https://www.high-endrolex.com/18

Dopethrone Post “Life Kills You”; New Album Coming Soon

Posted in Whathaveyou on January 25th, 2024 by JJ Koczan

Montreal extreme sludgers Dopethrone — they call it ‘slutch’, presumably because the harder consonant sound makes it nastier, which it kind of does — have a Western Canadian tour coming up with Severed Arm that will take them from British Columbia through Alberta, Saskatchewan and Manitoba before it’s done, and apparently a new album for Totem Cat Records. The latter will be the three-piece’s first since 2018’s Transcanadian Anger (review here), and for proof of life, the band have posted “Life Kills You” — also the name of the tour, either will or won’t be the name of the LP — to sate the disaffected masses yearning for their particular brand of fuckall.

When’s the album coming? I don’t know. They make a point of not saying. Maybe tomorrow, maybe yesterday, as Ben Sisko once put it. But knowing such a thing is in their pocket is a comforting discomfort, and one imagines they might want to take a few records to the UK with them when they go to headline Masters of the Riff III (info here) as an exclusive appearance, so it could be that the pressing is in the works for March, could be April for the tour dates listed below, or could be never because fuck you anyway it’s Dopethrone and that’s just how it is. I won’t pretend to know the future, but if I see a definite date or more details, I’ll post accordingly.

Till then, the track’s at the bottom of the post, just under the tour dates and album-existence announcement:

“LIFE KILLS YOU” by DOPETHRONE

Our slutchiest album is ready to shart blood in your eardrums.

No, we’re not telling you when.

Recorded and mixed by Jean-Baptiste Joubeaud
Mastered by Brad Boatright at Audiosiege

Videoclip by Vincent Houde, Marianne Martinez and Rodolphe Tremblay

Music by Dopethrone, Lyrics by Vincent Houde

New album coming out 2024 on Totem Cat Records: https://totemcatrecords.bigcartel.com

NAME YOUR PRICE DL: https://dopethrone.bandcamp.com/

DOPETHRONE “LIFE KILLS YOU” – WEST COAST 🍁 TOUR
HOP ON THE NIGHT TRAIN – 100% HELL – ZERO SHAME.

19/04/24 Victoria, BC – Wicket Hall
20/04/24 Vancouver, BC – Green Auto
21/04/24 Kelowna, BC – Jackknife Brewery
22/04/24 Nelson, BC – The Royal
24/04/24 Edmonton, AB – The Buckingham
25/04/24 Calgary, AB – Modern Love
26/04/24 Regina, SK – The Exchange
27/04/24 Winnipeg, MB – Handsome Daughter

Artwork by Max from The Death Wheelers

Dopethrone is :
Vince : Guitar / Vocals
Vyk : Bass
Shawn : Drums

https://www.facebook.com/dopethrone.mthell
https://www.instagram.com/dopethroneband/
https://dopethrone.bandcamp.com/

https://www.facebook.com/totemcatrecords/
https://www.instagram.com/totemcatrecords/
http://totemcatrecords.bigcartel.com/

Dopethrone, “Life Kills You”

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Vision Eternel to Release Echoes From Forgotten Hearts Deluxe Edition

Posted in Whathaveyou on November 13th, 2023 by JJ Koczan

Evocative and emotive Montreal-based ambient outfit Vision Eternel will mark 10 years since first laying forth the original soundscapes of Echoes From Forgotten Hearts (discussed here) by releasing what had been an EP has a 23-song limited deluxe version including an 80-page booklet/novella, new cover art, and two tapes. Ha, I bet you were expecting me to say vinyl, but the accompanying hiss of a cassette is an asset to Vision Eternel, as is the nuance of a package like this, since the solo-project of Alexander Julien has similar intricacies and quirks of sound to match the presentation, even unto its art-deco design look and entrancing film-noir engagement. Quiet on the surface. You know how it goes.

Geertruida has it set for Feb. 14, which continues a string of Valentine’s Day offerings for the romantic-in-its-wistful-way outfit. I do, however, think this might be the most expansive version of a release Vision Eternel has had, however. Even with tapes, it doesn’t seem like a minor production to put it all together — 80-page book, postcard, whatnot — but life doesn’t often give you a chance to do something like this with your work, whatever you do, so when you get one I think you probably take it.

Info follows from both the PR wire and the label’s page:

vision eternel echoes from forgotten hearts banner

Vision Eternel’s Echoes From Forgotten Hearts To Receive Deluxe Reissue For Valentine’s Day 2024

Vision Eternel’s never-properly released 2014 soundtrack/EP, Echoes From Forgotten Hearts, will see a Deluxe Edition reissue on Valentine’s Day (February 14, 2024). The 23-song Deluxe Edition will be released as a double-tape box set and digitally through Dutch label Geertruida: https://geertruida.net/releases-vision-eternel-effh.php

Echoes From Forgotten Hearts was originally composed and recorded by Vision Eternel in 2014 as the soundtrack to a short film. After three months of work, from August to November 2014, news was received that the short film had been abandoned. Not wanting to leave the material unreleased, the band returned to the studio to partly re-record and fully re-mix the material, composing and recording a couple of new songs in the process, revamping the soundtrack into an EP. By the end of December 2014, Echoes From Forgotten Hearts was completed.

The EP received discreet limited releases over the years without any promotion as the band hoped to secure a proper record deal for the material. Several offers came and went, but issues with artwork continually delayed the release. A music video for the song “Pièce No. Trois” was eventually produced in 2017, edited from footage of the band shot in 2012.

Finally, Dutch record label Geertruida (which had previously released the band’s 2020 EP, For Farewell Of Nostalgia) offered to issue an expanded edition of Echoes From Forgotten Hearts to celebrate the material’s tenth anniversary in 2024. Although packaged and promoted as a Deluxe Edition, this marks the first time the material is available properly.

The Deluxe Edition contains 23 songs. In addition to the 7-song EP Version, the release also includes the unheard 6-song Soundtrack Version, along with 10 rare studio demos, outtakes, and alternate mixes. All of the material was remastered by Carl Saff at Saff Mastering. A new cover artwork was painted by Michael Koelsch at Koelsch Studios, and the release features additional paintings and photography by Rain Frances at Rain Frances Art. Saff, Koelsch, and Frances all previously contributed to For Farewell Of Nostalgia.

The Deluxe Compact Cassette Edition is split over two colored tapes in a factory-numbered boxed set. It comes with an exclusive postcard and 80-page booklet containing rare pictures and a novella recounting in detail the extended play’s making, from its origin as a soundtrack through its delays, cancellations, and limited releases over the years. The Deluxe Edition of Echoes From Forgotten Hearts is available on tape and digitally on February 14, 2024.

Pre-orders will be announced soon, along with an exclusive premiere of an unreleased song and a giveaway contest for a free box set.

https://www.visioneternel.com
https://facebook.com/visioneternel
https://instagram.com/visioneternel
https://soundcloud.com/visioneternel
https://play.spotify.com/artist/52WyoEAtuPS2QJ2qYOmb6u
https://visioneternel.bandcamp.com

http://www.facebook.com/GeertruidaLabel
https://www.instagram.com/geertruida_label/
http://geertruida.bandcamp.com/
https://geertruida.net/

Vision Eternel, “Pièce No. Trois” official video

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Quarterly Review: Darsombra, Bottomless, The Death Wheelers, Caivano, Entropía, Ghorot, Moozoonsii, Death Wvrm, Mudness, The Space Huns

Posted in Reviews on October 5th, 2023 by JJ Koczan

the obelisk winter quarterly review

Welcome to Thursday of the Fall 202 Quarterly Review. It’s been a good run so far. three days and 30 records, about to be four and 40. I’ve got enough on my desktop and there’s enough stuff coming out this month that I could probably do a second Fall QR in November, and maybe stave off needing to do a double-one in December as I had been planning in the back of my head. Whatever, I’ll figure it out.

I hope you’ve been able to find something you dig. I definitely have, but that’s how it generally goes. These things are always a lot of work, and somehow I seem to plan them on the busiest weeks — today we’re volunteering at the grade school book fair; I think I’ll dig out my old Slayer God Hates Us All shirt from 20 years ago and see if it still fits. Sadly, I think we all know how that experiment will work out.

Anyway, busy times, good music, blah blah, let’s roll.

Quarterly Review #31-40:

Darsombra, Dumesday Book

darsombra dumesday book

Forever touring and avant garde to their very marrow, ostensibly-Baltimorean duo DarsombraAnn Everton on keys, vocals, live visuals, and who the hell knows what else, Brian Daniloski on guitar, a living-room pedal board, and engineering at the band’s home studio — unveil Dumesday Book as a 75-minute collection not only of works like “Call the Doctor” (posted here) or “Call the Doctor” (posted here), which appear as remixes, but their first proper album of this troubled decade after 2019’s Transmission (review here) saw them reach so far out into the cosmic thread to harness their bizarre stretches of bleeps and boops, manipulated vocals, drones, noise and suitably distraught collage in “Everything is Canceled” — which they answer later with “Still Canceled,” because charm — but the reassurance here is in the continuation of Daniloski and Everton‘s audio adventures, and their commitment to what should probably at this point in space-time be classified as free jazz remains unflinching. Squares need not apply, and if you’re into stuff like structure, there’s some of that, but all Darsombra ever need to get gone is a direction in which to head — literally or figuratively — so why not pick them all?

Darsombra on Instagram

Darsombra on Bandcamp

Bottomless, The Banishing

bottomless the banishing

Cavernous in its echo and with a grit of tone that is the aural equivalent of the feeling of pull in your hand when you make a doom claw, The Banishing is the second full-length from Italian doom rockers Bottomless. Working as the trio of vocalist/guitarist Giorgio Trombino (ex-Elevators to the Grateful Sky, etc.), drummer David Lucido (Assumption, among a slew of others) and bassist Sara Bianchin — the latter also of Messa and recently replaced in Bottomless by Laura Nardelli (Ponte del Diavolo, etc.) — the band follow their 2021 self-titled debut (review here) with an eight-track collection that comes across as its own vision of garage doom. It’s not about progressive flourish or elaborate production, but about digging into the raw creeper groove of “Guardians of Silence” or the righteous post-Pentagram chug-and-nod of “Let Them Burn.” It is not solely intended as worship for what’s come before. Doom-of-eld, the NWOBHM, ’70s proto splurges all abound, but in the vocal and guitar melody of “By the Sword of the Archangel” and the dramatic rolling finish of “Dark Waters” after the acoustic-led interlude “Drawn Into Yesterday,” in the gruel of “Illusion Sun,” they channel these elements through themselves and come out with an album that, for as dark and grim as it would likely sound to more than 99 percent of the general human population, is pure heart.

Bottomless on Facebook

Dying Victims Productions website

The Death Wheelers, Chaos and the Art of Motorcycle Madness

The Death Wheelers Chaos and the Art of Motorcycle Madness

Look. I don’t know The Death Wheelers personally at all. We don’t hang out on weekends. But the sample-laced (“We wanna be free to ride our machines without being hassled by the Man — and we wanna get loaded!” etc.), motorcycle-themed Québecois instrumental outfit sound on their second LP, the 12-track/40-minute riff-pusher Chaos and the Art of Motorcycle Madness, like they’re onto something. And again, I don’t know these cats at all. I don’t know what they do for work, what their lives are like, any of it. But if The Death Wheelers want to get out and give this record the support it deserves, the place they need to be is Europe. Yeah, I know there was The Picturebooks, but they were clean-chrome and The Death Wheelers just cracked a smile and showed you the fly that got splattered on their front tooth while they were riding — sonically speaking. The dust boogie of “Lucifer’s Bend,” the duly stoned “Interquaalude” ahead of the capper duo of “Sissy Bar Strut (Nymphony 69)” and “Cycling for Satan Part II” and the blowout roll in “Ride into the Röt (Everything Lewder Than Everything Else)” — this is a band who should bypass America completely for touring and focus entirely on Europe. Because the US will come around, to be sure, but not for another three or four month-long Euro stints get the point across. I don’t know that that’ll happen or it won’t, but they sound ready.

The Death Wheelers on Facebook

RidingEasy Records store

Caivano, Caivano

Caivano Caivano

The career arc of guitarist Phil Caivano — and of course he does other stuff as well, including vocals on his self-titled solo-project’s debut, Caivano, but some people seem to have been born to hold a guitar in their hands and he’s one of those; see also Bob Balch — is both longer and broader than his quarter-century as guitarist and songwriting contributor to Monster Magnet, but the NJ heavy rock stalwarts will nonetheless be the closest comparison point to these 10 tracks and 33 minutes, a kind of signature sleazy roll in “Talk to the Dead,” the time-to-get-off-your-ass push of “Come and Get Me” at the start or the punkier “Verge of Yesterday” — touch of Motörhead there seeming well earned — a cosmic ripper on a space backbeat in “Fun & Games,” but all of this is within a tonal and production context that’s consistent across the span, malleable in style, unshakable in structure. Closer “Face the Music” is the longest cut at 5:04 and is a drumless spacey experiment with vocals and a guitar figure wrapped around a central drone, and that adds yet more character to the proceedings. I’d wonder how long some of these songs or parts have been around or if Caivano is going to put a group together — could be interesting — and make a go of it apart from his ‘main band,’ but he’s long since established himself as an exceptional player, and listening to some of this material highlights contributions of style and substance to shaping Monster Magnet as well. Phil Caivano: songwriter.

Caivano on Instagram

Entropía, Eclipses

Entropía Eclipses

Together for nearly a decade, richly informed by the progressive and space rock(s) of the 1970s, prone to headspinning feats of lead guitar like that in the back end of second cut “Dysania,” Entropía offer their second full-length in Eclipses, a five-track/40-minute excursion of organ-inclusive cosmic prog that reminds of Hypnos 69 in the warm serenity at the start of “Tarbes,” threatens the epic on seven-minute opener “Thesan” and delivers readily throughout; a work of scope that runs deep in the pairing of “Tarbes” and “Caleidoscopia” — both of which top nine minutes long — but it’s there that Entropía reveal the full spectrum of light they’re working with, whether it’s that tonal largesse that rears up in the latter or the jazzy kosmiche shove in the payoff of the former. And the drums come forward to start closer “Polaris,” which follows, as Entropía nestle into one more groovy submersion, finding heavy shuffle in the drums — hell yeah — and holding that tension until it’s time for the multi-tiered finish and only-necessary peaceful comedown. It’s inevitable that some records in a Quarterly Review get written about and I never listen to them again. I’ll be back to this one.

Entropía on Facebook

Clostridium Records store

Ghorot, Wound

Ghorot Wound

God damn, Ghorot, leave some nasty for the rest of the class. The Boise, Idaho, three-piece — vocalist/bassist Carson Russell (also Ealdor Bealu), guitarist/vocalist Chad Remains (ex-Uzala) and drummer/vocalist Brandon Walker — launch their second LP, Wound, with the gloriously screamed, righteously-coated-in-filth, choking-on-mud extreme sludge they appropriately titled “Dredge.” And fuck if it doesn’t get meaner from there as Ghorot — working with esteemed producer Andy Patterson (The Otolith, etc.) and releasing through Lay Bare Recordings and King of the Monsters Records — take the measure of your days and issue summary judgment in the negative through the mellow-harshing bite of “In Asentia,” the least brutal part of which kind of sounds like High on Fire and the death/black metal in centerpiece “Corsican Leather.” All of which is only on side A. On side B, “Canyon Lands” imagines a heavy Western meditation — shades of Ealdor Bealu in the guitar — that retains its old-wizard vocal gurgle, and capper “Neanderskull” finally pushes the entire affair off of whatever high desert cliffside from which it’s been proclaiming all this uberdeath and into a waiting abyss of willfully knuckledragging blower deconstruction. The really scary shit is these guys’ll probably do another record after this one. Yikes.

Ghorot on Facebook

Lay Bare Recordings website

King of the Monsters Records website

Moozoonsii, Outward

Moozoonsii Outward

With the self-release of Outward, heavy progressive psych instrumentalists Moozoonsii complete a duology of pandemic-constructed outings that began with last year’s (of course) Inward, and to do so, the trio based in Nantes, France, continue to foster a methodology somewhere between metal and rock, finding ground in precision riffing in the 10-minute “Nova” or in the bumps and crashes after eight minutes into the 13-minute “Far Waste,” but they’re just as prone to jazzy skronk-outs like in the midsection solo of “Lugubris,” and the entire release is informed by the unfolding psychedelic meditationscape of “Stryge” at the start, so by no, no, no means at all are they doing one thing for the duration. “Toxic Lunar Vibration,” which splits the two noted extended tracks, brings the sides together as if to emphasize this point, not so much fitting those pointed angles together as delighting in the ways in which they do and don’t fit at certain times as part of their creative expression. Pairing that impulse with the kind of heavy-as-your-face-if-your-face-had-a-big-boulder-on-it fuzz in “Tauredunum” is a hell of a place to wind up. The unpredictable character of the material that surrounds only makes that ending sweeter and more satisfying.

Moozoonsii on Facebook

Moozoonsii on Bandcamp

Death Wvrm, Enter / The Endless

Death Wvrm enter

An initial two tracks from UK trio Death Wvrm, both instrumental, surfaced earlier this year, one in Spring around the time of their appearance at Desertfest London — quiet a coup for a seemingly nascent band; but listening to them I get it — and after. “Enter” was first, “The Endless” second, and the two of them tell a story unto themselves; narrative seeming to be part of the group’s mission from this point of outset, as each single comes with a few sentences of accompanying scene-setting. Certainly not going to complain about the story, and the band have some other surprises in store in these initial cuts, be it the bright, mid-period Beatles-y tone in the guitar for “The Endless” (it’s actually only about four and a half minutes) or the driving fuzz that takes hold after the snap of snare at 2:59, or the complementary layer of guitar in “Enter” that speaks to broader ambitions sound-wise almost immediately on the part of the band. “Enter” and “The Endless” both start quiet and get louder — the scorch in “Enter” isn’t to be discounted — but they do so in differing ways, and so while one listens to the first two cuts a band is putting out and expects growth in complexity and method, that’s actually just fine, because it’s exactly also what one is left wanting after the two songs are done: more. I’m not saying show up at their house or anything, but maybe give a follow on Bandcamp and keep an eye.

Death Wvrm on Instagram

Death Wvrm on Bandcamp

Mudness, Mudness

Mudness Mudness

Safe to assume some level of self-awareness on the part of Brazilian trio Mudness who, after unveiling their first single “R.I.P.” in 2020 make their self-titled full-length debut with seven songs of hard-burned wizard riffing, the plod of “Gone” (also an advance single, if not by three years) and guitarist Renan Casarin‘s Obornian moans underscoring the disaffected stoner idolatry. Joined by Fernando Dal Bó, whose bass work is crucial to the success of the entire release — can’t roll it if it ain’t heavy — and drummer Pedro Silvano, who adds malevolent swing to the slow march forward of “This End Body,” the centerpiece of the seven-song/35-minute long player. There’s an interlude, “Lamuria,” that could probably have shown up earlier, but one should keep in mind that the sense of onslaught between the likes of “Evil Roots” and “Yellow Imp” is part of the point, and likewise that they’re saving an extra layer of aural grime for “Final Breeze,” where they answer the more individual take of “This End Body” with a reach into melodicism and mark their appeal both in what they might bring to their sound moving forward and the planet-sucked-anyhow despondent crush of this collection. Putting it on the list for the best debuts of 2023. It’s not innovative, or trying to be, but that doesn’t stop it from accomplishing its aims in slow, mostly miserable stride.

Mudness on Facebook

Mudness on Bandcamp

The Space Huns, Legends of the Ancient Tribes

The Space Huns Legends of the Ancient Tribes

I’m not generally one to tell you how to spend your money, but if you take a look over at The Space Huns‘ Bandcamp page (linked below), you’ll see that the Hungarian psych jammers’ entire digital discography is €3.50. Again, not trying to tell you how to live your life, but Legends of the Ancient Tribes, the Szeged-based trio’s new hour-long album, has a song on it called “Goats on a Discount Private Space Shuttle Voyage,” and from where I sit that entitles the three-piece of guitarist Csaba Szőke, bassist Tamás Tikvicki and drummer Mátyás Mozsár to that cash and perhaps more. I could just as easily note “Sgt. Taurus on Coke” at the start of the outing or “The Melancholic Stag Beetle Who Got Inspired by Corporate Motivational Coaches” — or the essential fact that in addition to the best song titles I’ve seen all year (again, and perhaps more), the jams are ace. Chemistry to spare, patience when it’s called for but malleable enough to boogie or nod and sound no less natural doing either, while keeping an exploratory if not improvisational — and it might be that too — character to the material. It’s not a minor undertaking at 59 minutes, but between the added charm of the track names and the grin-inducing nod of “Cosmic Cities of the Giant Snail Kingdom,” they make it easy.

The Space Huns on Facebook

The Space Huns on Bandcamp

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Mooch Announce Fall Tour; New Album Out Oct. 6

Posted in Whathaveyou on September 27th, 2023 by JJ Koczan

Groovy single from the new Mooch record, which as I understand it will have its details announced probably 37 seconds after this post goes live — train’s never late! — and those who miss the likes of Stubb or Asteroid will want to dig into that hook on “Crimson,” which is streaming below. The verse is more about space and the chorus fills that, which is familiar enough as formulas go, but the prevailing vibe is mellow heavy and the song has kind of an oldschool vibe. No complaints from me, in any case.

The Montreal three-piece will head out the week after release in order to hand deliver riffs to audiences across Canada. There are a couple weekenders and one-offs they’ll undertake, and I would assume that there’s more to come. On the chance that the album announce does happen right as this is getting posted, I’ll update it accordingly and probably add some side parenthetical here about timing. You know, the standard procedure.

The band posted their dates on social media, as will happen. Couple TBDs in there. Look for this and more exciting content, courtesy of your favorite provider.

Blargh:

Mooch

We present to you a Fall 2023 Tour of Quebec, Ontario, and New Brunswick to celebrate the release of their upcoming full length record due October 6th 2023.

Tickets: https://thepointofsale.com/tickets/mooch2023

Oct.12 – Ottawa – Live on Elgin
Oct.13 – Montreal – The Purple Room
Oct.14 – Oshawa – The Atria
Oct.19 – Rimouski – L’Underground
Oct.20 – Québec City – Scanner Bistro
Oct.21 – Trois-Rivières – Taverne Royale
Oct.26 – Hamilton – Doors Taco Joint
Oct.27 – London – Palasad

Nov.2 – Guelph – Silence
Nov.3 – Niagara Falls – Camp Cataract
Nov.4 – Brampton – Tracks Pub
Nov.9 – Fredericton – TBD
Nov.10 – St.John – TBD
Nov.11 – Moncton – Tide and Boar
Nov.17 – Sherbrooke – Le Murdoch

*More dates to come*

MOOCH are:
Ben Cornel – Guitar, Vocals
Alex Segreti – Drums, Backing Vocals
Julian Iac – Bass, Backing Vocals

https://www.facebook.com/moochmusicofficial/
https://www.instagram.com/moochmusicofficial/
https://moochmusicofficial.bandcamp.com/
https://open.spotify.com/artist/1mVwVHtrvo6V2letIqRV7X

Mooch, Hounds (2020)

Mooch, “Crimson” official video

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Sons of Arrakis Announce Fall Live Dates in Canada and Mexico

Posted in Whathaveyou on September 13th, 2023 by JJ Koczan

sons of arrakis

According to the below, Dune-themed Canadian heavy rockers Sons of Arrakis should already have begun recording their second album, tentatively and likely titled Volume II, and a quick glance at their social media confirms at least that the process has begun, if not finished. The Montreal-based four-piece have kept busy since they released last year’s debut, Volume I (review here), up to and including figuring out how to navigate through the plaudits heaped upon them from multiple directions at once, playing shows in Canada, apparently writing. They’ve got a new video for “The Black Mirror” from the first record due out this Friday. As I say, busy. ‘Big things,’ and all that.

They’ve assured that 2024 will be more of the same in terms of the activity level, and with the new record impending, that’s legit. Before any of it, next month, they’ll do a quick run of dates in Ontario and then head south to Mexico for their first international dates, playing three nights in Mexico City and doing a radio interview (sounds like the work of a Tamayo), and joining Blue Cheese and others in Tabacalera. The PR wire bought show posters, all the details and ticket links.

And gadzooks, here they are:

sons of arrakis oct can shows

SONS OF ARRAKIS Announce October Tour Dates For Ontario, Canada, & Mexico

Purchase Tickets Here: https://linktr.ee/PaleHorsePromotions

sons of arrakis oct mex showsMontreal-based SONS OF ARRAKIS are to embark on the first international tour with Pale Horse / Black Throne Productions & Morro-Carnal Prodzsz. Describing themselves as Melange Rock and Cinematographic Sci-Fi Rock, the quartet captivate audiences with their electrifying live performances. In Mexico, their tour coincides with the renowned La Dia de Los Muertos festivities.

The band comments:

‘’SOA strikes again with a first international tour! A lot is in the oven for the next few months and we can’t wait to show you Volume II’’

Tickets: https://linktr.ee/PaleHorsePromotions

Tour Dates:
Ontario:
Oct 5 – Ottawa | with Hempress & Subsun | at Live on Elgin
Oct 6 – Toronto | with Low Orbit, AAWKS & Tumble | at Hard Luck
Oct 7 – Hamilton | with Astral Witch, The Electric Cactus and Cannabusv| at Doors Pub
Oct 8 – London | with Yeti on Horseback and Snakes | at Richmond Tavern
Mexico:
Oct 25 – Mexico City | Local Radio Station Interview at Radio Reaktor
Oct 26 – Tabacalera | with Blue Cheese, Powertrip & Criaturas de la Noches | at Denso Rock Ponciano Arriaga
Oct 27 – Mexico City | with Compadra, Ugly Miss Piggy, and Pis | at LXS Cavaleras: Espacio Cultural
Oct 28 – Mexico City | Chido Carnal Fest
Oct 29 – Mexico City | Georgetown Records

Amidst their busy schedule, SONS OF ARRAKIS will also begin recording their highly anticipated new album in August 2023, with the first single from Volume II scheduled for an early 2024 release.

https://www.facebook.com/sonsofarrakisband
https://www.instagram.com/sonsofarrakis/
https://www.sonsofarrakis.com/merch
https://sonsofarrakis.bandcamp.com/
https://www.sonsofarrakis.com/

Sons of Arrakis, “The Black Mirror” video teaser

Sons of Arrakis, Volume 1 (2022)

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Seum to Release Ratseum Live Tape Sept. 8

Posted in Whathaveyou on September 4th, 2023 by JJ Koczan

There isn’t going to be a digital release for this one. I don’t think there’s any plan for putting it out on anything other than the 10 tapes that Montréal sludge metallers Seum will have for sale at the show they’re playing on Friday. So maybe it’s a little more like the band made a few DIY tapes for themselves and the merch table, but whatever, I dig this band and think that’s kind of cool. They released their second album, Double Double (review here), earlier this year, and that’s got enough disgust packed into it to go around, so if you can’t make it to l’Hémisphère Gauche at the end of this week, there’s still plenty to dive into should you be so inclined.

And considering the one-off nature of the June show that’s become the Ratseum cassette, that they’d want to preserve it, performing as two-thirds of the band did with Ratpiss vocalist Erin Faeth sitting in as singer. Well, I say one-off, but can’t help notice that Ratpiss are playing the gig Friday too, so there’s nothing to say an onstage guest spot can’t happen again with the full band. Stop me if you’ve heard this before, but it’s nice to have friends. And as as one who came of age in the 1990s, I’ll say as well that it’s also nice to make your friends tapes. Still cooler than CDRs.

From their socials:

Seum Ratseum

Surprise: RATSEUM – Live Tape – Dropping on September 8th

On June 10th 2023, as Gaspard could not make it to our show at l’Hémisphère Gauche, he was replaced on Vocal by Erin, singer of the Montreal Power violence band Ratpiss.

For one night SEUM became… RATSEUM!

As the show ended up being recorded we decided to release it on tape as a memory.

Our friend Gorka made a logo, we fixed a quick cover and made 10 DIY copies.

Each copy is hand numbered, and that recording will only be available on tape.

The tape will be released on Friday September 8th on Bandcamp and during our show at The TraXide with Kapitur, Twin Banshee and #ratpiss.

SEUM / TWIN BANSHEE / RATPISS / KAPITUR: https://www.facebook.com/events/261976166562134/

Be there!

Be there!

Seum is:
Fred – Drums
Gaspard – Vocals
Piotr – Bass

https://www.facebook.com/Seumtheband
https://open.spotify.com/album/6ukhuyolnXMYY6MpODgZ37
https://seumtheband.bandcamp.com/
https://www.instagram.com/seumtheband/

https://www.facebook.com/ElectricSparkRecords/
https://www.instagram.com/electricsparkrecords/
https://www.electricsparkrecords.com/

Seum, Double Double (2023)

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Mooch Announce New Single “The Start”; Album Coming Soon

Posted in Whathaveyou on August 22nd, 2023 by JJ Koczan

Heralding their follow-up to 2020’s full-length Hounds (discussed here), yet untitled, Montreal heavy rock trio Mooch unveil “The Start” as a first of three singles from their sophomore LP. When that’s out, what it’s called, and various other details about its making and release — well, I just don’t know. But I’ve heard the track and it’s under three minutes, has an easy roll like earliest Queens of the Stone Age with a bit of the swagger necessary to pull that off, reminding a bit of Heavy Glow in the process, but en route to having their own spin. As regards beginnings, “The Start” is an auspicious one.

You might recall Hounds was recorded by Brant Bjork in the California desert. “The Start” and presumably the album from whence it comes were tracked under different circumstances, but Mooch clearly learned some lessons on how to be heavy and laid back at the same time from the experience. You can hear that in “The Start” for sure. As soon as I find out more about the LP, I’ll let you know. In the meantime, the single releases Aug. 25, which is this Friday.

Info from the PR wire:

MOOCH-THE START

MOOCH – THE START

‘The Start’ is a song inspired by the effort it takes to continuously grow in a relationship. It is a song about MOOCH finding a way to pave a new path forward. Running at 2:57 minutes long, ‘The Start’ lays down a heavy rock groove complete with hand-perc accented sections, stacked vocal harmonies and an eccentric solo section.

The song’s release will be the first of 3 singles, set to come out August 25th, 2023, on all streaming platforms. Promotion will follow the narrative of their latest trip to Yellowknife, Canada. Promo will include professional images and video content for paid ads on socials, a music video shot at the YK Airport, footage from their performance at Folk on the Rocks Festival and a vinyl release for the upcoming record. Lastly, an Eastern Canadian Fall Tour is set to follow the release of the full album.

Recorded by Jordan Barillaro @ Tonebender, Jared Matthews @ Soundbagger Studio, and Julian Iac @ Icebox Studios
Mixed by Julian Iac
Mastered by Richard Addison @ Trillium Sound Mastering Studio

MOOCH are:
Ben Cornel – Guitar, Vocals
Alex Segreti – Drums, Backing Vocals
Julian Iac – Bass, Backing Vocals

https://www.facebook.com/moochmusicofficial/
https://www.instagram.com/moochmusicofficial/
https://moochmusicofficial.bandcamp.com/
https://open.spotify.com/artist/1mVwVHtrvo6V2letIqRV7X

Mooch, Hounds (2020)

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The Obelisk Questionnaire: Kapnathios from Kapnas

Posted in Questionnaire on June 27th, 2023 by JJ Koczan

Kapnathios from Kapnas

The Obelisk Questionnaire is a series of open questions intended to give the answerer an opportunity to explore these ideas and stories from their life as deeply as they choose. Answers can be short or long, and that reveals something in itself, but the most important factor is honesty.

Based on the Proust Questionnaire, the goal over time is to show a diverse range of perspectives as those who take part bring their own points of view to answering the same questions. To see all The Obelisk Questionnaire posts, click here.

Thank you for reading and thanks to all who participate.

The Obelisk Questionnaire: Kapnathios from Kapnas

How do you define what you do and how did you come to do it?

I play the guitar and sing and write for kapnas. I came to this point by way of my past experiences in music and it has led me here to this project.

Describe your first musical memory.

I must have been 5 or 6 years old with a toy drum set, and was just jamming (badly) to The Beatles hard days night. Good times

Describe your best musical memory to date.

Going on tour and seeing and experiencing the crowds in different cities and meeting a lot of cool people. It felt validating to be able to share our music like that.

When was a time when a firmly held belief was tested?

Realizing that music has no rules or boundaries so just make what you like and don’t take it too seriously.

Where do you feel artistic progression leads?

I think it leads to a place where the artist comes to a place in their own mind that is like a fork in the road. The decisions we make in the creation process can reveal a lot about our own character, whether we play it safe or are being complacent, or dare to try different things.

How do you define success?

This is a very abstract concept, I think. I think if you’re happy, you’re successful. Tough to think of success and not think of money in this world, but that can be all relative to the individual. For me, if I have enough to support myself and my family, and I have the ability and time to create music I enjoy and want to share with the world, that’s success for me

What is something you have seen that you wish you hadn’t?

2 girls, 1 cup.

Describe something you haven’t created yet that you’d like to create.

I would like to create a 30 to 60 min track that builds on itself throughout. I don’t know why I haven’t done that yet to be honest.

What do you believe is the most essential function of art?

To challenge the artist as their making it and the person consuming it. Not every piece of art needs to be monumental or life changing, but I find it a little hollow to just be super easy to digest

Something non-musical that you’re looking forward to?

Going on a family vacation in August, it’s the first one with my son. Can’t wait!

https://www.facebook.com/profile.php?id=100091824637164
https://www.instagram.com/kapnasband/
https://kapnas.bandcamp.com/
https://linktr.ee/kapnas

Kapnas, Kapnas (2023)

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