Burning Gloom: My Home on Trees Announce Name Change & New Album

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

I’m not going to go as far as to say I’ve heard any of Burning Gloom‘s forthcoming long-player, Amygdala, or that I’m listening to a song from it right now that’s kicking my ass all over this room, but I will advise anyone still reading this sentence to keep an eye out for more on the offering as it gets closer to its to-be-announced release date. Big tones, big melodies, big hooks. It’s an interesting turn from the Milan-based outfit formerly known as My Home on Trees toward a kind of psychedelic but still thoroughly doomed atmosphere. Again, not that I’m listening to it or anything, because I’m not going to say that I am.

In all seriousness though, you can hear enough of a shift in vibe as to justify a name swap, and beyond just the fact that they’re doing something different, Burning Gloom sound vital even coming of My Home on Trees‘ 2015 album, How I Reached Home (review here). Hard to believe it’s coming up on four years since that one came out. Wow.

Time flies, doom plods. Here’s word from the band on the name change:

burning gloom

We used to be called MY HOME ON TREES from 2012 to 2018, but this new year that just started brought us a new life and a new identity: Burning Gloom. We realized that “My Home on Trees” didn’t fit us properly anymore. We feel closer to a different and heavier path, mentally and also musically. A new journey, made of fires in the night, a dark road enlightened by flames and sparks.

This is what our new full-length “Amygdala” represents. It took us 3 years to be ready to come back in studio, but we made it between february and june 2018 and our new record is now ready to be released later on this year, we have signed a contract and we’ll announce it very soon. Our new logo has been made by our friend STRX. A new life has begun, see you soon on the road and stay tuned for the next news.

https://www.facebook.com/burninggloom/
https://myhomeontreesband.bandcamp.com/

My Home on Trees, How I Reached Home (2015)

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VVitch Festival 2018 Confirms Lineup with Dopethrone, Celeste, Eagle Twin and More

Posted in Whathaveyou on June 22nd, 2018 by JJ Koczan

Set in Milan across four nights and three different venues taking place over the course of two months, the full VVitch Festival is a season-long experience. It draws bands from multiple regions in Europe, the US and Canada, and is no less eclectic in its sound than in the geography. Each show has a different theme that feeds into the larger entirety of the experience, and VVitch Festival proper will be held as the last night, with Frizzi 2 FulciCeleste, KENmodeBelzebong and The Necromancers (who are touring together and also making a stop in Austria at the Heavy Psych Sounds Fest), Birds in Row and Coilguns. Seems like a pretty sick night and all over the place, but again, it’s just the last of four in the series.

Full lineups follow here, along with event links as per the PR wire:

vvitch festival lineup

-VVITCH-

Inspired by witchcraft and horror movies themes, between doom, sludge, black, grind, death and post metal, it?s coming soon in Milano, Italy, a new event for metal maniacs called “VVITCH FESTIVAL”. A trilogy of events plus a fourth one, the festival. Three different venues in Milano, 17 bands, some of them for the first time in Italy, some for exclusive Italian shows.

“..dark forces are going to cross the walls of the city, after the Sacrifice and the Ritual, the Evocation..”

VVITCH I – Sacrifice
September 19th 2018, Spazio Ligera, Milano
DEMILICH (FIN) exclusive Italian show
SPECTRAL VOICE (USA) exclusive Italian show
CARDIAC ARREST (USA) exclusive Italian show
FB event: https://www.facebook.com/events/1568544103256273

VVITCH II – Ritual
October 11th 2018, Kraken Pub, Milano
DOPETHRONE (CAN)
EAGLE TWIN (USA)
MESSA (IT)
FB event: https://www.facebook.com/events/1979301145733544

VVITCH III – Evocation
November 3rd 2018, Spazio Ligera, Milano
BOLOGNA VIOLENTA (IT) “Uno Bianca” full album set
FISTULA (USA) exclusive Italian show
GRIME (IT)
DEATH HAS GONE (IT)
FB event: https://www.facebook.com/events/2063352060550129

VVITCH FESTIVAL
November 25th 2018, Circolo Magnolia, Milano
FRIZZI 2 FULCI (IT)
(live soundtracks by Fabio Frizzi, of Lucio Fulci’s horror cult movies, for the
first time in Milano)
CELESTE (FR) exclusive Italian show
KEN MODE (CAN) exclusive Italian show
BELZEBONG (PL)
BIRDS IN ROW (FR)
COILGUNS (CH)
THE NECROMANCERS (FR)
FB event: https://www.facebook.com/events/172227866788138

https://www.facebook.com/vvitchfestival

Eagle Twin, The Thundering Heard (2018)

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Review & Full Album Premiere: Di’Aul, Nobody’s Heaven

Posted in audiObelisk, Reviews on May 3rd, 2018 by JJ Koczan

diaul nobodys heaven

[Click play above to stream Di’Aul’s Nobody’s Heaven in its entirety. Album is out May 4 via Argonauta Records.]

I’ll admit to being somewhat puzzled by the title Milano sludge-rocking four-piece Di’Aul — to be pronounced like “the owl” and not like “dial,” reportedly — have given to their five-track Argonauta Records sophomore long-player. Is it Nobody’s Heaven, like a heaven that doesn’t belong to anyone, or Nobody’s Heaven, like there isn’t a single person who represents the idea of paradise? The lyrics of the 7:45 opening title-track, delivered as they are in gruff but still melodic gutturalisms by vocalist MoMo Cinieri, aren’t much help when they’re discernible. I guess there’s something to keeping the idea vague — though I’ll allow that with the benefit of a full lyric sheet it might not be a mystery at all — and open to interpretation when it comes to engaging the listener, but Di’Aul could hardly be expected to have much trouble in that regard anyway, particularly among the mud-covered sludge converted whose lives have been incomplete since Australia’s Beastwars called it a day.

Di’Aul don’t proffer quite the same kind of tonal dominance from guitarist Lele Mella or bassist Jeremy Toma (also vocals), but the stomp in Diego Bertoni‘s drums on a cut like moody centerpiece “Garden of Exile” or the faster “Low Est,” which follows, seems to stem from a similar post-Crowbarian root. With how comfortable the band are playing slow, and how nestled into a nod they get, a moment like “Low Est” is something of a surprise, but there isn’t really a point on the album wherein Di’Aul entirely depart from the sphere of heavy sludge rock. So while they range a bit, they’re still well within genre parameters.

The crucial element here is lurch. The five songs that comprise Nobody’s Heaven — “Nobody’s Heaven,” “Black Death,” “Garden of Exile,” “Low Est,” and “Mother Witch” — rely largely on slow grooves to get their sonic point across, and that becomes a bit part of the identity of the album. They start of quietly enough with the intro to “Nobody’s Heaven,” but about 90 seconds in build to a huge-sounding scream and crash, and from there, trade back and forth tensely between quiet minimalist guitar strumming/vocals, and full-tone kick-in-the-teeth riffing and rolling. Their basic starting point is definitely metal, and that’s so it’s all the easier to point to a band like Crowbar as a pivotal influence for the teeth-gritting “Black Death,” which still carries a melody in its chorus in a way that’s immediately familiar, but there are shades of more bouncing riffage in the subsequent “Garden of Exile” despite the consistency of brooding.

di'aul

That subtle difference in methodology goes a long way in not only holding the forward momentum Di’Aul have thus far worked to craft, but broadening the overarching sonic context of the release. Again, they remain aggressive, and Mella‘s guitar still finds room for plenty of the chug that seems to permeate every song in one way or another, but the swinging bridge that starts at about four minutes in would’ve seem strange tucked into the opener, and it shows command on the part of the group as a unit that by the time they get there and head toward the slowdown and solo that leads back to the verse/chorus to finish out — because songwriting! — it’s well within their reach. That makes the transition into the uptempo push of “Low Est” that much easier, and keeps the linear flow intact as Di’Aul lumber to the album’s finale.

I’ve likened Cinieri‘s vocals to High on Fire on “Low Est” before, and especially with the faster progression behind him, I stand by that, but if it seems like I’ve spent a lot of time here talking about his work, it’s because it stands out both in delivery and at the forefront of the album’s actual mix. As they start the rollout of closer “Mother Witch” and hit into an angular verse riff, even subdued, Cinieri is very much a presence in the material — which in the case of the last track is about as close as they come to that Beastwars comparison above. “Mother Witch” is the longest of the individual slabs on Nobody’s Heaven at just over eight minutes — it and the title-cut form a kind of bookend — and uses its extra runtime to patiently execute its verse/chorus tradeoffs, but to find room as well for noise-rock-style starts and stops late and symmetry with its whistle-topped intro and outro, the latter of which leads to the last stomps and eerie noise closing the record as a whole, which echo the underlying ambient bed beneath the guitar opening “Nobody’s Heaven.”

Of course, this underscores the notion of the bookend, and further, the cohesion that pervades the entirety of the full-length. Di’Aul made their debut in 2015 with the burl-laden Garden of Exile (note that the track of the same title didn’t appear there but appears here) and while elements have certainly carried over from one release to the next, it’s plain to hear in these five songs that the band have given due attention to atmospheric weight as well as sheer assault of volume. That works much to their benefit throughout Nobody’s Heaven and whether it’s someone or someplace, belonging to anyone or no one, the record comes across executed mindfully and aware moment by moment of its own impact. That only bodes well as Di’Aul continue to move forward.

Di’Aul on Thee Facebooks

Di’Aul on Bandcamp

Argonauta Records on Thee Facebooks

Argonauta Records website

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Di’Aul Reveal Album Details for Nobody’s Heaven

Posted in Whathaveyou on March 30th, 2018 by JJ Koczan

diaul

Italian four-piece Di’aul were announced late last year as signing to countryman imprint Argonauta Records has part of a barrage of groups picked up by the label, and their label debut, Nobody’s Heaven — just in case you were wondering who might have the property rights — was slated for a February release. Here we are at the end of March. Hey, that’s scheduling. Pressing releases takes time, takes money, takes time to get money, etc., so yeah, the album will be out in May. Fair enough.

If you read the phrase “’90s metal groove” in the info below and think Pantera, you’re not all the way right and not all the way wrong. Di’aul definitely have some of that dudely metallism coming through their material, but the five-track/34-minute offering isn’t without a sense of melody either, and there are moments throughout that are just pure stoner in their ideology. That’s a good way to offset some of the chestbeating and it works to give the band a richer sound across the board, shades of slower High on Fire showing up in “Low Est” and more vicious chug rounding out “Black Death.”

There’s a preview for the album playing now at the bottom of this post — well, it’s not playing until you click play, but you know what I mean — and preorders are up if you’re so inclined. The PR wire takes it from here:

diaul nobodys heaven

DI’AUL reveal cover artwork and release date

Apocalyptic Stoner Doomers DI’AUL reveal first details of their upcoming album. “Nobody’s Heaven” includes 5 long songs, literally a blast of sonorities as if CROWBAR meet KILLING JOKE!

The album features subtle complexities bind together to a stunning 70’s rock songwriting and 90’s metal groove. The final result is an impressive step forward for the band, thanks to a distinctive and unique aggressive sound. Formed in Milan during 2010, DI’AUL released their first EP “GV 12.31” in 2010 and the first album “And Then Came the Monsters” in 2013, followed by their second opus “Garden of Exile” (2015).

DI’AUL “Nobody’s Heaven” will be released by ARGONAUTA Records and available from May 4th, 2018.

PREORDER NOW: http://bit.ly/2FUINlk

TRACK-LIST:
1. Nobody’s Heaven
2. Black Death
3. Garden of Exile
4. Low Est
5. Mother Witch

Di’Aul are:
MoMo Cinieri: Vocals
Lele Mella: Guitars
Jeremy Toma: Bass and Vocals
Diego Bertoni: Drums

https://www.facebook.com/DIAUL111
https://diaul.bandcamp.com/
https://www.facebook.com/ArgonautaRecords/
www.argonautarecords.com

Di’aul, Nobody’s Heaven album trailer

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Di’Aul Sign to Argonauta; Nobody’s Heaven Due in February

Posted in Whathaveyou on October 3rd, 2017 by JJ Koczan

Milano rockers Di’Aul have inked a deal to release their new album, Nobody’s Heaven, this coming February, through countryman Italian imprint Argonauta Records. The last two years have seen the lineup of Argonauta absolutely explode — seriously, if I go two weeks without posting about them picking up a band, I feel like it’s a long time — but one thing the imprint has managed to do is put together a roster of talent diverse in sound enough that groups don’t really get lost in the mix as soon as they’re added to the fold. If you’d like to get a sampling of Di’Aul‘s wares, their second record, 2015’s Garden of Exile, is streaming at the bottom of this post.

Yup, pretty burly stuff. Dudery all the way. I’d expect no less when Nobody’s Heaven hits in February, all charged riffing and whatnot. More to come as we get there. Till then, this from the PR wire:

diaul

Italian Heavy Rockers DI’AUL sign to ARGONAUTA Records

We’re excited to announce we’ve inked a deal with Italian Heavy Rockers DI’AUL (read ‘The Owl’).

Formed in Milan during 2010, DI’AUL released their first EP “GV 12.31” in 2010 and the first album “And Then Came the Monsters” in 2013, followed by their second opus “Garden of Exile” (2015). The band is now working on the final touches to the new album titled “Nobody’s Heaven”, where subtle complexities are bind together to a stunning 70’s rock songwriting and 90’s metal groove. The final result is an impressive step forward of the band, thanks to a distinctive and unique sound able to blend the aggression of CROWBAR and the apocalyptic visions of KILLING JOKE.

DI’AUL “Nobody’s Heaven” is scheduled by February 2018.

More details to be revealed soon.

Di’Aul are:
MoMo Cinieri: Vocals
Lele Mella: Guitars
Jeremy Toma: Bass and Vocals
Diego Bertoni: Drums

https://www.facebook.com/DIAUL111
https://diaul.bandcamp.com/
https://www.facebook.com/ArgonautaRecords/
www.argonautarecords.com

Di’Aul, Garden of Exile (2015)

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My Home on Trees Announce Oct. Shows & New Album Recording Plans

Posted in Whathaveyou on September 19th, 2017 by JJ Koczan

my home on trees

Italian heavy four-piece My Home on Trees are set to take part next month in the Swiss fest Up in Smoke 2017 alongside Saint Vitus, Orange Goblin, Brant Bjork, Graveyard and a formidable slew of others. That appearance will be part of a five-date string of shows serving as the wrap-up for the touring cycle for their debut, How I Reached Home (review here), released in 2015 via Heavy Psych Sounds. The plan? Go back and make another record, it would seem. My Home on Trees have an eye toward a 2018 release for what will be their second full-length, but as regards much more than that, they’re playing it pretty close to the chest. That is, no word of where they’re at in terms of writing or whatnot.

That’ll come with time. It doesn’t seem unreasonable to think they might have the record done by Spring 2018 and out sometime over the summer, though of course that depends as well on label schedule, if they’ll be with Heavy Psych Sounds again, comets smashing into earth and numerous other unforeseeable potential contingencies. In any case, drummer Marcello Modica offers an update below, which you’ll see is joined by the live dates.

Goes like this:

“The Italian female fronted My Home on Trees will come back in october for a small tour around Germany and Switzerland, playing the last 4 shows in Europe before to enter in studio to record their second lenght. The stoner-doom band from Milano had a first album realeased by Heavy Psych Sounds Records in september 2015, when they started this 42 shows tour with a release party in Milano with Karma To Burn and they’ll finish on next month at Up in Smoke Festival in Pratteln, Switzerland, sharing the stage with Saint Vitus, Orange Goblin, Church of Misery, Windhand and many more. No news about the new album yet, except they’ll start to record at the begin of new year. They won’t be around for some time so don’t miss the chance to see one of these last shows.” — Marcello Modica

My Home on Trees live:
10.04 Keller Klub Stuttgart DE
10.05 Huhnermanhattan Club Halle DE
10.06 MTS Oldenburg DE
10.07 Up in Smoke Fest Pratteln CH
10.08 Immerhin Wurzburg DE

myhomeontreesband.bandcamp.com
https://www.facebook.com/myhomeontrees
www.heavypsychsounds.com/bands/my-home-on-trees.htm

My Home on Trees, “Winter” official video

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The Obelisk Radio Adds: Merchant, Deamon’s Child, Derelics, Cosmic Fall & Aphodyl, Theta

Posted in Radio on July 4th, 2017 by JJ Koczan

the obelisk radio cavum

Here in the States, today is Independence Day. It’s a day marked by fireworks and barbecues and ignoring all the heinous shit in which the nation has engaged over its 200-plus years of existence, and really before that as well, as a colonial enterprise, and so on. War, genocide, all that stuff. We don’t talk about it on Independence Day. Perhaps unsurprisingly, one of my favorite things to do on this day is listen to music. Really, that works for any day, but if I’m hanging out, I want some tunes on, so it seems only fair to have The Obelisk Radio going in the background, since as it happens I think the playlist is pretty reliable. If I do say so myself.

So, if this is my way of celebrating the Fourth of July, then fine. You’ll note it’s all a bunch of international bands. Ha. To see the full list of everything that hit the server today, click here.

The Obelisk Radio adds for July 4, 2017:

Merchant, Beneath

merchant beneath

With two massive, 14-minute-plus slabs of cosmic sludge viciousness, Melbourne four-piece Merchant offer the tonal siege and atmospheric cruelty of their Beneath EP, reaffirming the dual edges of space and claustrophobia that existed on 2016’s debut full-length, Suzerain (review here), and the YOB-circa-Catharsis influence that proved so central to that release. Here, “Guile as a Vice” dives into more extreme territory, with vocals buried beneath a rolling ball of molten lead, while “Succumbing” lives up to its name late in a marked devolution toward noise and feedback that feels like it’s peeling its own skin away to reveal the raw flesh underlying — pure abrasion and unwanting of anymore expression than its initial headbang-worthy slams or final howling minutes allow. A portrait of brutality brought forth in multiple shades, Beneath lives up to its name in how it seems to dig into its own execution, and even more than on Suzerain, one finds Merchant carving their identity from their pummeling, scathing take on familiar sonic aspects. “Guile as a Vice” and “Succumbing” are made all the more the band’s own by their unbridled nastiness and the skill with which the band wields it. They remain loaded with potential, but already across these initial outings, we’ve started to see that potential come to fruition. May it continue to do so.

Merchant on Thee Facebooks

Merchant at Black Bow Records’ Bandcamp

 

Deamon’s Child, Live im Lux

deamon's child live im lux

Tracked at a June 3, 2017, show at the Lux club in Hannover, Germany, Live im Lux brings seven tracks of Deutsche heavy punkers Deamon’s Child in a warts-and-all onstage context. That is, there’s no attempt to hide or mask anything about the set, flubs, righteous moments, any of it. It’s the show, as it happened. Plain and simple. They open with the thrust of “Zucker” and one finds the vocals of bassist Ana Muhi a little high in the mix, but the crowd eats it up whole, and along with guitarist Sven Missullis and drummer Tim MohrMuhi goes on to deliver highlight moments in the slower roll of “Lutscher,” the noise-infused starts and stops of “Geld” and the 11-minute exploration of “Nichts.” The majority of the material on Live im Lux comes from Deamon’s Child‘s 2016 second long-player, Scherben Müssen Sein (review here), and they give those songs a suitable roughing up throughout, right up until the calls from the crowd for an encore inspire a spirited rendition of that album’s opener, “Das Vogellied,” which is marked out by Mohr‘s thrash-worthy double-kick and the quick turns it prompts, somewhere between noise rock and metal and punk and heavy-impulse riffing, Muhi‘s vocals again at the center of the tumult. Live im Lux will probably serve as something of a curio for the band’s followers or those who were there to see the show — they’re DIY’ing a limited CDR pressing — but for anyone else who happens upon the stream, it’s going to be a welcome find.

Deamon’s Child on Thee Facebooks

Deamon’s Child on Bandcamp

 

Derelics, Guilty of Being Young

derelics guilty of being young

Not only does Guilty of Being Young have in common with Derelics‘ prior 2015 EP, Introducing (review here), that’s it’s three tracks, but in going from the six-minute “Guilty of Being Young” to the eight-minute “The Summer Song” to the five-minute “The (Wicked) Witch is Dead,” it follows the same timing pattern with just one minute trimmed off the closer. I don’t know whether the London trio had that kind of direct conversation between releases in mind when they put Guilty of Being Young together, but it comes accompanied by a marked shift in sound, pulling back on some of the aggressive edge that typified the debut in favor of a bright-toned bounce that recalls Zeppelin at their most pastoral jangle on the opener and swirls through garage-grunge moans on “The Summer Song” before “The (Wicked) Witch is Dead” mixes in some Soundgarden-ing vibes amid a tonal spread born of classic psychedelia and maybe just a touch of Blind Melon melodicism. Derelics swapped out bassists between the two short releases, bringing in Thom here alongside guitarist/vocalist Reno and drummer Rich, and while they still seem to be figuring out where they want to end up sound-wise, the progressive shift they’ve made on Guilty of Being Young has only made them more of a standout from the bulk of London’s crowded heavy underground, and the direction in which they seem to be headed fits remarkably well.

Derelics on Thee Facebooks

Derelics on Bandcamp

 

Cosmic Fall & Aphodyl, Starsplit

cosmic-fall-aphodyl-starsplit

The lesson of the PsyKA Records-issued Starsplit release from newcomer German outfit Cosmic Fall and the somewhat longer-running Aphodyl would seem to be pretty simple: If it’s not an improv-sounding psych-funk jam of at least 11 minutes in length, it can pretty much screw off. Both groups traffic in such wares, and as Cosmic Fall follow-up their single “Haumea” (premiered here) and their two quickly-arrived full-lengths, First Fall (discussed here) and Kick out the Jams (review here), and Aphodyl add to a slew of DVD and other live outings issued since their apparent founding circa 2013, immersion is the key that unites them. Across two LP sides — one per band — of 23 minutes each, Cosmic Fall and Aphodyl tap heartily into classic space/krautrock impulses and transfigure that elder progressive sensibility into an argument for a new wave of German hypnotic rock. Aphodyl get into some percussive nuance in the aptly-titled “Jam 2,” which is preceded by — you guessed it — “Jam 1,” while Cosmic Fall enact a more effects-driven swirl across “Overhead Intelligence” and “Blues at CME,” but it’s the far-out-far-outness of Starsplit as a whole that serves as the prevailing impression of the release, and those who would dig into an ever-expanding universe of kosmiche jamming will no doubt welcome the opportunity to lose themselves among the stars on this still-digestible stellar sampler, which offers lightyears of vibe in a laid back and molten complement.

Cosmic Fall on Thee Facebooks

Aphodyl on Thee Facebooks

PsyKA Records on Bandcamp

 

Theta, Obernuvshis’

theta Obernuvshis

Milan tone-crusher solo-outfit Theta makes its full-length debut with the curiously possessive Obernuvshis’, a five-track/46-minute lumber-laden offering of post-industrial doom that comes accompanied by the advice to “Listen at extremely loud volume only.” I’ll admit I didn’t, but multi-instrumentalist Mattia Pavanello (ex-Furor Gallico) got his point across anyway in the tectonics of opener “Travel Far into the Black Hole Depths,” which represents just the first steps along the grueling instrumental path toward 11-minute finale “Concrete and Foundation,” which though faster, would seem to summarize the mindset from which the project is working in the first place — setting its foundation in something remarkably solid and extremely heavy. Samples spread throughout about consumerism, religion, spirituality, etc., give songs like centerpiece “Butterfly’s Cycle” a critical edge, but as intentionally plodding as Obernuvshis’ is on the whole, it doesn’t necessarily feel heavy-handed in its social aspects, instead letting its heft do the talking when it comes to conveying a sense of being weighted down by modernity. And if one has to be dragged down by such things — which, yes, one invariably does; it’s called culture and there’s no escape from it — then the layers of noise-soaked riffing in “Harshness of A” and the vague edge of hope buried in the later lead guitar aren’t a bad way to go. Loud volume ultimately doesn’t hurt, but Theta‘s intentions ring clear one way or the other.

Theta on Thee Facebooks

Theta on Bandcamp

 

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Giöbia to Release What Have You Done 7″ in May

Posted in Whathaveyou on January 9th, 2017 by JJ Koczan

giobia

Last month, Italian heavy psych rockers Giöbia were announced as signing to Heavy Psych Sounds for booking. Now comes word that Spring 2017 will bring a new single, What Have You Done, as a 7″ platter via the specializing-in-such-things German imprint H42 Records, holding forth a B-side with no less than a cover of Hawkwind‘s “Silver Machine.” Not a minor track to take on by any means, but Giöbia‘s mind expansion hit a particularly resonant wave on 2015’s Magnifier (review here), which came out on Sulatron, so one has little doubt they’re up to the task.

More when I (hopefully) hear it. H42 sent the following down the PR wire:

giobia what have you done

GIÖBIA will release two new songs on a limited 7“ in May 2017 on H42 Records

Limited up to ONLY 270 copies
50 on white vinyl (H42 Records Edition)
100 on red vinyl
100 on black vinyl
20 testpress edition with different artwork

Side A: What Have You Done
Side B: Silver Machine (Hawkwind Cover)

Already on her last album ‘Magnifier’ the sound became harder and darker. With the upcoming 7 “, this path has been consistently pursued: ‘What have you done’ is a straight forward heavy psychedelic rocker. Without a break it follows on the B side ‘Silver Machine’. The Giöbia version of this Hawkwind classic will blow you away!

Giöbia has been one of the most influential psychedelic bands in Italy over the last years. Seduced by the lysergic side of the ‘60s, by exotic mantras and the evocative power of space-rock, Giöbia is a band from Milano, Italy with many facets and one only faith, that is to turn every encounter with sound into a psychedelic experience. The band counts four members: leader Bazu (vocals and string instruments), Saffo (organ, violin, vocals), Detrji (bass) and Betta (drums) and their name – Giöbia – comes from an ancient pre-christian festivity celebrated in Northern Italy when a big straw puppet resembling a witch is burnt as a propitiatory ritual towards the forces of nature.

https://www.facebook.com/giobiaband
https://giobiagiobia.bandcamp.com/
http://www.giobia.com/
https://www.facebook.com/H42Records/
https://h42records.bandcamp.com/
http://www.h42records.com/

Giobia, Magnifier (2015)

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