I’m not entirely sure what Miss Lava are railing against in the start of their new single — the general state of culture, maybe; people staring at their tvs and phones instead of rocking out — but I won’t question the Lisbon outfit’s conviction. They’re gearing up to issue their new album, Sonic Debris, as the follow-up to 2013’s Red Supergiant, via ultra-respected purveyor Small Stone Records, and if nothing else, “The Silent Ghost of Doom” is definitely working against any sense of apathy the band might perceive in this age of bought-and-sold wonders. Clocking in at an efficient 4:20, it’s a kick in the ass run from front to back, its initial rant building into a careening heavy rock riff met with a catchy hook that only pushes the momentum further forward.
Sonic Debris is out May 20, and “The Silent Ghost of Doom” is the second track to be featured from it behind the grander opening salvo “Another Beast is Born” (posted here), and as it’s also the second track on the record itself, it shows the kind of one-two punch with which Miss Lava are starting their latest outing, shifting from a larger-sounding roll and melody into the rush of “The Silent Ghost of Doom.” One doubts that’s the entirety of the scope of the album, but as the already-noted intro of “The Silent Ghost of Doom” (performed in a guest spot by Rui Guerra) demonstrates, the band are clearly given to offering a surprise or two along the way. For what it’s worth, neither of the two cuts that have made their way to the public so far has stopped me from wanting to hear more of the album.
Hopefully you feel the same. PR wire info follows “The Silent Ghost of Doom” below.
Miss Lava, “The Silent Ghost of Doom” official video
Portugal’s volume merchants, MISS LAVA, will drop the deliciously riff raging sounds of their Sonic Debris full-length via Small Stone Recordings next month.
As a precursor to its release comes the visual accompaniment to “The Silent Ghost Of Doom.” The second single from Sonic Debris, “The Silent Ghost Of Doom” clip was directed by Bruno Simões with direction of photography by Mr. Ivo Cordeiro (the team behind MISS LAVA’s “Black Rainbow” video). “To shoot this video, we went to Lisbon’s old athenaeum — the Ateneu Comercial de Lisboa,” elaborates drummer, J. Garcia. “The historic scenery set the right vibe for the song.”
“This is a loud one that shouts about freeing yourself from tedium, apathy and past time glories,” adds vocalist Johnny Lee. “The broken mirror sights the silent ghost of doom.”
Sonic Debris will be released May 20th and come available on CD and 180-gram light blue vinyl limited to 500 units. For preorders go toTHIS LOCATIONwhere you’ll also hear a stream of opening track “Another Beast Is Born.”
Posted in Whathaveyou on March 22nd, 2016 by H.P. Taskmaster
An overarching atmospheric sensibility and spacious mix would seem to find Portugal’s Miss Lava exploring some similar textures as their France-based labelmates in Abrahma on their upcoming third album, Sonic Debris, at least if opening cut “Another Beast is Born” is anything to go by, but there’s still an undercurrent of that straightforward Eurostoner vibe persistent as well. That’s been there since the days of their 2009 debut, Blues for the Dangerous Miles (review here), and held true for 2013’s Red Supergiant as well, though it was arguably that record that began to expand the band’s approach.
In any case, Sonic Debris is out May 20 on Small Stone. Preorders are up now through the label’s Bandcamp, and you can stream “Another Beast is Born” under the PR wire info below:
MISS LAVA: Lisbon Volume Dealers To Release Sonic Debris This May Via Small Stone; New Track Streaming + Preorders Available
Portugal’s foremost heavy rock ‘n’ rollers MISS LAVA return in 2016 with Sonic Debris, their third album, set to launch on May 20th, 2016 worldwide through Small Stone Records.
Sonic Debris witnesses the band exploring new auditory landscapes and an open and inclusive creative process. Throughout, they design explosive sound textures, get high on psychedelic asteroids, and unleash obscure beasts. The album is a true sound voyage with a diversity beyond anything yet evidenced by the band. Sonic Debris was recorded at Pentagon Audio Manufacturers, JDB Showroom and Estúdio Crossover in Lisbon at various times throughout 2014 and 2015, was produced by Fernando Matias and MISS LAVA, engineered by Matias, José Pedro Ataíde and Ricardo Bravo, mixed by Benny Grotto at Mad Oak Studios in Boston, Massachusetts, and mastered by Chris Goosman at Baseline Audio Labs in Ann Arbor, Michigan. Sonic Debris follows 2013’s Red Supergiant, 2009’s Blues For The Dangerous Miles, and 2008’s limited edition, self-titled EP.
“With this album we left the door of our spacecraft wide open… this is a trippy ride with lots of headbanging going on,” comments guitarist K. Raffah. “We feel this is our best journey so far,” adds vocalist Johnny Lee. “It explores a sonic galaxy somewhere between Monster Magnet’s Dopes To Infinity and Corrosion Of Conformity’s Deliverance.”
Sonic Debris will be available on CD and 180-gram light blue vinyl limited to 500 units. For preorders go to THIS LOCATION where you’ll also hear a stream of opening track “Another Beast Is Born.”
Sonic Debris Track Listing: 1. Another Beast Is Born 2. The Silent Ghost Of Doom 3. I’m The Asteroid 4. In A Sonic We Shall Burn 5. At The End Of The Light 6. In The Arms Of The Freaks 7. Symptomatic 8. Fangs Of Venom 9. Pilgrims Of Decay 10. Planet Darkness
Posted in Whathaveyou on March 2nd, 2016 by H.P. Taskmaster
The reunited Scissorfight, Boston’s Gozu and West Chester, Pennsylvania’s Backwoods Payback have announced a weekender for July with shows in Brooklyn and Philadelphia. Backwoods Payback have also announced a new lineup with founding guitarist Mike Cummings and founding bassist Jessica Baker joined by drummer Erik Larson, the former Alabama Thunderpussy guitarist whose pedigree goes back to drumming in Avail and playing guitar and/or singing in acts like Birds of Prey, Axehandle, Hail!Hornet, The Mighty Nimbus and The Might Could, as well as his own solo work. A considerable addition to any lineup, and as you can see, he’s been in many.
We approach half a decade since Backwoods Payback released their sophomore long-player and debut on Small Stone Records, Momantha (review here), which definitely feels like long enough. Hell, it felt like long enough three years ago, but having a record in the can is usually connected to one actually coming out, so I’m going to hope for the best and be excited to hear what Larson brings to working with Cummings and Baker in the band.
Knowing that he and Larson went back a long time, I asked Cummings about bringing his new drummer aboard. His answer follows the dates for that weekender (as well as an Ohio gig in June) and confirmation of the new album’s completion:
Our Richmond VA famliy Erik Larson joined up officially and we just wrapped tracking on our next record. We have some summer show announcements as well.
June 20th Agora Ballroom Cleveland OH w/mushroomhead, cky July 29th Lucky Thirteen Brooklyn NY w/Scissorfight, Gozu July 30th Kung Fu Necktie Philadelphia PA w/Scissorfight, Gozu
Mike Cummings on bringing Erik Larson into Backwoods Payback:
We do back a ways at this point. We had not talked in a little bit when He wrote me a letter and sent it out. I responded and we became penpals in the truest sense of the term. After another drummer change I was commiserating to him when he said “you do realize I AM a drummer.”
We talked about the reality of making it happen, our plans and ideas and decided to go for it.
Posted in Whathaveyou on March 2nd, 2016 by H.P. Taskmaster
Another day, another killer band joining the lineup for Freak Valley 2016. We’re still a long ways off from May, and while I can’t help but wonder how much more the German festival has to add at this point, the truth is there are a million and a half bands and just about any of them are well within the scope of the three-dayer, set for May 26-28 at AWO in Netphen. I’ve done my best to keep up with the lineup updates — I’ve had to combine a few, but to my knowledge I haven’t missed one — and just days after putting Orange Goblin near the top of the bill, Jens Heide and company have added trippy Swedish purveyors Jeremy Irons and the Ratgang Malibus.
The band was last heard from touring South America late in 2015, still supporting their 2014 sophomore album, Spirit Knife (review here), which was released by Small Stone. That run followed more than one through Europe, and while they’ve stated that most of this year will be spent writing and recording their next LP, they also recently confirmed they’ll play Poland’s Red Smoke festival in July, so they’re still getting out a bit as well.
Freak Valley had this to say on the subject:
Stockholm heavy psych rockers JEREMY IRONS & THE RATGANG MALIBUS confirmed to play FREAK VALLEY FESTIVAL 2016!!
Jeremy Irons & the Ratgang Malibus, is astral-progressive prairie rock with authentic, audio-visual roots in a 1970s music landscape.
This band is the musical, northwest passage between classic rock and the unholy spirit of Pink Floyd.
It’s like finding an interstellar sound portal to a hidden space desert, that only can be seen and heard through a kaleidoscope, which is blessed by a spiritual shaman from Saturn.
Mindblowing poster art by Jo Riou Graphic Designer
FVF 2016 is SOLD OUT!! Freak Valley Festival: No Fillers – Just Killers Line-up 2016: GRAVEYARD [SW] – Vintage Rock ORANGE GOBLIN [UK] – Heavy Metal DEAD MEADOW [US] – Psychedelic Stonerrock SPIDERGAWD [NO] – Post-Boogie WHITE HILLS [US] – Fuzzed Out Motorik Psychedelic THE SHRINE [US] – Psychedelic Violence Rock and Roll BABY WOODROSE [DK]- Psychedelic Garagerock LONELY KAMEL [NO]- Heavy Blues, Hardrock & Stoner ROTOR [D] – Instrumental StonerRock/Psychedelic MONOLORD [SW] – Doom/Sludge MANTAR [D] – Death Metal Doom Punk TOUNDRA [SP] – Postrock FARFLUNG [US] – Spacerock for 21st Century Heads BLACK RAINBOWS [IT] – Heavy Psych THE GOLDEN GRASS [US]- Heavy/Funk//Psych/Freakbeat SPIDERS [SW] – Hard/Glam Rock LÉ BETRE [SW] – Bluesy Hardrock GIÖBIA [IT] – Acid Rock THE DEVIL AND THE ALMIGHTY BLUES [NO] – HeavyBluesRock THE SONIC DAWN [DK] – Psychedelic Rock JEREMY IRONS & THE RATGANG MALIBUS [SW] – Space Rock/Stoner/Psychedelic
Posted in Reviews on February 16th, 2016 by H.P. Taskmaster
For the desert rock converted, Zun‘s Burial Sunrise is nothing short of bliss. To those for whom the names Gary Arce, John Garcia, Sera Timms, Mario Lalli, Harper Hug, Robby Krieger and Bill Stinson resonate, the project’s debut release (out through Small Stone as of March 25) should be a landmark of the genre. Not just because it brings together powerhouse forces like the tone of Arce‘s guitar, as heard in desert progenitors Yawning Man as well as The Sort of Quartet, Ten East, Dark Tooth Encounter, Yawning Sons and so on, and the voices of Garcia (Kyuss, Vista Chino, Hermano, Unida, Slo Burn) and Timms (Ides of Gemini, Black Mare, Black Math Horseman), but because of the ultra-fluid but still cohesive vibe it manages to create across its six-track/37-minute span, rich in atmosphere even as it alternates vocalists, swaps drummers between Hug (who also plays synth and recorded the album at Thunder Underground in Palm Springs, California) and Stinson (also of Yawning Man), brings in Lalli for bass on one cut, sees Krieger (guitarist for The Doors who seems to have found a niche for himself of late contributing to Thunder Underground productions; see also John Garcia‘s 2014 self-titled solo outing, Brant Bjork‘s recently-recorded Bunny Racket project and War Drum‘s impending LP) sit in on electric sitar, and features deft turns of mood and sensibility.
What ties it all together, the core of Zun, is Gary Arce‘s guitar. It is the epicenter from which these explorations spread out, and the long-underappreciated instrumentalist is in top form leading the way through these songs. Methods will be familiar to fans of Yawning Man, and his tone is recognizable from the opening lines of leadoff track “Nothing Farther” onward, but in the company he’s keeping this time out, in how he complements himself handling most of the bass duties throughout, and in the inherent structure the vocals bring to the songs, Burial Sunrise proves to be some of his finest recorded output to-date. In some ways, it feels like a spiritual successor to Yawning Sons‘ 2009 outing, Ceremony to the Sunset (review here; vinyl review here), but its purposes are more linear, and its stylistic crux is more singular. It is quintessential desert psychedelia. Perhaps the purest execution thereof that I’ve ever heard.
That would not be the case without Garcia‘s trademark croon, and it is the croon rather than the tight-gut, belt-it-out method employed sometimes over faster songs, but perhaps even more essential to the overall affect of these tracks is Timms, whose voice is an instrument no less ethereal than Arce‘s guitar. On the stomping “Into the Wasteland,” side B’s sliding leadoff “Come Through the Water,” and the suitably ritualized closer “Solar Incantation,” she commands the swirl that seems at moments to be encompassing her voice, and never fails to bolster the bright-toned atmosphere of the songs on which she appears. No stranger to experimentalism through her work the last several years in Ides of Gemini and her Black Mare solo-project, she feels entirely at home in the open structures even of “Solar Incantation,” to which it seems like even putting a verse would prove a challenge for any singer, her echoing chants, repetitions and layering duly effective and adventurous.
Of course, that’s not to take anything away from Garcia‘s own performance. He is tasked with opening Burial Sunrise on “Nothing Farther,” and he does so righteously, his and Timms‘ first tracks — “Nothing Farther” and “Into the Wasteland,” respectively — comprising a postcard from the desert and essential opening statements that establish the album’s mood, engrossing sonic span, and overarching mission. Both cuts are about the desert at their heart, and unified by Arce‘s guitar, they offer two of the album’s most resonant, colorful impressions. To go with its gentle fade-in and harmonized chorus, “Nothing Farther” brings Krieger‘s guest spot in its midsection, and the somewhat longer “Into the Wasteland” begins with a wash of guitar noise as it establishes its bassline and more rhythmic push, as well as the most immediate hook on offer throughout. For Arce‘s part, he makes his mark later in “Into the Wasteland,” carrying the track’s instrumental finish patiently and smoothly with rising, echoing notes that seem in conversation with the prior vocals but ultimately cut short before the dialogue comes full circle. It’s a song that could just as easily have gone forever, or so it seems. Closing out the first half of the tracklisting, “All for Nothing” once more brings Garcia forward over a somewhat brooding bassline and guitar swirl, establishing a verse and chorus and then departing from them to spend its final two minutes exploring the the spaciousness of its own creation, a few more subdued lines from Garcia tying the jam together and making it all the more hypnotic.
A somewhat longer side B pushes even further into psychedelic expanse, reversing the paradigm of Burial Sunrise‘s first half and featuring Timms on two songs with Garcia‘s final cut in between. “Come Through the Water” rings out notes and voice echoes a like, but has a subtle rhythmic push underlying that comes to the fore when its chorus — as much as it is a chorus — takes off. But it is immediately more patient in its execution, and sat next to “Nothing Farther” or even “Into the Wasteland,” it’s a showcase for just how far Zun‘s journey has ranged and with what efficiency it has conjured this serene, immersive vibe. To call “All that You Say I Am” more grounded seems unfair, but it does present more of a chorus in its eight-minute run — the longest included here — after its initial guitar line gives way to prominent bass and drums while crafting a wash of bright tone behind Garcia‘s effects-laden voice. The hook is a welcome anchor for the second half of the record, and it arrives twice, even further emphasizing the sense of structure Garcia brings to the proceedings, but as it trips out after the song’s midpoint, the signal into something else is clear.
Zun shift into an instrumental jam — guitar, keys/synth, drums and bass — that not only gives Arce a foundation for some highlight lead work delivered in his signature, improvised-sounding style, but holds to the strong rhythm previously established. That push continues until just about the end of the track, cutting out to let the guitar have the last word, and the seven-minute “Solar Incantation” rounds out with a third, stately performance from Timms, strong percussive mindset and sparse guitar lines working along a seeming build but never quite bursting forth in the manner even of “Come Through the Water,” the intent instead being to create this tension and weave beyond it as the song plays out, lines of slide guitar, effects swirl and steady drumming carrying through between Timms‘ verses, which get more obscure as they go, like dreams fading from a conscious mind. Arce drops out momentarily after five minutes in as “Solar Incantation” enters its final outward march, building a last wash before a quiet, peaceful fade eases the way to silence. It’s not so much an ending as a letting go.
Either way, it’s a fitting end to such an understated triumph. Burial Sunrise is flat-out beautiful and unflinching in that. The pairing of Timms and Garcia on vocals assures variety of theme and performance, and the instrumental material they top is a vast soundscape made all the more vital for their dwelling in it. As I said at the outset, for the converted, this first of hopefully a series of Zun offerings is an affirmation of aesthetic validity, not just for who is involved, but also for how. For those outside that sphere, I can’t help but wonder if it will carry the same meaning, but whether or not a given listener has heard these players’ past work, what they create together throughout Burial Sunrise is undeniable in its affecting pastoralism and consonant warmth. Recommended.
Posted in audiObelisk on February 12th, 2016 by H.P. Taskmaster
Though the vinyl is very nearly sold out on preorders alone, we’re still more than a month out from the actual March 25 release date for La Chinga‘s second album. You might recall that Freewheelin’ was reviewed and streamed here just after the New Year hit as a special preview, but the closer we get to the record’s arrival, it seems only fair to highlight some of what’s working so well throughout.
In some ways, the cover says it all. Contributed by Jason Cruz, the artwork for Freewheelin’ is as rife with classic ideas as the album itself. You get the trio — bassist/vocalist Carl Spackler, guitarist/backing vocalist Ben Yardley (also theremin, mandolin and lead vocals on “Faded Angel”) and drummer/engineer Jason Solyom — rocking out in a muscle car in space. I’ll be damned if that’s not exactly what these songs sound like. Written with a strong sense of structure, the tracks leave pretense to the earthlings and take off for boozy good times and unshakably resolve to kick ass. And so they do. Like many who’ve swaggered through the hallowed halls of Small Stone Records, La Chinga don’t couch their appreciation for ’70s heavy in retro production or hyperstylized vintage-isms. They remind across the span of Freewheelin’ that rock’s glory days aren’t some bygone nostalgia fodder, but they’re happening right now, probably in some bar, probably at unreasonable volumes. If that doesn’t scream “muscle car in outer space,” I don’t know what does.
La Chinga head to Europe next month to support the impending issue of Freewheelin’. It’s not their first trip over — they toured supporting their 2013 self-titled (discussed here) as well — but it’s worth noting they go on an especially vital collection of songs this time around. To that end, you can stream the premiere of the track “Right On” below.
The penultimate cut on the album, it follows a zig-zag through the righteous sections of rock and roll history — AC/DC hooks and brazen swing abound — and is every bit the soundtrack to the age in which one might wish one lived. Good luck getting the chorus out of your head before the album shows up in March.
Tour dates under the player. Enjoy:
La Chinga Freewheelin’ across Europe March Tour, 2016 11 March – Barcelona (Rocksound) 12 March – Azkoitia (Matadero) 13 March – Gorliz (Xurrut) 14 March – Donostia (Dabadaba) 15 March – Madrid (Fun House) 16 March – Gijón (Casino Acapulco) 17 March – Cangas de Morrazo (Sala Son) 18 March – Lugo (Club Clavicémbalo) 19 March – Santiago de Compostela (Sala Moon) 20 March – Porto (Porto Rio) 21 March – Estepona (King Creole) 22 March – Orihuela (La Gramola) 23 March – Zaragoza (La Ley Seca) 24 March – Bordeaux (Le Void, ex L’Héretic) 25 March – Montpellier (Black Sheep)
Posted in Whathaveyou on February 4th, 2016 by H.P. Taskmaster
Italian heavy rockers Isaak will launch a European tour on Feb. 13 in support of their new full-length, Sermonize (review here). That record came out on vinyl through Heavy Psych Sounds back in November and has a CD due shortly (like this week) on Small Stone, and finds the four-piece nailing down thick heavy rock roll and a vibrant energy that has come to be their defining element. This will be, as I recall, their first Euro tour for the album, and they go having recently brought aboard Gabriele Carta as their new bassist.
If you haven’t heard it, the album was streamed in full here when it was reviewed, so I’ve got that player below if you’d like to dig in. Other info and tour dates follow from the PR wire and the social medias:
***ISAAK*** Tropical Disease European Tour
Born from the ashes of Italian heavy rock four-piece Gandhi’s Gunn, it didn’t take long before ISAAK signed a worldwide deal on US label Small Stone Records, who reissued their ass-kicking debut “The Longer The Beard The Harder The Sound” in June 2013. Inspired by the big ass riffages and raw energy of leading heavy rock outfits such as Clutch, Orange Goblin or Torche, ISAAK have the knack for assembling the heaviest-sounding licks with a rip-roaring attitude that can only make you raise a fist up in the air while rocking out in the pit.
With a freshly signed deal on Heavy Psych Sounds Records, ISAAK released their sophomore album “Sermonize” on vinyl this past November, which will be followed by a CD release on February 6th via Small Stone Records.
Ready to bring their Heavy Rockness all around Europe.
Isaak on Tour: 13.02.2016 IT Milan-LoFi 25.02.2016 CH Basel-Hirschneck 26.02.2016 DE Augsburg-Ballonfabrik 27.02.2016 DE Munster-Rare Guitar Shop 28.02.2016 DE Dresden-Chemiefabrik 29.02.2016 DE Mannheim-Mohawk 01.03.2016 DE Halle-Hafenstraße 7 02.03.2016 AU Innsbruck-PMK w/ Saviours 03.03.2016 AU Salzburg-Mark 04.03.2016 IT Bozen-Papperlap 05.03.2016 IT Trieste-Tetris 12.03.2016 IT Genova 27.05.2016 IT Sondrio-Fest
If your calendar or whatever technologically-current equivalent system you use isn’t already marked for the March 25 arrival of Zun‘s Burial Sunrise, you can feel free to go ahead and rectify that situation now. I’ll be here.
Okay? Good. News of the band’s debut came out last month, and with the involved lineup of Yawning Man‘s Gary Arce on guitar and vocalists John Garcia (Kyuss, Slo Burn, Unida and so on) and Sera Timms (Ides of Gemini, Black Math Horseman), it’s a significant happening even before you get down to the involvement of players like Mario Lalli (Fatso Jetson, Yawning Man) on bass, Harper Hug of Thunder Underground on drums/synth, Yawning Man‘s Bill Stinson on drums and The Doors‘ Robby Krieger (who seems to enjoy hanging out in the desert; recall he played on Garcia‘s solo LP as well) playing electric sitar, let alone the sound any of these considerable names conjure across the record’s soundscaping span. The album will be out on Small Stone, and is sure to catch ears among the converted and maybe even beyond, as its sweet melodicism, laid back rhythmic fluidity and the performances Timms and Garcia give entrance the listener with a cohesion rare for something that might rightly be called a supergroup, let alone one that trades off lead singers.
To further whet appetites, Zun have two new videos for tracks from Burial Sunrise — one with Garcia singing, one with Timms singing — that are available now for viewing. Between the two, you can definitely get a sense of the kind of atmosphere the record establishes, and I think you’ll agree it’s an atmosphere worth losing yourself within for a while. On repeat.
Both clips were put together by Christina Bishop. Info I wrote for the album follows, circled back through from the PR wire.
Zun, “Into the Wasteland” official video
Zun, “Nothing Farther” official video
In an age when the underground is dug up and paraded, commoditized, cheapened and discarded seemingly on a weekly basis, guitarist Gary Arce remains a genuinely under-appreciated craftsman in heavy rock and roll. As the six-stringer for Yawning Man going back three decades, he’s one of the principal architects of the sound born in California’s sands and known commonly as desert rock. His contributions have been pivotal in the creation of a style no less American than Delta Blues and no less imitated worldwide, and with ZUN’s Burial Sunrise, set for release via Small Stone Recordings March 25th, he not only reaffirms the breadth and vitality that has made his work so essential, but builds on it in expansive and vibrant ways.
The core trio of ZUN is Arce and vocalists Sera Timms (Ides Of Gemini, Black Mare, Black Math Horseman) and John Garcia (Kyuss, Vista Chino, Slo Burn, etc.). Arce plays bass and lap steel on Burial Sunrise as well, and he and Garcia and Timms are joined by drummers Bill Stinson (Chuck Dukowski, Yawning Man) and Harper Hug – the latter of whom also recorded the album at Thunder Underground Studios in Palm Springs, California. Mario Lalli (Fatso Jetson, Yawning Man) also contributes bass on a track, adding to the fluid, jammy feel that pervades the vast soundscapes conjured. Timms and Garcia divide lead-singer duties among Burial Sunrise’s six cuts, with Garcia lending his signature croon to “All That You Say I Am,” the brooding “All For Nothing,” and the drifting desert ode “Nothing Farther,” while Timms brings her ethereal, otherworldly presence to “Solar Days,” “Come Through The Water” and “Into The Wasteland,” the last of which might just be the album’s signature piece, seeming to mirror the wide-ranging, sandy thematic of “Nothing Farther” in bringing the desert – a place too often wrongly thought of as dead – to life in vivid colors and warm tonality, but pushing even further into an uncharted reach.
Known for forming and contributing to projects like Ten East (with Brant Bjork), Dark Tooth Encounter (with Lalli, Stinson and Scott Reeder), The Sort of Quartet, Yawning Sons (with Sons Of Alpha Centauri), and more, Arce brings a style that is inseparable from desert rock. For the partnerships he’s made in ZUN and for the scope of the album, its laid-back feel and pervasive exploratory sensibility, Burial Sunrise might just prove to be a landmark in his discography as well as the beginning of a new era of his work, continuing to reshape the genre he helped create in the first place in a manner that, like the sands themselves, seems to remain separate from time despite the chaos all around.
Zun are: Gary Arce: guitars, bass, lapsteel John Garcia: vocals Sera Timms: vocals Mario Lalli: bass Robby Krieger: electric sitar Bill Stinson: drums Harper Hug: drums/ synths