Horisont Announce New Album Odyssey Due Sept. 18

Posted in Whathaveyou on July 16th, 2015 by H.P. Taskmaster

horisont-Photo-by-Anders-Bergstedt

Preceded by the 2014 single “Break the Limit,” the video for which you can see below, the fourth full-length from Swedish trad heavy rockers Horisont is titled Odyssey and it will be out on Sept. 18 via Rise Above Records. That single will also be on the album, the details and righteous artwork for which have just been unveiled. It’s their first record with guitarist Tom Sutton (The Order of Israfel, ex-Church of Misery) in the lineup, so there’s an added level of intrigue there, but at this point the band are pretty reliable for an exciting meld of classic rock and metal, so if Odyssey is business as usual for them, that’s just fine.

One thing I found particularly interesting in the PR wire info below is when drummer Pontus Jordan mentions that the artwork tells the story of the album. I’d be very interested to know what that story is, given the following:

horisont odyssey

HORISONT to Release Odyssey September 18th on Rise Above Records

Artwork and Track Listing Revealed

Big of moustache and tight of trouser, HORISONT drink from the bottomless wellspring of inspiration that’s been bubbling up through the layers of time since the birth of the blues – or Blue Oyster Cult at the very least. Theirs is a sound that harks back to the dawn of the 70s, when a new clutch of heads decided it was time to harsh the 60s hippies’ mellow and paint it black; those years when the twin spirit of hard rock and prog rose to redefine sound.

This quintet’s rock trip might be retro but their songwriting is timeless; a good melody lives forever and HORISONT have songs in abundance. New album Odyssey is exactly as its title suggests: an epic journey into the known. A sonic trip. A mighty voyage of sound. You could even call their fourth full release a concept album – although they themselves prefer “space saga”. Either way it’s a brave band who open their album with a ten minute-long track, yet on the album’s title track HORISONT dive straight into the deep end, delivering space-rock with all the dexterity and deftness of the very best prog rock’s finest, such as early Yes or Kansas.

Odyssey was recorded in Studio Kust in Gothenburg with producer by Henrik Magnusson. It was, the band explain their most harmonious creative period ever.”No HORISONT recording session has ever been this good,” admits Delborg. “We had worked with Henrik on our ‘Break The Limit’ single and knew that he was our guy. All the basics where recorded live in just a couple of days. Then we spent a lot of time on the intricate details.”

The artwork for Odyssey harks back to both classic sci-fi paperbacks and prime prog rock albums of the 70s. “We wanted a slightly disturbed, Asimov-esque science fiction cover that told the story of Odyssey,” says drummer Pontus Jordan. “Tom knew this guy who was really in to old science fiction stuff and he had done the cover for The Order Of Israfel. So we meet the guy and it was the one and only Henrik Jacobsen. And he really nailed it.”

Formed in 2006, HORISONT have spent close to a decade kicking ass, taking names and establishing themselves at the forefront of the Scandinavian retro rock revival (see also Witchcraft, Graveyard etc), injecting their sound with early-Status Quo-styled boogie blues, prog complexities, NWOBHM swagger and fire-spitting choruses set to scorch the eyebrows of the first ten rows. This is music made without irony, unafraid to acknowledge an allegiance to past greats such as Deep Purple, Black Sabbath, Cactus, Thin Lizzy, the aforementioned Yes andJudas Priest.

Their first two albums Tva Sidor Av Horisonten(2009) and Second Assault (2012) earned HORISONT a special place in the rock underground, while Time Warriors (2013) was a no-holds barred demonstration of classic rock and metal combined with a fearlessly inventive streak, and took them to a wider international audience. And now comes Odyssey, a bold leap into more expansive and ethereal musical territory. It’s the band’s first to feature native Australian and former Church Of Misery guitarist Tom Sutton.

The new line-up change sees a definite gear-shift too. Here HORISONT play as if their lives depend upon it: duelling guitars do battle in a endlessly thrilling interplay over a rhythm section that gallops like wild horses across the frozen tundra. And cutting through the middle, Axel Söderberg’s howling heartfelt vocals delivered with a space-age sense of soulfulness.

Strap in, sit back and let the Odyssey begin….

Odyssey Track Listing:
1. Odyssey
2. Break The Limit
3. Blind Leder Blind
4. Bad News
5. Light My Way
6. The Night Stalker
7. Flying
8. Back On The Streets
9. Beyond The Sun
10. Red Light
11. StÑder Brinner
12. Timmarna

HORISONT Lineup:
Axel Söderberg – vocals
Charlie Van Loo – guitar
Tom Sutton – guitar
Magnus Delborg – bass
Pontus Jordan – drums

For More Info Visit:
http://www.horisontmusic.com/the-band/
https://www.facebook.com/horisontmusic

Horisont, “Break the Limit” official video

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Odyssey Post Video for New Single “Oncoming Fire”; Tour Next Month

Posted in Bootleg Theater on March 19th, 2013 by H.P. Taskmaster

Hellsingborg’s Odyssey released their debut album, Abysmal Despair, in 2012 on Transubstans. On the strength of the new single, “Oncoming Fire,” the Swedish three-piece will hit the road late next month for a handful of dates that will take them through Poland, Belgium, France and the Netherlands. They’ve got a new video for the resoundingly aggressive single, which seems to have more in common with Unsane than most of the fuzz that generally typifies Swedish heavy. Takes all kinds and then some.

You might recall Odyssey were featured alongside Black Pyramid on a limited split. No word on what form if any a physical release for “Oncoming Fire” might take, but the track is available for free download through Odyssey‘s Soundcloud. Here’s the video, followed by a poster with the tour dates. Enjoy:

Odyssey, “Oncoming Fire” Official Video

Odyssey European Tour Dates

Click the poster to enlarge.

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Reviewsplosion II: The Return of 10 Records in One Post

Posted in Reviews on October 16th, 2012 by H.P. Taskmaster

I am constantly working at a deficit. Financially, yes, because like many of my countrymen I’m am tens of thousands of dollars in debt — but also in terms of reviews. I’malwaysbehind on reviews. Hell, it was into July of this year before I finally put the kybosh on writing up anything from 2011, and I’m pretty sure if I hadn’t put my foot down on it, I’d still have year-old albums going up or older. My to-do list grows like a witchcult.

It’s not something to complain about and I’m not complaining. I’m stoked people give enough of a shit to send their CDs in to be reviewed — especially those who actually send CDs — and it’s for that reason that I do this second reviewsplosion (first one here).

Yeah, as ever, I’m behind on reviews, but I’m also working on being more concise — I swear I am; check out the At a Glance reviews if you don’t believe me — and one of the things I liked so much about the last reviewsplosion was it forced me to get to the fucking point. As direct a line as possible to a review. Boiling the idea down to its essential core.

With that in mind, here’s my attempt to both balance my review budget and be as clear as humanly possible. Hope you dig:

 

Altar of Oblivion, Grand Gesture of Defiance

The subject of some spirited debate on the forum, the second record from Danish five-piece Altar of Oblivion revels in traditional doom methods. There’s an air of pomp in some of the songs — “Graveyard of Broken Dreams” lays it on a little thick — but by and large, Grand Gesture of Defiance (Shadow Kingdom) is a more than solid showing of genre. Classic underground metal flourishes abound, and while it’s not a record to change your life, at six tracks/34 minutes, neither does it hang around long enough to be overly repetitive. You could do way worse. Altar of Oblivion on Thee Facebooks.

 

Blooming Látigo, Esfínteres y Faquires

Primarily? Weird. The Spanish outfiit Blooming Látigo make their debut on Féretro Records (CD) and Trips und Träume (LP) with the all-the-fuck-over-the-place Esfínteres y Faquires, alternately grinding out post-hardcore and reciting Birthday Party-style poetry. They reach pretty hard to get to “experimental,” maybe harder than they need to, but the on-a-dime stops and high-pitched screams on tracks like “Onania” and “Prisciliano” are well beyond fascinating, and the blown-out ending of “La Destrucción del Aura” is fittingly apocalyptic. Who gave the art-school kids tube amps? Blooming Látigo on Bandcamp.

 

El-Thule, Zenit

Five years since their second offering, Green Magic, left such a strong impression, Italian stoner rock trio El-Thule return with Zenit (Go Down Records), which makes up for lost time with 50 minutes of heavy riffs, fuzzy desert grooves and sharp, progressive rhythms. The band — El Comandante (bass), Mr. Action (guitar/vocals) and Gweedo Weedo (drums/vocals) — may have taken their time in getting it together, but there’s little about Zenit that lags, be it the faster, thrashier “Nemesis” or thicker, Torche-esque melodic push of the highlight “Quaoar.” It’s raw, production-wise, but I hope it’s not another half-decade before El-Thule follow it up. El-Thule on Thee Facebooks.

 

Botanist, III: Doom in Bloom

It’s a nature-worshiping post-black metal exploration of what the History Channel has given the catchy title “life after people.” If you’ve ever wondered what blastbeats might sound like on a dulcimer, Botanist‘s third album, III: Doom in Bloom has the answers you seek, caking its purported hatred of human kind in such creative instrumentation and lyrics reverent of the natural world rather than explicitly misanthropic. The CD (on Total Rust) comes packaged with a second disc called Allies, featuring the likes of Lotus Thief and Matrushka and giving the whole release a manifesto-type feel, which suits it well. Vehemently creative, it inadvertently taps into some of the best aspects of our species. Botanist’s website.

 

GravelRoad, Psychedelta

Say what you will about whiteboys and the blues, the bass tone that starts “Nobody Get Me Down” is unfuckwithable. And Seattle trio GravelRoad come by it pretty honestly, having served for years as the backing back for bluesman T-Model Ford. The album Psychedelta (on Knick Knack Records) jams out on its start-stop fuzz in a way that reminds not so much of Clutch but of the soul and funk records that inspired Clutch in the first place, and though it never gets quite as frenetic in its energy as Radio Moscow, there’s some of that same vibe persisting through “Keep on Movin'” or their Junior Kimbrough cover “Leave Her Alone.” Throaty vocals sound like a put-on, but if they can nail down that balance, GravelRoad‘s psychedelic blues has some real potential in its open spaces. GravelRoad on Thee Facebooks.

 

The Linus Pauling Quartet, Bag of Hammers

Texas toast. The Linus Pauling Quartet offer crisp sunbursts of psychedelic heavy rock, and after nearly 20 years and eight full-lengths, that shouldn’t exactly be as much of a surprise as it is. Nonetheless, Bag of Hammers (Homeskool Records) proffers a 41-minute collection of heady ’90s-loving-the-’70s tones while venturing into classic space rock on “Victory Gin” and ballsy riffing on “Saving Throw.” Being my first experience with the band, the album is a refreshing listen and unpretentious to its very core. Eight-minute culminating jam “Stonebringer” is as engaging a display of American stoner rock as I’ve heard this year, and I have to wonder why it took eight records before I finally heard this five-man quartet? Hits like its title. LP4’s website.

 

Odyssey, Abysmal Despair


It’s the damnedest thing, but listening to Abysmal Despair, the Transubstans Records debut from Swedish prog sludge/noise rockers Odyssey, I can’t help but think of Long Island’s own John Wilkes Booth. It’s the vocals, and I know that’s a really specific association most people aren’t going to have, but I do, and I can’t quite get past it. The album is varied, progressive, and working in a variety of modern underground heavy contexts nowhere near as foreboding as the album’s title might imply, like Truckfighters meets Entombed, but I just keep hearing JWB‘sKerry Merkle through his megaphone. Note: that’s not a bad thing, just oddly indicative of the greater sphere of worldwide sonic coincidence in which we all exist. If anything, that just makes me like Abysmal Despair more. Odyssey on Soundcloud.

 

Palkoski, 2012 Demo

Conceptual Virginian free-formers Palkoski released the three-track/67-minute 2012 demo earlier this year through Heavy Hound. Most of it sounds improvised, but for verses here and there that emerge from the various stretches, and the band’s alternately grinding and sparse soundscapery results in an unsettling mash of psychotic extremity. It is, at times, painful to listen, but like some lost tribal recording, it’s also utterly free. Limited to 100 CDs with a second track called “The Shittiest  EP Ever” and a third that’s a sampling of Palkoski‘s ultra-abrasive noise experimentation live, this one is easily not for the faint of heart. Still, there’s something alluring in the challenge it poses. Palkoski at Heavy Hound.

 

Radar Men from the Moon, Echo Forever

Following their charming 2011 EP, Intergalactic Dada and Space Trombones, the Eindhoven instrumental trio Radar Men from the Moon (On the Radar’ed here) return on the relative quick with a 51-minute full-length, Echo Forever. More progressive in its jams, the album’s psychedelic sprawl shows the band developing — I hesitate to compare them to 35007 just because they happen to be Dutch, but the running bassline that underscores “Atomic Mother” is a tempter — but there’s still an immediacy behind their changes that keeps them from really belonging to the laid-back sphere of European jam-minded heavy psychedelia. They’re getting warmer though, stylistically and tonally, and I like that. Interesting to hear a song like “Heading for the Void” and think Sungrazer might be burgeoning as an influence. Cool jams for the converted. Radar Men from the Moon on Bandcamp.

 

Sound of Ground, Sky Colored Green

There are elements of of Yawning Man, or Unida or other acts in the Californian desert milieu, but basically, Moscow’s Sound of Ground sound like Kyuss. They know it. Their R.A.I.G. debut full-length, Sky Colored Green, makes no attempt to hide it, whether it’s the “Green Machine” riffing of “Lips of the Ocean” or the speedier Slo-Burnery of “El Caco,” though the metallic screaming on “R.H.S.” is a dead giveaway for the band’s youth, coming off more like early Down than anything Josh Homme ever plugged in to play. While not necessarily original, the trio are firm in their convictions, and Sound of Ground tear through these 11 tracks with engaging abandon. The Russian scene continues to intrigue. Sound of Ground on Thee Facebooks.

Thanks for reading.

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Odyssey Mess with the Lights in New Video

Posted in Bootleg Theater on March 27th, 2012 by H.P. Taskmaster

You know, after all the Truckfighters shenanigans lately (see here and here, for starters), I considered giving it a rest this week with the Swedish bands… for about three minutes. Then I got a note from Hellsingborg trio Odyssey with a link to their new video for the song “Wicked Witch,” and well, I was right back on the wagon. Or off it. I can never remember how that one goes.

“Wicked Witch” comes off Odyssey‘s recent split 7″ with Massachusetts’ own Black Pyramid — it’s their first recorded outing to feature Darryl Shepard‘s guitar and vocals — and was released as part of Transubstans Records‘ vinyl club, about which you can find more info here, if you’re so inclined. Transubstans will also release Odyssey‘s debut full-length, Abysmal Despair, on May 15.

If this song is any indicator, the album title is a little more dire than the music Odyssey make, but perhaps their darker side comes out elsewhere. Would be hilarious if these dudes were full-on black metal the rest of the time, though I doubt that’s the case. Anyway, hope you enjoy “Wicked Witch” below and have as much fun as I did watching them play with the lamps:

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