbows, as well as Isaak on the bill, while Wild Eyes themselves will headline the second night, with Ape Skull and The Wisdoom supporting. Kind of a mini-fest, but a solid showing of Heavy Psych Sounds‘ acts, plus Ufomammut, and if nothing else, it’s bound to make Wild Eyes‘ trip through Rome a memorable one.
Wild Eyes kicks off their European tour tomorrow. All the dates can be found under the label showcase info, as well as the stream of their new release, Above Becomes Below. Rock and roll:
Heavy Psych Sounds Records is proud to present the first Showcase ever with all the bands of the label Wild Eyes from San Francisco, with their last show of the European tour, Isaak introducing the upcoming split record with Mos Generator, the mighty UFOMAMMUT will headline as guests the 4 december day, and last but not least, Black Rainbows, The Wisdoom and Ape Skull
INIT CLUB, Rome, Italy INIT CLUB – ROMA Via della stazione tuscolana 133 00182 – ROMA (IT)
04/12/2014: UFOMAMMUT Black Rainbows Isaak
h 10:00 – 10 euro
05/12/2014: WILD EYES The Wisdoom Ape Skull
h 10:00 – 7 euro
HEAVY PSYCH SOUNDS Records&Booking is proud to present the European Tour of Great Cali Acid Rock n’ Roll Band:
***WILD EYES*** 14/11/2014 IT Milano-Lo Fi 15/11/2014 IT Piacenza-Sound Bonico 16/11/2014 IT Erba-Centrale Rock 17/11/2014 CH La Chaux de Fonds-Café al Entre Deux 18/11/2014 CH Ins-Shuxenhaus 19/11/2014 CH Whinthertur-Gaswerk
20/11/2014 CH Luzern-Bruch Bros
21/11/2014 CH Olten-Coq D’or
22/11/2014 DE Augsburg-Ballonfabrik
23/11/2014 AU Graz-club wakuum
24/11/2014 AU Wien-Arena
25/11/2014 D Erfurt-Cafè Tiko
26/11/2014 D Leipzieg-Liwi
27/11/2014 D Berlin-Cortina Bob
28/11/2014 D Siegen-Vortex Club
29/11/2014 N Schoonhoven-De Bastille
30/11/2014 N Den Haag-Dystopia
02/12/2014 F Nancy-Le Quai’Son
03/12/2014 CH St Gallen-Rumpeltum
04/12/2014 D Freiburg-White Rabbit
05/12/2014 IT Rome-Init Club “HPS Showcase”
06/12/2014 IT Pescara-Orange Rock
Posted in Whathaveyou on October 22nd, 2014 by H.P. Taskmaster
Washington rock purveyors Mos Generator and Italian four-piece Isaak have set a Jan. 12, 2015, release date for a new split 12″. Heavy Psych Sounds will be handling the release. Earlier this year, the label got together Naam, White Hills, Black Rainbows and The Flying Eyes for a split that was promised as the first in a series, but I’m not sure if this is a continuation of that same idea — it’s half as many bands, for one thing — or a whole new deal. Either way, new Mos Generator and Isaak is nothing to complain about, however it might be positioned in the label’s catalog.
Mos Generator already have a couple recent releases under their collective belt, between their 2014 Listenable Records label debut, Electric Mountain Majesty (review here) and the self-released demo compilation Electric Nomads covering material from their last two full-lengths (review here). For Isaak, they’ve spent much of the year supporting their 2013 Small Stone release, The Longer the Beard the Harder the Sound, and they’ll hit the road in December once again, this time with copies of the new split in tow.
Some preliminaries on the pressing from Heavy Psych Sounds:
Mos Generator/Isaak Split Album is the new Heavy Psych Sounds Records release printed in Black Vinyl and 150 copies
LTD Red Splatter Black Vinyl Awesome Album Artwork by SoloMacello
release date 12/01/2015
We are proud and honored to announce our upcoming new split album with the amazing Mos Generator!
It will be released on a very limited edition 12″ vinyl by the great HEAVY PSYCH SOUNDS Records on January 12, 2015 but you can grab a copy during our European Tour in December. Here you can find a sneakpeek of the stunning artwork made by our brother SoloMacello.
We really can’t wait to let you ear it, we’re sure you’re gonna dig it. SEE YOU SOON ON TOUR, STAY HEAVY! \M/
Posted in Whathaveyou on October 10th, 2014 by H.P. Taskmaster
Their name is their mission statement, and on Jan. 14, 2015, Italian trio Killer Boogie will try to get a jump on the New Year with their debut album. The three-piece is fronted by Gabriele Fiori of Black Rainbows and will release their Detroit LP through his ever-expanding Heavy Psych Sounds imprint, but with The Wisdoom‘s Luigi Costanzo on drums and Matteo Marini on bass, the sound is much more blown out than the sort of fuzz delivered by Fiori‘s other band. No word at this point whether Killer Boogie is a side-project or a new full-time group, but they’ll have their first nine-day tour in December, so they’re starting off with a bang in any case.
A YouTube trailer with some songs from Detroit was just released, and as you can hear below, Killer Boogie are nestled right into that late ’60s/early ’70s garage buzz, not quite proto-metal, but still heavy and definitely with a mind to boogie.
The PR wire had it like this:
KILLER BOOGIE Debut Album “DETROIT” will be released via HEAVY PSYCH SOUNDS Rec. 14/01/2015
the band will be on tour from Dec. 11 to 20 in Europe!!
Fuzz Fuzz Fuzz !!!
Killer Boogie are a brand new band well versed in the making of ’70s riff making; a new machine in the retro ’n’ roll scene adept at mixing bluesy frequencies into an extremely fuzzy sound with psychedelic shades. Gabriele Fiori on guitars and vocals (Black Rainbows) , Luigi Costanzo on drums (The Wisdoom) and Matteo Marini on bass.
Killer Boogie grounds its roots in the sound of Blue Cheer, The Stooges, MC5, Cactus and Radio Moscow.
Their debut album Detroit (with killer artwork by Starcade Designs) will be released in December, and a small European tour follows to introduce the band to fuzz loving audiences from December 11 to 20.
Italian cult doomers Caronte will release their second album, Church of Shamanic Goetia, on Oct. 31 via German imprint Ván Records. Details have yet to surface about the record, which follows a 2013 split with Doomraiser and Caronte‘s 2012 debut LP, Ascension, as well as their 2011 first EP, Ghost Owl, but the four-piece have cut out the middle man and gotten right to the heart of what really matters — i.e., the music — in releasing the new song, “Temple of Eagles,” along with its mystically-themed lyrics. A sample verse:
Along the left hand’s path I climb through the wormhole every man has the cosmos within I’ll keep on expanding to reconnect with it
Yeah, it’s like that. Nothing on Caronte‘s Ascension topped 10 minutes long, so however indicative it might be of the rest of Church of Shamanic Goetia, “Temple of Eagles” is the longest album cutthe Parma unit have put out to date. I guess we’ll see how the rest of the record plays out when the time comes. Until then, “Temple of Eagles” feels less Electric Wizard-y than some of what Caronte have proffered before, which bodes well for their coming more into their own sound, all the more since it’s the first audio from the album to be released. More to come, I’m sure.
Caronte, “Temple of Eagles”
NEW SONG, NEW VIDEO
We are proud to announce the release date of our new album, “CHURCH OF SHAMANIC GOETIA” which will be released by Van Records. The release date is 31/10/2014 for all Europe.
This is the first extract from the album. Thank you all for the support you have always given. Now take a few minutes, get something to smoke and listen.
Soon more news about the release and the dates of our upcoming live performances.
Posted in Whathaveyou on September 23rd, 2014 by H.P. Taskmaster
Italian heavy rock four-piece Isaak are getting ready to tour in Europe once again. They released their Small Stone label debut, The Longer the Beard the Harder the Sound, last year, and are currently working on a follow-up, though what stage it’s actually in remains a mystery. Still, if you, say, had a post-it note with impending 2015 releases on it so you could remember them for later when you wanted to put together some kind of larger list/feature on the subject, Isaak‘s next record would be another one to add.
Not that such a post-it note exists or is already becoming overcrowded or anything. I can neither confirm nor deny, and so on.
Here’s the news:
*ISAAK* on tour ( Small Stone Records / HEAVY PSYCH SOUNDS)
Isaak , born from the ashes of Gandhi’s Gunn, immediately signed a worldwide contract for two albums with the American label Small Stone Records: the critically acclaimed debut “The Longer The Beard The Harder The Sound” released in 2013 and a second one that is going to be recorded very soon. “Having the chance to release two albums for an American label and reaching metal fans all over the world it’s a great honor but also a confirmation: we always thought we had an international sound since the beginning. And you will hear it even more in the new album.”
We also managed to tour in Europe for the first time this year. Thanks to this growth and to our love for bands like Clutch, Big Business, Torche, Red Fang the sound of our next album will be something really special. With the first single “The Frown” from the imminent new album, we tested the reaction of our fans receiving amazing responses. So we realized this was the right direction to follow”.
Isaak, who developed from a stoner rock into a promising international power sound band, are ready for the challenge, determined and strong just like their music. Are you ready?
04/12/2014 IT Rome-Init “HPS Rec Label Party” 06/12/2014 IT Milano-LoFi 07/12/2014 CH 08/12/2014 D 09/12/2014 D Augsburg-Blue Box Skate Park 10/12/2014 CH Winterthur-Gaswerk 11/12/2014 CH 12/12/2014 CH Mühledorf Niedergösgen-No Mute Bandraum 27/12/2014 IT Savona- Officine Solimano Christmas Show
Posted in Whathaveyou on September 5th, 2014 by H.P. Taskmaster
Cosmic doom conjurers Ufomammut celebrated their 15th anniversary last fall by embarking on what they called the “Magickal Mastery Tour,” picking out material from across their catalog and giving a career-spanning set to mark the passing of time. Next month, they’ll release a new DVD, XV: 15 Years of Ufomammut, that captures that live show and includes a documentary about the trio as well. Preorders for that are up now via the band’s own Supernatural Cat in Europe and Earsplit Compound in the US (links below), but I also like the part where the PR wire informs that Ufomammut will hit the studio this month for a new album to be released next spring on Neurot.
Hugely interested to hear what Ufomammut might come up with for a new record after the two-part Oroin 2012 seemed to expand beyond any boundaries they’d previously known. Do they somehow continue to get bigger-sounding and reach farther, or somehow contract, and perhaps inspired by playing earlier material, move toward a more stripped down approach. It’s foolish to speculate one way or another, but Orois one hell of an act to follow either way.
Info and whatnot:
UFOMAMMUT Announces Details Of Fifteen Year Anniversary DVD
Studio Time Booked For September; North American Tour Plans On The Horizon
UFOMAMMUT, Italian sorcerers of supernatural and obliterating doom, have been very busy behind the scenes following the release of their widely acclaimed ORO collection on Neurot Recordings and the Magickal Mastery Tour of 2013 and 2014, which saw them performing music from across their canon. A band constantly pushing and looking forward, while simultaneously keeping a firm eye on their history, as they continue to celebrate their fifteen years in existence, they still have much in store for their fanbase.
Since 2013, UFOMAMMUT has been working on a video project which will be released on DVD via the band’s Supernatural Cat Records this October, after all, the visual element of the band is of equal importance to their music. The DVD features over three hours of live footage — including Magickal Mastery Live, a 12 song live act — interviews, outtakes, and extras all documenting these first fifteen years of the band. Titled XV, this audiovisual experience will also be available as a special wooden 8GB USB drive.
On the subject of reaching this milestone the band commented…”ORO was a particularly ambitious album for us, and the Magickal Mastery Tour was a great chance to revisit all of our favorite songs in front of really great crowds. When we took some time to reflect on what we had accomplished we knew that the best ways to celebrate our first fifteen years, was a DVD release, something for our fans to contribute towards and to treasure. We’re excited about what the next fifteen years has in store…”
Preorders for the XV DVD have been posted. International orders can be placed via Supernatural CatHEREand US fans can order exclusively via Earsplit DistroHERE.
In addition to this DVD release, UFOMAMMUT has confirmed that they will be heading into the studio to record their seventh studio collection this September. The new album should see the light of day in Spring 2015 via Neurot Recordings. They’ve also revealed plans to return to the USA to tour the entire country for the first time, as well as a promise of more European performances. Stay tuned for more details on all developments in the coming weeks.
The Magickal Mastery Live Running Order: Superjunkhead Hellcore Oroborus Stigma Zerosette Destroyer Sublime Eve (Pt. III & IV) Sulphurdew Odio Stardog God
Posted in Whathaveyou on August 25th, 2014 by H.P. Taskmaster
Italian astral plane enthusiasts L’Ira del Baccano have announced a September release for their debut studio album, Terra 42, through Subsound Records. The reason I make the distinction “studio” is because when the Rome four-piece issued their first full-length, Si Non Sedes Is…, it was live. That record came out in 2008, and while L’Ira del Baccano put out a split in 2010 and have been playing shows in and around Italy — they recently supported Church of Misery — their debut is awaited and arrives in suitably deluxe fashion, splatter vinyl, foldout poster and all.
The PR wire has details:
L´IRA DEL BACCANO “TERRA 42″ – NEW ALBUM, DETAILS & COVERT ART
L´IRA DEL BACCANO “TERRA 42″ – NEW ALBUM, DETAILS & COVERT ART The new album by the instrumental doomdelic rockers L´Ira Del Baccano “Terra 42″ is set to be released by Subsound Records in September 2014. Distributed in Italy by Goodfellas and worldwide by Code 7/ Phd
The album will be available in digipak CD with a 25×27 cm poster inside, and double gatefold vinyl with 3 different colours to choose from.
L´IRA DEL BACCANO “Terra 42″ tracklist:
Phase I – The Infinite Improbability Drive Part 1-2-3 (32:05 min)
Phase II – Sussurri…Nel Bosco di Diana (11:20 min)
Phase III – Volcano x13 (14:34 min)
“If we were to describe a concept behind this album it would be the freedom to play in different ways and with different approaches. That´s what we explored..our ways to communicate with each other through our instruments and within different song structures; from a breathless trip that never repeats itself during almost 33 minutes (The Infinite Improbability Drive, inspired by Douglas Adams “The Hitchhiker’s Guide to the Galaxy”), to a song in which we play around the same theme, yet always change the rhythmic perception and divisions (Volcano x13). In the middle (Sussurri…Nel Bosco Di Diana), a song with the first “static” part, and is followed by a progression of riffs”. [Taken from the credits of “Terra 42″]
Produced by guitarist and founder member Alessandro Drughito Santori. “Terra 42″ has been recorded, mixed and mastered byMatteo Gabbianellii at Kutso Noise Home. All the artwork, concept and realization, is created by the Italian artist Fabio Listrani.
Posted in Reviews on August 18th, 2014 by H.P. Taskmaster
Intricate though it is, the jpeg cover art for Fatso Jetson and Herba Mate‘s Early Shapessplit on Go Down Records does little justice to the physical reality of the finished product. Pressed to limited white vinyl with screenprinted covers or available in a gorgeous fold-out digi-box with fractal designs and liner notes printed on a kind of psychedelic gatefold, Early Shapesis impressive both to hold and to hear, comprising three tracks from the Californian desert legends and four from the Italian upstart trio. For Fatso Jetson – the lineup of guitarist/vocalist Mario Lalli (also of Yawning Man), guitarist Dino Von Lalli, bassist Larry Lalli and drummer Tony Tornay (now also playing with Brant Bjork) — it’s their second partnership with Italy’s Go Down Records, the first having been the limited run Live at Maximum Festival(review here) earlier this year, and their second recent split behind a 2013 collaboration with Yawning Man. In Herba Mate‘s case, Early Shapesis the first I’ve heard from them since their engagingly atmospheric 2009 debut, The Jellyfish is Dead and the Hurricane is Coming(review here), the Bolognese three-piece of bassist/vocalist Alessandro Trere, guitarist Andrea Barlotti and drummer Ermes Piancastelli having spent the last couple years playing shows and generally refining what was an already well-directed take on desert rock. Vinyl-ready at 38 minutes, Early Shapesis hypnotically jammed and sweetly melodic, the two acts not so much competing in the richness of what they do as celebrating the vibes they’re both so able to conjure musically. All the better for the front-to-back listen of the CD, which is consistent in its mood while still showcasing the distinct personalities of the two groups. Frankly, it’s a pairing that I thought would work well when I first heard about it and which works better than I anticipated.
They’re further tied together by the fact that both bands end their portion of Early Shapeswith an eight-plus-minute (mostly) instrumental jam, and though Herba Mate‘s “Desert Inn II” feels more plotted than Fatso Jetson‘s “Nyquilt” — particularly because it complements and builds off “Desert Inn I,” which begins the trio’s side of the split — both resonate with an open creativity. Fatso Jetson‘s other inclusions, “Living all over You” and “Long Deep Breath” build on the notion of them not only as mainstays of the CA desert, but as an essential piece of that puzzle along with Yawning Man, Kyuss, and so on, both in sound and personnel. Mathias Schneeberger, who also recorded the opening duo, contributes Rhodes piano, and Adam Harding (Dumb Numbers) offers guitar and vocals to “Nyquilt,” while singer-songwriter Abby Travis guests vocally on “Long Deep Breath.” Gary Arce of Yawning Man is purported to also have contributed guitar to Fatso Jetson‘s tracks, and I’d going by the tone of “Long Deep Breath,” I’d believe it, but there’s no mention of him in the liner. Still, “Living all over You” begins the split with its most memorable push, a weighted groove unfolding topped by a serene, echoing vocal from Mario, far off from most of the jazzy spasms of Fatso Jetson‘s last full-length, 2010’s underrated Archaic Volumes(review here), but consistent stylistically with their past all the same and building to a satisfying apex before “Long Deep Breath” gets moving on the foundation of Tornay‘s drums, more open in atmosphere, but still cohesive, a chorus and bridge made even more gorgeous by Travis‘ voice joining Mario‘s before a buzzsaw solo takes hold. A mood only bolstered by “Nyquilt,” if this kind of inclusive, ambient spirit is where Fatso Jetson might be headed directionally for their next album, then it can’t get here fast enough. Perhaps most impressive about the tracks is that no matter where Fatso Jetson seem to head sound-wise, they still sound so distinctly like themselves, and they seem to be in full command of their aesthetic, not so much conforming to the desert rock style they helped create as taking those elements with them on a creative journey outside genre bounds.
It would be folly for Herba Mate to try to beat Fatso Jetson at their own game, but fortunately the three-piece are off on another trip. Trere is somewhat more aggressive vocally, but not by much, and the heavy roll that Herba Mate enact on “Desert Inn I” is pretty telling of what they have on offer in general, though following the original “Dance Dance Dance,” they surprise with a cover of Core‘s “Way Down,” adding tonal depth to the punkish ’90s heaviness of the New Jersey band’s original version. That and “Dance Dance Dance” are shorter, which accounts for Herba Mate‘s four tracks as opposed to Fatso Jetson‘s three, but the spirit of the material — which was captured live at Go Down‘s studio with some additional recording/mixing later — is fluid and engrossing, a sudden stop late in “Dance Dance Dance” being the only really jarring moment, and one clearly designed as such. Even the transition between the rush of “Way Down” and the languid heavy psych of “Desert Inn II” is natural, the latter feeling like the return to and expansion on the first installment that it is. Herba Mate‘s is a welcome return, and the jam-minded sensibilities, as well as the laid back approach they take to the release overall — including the Core cover seems to speak to an anything-goes mentality that suits them almost as much as the warm, organic production with which these songs are presented — speak to a confidence in what they’re doing that’s bound to serve them well as they move forward as much as it already serves them well here. I don’t know what either their plans or those of Fatso Jetson might be, but the quality of output from both bands makes Early Shapesfeel like more than a simple stopgap en route to larger standalone releases, and whether one takes it as two distinct vinyl sides or listens straight through front-to-back to the CD, there’s really no interruption of flow, Herba Mate and Fatso Jetson pairing remarkably well for the sincerity of their approaches and the the immersion of what they create. It’s not often a release with two different bands recorded under multiple circumstances comes across as smoothly as Early Shapes, but there’s a likemindedness at root here that makes it barely a “split” at all.
Posted in Whathaveyou on July 21st, 2014 by H.P. Taskmaster
…And now, a bummer. The first annual Totem Psych Fest has been called off. It was set to take place this weekend at a castle in Rocca Sinibalda, Italy, which — since it’s also the highest point in the town — would only put it closer to the rainstorms that have been forecast for when it would be going on. An impressive lineup was culled together with Church of Misery, Blues Pills and Nik Turner as headliners and many other killer acts supporting, but it would seem it just wasn’t to be this year.
Heavy Psych Sounds and Black Rainbows‘ Gabriele Fiori, who might be his country’s single most passionate ambassador of heavy fuzz, organized the fest and put out word today that it was a no-go. Sympathies to him and to anyone who might’ve been looking forward to what was surely going to be a unique event.
Replacement shows for some of the headliners have been announced, and those details follow here:
TOTEM PSYCH FEST CANCELLATION
Heavy rainfalls and lightning are expected in Rocca Sinibalda during the days of the Totem Psych Fest, expecially in the area of the Castle that is in the town’s highest part.
Local authorities responsible for security have therefore established requirements and limitations that make it impossible to perform the planned Event in the unique setting of the Castle.
We have no viable alternatives; with great regret, both for the quality of the event and for the great organizational effort we put in these months, we have to cancel the Totem Psych Fest.
Our disappointment is great, beacuse of the encouraging ticket pre-sales and the confidence of a resounding success of the Event.
We cannot but apologize for the inconvenience caused by the cancellation of the Festival, expecially for those who had planned their coming to Rocca Sinibalda.
All tickets will be refunded: those who have purchased through Ticketgate and Paypal circuits will be entitled to reimbursement from August 4th; those who bought the ticket physically in Rome will be refunded on Friday 25th and Saturday 26th of July at the AirportOne, Centocelle’s Airport, Rome.
We managed to bring 3 of the Festival headliners in Rome, AirportOne, Centocelle’s Airport.
Therefore TOTEM PSYCH FEST, in collaboration with INIT CLUB presents:
Friday, July 25th: Blues Pills Nik Turner (ex Hawkwind)
Posted in Reviews on June 11th, 2014 by H.P. Taskmaster
The four bands included, tripped out as they are, can hardly account for the amount of space traversed. Italy’s Black Rainbows, led by guitarist/vocalist Gabriele Fiori — whose own contributions to European psychedelia include running the label issuing this release, Heavy Psych Sounds and assembling this year’s inaugural Totem Psych Fest, taking place this summer outside of Rome (more info here) — unite with Brooklyn heavy space rockers and past tourmates Naam, well-kept New York secret outfit White Hills and bluesy Baltimore explorers The Flying Eyes for a 2LP gatefold four-way split featuring a side from each. All four groups work regularly in pretty extended forms, so you basically get a song or two from each, but still, the fact that they all got together and combined their efforts for this release makes it something special, the limited numbers of the vinyl and various colors (as well as a CD version) having been pressed in time for this year’s Desertfest, at which Black Rainbows also appeared. Everyone involved shares an obvious affinity for heavy psychedelic rock, but as one would hope for a release of this nature, there are also four distinct takes presented across the split — the official title of which is Heavy Psych Sounds 4-Way Split Vol. I– and each band takes advantage of an opportunity to bliss out in their own way, beginning with Naam – who’ve spent significant time on tour in Europe both before and after issuing their latest album, 2013’s Vow(review here) — on their two tracks, “Skyscraper (Ambient Mix)” and “Thickening Web,” which are included as side 1A leading off the 51-minute double-LP.
Its title is a dead giveaway, but “Skyscraper (Ambient Mix)” is a reworking of Vowhighlight “Skyscraper,” and what was a landmark on the ultra-spacey sophomore full-length from the Brooklyn four-piece arises on the Heavy Psych Sounds split as a stripped-down wash of effects, elements dropping in and out over the course of its seven-plus minutes, guitarist/vocalist Ryan Lee Lugar‘s voice barely distinct for the reverb it carries, a slow, mellow progression playing out behind given further depth between the high and low end thanks to a swirl of effects. “Skyscraper” proper was not short on ambience, between the guitar, John Weingarten‘s keys, John Preston Bundy‘s bass and Eli Pizzuto‘s percussive roll, but “Skyscraper (Ambient Mix)” — on which engineer/mixer Jeff Berner has added some instrumentation as well — feels thoroughly reworked and comes across experimental enough to make the original seem straightforward in comparison. With a fuller-sounding instrumental stretch to over eight minutes, “Thickening Web” furthers the atmosphere of the opener while building on it, Weingarten coming to the fore in a dreamy midsection as the bass, guitar and drums fade out and back in around his keys. There’s a build at work and constant movement, but Naam still evoke a laid back feel, which is all the more fitting leading into White Hills‘ experimental 11-minute “They’ve Got Blood… Like You’ve Got Blood,” presented here as an alternate version to what appeared as the title-track of the 2005 self-released full-length, They’ve Got Blood Like We’ve Got Blood. As much as they’re clearly separate entities with their own sonic aims, a linear flow is present as well, and White Hills further Naam‘s sprawling ambience and percussive undertones with engrossing space-drones and an ending movement with lo-fi techno beats and organ leadout. You’ve got four psych bands all contributing to the release. It was bound to get weird at some point.