The Hazytones Sign to Ripple Music & Oak Island Records; Album out Nov. 3

Posted in Whathaveyou on October 2nd, 2017 by JJ Koczan

Attitude-laden heavy garage-psych doomers The Hazytones have inked not one, but two new label deals for their self-titled debut. The Montreal three-piece of Mick Martel, Adam Gilbert and Antoine St-Germain also issued the album digitally on their own in 2016 and subsequently earlier this year on tape through Hellas Records in Indonesia and Canada’s own Sunmask Records, so it’s safe to say at this point that the record has engendered some significant response.

Listening back through the nine-track offering and basking in the bassy groove of “Day of the Dead,” the space-cultistry of centerpiece “Children of the Universe” and the forward thrust of “Fool’s Paradise,” yeah, I get it. They’re right in between a couple different lines of subgenre and play to one side or another very well in these tracks, all the while casting an identity of their own in the process. I posted about the band back in Spring when they were headed out on tour and the record made enough of an impression on me then to keep them in mind. They definitely seem like suitable fodder for a wider release. Cheers all round.

Here’s info and announcements gathered from the social medias:

the-hazytones-photo-brooke-dee

The Hazytones – Ripple Music & Oak Island Records

It’s a big day today, we announce our signature on Ripple Music!!! Vinyl’s and cd’s are coming November 3rd. In a week we will have all the USA dates for our tour in January.

Here’s the other big news we had in store. Announcing our partnership with Kozmik Artifactz. They will be distributing our album, as well as producing Cd’s/Vinyl’s through their sub label Oak Island Records. Release date is November 3rd!

Says Ripple Music:

Please welcome to the family. Canadian retro doom rockers, The Hazytones!! Debut album due out this November with a new new album to follow next year. So psyched to work with these guys and bring them into the family.

Says Oak Island Records:

We are extremely excited to be partnering with our good friends at Ripple Music to bring you guys the rockin’ debut by Montreal power trio, The Hazytones

The debut will drop early November with Ripple handling the US release and Oak Island Records distributing throughout Europe. These guys rock hard, so be sure to check them out!

The Hazytones is a group of stoner rock founded in 2015 in Montreal. In September 2015, The Hazytones began the production of their debut album recorded and mixed at ReelRoad studio located in Rosemont – La Petite-Partie in Montreal. After a few month of labor, the band launched his first single ‘’Living On The Edge’’, followed by a music video. To mark the imminent release of their first titled album, the trio got on the road across Canada(23 shows) from August to September 2016.

The band launched their first titled album on September 22nd at La Rockette bar in Montreal at the Pop Montreal festival. The album was well received by the stoner/psychedelic community in Canada, USA and Europe.

More recently, the band toured Europe (UK, Belgium, Switzerland and France) for 28 days and 10 days after they embarked on a Canadian tour that led them all the way to Vancouver and back.

For the Hazytones future, a full U.S.A tour is scheduled in January and a second album is on its way. The band has been signed to two labels, Ripple Music and Kozmik Artifacts. Both labels will produce Cd, Vinyls and handle the digital distribution. Everything is set to be release on November 3rd.

The Hazytones are:
Mick Martel – guitar/vocals
Adam Gilbert – bass/backing vocals
Antoine St-Germain – drums

https://www.facebook.com/TheHazytones/
http://www.twitter.com/TheHazytones/
https://www.instagram.com/thehazytones/
https://thehazytones.bandcamp.com/releases
https://www.facebook.com/theripplemusic/
ripplemusic.bandcamp.com
https://www.facebook.com/oakislandrecords/
http://shop.bilocationrecords.com/index.php?k=1072&lang=eng

The Hazytones, The Hazytones (2016)

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Vision Éternel Premiere Video for “Pièce No. Trois”

Posted in Bootleg Theater on August 28th, 2017 by JJ Koczan

vision eternel

Vision Éternel‘s ‘Pièce No. Trois’ is precisely that: a piece. It comes from 2015’s Echoes from Forgotten Hearts (review here), which is the latest release from the ambient solo-project of Montreal-based texture-weaver Alexandre Julien — formerly of psychedelic black metallers Vision Lunar, among others — and is one of seven pièces to be included on the offering. Each one works in a roughly similar vein of minimalist cinematic drama, something vague but hopeful in Julien‘s shimmering guitar tonality and gentle approach, but they remain distinctive with pauses between and, short as they are and short as the whole outing is, never get lost or too caught up in any individual moment. One might think of each Vision Éternel track as fleeting, and that would seem to be the intent.

Atmosphere over impact. Impression over reality. Evocation over direct narrative. Though it’s been two years since Echoes from Forgotten Hearts came out, and for a solo-project like this, that can be a long time, Vision Éternel has a considerable back catalog amassed of these headphone-ready meditations, and vision-eternel-echoes-from-forgotten-heartsas “Pièce No. Trois” explores layering in strum and drone guitar, the depths Julien brings to bear so quickly in a 90-second video impress all the more for the efficiency that both matches the scope of the band and doesn’t make the material feel rushed or overblown in terms of arrangement. There’s a grace to Vision Éternel‘s output across Echoes from Forgotten Hearts that carries into the mood and has a melancholy effect on the listener. It asks little for indulgence and delivers much in immersion.

The project has been celebrating its 10th anniversary throughout 2017, and along with new merchandise and an impending box set collecting past material together in one place, the occasion has called for a revisit to Echoes from Forgotten Hearts and a video that’s apparently been years in the making. Like the song itself, the visual accompaniment for “Pièce No. Trois” is deeply atmospheric, featuring strung together clips of Julien giving what essentially might be taken as a kind of sightseeing tour of Montreal — but, you know, an artsy sightseeing tour. No double-decker bus or anything. Nonetheless, he passes by landmarks subtly placed throughout that, if you happen to be familiar with places like the John Young Monument or the old railroad tracks, you might catch a glimpe of them here or there.

And even if not, it’s 90 seconds long. What the hell do you have to lose? Jeez. Included below is some more background from Abridged Pause Recordings on the video, copious links, and the full stream of Echoes from Forgotten Hearts from Vision Éternel‘s Bandcamp, in case you’d like to dig further.

Please enjoy:

Vision Éternel, “Pièce No. Trois” official video

As part of Vision Éternel’s 10-year anniversary celebration, it is with extreme pleasure that we are releasing a brand new music video for “Pièce No. Trois”. It’s been seven and a half years since Vision Éternel last released a music video, for “Season In Absence” in March of 2010. “Pièce No. Trois” is one of seven songs that appears on the concept EP “Echoes From Forgotten Hearts”, released through Abridged Pause Recordings on February 14th of 2015. This music video is long overdue after having its fair share of disasters and lost footage over the years.

A key filming location was the former Dalhousie Station where pre-production pictures had been snapped a month prior. Additional scenes were filmed nearby, above and under the Notre-Dame overpass and with the former Viger Station in the distance. Another shot was set up in the Saint-Dizier alleyway in the Old Port of Montreal which has old cobblestone paving and was wet from the melting snow and grainy from the salt, sand and rock pebbles used to deal with ice in the winter.

Vasily Atutov directed the music video for “Pièce No. Trois” from July 22nd to July 23rd of 2017. You can see more of Vasily Autotuv’s photography on Flickr and Instagram. He is now open to work with musicians on artwork and video editing, so get in touch with him at epicmap@gmail.com.

It took ten years to happen but Vision Éternel finally has band t-shirts available! The first set of shirts feature Jeremy Roux’s “classic” Vision Éternel logo, which he designed in the summer of 2008. The second batch of shirts feature Christophe Szpajdel’s “10-year anniversary” logo, which he drew in the spring of 2017. This logo honours the black metal origins of Vision Éternel; Alexandre Julien founded Vision Éternel as a side-project while playing in two black metal bands: Throne Of Mortality and Vision Lunar.

Vision Éternel, Echoes from Forgotten Hearts (2015)

Vision Éternel website

Vision Éternel on Thee Facebooks

Vision Éternel on Twitter

Vision Éternel on Instagram

Vision Éternel on Soundcloud

Vision Éternel on Spotify

Vision Éternel on Bandcamp

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A Devil’s Din Premiere Video for “Eternal Now”; One Hallucination Under God out Sept. 29

Posted in Bootleg Theater on August 23rd, 2017 by JJ Koczan

a-devils-din-photo-christine-deita

Montreal trio A Devil’s Din aim a little bit earlier than many in the current sphere of retro-minded rock, eschewing the proto-metallic boogie of the early ’70s in favor of the mid-to-late ’60s psychedelia that spawned it. On Sept. 29, they’ll issue their third long-player, One Hallucination Under God, via their own Island Dive Records imprint, and its influence in classic surf and garage-a-delic vibe is evident from the opening notes of “Eternal Now,” for which you can see a video premiere below marked out by colorful manipulation of old cartoons, found-seeming footage and, apparently, whatever else the band decided fit the spirit they were going for.

And quite a spirit it is. The hook of “Eternal Now” has some push of the earliest space rock from drummer Dom Salameh, but from the running bassline of Tom G. Stout to the vocal harmonies that would seem to be led by guitarist Dave Lines, the arrangement feels lush and warm in a way that more than earns its accompanying colorful swirl. True to their aesthetic, “Eternal Now” has a straightforward verse/chorus structure and at just under three and a half minutes there’s not much room to wander from it, but with the blend of keys and guitar, the wash of melody in the vocals and the pervasive sense of weirdness across its still-brief span, there’s plenty to dig into for those looking for a quick trip into the far and farther out.

I haven’t heard the full album yet, but I wouldn’t necessarily expect “Eternal Now” to speak for the entirety of One Hallucination Under God. To wit, in Dec. 2016, A Devil’s Din issued the 13-minute single-song digital EP, I’m Freaking Out: The Saga of the Missing Child, as the follow-up to their June-released sophomore full-length, Skylight — their debut was 2011’s One Day all this Will be Yours — and it was an entirely more progressive and theatrical affair, harder in the impact of its tones and less cosmically directed on the whole, though those elements were still there in the especially varied second half of the song. That may have been a one-off, but Skylight had plenty of diversity in its sound as well, so I’m just giving a heads up “Eternal Now” might not be the complete story when it comes to One Hallucination Under God, however much the long-player may all be part of one expanded-consciousness experience.

More info on One Hallucination Under God and some statement direct from A Devil’s Din follows the “Eternal Now” video below and comes courtesy of the PR wire. Once again, album is out Sept. 29 and will be available direct from the three-piece via their Bandcamp.

Please enjoy:

A Devil’s Din, “Eternal Now” official video

A Devil’s Din on “Eternal Now”:

“‘Eternal Now’ opens the album. It’s an upbeat song with a snazzy guitar riff and verse sung in three-part harmony. The chorus is the closest thing we have to a pop song, but when pop wasn’t a disposable, corporate-driven product. Overall, the theme of the album is about ‘Perception Versus Reality,’ how our world is essentially a subjective experience and a reflection of our individual thoughts and judgments. This idea is perhaps best expressed by semanticist Alfred Korzybski’s dictum, ‘The map is not the territory.’ Songs like ‘Sea of Time,’ ‘Eternal Now,’ ‘Where Do We Go?’ and the title-track all touch on this theme: how we are born into a reality and then conditioned into accepting that this version of reality is ‘it’… And anyone who’s been on the Psychedelic Path will tell you otherwise.

A Devil’s Din are the psychedelic brainchild of UK-born Montreal-based multi-instrumentalist David Lines; joined on his creative journey by disciple of the Rickenbaker bass Thomas Chollet, and virtuoso drummer Dom Salameh. They are a trio of sonic alchemists that together create a chemical wedding of cosmic chords, constantly seeking the philosopher’s stone of the perfect psychedelic song. And as we all know, it’s not the journey — it’s the trip!

A Devil’s Din has two fine albums under their collective kaftans, ‘One Day All This Will Be Yours’ (2011) and ‘Skylight’ (2016), and now, as though creating a trans-dimensional triptych, they unleash ‘One Hallucination Under God’.

‘One Hallucination Under God’ will be available as of September 29th, 2017.

A Devil’s Din is:
Dave Lines, Guitar/Keyboards/Vocals
Tom G. Stout, Bass/Guitar/Vocals
Dom Salameh, Drums/Perc/Vocals

A Devil’s Din on Thee Facebooks

A Devil’s Din on Twitter

A Devil’s Din on Bandcamp

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Review & Full Album Stream: WhiteNails, First Trip

Posted in audiObelisk, Reviews on May 24th, 2017 by JJ Koczan

whitenails first trip

[Click play above to stream First Trip by WhiteNails in its entirety. Album is out Friday, May 26, via Magnetic Eye Records.]

Quebecois six-piece WhiteNails make a resoundingly cohesive impression with First Trip, which telegraphs its self-awareness even unto its title. Delivered through Magnetic Eye Records, it is the debut release from the Canadian outfit, not just their first full-length, and as an opening argument it speaks to the band having come together last year with some clear idea of what they wanted to do sonically, in form and maybe general style if not the direct specifics of cuts like “Dead in Time” or “Damn Judas.” A mission to make catchy, uptempo, soulful heavy rock, perhaps, and First Trip is the result of that from the first-name-only lineup of vocalist Darcy, guitarists Danahé and Taylor, bassist JP, keyboardist Vince and drummer Maxx, who for all the personnel — they also bring in guest vocalist Gab Shonk on the aforementioned “Dead in Time” — don’t come across as overblown in the slightest.

Throughout the eight-track/41-minute offering, they endeavor to hone a foundation of songwriting to underscore the boogie in cuts like “In My Blood” and the thrust of opener “Shanghaied,” and though their arrangements are full, it’s perhaps in part thanks to the vocal command of Darcy that the record remains grounded, as from the leadoff onward, his presence as a frontman comes through in verses and chorus alike, whether he’s surfing the riff of “Shanghaied” reminding somewhat of Black Thai‘s Jim Healey or calling to mind Gozu‘s Marc Gaffney in “In My Blood” and the layered harmonies of “Silver Linings.” Gozu, in some of their harder-edged post-Queens of the Stone Age swagger, would seem to be an influence across the board.

Still, those vocals are well-balanced in the mix, and the aesthetic remains modern throughout, with a full and willfully distortion driving Danahé and Taylor‘s guitars that finds its most-doom moment in the penultimate “Brazen Bull” after a variety of executions playing around the central heavy rock theme in terms of pace, push and the structure of the riffs that lead, be it the all-forward movement of “Shanghaied” welcoming the listener to First Trip by pulling them through an open doorway of accessibility, or the ultra-catchy companionship that track finds as “Damn Judas” leads off side B. Some of the titles convey a sense of darkness, whether it’s the chugging “Done and Gone” or “Dead in Time,” which come back to back after the opener, or “In My Blood” and “Damn Judas” later — even closer “The Crooked Lake” seems to have some measure of threat in the use of “crooked” — but it’s not until “Silver Linings” that one finds that darkness beginning to come to fruition.

whitenails (Photo Caroline Perron)

And though their cover art might lead one to go into the album immediately searching for an Uncle Acid influence, the amount of strain required to hear it in the riff of “Damn Judas” is enough to make me think it simply isn’t there at all. Okay then. Basically, the crux of First Trip sets itself toward pursuing a solid execution of varied heavy rock songcraft, and it most certainly gets there, building in momentum through the first five songs — if one is listening on CD/DL, the linear momentum flows notably well; I haven’t heard a vinyl edition but the track structure is definitely two-sided — before shifting into that darker terrain on “Silver Linings” and “Brazen Bull” and airing out a bit of psychedelia on “The Crooked Lake,” which marks the most patient stretch of the record and a departure from the preceding ground covered.

Particularly for a debut, it would likely be enough for WhiteNails to acknowledge the need for aural diversity, let alone actually bring it to fruition in the manner they do, but they find a balance between consistency of tone and changes in structure and mood that hints either at prior experience among the members in bands together or at an especially quick-in-developing chemistry at work. One way or the other, the reward is palpable throughout First Trip, up to and including the closer, which with its more prominent keys and fluid guitar lines nods at Vangelis-style atmospherics early and drifts into a markedly satisfying linear build in its second half to pay off the album as a whole. It’s a long way from the party vibe of “Dead in Time” or “In My Blood,” which would seem to be the most motion-minded cuts along with “Damn Judas,” which is a highlight overall, but it serves as an encouraging last-minute defiance of the expectation WhiteNails have already put in effort to establish.

That is to say, they’ve set forth their rules and then almost immediately, gleefully broken them. Again, this is something a penchant one generally expects a group to develop over time — and WhiteNails may yet have more anti-conventionalism up their collective sleeve; I wouldn’t speculate after only one release — but it serves notice to anyone willing to hear it that the band are not at all finished growing. So be it. While the destination where that growth might take them ultimately in terms of style feels open to a range of possibilities, it seems safer to bet that the underlying quality of songwriting will be a continuing factor from WhiteNails as they move forward, as it proves to be the essential statement made by their impressive and cogent first offering.

WhiteNails on Thee Facebooks

WhiteNails on Bandcamp

WhiteNails website

Magnetic Eye Records on Bandcamp

Magnetic Eye Records on Thee Facebooks

Magnetic Eye Records webstore

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Coeur Atomique: New Project from Voivod Founder Announces Landscape of Emergency I Debut Album

Posted in Whathaveyou on May 22nd, 2017 by JJ Koczan

coeur atomique

Founding Voivod bassist Jean-Yves ‘Blacky’ Thériault has announced that his new project, Coeur Atomique, will release its debut album July 10. Preorders are up now for what’s been given the title Landscape of Emergency I from the low-end-centric experimentalist two-piece of Theriault and fellow bassist Monica Emond. Comprised of six songs, the 42-minute offering basks in progressive textures and markedly atmospherics, but holds firm to a sense of movement across its span as lines from Thériault and Emond intertwine and feel their way through songs like “Castle Bravo” and “The Waste,” both of which you can hear below.

Thériault, who co-founded Voivod in 1981 with still-missed guitarist Denis “Piggy” D’Amour, left that band following the release of their latest full-length, Target Earth, in 2013. Coeur Atomique — which seems to have originally been called Landscape of Emergency — will use its first long-player as the launch point for a series of releases exploring social themes through instrumentalist means, and already one finds considerable resonance in its focus on tonality, presentation and depth.

Landscape of Emergency I is available now to preorder direct from Coeur Atomique, and you’ll find the link in the info below, which comes courtesy of the band via the PR wire:

coeur-atomique-landscape-of-emergency-i

CŒUR ATOMIQUE is a bassists duo formed by Monica Emond and Jean-Yves Thériault (Voivod, The Holy Body Tattoo). During live performances, their music written for two basses and electronics is accompanied with powerful film projections. Art, they say, is meant to act and to resist! Watch our videos on Youtube.

Their first album called Landscape of Emergency I ~ will be released on vinyl by July 10th, 2017. Pre-order it now through coeuratomique.org. The digital format is already available. This album is the first part of the Landscape of Emergency series of releases which address the silencing machine of ignorance of indifference…

Landscape of Emergency I ~ Song List
1. Fail Safe
2. Calutron
3. Castle Bravo
4. The Waste
5. Berghof
6. Green Run

http://coeuratomique.org/
https://www.youtube.com/channel/UC6An1AAp1UQehEsvKzvOCVA

Coeur Atomique, “The Waste”

Coeur Atomique, “Castle Bravo”

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The Hazytones Announce Canadian Tour Dates

Posted in Whathaveyou on March 29th, 2017 by JJ Koczan

Montreal trio The Hazytones released their self-titled debut back in September 2016 via Sunmask Records and will head out next month on a long tour to support the album. They’ll take part in Canadian Music Week in Toronto circa April 20 to start, and stay out for the bulk of May as they hand-deliver their skillfully-crafted riffery (and hats!) to audience across the provinces. I’m not sure with whom they’ll be out or if they’re meeting up with locals or what, but songs like “Children of the Universe” and the forward-motoring “Kill to Survive” make a solid argument for showing up regardless, so keep an eye out.

This news is my intro to the band, and while I’m sure you’re O.G. Hazytones because you’re hip like that and I’m constantly behind the curve, on the off-chance you’re in a similar situation, feel free to check out the album stream via the Bandcamp player at the bottom of the post to get a proper hello.

The PR wire has the dates:

the hazytones

The Hazytones – Canadian Tour 2017

The Hazytones are a stoner rock group founded in 2015 in Montreal. The trio stuns the audience with their stage presence and intensity. Riff after riff, the group is known for their fat sound and heavy, overdriven saturation.

The band features the powerful voice and guitar playing of Mick Martel (former founding member of Madcooks), the accuracy of drummer Antoine St-Germain (current member of God Bless America) and the rigor of the bassist Frederic Couture (former founding member of Reckless Ride).

APRIL
20: Toronto @ Canadian Music Week
21: Toronto @ Canadian Music Week 2017
22: Toronto @ Canadian Music Week
23: Sault Ste-Marie @ American New Pub House
25: Kenora @ Lake Shore
26: Winnipeg @ The Cavern club
27: Selkirk @ The Merch
28: Régina @ Durty Nelly’s
29: Calgary @ Blind Beggar Pub

MAY
02: Kelowna @ Fernando’s Pub
03: Vancouver @ Media club
04: Nanaimo @ The Cambie Bar & Grill
05: Port Albany @ TBA
06: Victoria @ Logan’s
07: Kamloops @ The grind
08: Kelowna @ Munnin’s Post
10: Golden @ Rockwater
12: Edmonton @ The Forge
13: Lethbridge @ Smokehouse Bar n Grill
15: Fort Mcmurray @ Tavern on main
16: Moose Jaw @ TBA
17: Palmer @ Palmer Church
18: Prince albert @ TBA
19: Saskatoon @ The Capitol
20: Red Deer @ The Vat Pub
21: Calgary @ The Palomino
22: Arkola @ Buddy’s Pub
23: Arkola @ Buddy’s pub
25: Winnipeg @ The Handsome Daughter
26: Thunder bay @ Black Pirates Pub
27: Timmins @ The Working Class

https://www.facebook.com/TheHazytones/
https://www.instagram.com/thehazytones/
https://thehazytones.bandcamp.com/
https://www.facebook.com/sunmaskrecords/

The Hazytones, The Hazytones (2016)

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The Obelisk Radio Adds: Evil Acidhead, Gypsy Sun Revival, Albinö Rhino, Monarch, and Vision Éternel

Posted in Radio on February 20th, 2017 by JJ Koczan

the obelisk radio

My going motto for this site, which basically I repeat to myself like a mantra, is to do as much as I can when I can. Obviously that fluctuates, and I think that’s a good thing on many levels, but I’ve had more time recently to pay due attention to the goings on with The Obelisk Radio and I’m thankful for that. This is the second round of adds for this month, and in addition to the offerings highlighted below, another 30-plus releases have gone up to the server as of today, including some choice bootlegs from the likes of Lowrider, Brant Bjork, Vista Chino, Greenleaf, Acid King, Neurosis and Kyuss. I encourage you to check out the full list of adds here. It kicks a formidable amount of ass.

The Obelisk Radio adds for Feb. 20, 2017:

Evil Acidhead, In the Name of all that is Unholy

Evil-Acidhead-In-the-Name-of-all-that-is-Unholy

This 2015 reissue on Agitated Records of Evil Acidhead‘s In the Name of all that is Unholy becomes particularly relevant since 2017 marks 30 years since its original release. Offered as a cassette in 1987 by guitarist John McBain (Monster MagnetWellwater Conspiracy), it tops an hour and 17 minutes and crosses the first of its two LPs before it’s even finished with its four-part opener, and only then digs into the 23-minute “I Control the Moon.” A challenging listen front to back even three decades later, it holds to an experimentalist core of guitar effects, swirl, loops — which are near-maddening on side B’s “Part III: Possession” — and malevolent, droning abrasion. What’s stunning about it is if you said this was something McBain recorded a few months ago, there would be no choice but to call it forward-thinking. Imagine a record that 30 years later still offers a legitimate sense of being ahead of the day. Not that it never happens, but it’s certainly rare, and In the Name of all that is Unholy seems to willfully sidestep what we think of as reality in favor of its apparently timeless hellscapes. It’s far, far away from pleasant, but it sure as hell is impressive.

Evil Acidhead on Thee Facebooks

Agitated Records website

 

Gypsy Sun Revival, Gypsy Sun Revival

https://theobelisk.net/obelisk/wp-content/uploads/2017/02/gypsy-sun-revival-gypsy-sun-revival

Fort Worth trio Gypsy Sun Revival make their debut with this 2016 self-titled full-length and earn immediate notoriety for their blend of heavy psychedelic and straightforward rocker impulses as well as the fact that the vinyl version of the album sees release through ultra-respected purveyor Nasoni Records. One might recall the last time the Berlin-based label picked up a Texan band, it was Wo Fat, so it’s no minor endorsement of Gypsy Sun Revival‘s potential, and the three-piece of vocalist/bassist/organist Lee Ryan, guitarist/thereminist Will Weise and drummer Ben Harwood live up to it across the 46-minute seven-tracker, songs like “Cosmic Plains” finding a middle ground between sleek ’70s groove and modern thickness, setting up longer post-Zeppelin jams to come like “Idle Tides,” which, though fluid, rely less on effects wash to get their improvisational point across than the raw dynamic between the band itself. As a debut, Gypsy Sun Revival impresses for that, but even more for the level of immersion it enacts the further along it goes, so that when they get to languid instrumental closer “Radiance,” the band’s approach seems to be in full bloom when in fact they may only be beginning their forward creative journey.

Gypsy Sun Revival on Thee Facebooks

Nasoni Records website

 

Albinö Rhino, Upholder Live at Ääniwalli, Helsinki 17.12.2016

Albinö-Rhino-Upholder-Live

I’m pretty sure all those umlauts are going to crash the radio stream every single time this gets played, but a 41-minute digital live version — offered as a name-your-price download, no less — of Albinö Rhino‘s heavy psych epic “Upholder” recorded this past December in their native Helsinki is too good to pass up. The Finnish trio issued the studio edition of the three-so-far-part piece late in 2016 under the simple title Upholder (review here), and Upholder Live at Ääniwalli, Helsinki 17.12.2016 comprises a 41-minute single-track rendering of the first two parts brought together with onstage energy and a fitting showcase of the song’s longform jamming path. Led by Kimmo Tyni‘s guitar work — no less recalling early Natas via Sungrazer and Sleep here than in the studio recording — and gruff vocals, the live incarnation also benefits from the deep patience in Ville Harju‘s bass and Viljami Väre‘s drumming, as heard under Tyni‘s moog solo circa 14 minutes in. It’s soon for a revisit of Upholder itself, but as well as getting additional mileage out of the piece, Albinö Rhino bring a different flavor to the live execution of it to this digital-only outing, and if it catches more ears as a 41-minute single song as opposed to being broken up over two sides, there’s no way that’s going to hurt them. Either way you get it, its soul, heft and molten vibe resonate.

Albinö Rhino on Thee Facebooks

Albinö Rhino on Bandcamp

 

Monarch, Two Isles

monarch-two-isles

Not to be understated is the sense of poise that pervades Two Isles, the debut full-length from Encinitas, California, psychedelic progressives Monarch. Delivered via Causa Sui‘s imprint El Paraiso Records — the gorgeous art treatment is consistent with their hallmark style — and produced by Brian Ellis (AstraPsicomagia, etc.), it locks into classically winding turns or melodic flourish with equal ease on side A pieces like the opening title-track and “Assent,” proffering scope but not necessarily pretense. Call it prog in the new West Coast tradition if you must, “Dancers of the Sun” and the more insistent staccato of “Sedna’s Fervor” are dead on either way, and the five-piece of guitarist/vocalist Dominic Denholm, guitarists Nate Burns and Thomas Dibenedetto (see also Joy and Sacri Monti), bassist Matt Weiss and drummer Andrew Ware save their finest showcase for the just-under-10-minute finale “Shady Maiden,” summarizing their liquefied proceedings in more than able fashion, reaching ahead of themselves as the style warrants, and once more proving what might be hypnotic were it not such an active, exciting listen.

Monarch on Thee Facebooks

Monarch at El Paraiso Records

 

Vision Éternel, Echoes from Forgotten Hearts

vision-eternel-echoes-from-forgotten-hearts

Echoes from Forgotten Hearts is the latest EP from Montréal-based solo artist Alexandre Julien, who operates under the banner of Vision Éternel, and it comprises seven brief individual tracks numbered in French as “Pièce No. Un,” “Pièce No. Deux,” etc., of wistful guitar lines and serene dronescapes. The balance that a “Pièce No. Deux” is able to strike by sounding so broad and wide open and yet only being 1:47 is striking, and it makes the release flow together all the more as a work on a single emotional thematic, and while it all only winds up being 14 minutes in total, Julien is able to bring that thematic to life in that time with depth and grace, so that when the relative sprawl of the 3:45 closer “Pièce No. Sept,” takes hold, one only wishes it would go on further. Note this is one of several Vision Éternel offerings joining the playlist this week, and Julien has a boxed set in progress collecting a number of his outings to be released sometime later this year, including, I believe, this one, which originally came out in 2015. Hopefully it’s not long before he follows it with new material.

Vision Éternel on Thee Facebooks

Vision Éternel on Bandcamp

 

Thank you as always for reading and listening.

To see everything that joined the playlist today, please visit The Obelisk Radio.

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Strange Broue Post “Ritualize” Video (NSFW)

Posted in Bootleg Theater on January 30th, 2017 by JJ Koczan

strange broue

If you have a second, go take a look at the merch page on Canadian wizard doom four-piece Strange Broue‘s Bandcamp site. It’s linked below and I don’t think it’ll take you long to notice the pattern I want you to see: Every piece of music, in every iteration, that the band has released is sold out. Gone. Granted we’re not talking about a massive, 100-album, Hawkwind-style discography, but still, it’s a considerable track record, and it means that if you check out the video below for “Ritualize” and maybe say to yourself, “Gee, I might like to pick up a copy of their forthcoming second LP, Seance, which is out Feb. 6 on Sunmask Records” (good on you for knowing the release details), you’ll want to get on that sooner rather than later. Because Seance, too, will likely disappear.

Little mystery why, what with the band’s cultish weedian leanings, VHS horror imagery and post-Oborn bouncing groove. “Ritualize” opens Seance, which runs 44 minutes and is strange broue seancevery much a full-length album despite being billed as an EP. I’ve marked the clip as NSFW because it’s got all kinds of harvested footage of religious-themed violence, ’70s boobage, blood, crosses, fire — kind of what you’d expect to go with the song itself, but nothing you’d want your boss to walk by while you were watching. Of course, if we all just quit our jobs and spent our day worshiping the devil, it wouldn’t be an issue. Would it? No. Clearly not.

Until that happens, we’ll have to live vicariously through the Quebecois doomers and make do with that. Their debut, either self-titled or called The Mystifying Oracle, depending on whom you ask, came out in early 2016 also through Sunmask, so they’ve worked at a pretty good clip on the follow-up. We’ll see if they hold the pace and how their sound continues to develop as a result of that, but from listening to “Ritualize,” they come across as a group with a pretty clear idea of where they want to be, and again, if you go and look at that empty merch page (they do have a shirt still on sale as of this post), you’ll see it’s working for them.

Enjoy:

Strange Broue, “Ritualize” official video (NSFW)

Taken from the album Seance – The Satanic Sounds of Strange Broue out on February 6, 2017

Tapes and CDs available on February 6th, 2017 through
https://strangebroue.bandcamp.com/
http://sunmask.bigcartel.com/

Visual direction and editing by Hugo Bertacchi
Special thanks to Marc-Antoine Guérin for source footage and movie selection

Strange Broue are a psychedelic stoner/doom band from Quebec City, Canada. The spirits of Electric Wizard and Amicus frolic in diabolical rituals in the dark backwoods of Quebec.

The brouemaster and crew once again summon up the infernal spirits and the usual cast of Satanic panic suspects for their sophomore release Seance out this spring on Sunmask.

Limited release of 75 cassettes in VHS shell case with inserts.
Die-hard edition of 35 cassettes direct from the band.

Strange Broue on Thee Facebooks

Strange Broue on Bandcamp

Sunmask Records on Thee Facebooks

Sunmask Records webstore

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