Review & Full LP Premiere: Sons of Alpha Centauri, Buried Memories

Posted in audiObelisk on October 8th, 2019 by JJ Koczan

SONS OF ALPHA CENTAURI Buried Memories Cover

[Click play above to stream Sons of Alpha Centauri’s Buried Memories in full. It’s out Friday and available to order here.]

UK progressive instrumentalists Sons of Alpha Centauri will release the new LP Buried Memories on Oct. 13 through H42 Records, and it’s an offering that immediately begs inspection. Is it an album or a collaboration? An EP, since the first side is three different versions of the same track? As the follow-up to the band’s 2018 outing, Continuum (review here) — which was essentially the band on their own, even if they did work with Aaron Turner (Sumac, ex-Isis) as producer/mixer and John McBain (ex-Monster Magnet) for mastering — it continues a string of joined-f0rces efforts that goes back to their 2009 outing with Karma to Burn side-project Treasure Cat, which included tracks by Alpha Cat with both bands working together. Along the way, in addition to their 2007 self-titled debut (discussed here) and Continuum some 11 years later, they’ve also worked with Gary Arce of Yawning Man as Yawning Sons for the 2009 album, Ceremony to the Sunset (review here), and had a trilogy of splits with Karma to Burn (2010, 2014, 2015) as well as splits with A Death Cinematic and Hotel Wrecking City Traders/WaterWays (review here) in 2010 and 2012, respectively.

All of this, as one might expect, has made them somewhat hard to track, as they’re in and out of different incarnations and collaborations, but I think the band probably wouldn’t have it another way, and Buried Memories shows some of where that impulse comes from. The six-track/47-minute 12″ dwells in its complication no less than it dwells in instrumentalists depth and purpose, and I should point out right away that while “Hitmen” is the first three songs, not one version is immediately recognizable from the others. And that’s doubly to Sons of Alpha Centauri‘s credit, because it shows how much they’re willing to let their material be malleable. You see, each half of Buried Memories is dedicated to an outside mix collaboration. For “Hitmen,” they bring in three different incarnations of Godflesh‘s Justin K. Broadrick, who takes the song on first under the guise of himself, then as Jesu and finally as JK Flesh, bringing a distinctly different feel to each edition of the same root work. It’s perhaps easier to do since the songs don’t have verses or choruses weighing them down to a strict structure, but it’s true that each one carves its own impression, and as they move from eight-and-a-half, nine- and nine-and-a-half-minute versions, Broadrick seems to pull the track further from its foundation and bring something of his own to it. It’s not just a simple process of mixing in the sense of finding the right volume for Marlon King‘s guitar or Blake‘s synth, Nick Hannon‘s bass and Stevie B.‘s drums, but of exploring what distance “Hitmen” can cover from its origin. As the Broadrick mix turns to the more melodic Jesu mix to the avant-electro JK Flesh mix, that distance turns out to be pretty vast.

The second-side collaborator is no less than James Plotkin, whose mastering and production work covers myriad outfits and whose work in Khanate alone — never mind his copious other projects — deserves an eternity of thank-you cards, who takes on three different songs, all under the guise of himself. So side A, one song mixed by three versions of the same person. Side AA, three songs mixed by one version of the same person.

Everyone got it?

Okay.

Sons of Alpha Centauri 2019

And much to Plotkin‘s credit, the three inclusions he takes on also push further and further out as they go. “Warhero” (9:33) is relatively straight ahead, but in comparison to Broadrick‘s “Hitmen” shows a focus on bringing out a sense of space in the work, while the shorter “Remembrance” (2:42) dips into minimalist drone guitar almost as a transition into closer “SS Montgomery,” which also takes on a more electronic vibe, in a kind of dark-industrial vein that still holds a heavy presence thanks to the prominence of the live drums, but nonetheless surrounds those with a chaos-swirl of synth and the guitar. “SS Montgomery” is the payoff for the whole release, pushing through clarity toward destructive noise wash in its quick apex and leaving behind residual noise on a long outward fade, and the fact that even given all the shifts of style and intent that Buried Memories holds, Sons of Alpha Centauri would be able to pull everything together at the end speaks to what makes them so underrated in the first place. They are very much a conceptual outfit but still not blind to the basic purpose of making an album, of making songs.

That underlying message comes through clearly across Buried Memories, and whether you consider it an album, an EP, a one-off, or something else, there’s never any doubt Sons of Alpha Centauri are ready and willing to push themselves to take their music to new places and to try and encompass different ideas and evoke various mindsets as they go. It’s not every band who would be willing to hand off their material like this, even to the likes of Plotkin and Broadrick, let alone put it out in such a way that allows the tracks to take on a life of their own within their overarching catalog. I won’t pretend to know what Sons of Alpha Centauri might do next or where they’ll go from here — though they were certainly busy enough in between, it’s notable that it was 11 years from their self-titled to Continuum — but the way their progressiveness extends not only to the sound of the band but to the very makeup and intent thereof continues to make them individually flexible in a universe that seems rigid by comparison. Whatever they might do, this openness and dexterity can only continue to bolster their work. Imagine asking Justin Broadrick for three mixes by different personae. Imagine telling James Plotkin, “Just go with it.” The beauty of Buried Memories is in its outward movement and the sense of freedom it portrays: art as a living thing, music as sculpting clay to be shaped and re-shaped. As regards the creative, there are few ideas more noble.

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Sons of Alpha Centauri Announce Buried Memories Collaborative LP with JK Broadrick & James Plotkin

Posted in Whathaveyou on August 20th, 2019 by JJ Koczan

Sons of Alpha Centauri 2019

You have to give it to Sons of Alpha Centauri: they keep good company. These are gentlemen of refined taste. Their last album? Produced by Aaron Harris of Isis and mastered by John McBain, formerly of Monster Magnet. Before that, oh, they’d worked with the likes of Gary Arce and Karma to Burn, and so on, producing killer splits and collaborative offerings in the process. Now? They’ve got a kinda-EP/kinda-LP called Buried Memories coming that has four songs total — one is a revisit of a song from their first record — with mixes by Justin Broadrick, who does three different versions of “Hitmen” in various guises as Justin K. Broadrick, JK Flesh and Jesu, and James Plotkin, who’s only James Plotkin throughout but when you played in Khanate that’s enough as far as I’m concerned. Sons of Alpha Centauri‘s sense of sonic adventurousness continues to extend to a meta level, and if you’re not intrigued to hear this, you probably just haven’t paid enough attention. Snap to it.

It doesn’t actually say so below, but the press kit lists Oct. 13 as the release date through H42 Records, so let’s go with that. They’ve got a quick teaser posted as well, and you’ll find that at the bottom of the post, along with the stream of 2018’s Continuum (review here). Enjoy:

SONS OF ALPHA CENTAURI Buried Memories Cover

H42 Records: SONS OF ALPHA CENTAURI Announce New Album with JK BROADRICK and JAMES PLOTKIN!

Sons of Alpha Centauri are back to release Buried Memories, a collaborative post metal colossus and the second part of the journey that started with last album Continuum!

The new album Buried Memories has been mixed by industrial metal icon Justin K. Broadrick (Godflesh, Jesu…) and ambient gloom metal maestro James Plotkin (Khanate, Jodis etc.). Buried Memories contains two 10 minute slabs of eclectic ambient progressive rock and a series of interpretative remixes of the theme tracks by both Broadrick and Plotkin.

Justin Broadrick collaborates with the band on side A through the progressive riff saga of Hitmen which he has mixed and also provided two remixes in his guise as Jesu and another as the eponymous JK Flesh. These three staggering pieces of music elapse over 27 minutes of pure instrumental voyage in a way only Sons of Alpha Centauri and Justin Broadrick could deliver!

James Plotkin and SOAC collaborate through several tracks including Warhero a sprawling 10 minute odyssey and a masterful remix of SS Montgomery – the single from the bands classic instrumental landmark debut album.

After entering the Continuum (2018) the listener must now bury their memories. The darkness will envelope the listeners in this second part of their epic sprawling progressive dark rock saga.

The LP version of Buried Memories comes on a selection of 180 gram heavyweight colored vinyl in a gatefold sleeve with photo inlay and download code.

Tracklist
1. Hitmen [Justin K. Broadrick Mix]
2. Hitmen [Jesu Remix]
3. Hitmen [JK Flesh Remix]
4. Warhero [James Plotkin Mix]
5. Remembrance [James Plotkin Mix]
6. SS Montgomery [James Plotkin Remix]

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Sons of Alpha Centauri, Buried Memories teaser

Sons of Alpha Centauri, Continuum (2018)

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Sons of Alpha Centauri Post “Solar Storm” Video

Posted in Bootleg Theater on August 13th, 2018 by JJ Koczan

Sons of Alpha Centauri

So there’s this submarine. And it’s in a lake. And it’s huge. And the video starts out and there’s all this movement and driving and going through different scenes and where are we going I don’t know but it works really well with the riff so just roll with it and so on. Eventually, we get up to the lake. Maybe a pond? A relatively small-ish body of water. We get there and Sons of Alpha Centauri arrive and there’s no way they all came in the same car because there isn’t enough room for all their gear but whatever that’s not the point. All the while “Solar Storm” is playing and it’s got this crazy kind of tension to it and the band walk out to a spot by the water on what seems to be some pretty nice farmland.

It’s all in black and white until they start playing. And then like purple and orange lasers come out of their guitars and whatnot and start to hit the submarine like they’re rerouting power from the auxiliary systems to feed through the dilithium core — am I right? — and then the submarine shoots into space at what looks an awful lot like warp six. If I had to guess. And then the submarine careens through outer space like it’s the dude in 2001: A Space Odyssey for a while, it breaks through water and then the clip cuts back to the band, who pack up their gear — I still think it’s studio magic to think they fit two guitars, a bass, a full drum kit and themselves in that car, but maybe they’re Tetris pros — and split. The end.

Video of the year? Maybe.

“Solar Storm” comes from Sons of Alpha Centauri‘s new album, Continuum (review here), on H42 Records and Cobraside Distribution and it’s produced by Aaron Harris, who was in Isis when they were a band. Sons of Alpha Centauri recently shared stages with Yawning Man in the UK and have other stuff going on, but quite frankly I’ve delayed enough. You should just dig in here and enjoy:

Sons of Alpha Centauri, “Solar Storm” official video

The journey into instrumental progressive rockers SONS OF ALPHA CENTAURI’s new album “Continuum” progresses, as the video for “Solar Storm” lands today on all channels.
“Solar Storm is the cumulative blend of fast, slow, heavy, progressive styles of SOAC all encapsulated within a five minute adrenaline shot. Working with Simon Risbridger on this video was awesome as he completely understands our visual aesthetic and secluded introspective approach. We wanted the video to represent the different segments and styles within the track as part of the journey – it has been highly stylised with multiple references and subliminal messages. Embark the journey and embrace the storm!’ states SOAC bassist Nick Hannon.

The video starts a black and white fine art epic shot in and around the spiritual home of SOAC, Swale and the Isle of Sheppey and the story progresses into a cinematic visual feast of intergalactic travel through space and time. The introspective journey of ‘Solar Storm’ has been directed by long term collaborator Simon Risbridger who worked with Sons of Alpha Centauri on visuals including live performances with A Storm of Light.

SOAC IS
Marlon King – Guitars
Nick Hannon – Bass
Stevie B. – Drums
Blake – Textures

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Review & Full Album Premiere: Sons of Alpha Centauri, Continuum

Posted in audiObelisk, Reviews on May 28th, 2018 by JJ Koczan

Sons of Alpha Centauri Continuum

[Click play above to stream Continuum by Sons of Alpha Centauri in full. Album is out June 1 via H42 Records and Cobraside Distribution.]

Much as one hesitates to use the word ‘unique’ generally, I can’t think of anything quite so fitting to describe the path that’s led UK instrumental four-piece Sons of Alpha Centauri to Continuum, their second album. Released through Cobraside Distribution in the US and Canada and H42 Records in the rest of the world, the eight-track/39-minute sophomore offering — the sophmoffering? — arrives some 11 years after Sons of Alpha Centauri made their self-titled debut (discussed here) and follows a period of multiple collaborations with US-based acts Karma to Burn and Yawning Man — I still regard Yawning Sons‘ 2009 album, Ceremony to the Sunset (review here), as one of the finest atmospheric desert rock albums ever made — as well as splits with A Death Cinematic and Hotel Wrecking City Traders/WaterWays (review here). They also played Desertfest London in 2013 (review here) and have regularly played out, so as I’ve said before, it’s not like the four-piece have been sitting on their ass for the last decade plus.

They just haven’t been putting out Continuum, which is something that guitarist Marlon King, bassist Nick Hannon, drummer Stevie B. and keyboardist/synthesist Blake — actually credited with “textures” — at last correct, bringing together a slow motion whirlwind of patient and progressive instrumentalist execution under the direction of producer/mixer Aaron Harris, formerly of Isis. In returning to work in the context of a full-length, Sons of Alpha Centauri don’t see unaffected by how they spent their intervening years, and one can hear the reach of Gary Arce‘s desert-setting guitar tone from King on “Interstellar” and the A-to-B straightforward heavy rock of Karma to Burn on “Solar Storm” and intermittently early on in 11-minute closer “Return Voyage.” The missing link, then, would seem to be Isis, but with Blake‘s textures on keys, synth, loops and presumably somewhere in there a laptop permeating so much of the record and giving King time to breathe on guitar, there’s plenty of post-metal vibe as well.

Sons of Alpha Centauri, then, would seem to draw from the environments in which they place themselves, and that’s kind of the ideal purpose of collaboration in the first place. More importantly, they sound comfortable shifting the balance from one side to the other and the other, which gives Continuum an all the more multifaceted style. At the same time, there’s a marked sense of momentum that takes hold as intro/opener “Into the Abyss” patiently takes hold, part Vangelis, part Isis, leading directly into the starting drum roll of the subsequent “Jupiter,” which in turn will give over to the more straightforward “Solar Storm.” Even here, the fuzzy, careening central “verse” riff is backed by a consistent layer of synth — not quite a drone, but an ever-present ambient melody — that fills out the sound and adds to the proceedings what the band are ultimately right to call texture.

Sons of Alpha Centauri

There are many ways an instrumental band compensates for a lack of vocals. Lead guitar is one. Not compensating at all has arguably worked for Karma to Burn since, well, since they nixed the idea of a vocalist after their first record. Some others fill out arrangements with varying instrumentation. Sons of Alpha Centauri‘s approach, I suppose, is most like the latter, but the four-piece are more subtle about it than many. Blake‘s work on Continuum might be the factor that ties the tracks’ varying moods together, from the side A intro “Into the Abyss” to the side B intro “Surfacing for Air” and all along as each half of the record that unfurls from there, he enhances the ambience of “Interstellar” and brings progressive flair to “Jupiter” and “Solar Storm” at the record’s heavier post-intro outset. Though even this portion of the record is fairy dynamic, as King leads the way through loud/quiet tradeoffs in “Jupiter” that seem to mirror what will unfold on a grander scale with “Return Voyage” at the end of the record. They’re not quite going back the way they came, but one can read some symmetry there anyhow.

And it’s worth noting that the balance of Continuum, which takes its audience on this journey to Jupiter that the band seems to be making, is on the outward. “Return Voyage,” as the final statement they offer, certainly has its impact and fittingly provides a musical summary to coincide with being the final chapter of the narrative, but with one song about getting back to earth and seven about leaving or having left — the penultimate 2:47 piano piece “Orbiting Jupiter” is about having arrived — there’s little question as to which direction is the band’s priority when it comes to evoking a sense of story. Sons of Alpha Centauri are about the going and having gone. And the results of that, while grounded in their structure and presentation thanks to the foundation of Hannon‘s bass and Stevie‘s drumming, are more directed than your standard everything-hang-loose psychedelia, space is obviously still a factor sonically as well as thematically. The final build in “Return Voyage” as it crosses its midpoint might be the most Isis-reminiscent moment on Continuum, but like the rest of their discernible influences, this too is recontextualized in a sound that is the band’s own.

As, frankly, one would hope for a record having been a decade-plus in the making. I won’t say Sons of Alpha Centauri wasted their years, because they’ve clearly been able to enrich their own style by collaborating with those outside the confines of their own lineup. Rather, the fact that Continuum is their second full-length is somewhat deceptive given all the experience and sense of purpose they’ve been able to garner since their debut, which even then had a fervent progressive streak at its foundation. What Continuum represents, though, is significant growth on multiple fronts for the band, and an awaited moment of declaration of who they are and who they can be in aesthetic and performance terms. Will it be another decade before album number three? I don’t know, but if it is, it will still be worth keeping track of how and with whom Sons of Alpha Centauri choose to spend that time, since invariably they’ll continue to learn lessons that will feed into their own work later. That process has unquestionably worked to their advantage here.

Sons of Alpha Centauri, Continuum teaser

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Sons of Alpha Centauri to Release Continuum June 1

Posted in Whathaveyou on April 16th, 2018 by JJ Koczan

Sons of Alpha Centauri

Space is the apparent theme of Sons of Alpha Centauri‘s sophomore long-player. Continuum is set to release on June 1 through H42 Records and Cobraside, and it follows 11 years after the band made their self-titled debut (discussed here). What have they been doing in all that time? Mostly releasing splits and collaborations. They took part in Yawning Sons with Yawning Man and Alpha Cat with Karma to Burn offshoot Treasure Cat, put out no fewer than three splits with Karma to Burn proper, as well as a split with WaterWays and Hotel Wrecking City Traders and a split with A Death Cinematic.

So they’ve been keeping plenty busy, in other words, just not putting out an album. Well, the eight-track/39 minute Continuum changes that with graceful progressive flourish and more weighted stretches to match its breadth of atmosphere in cuts like “Solar Storm” and “Interstellar.” A science-driven post-rock pulses through “Io” while the penultimate “Orbiting Jupiter” offers reflective piano ahead of the 11-minute closer “Return Voyage.”

Not saying I’ve heard it yet or anything, but it’s an album that covers a lot of ground and well earns its voyaging aspects. Here’s info from the PR wire:

Sons of Alpha Centauri Continuum

Sons of Alpha Centauri announce details from upcoming album “Continuum”

Over a decade since the release of their debut album, UK’s stoner/progressive metallers Sons of Alpha Centauri return for their sophomore album – an epic introspective journey of abrasive and ambient progressive electronic alt rock entitled Continuum.

Over a decade in development, Continuum is driven with a raw infusion of power that only Aaron Harris from ISIS and Palms (which features members from Deftones) could deliver from the producing and mixing helm. Harris has driven his unique and deep understanding of the genre to channel the album to compare against contemporaries such as the debut Palms album and the ISIS masterpiece Panopticon.

This raw and cathartic performance further reinforces that this is Sons of Alpha Centauri at their heaviest with Continuum wrought with dark anthems, intense textures, introspective interludes and tidal waves of immersive distortion.

Having just recently released a boxset of their collaborations with Karma to Burn and their partnership with Yawning Man known as Yawning Sons being widely regarded as a cult act the return of Sons of Alpha Centauri is something to really watch in 2018.

Continuum sees a development of the heavier blended concepts expressed on the debut album and Sons of Alpha Centauri re-emerge with Aaron Harris as the instrumental electronic alt rock titans!

New Sons of Alpha Centauri album Continuum will be released on 1 June 2018. H42 Records – Worldwide and on Cobraside Records – United States & Canada

Aaron Harris from post metal band ISIS and Palms (featuring members of Deftones) has engineered and produced the Continuum.

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Sons of Alpha Centauri, Continuum teaser

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Various Artists, Electric Funeral Cafe Vol. 3: Journeys End and Begin

Posted in Reviews on January 17th, 2017 by JJ Koczan

electric funeral cafe vol 3

Look. The thing is immense. One can barely hope to give a decent accounting of a compilation in a review in the easiest of scenarios, but to attempt to sum up the scope of Robustfellow ProductionsElectric Funeral Cafe Vol. 3, which spans three CDs in its physical incarnation and tops out at an astonishing 48 tracks and four-plus hours of listening material when the digital bonus tracks are included from the Bandcamp version, the idea itself becomes silly. All one can really do is the same thing the listener likely does: make your way through it at your own pace, try to absorb as much as you can, and step back to admire the incredible amount of coordinating effort that must have gone into its making.

The latter is particularly impressive as what’s been touted as the final installment of the Kiev-based Robustfellow‘s Electric Funeral Cafe trilogy — nothing like going out with a bang — is bigger even than its predecessors, which came out in 2016 and 2015 and were “only” two discs apiece. The first two were broken down into component Electric and Funeral halves, arranged along this theme by discs. This edition works much the same way, with the Electric discs more focused on heavy rock and the Funeral disc dug into dirge-style doom and sludge, but adds the Cafe disc, on which one might be hear the Beatles-gone-electro-pop psych of Black Maloka, the Creedence Clearwater Revival-style boogie of Freeky Clean or the pure Doorsian meandering of The Jossers, along with more familiar names like Krobak (a Stoned Jesus side-project) or The Legendary Flower Punk (a The Grand Astoria side-project).

As with the earlier volumes, the bulk of the inclusions here highlight the underground boom in the Ukraine itself. 38 of the total 48 groups involved hail from the Ukraine. Two more are from Russia (The Legendary Flower Punk and A Foggy Realm, also on the Cafe disc), and one each from Japan (Eternal Elysium, on the Electric disc), Finland (Loinen, Funeral disc), the US (Contra, Electric), Sweden (Suffer Yourself, Funeral), Belarus (Nebulae Come Sweet, Funeral), the UK (Sons of Alpha Centauri, Cafe), and Italy (Le Scimmie, Funeral). It’s easy to get lost in the sprawl of a release like this, certainly, but worth noting all the same that this is the first of the Electric Funeral Cafe offerings to branch outside the Ukraine itself, so even as Robustfellow ends the series, it does so by reaching into new territories, making the project all the more impressive. One imagines that if the label kept it going, it would only continue to grow.

ELECTRIC FUNERAL CAFE POSTER

Not that it’s lacking in its current form, of course. Pick your poison and it’s likely here somewhere, from the progressive heavy vibes of Stonefromthesky and Ethereal Riffian on the Electric disc to the deathly chug of Chainsaw Jack‘s “Crashing Waves” and post-hardcore-sludge of Nebulae Come Sweet on the Funeral disc to the ’90s-style psych of Vermilion Nocturne and beat-backed drone of Submatukana‘s “Genesis” — which boasts a sampled Bible reading amid creepy whispered vocals — on the Cafe disc. There are, of course, a host of bands here who aren’t so easily fit into one category or another, as Dreadnought foreshadow on the Electric disc some of the screaming that will be a running theme throughout most of the Funeral disc, and the huge Ufomammut-style roll, push and echoes of Soom on Funeral do likewise for Cafe, but each piece of Electric Funeral Cafe Vol. 3 offers something distinct from the others, and so the themes are not only ably established, but solidified while jumping from band to band, city to city, country to county, atmosphere to atmosphere.

And as ever for a worthy various-artists release, Electric Funeral Cafe Vol. 3 presents a number of curios warranting further investigation. In particular, Lviv’s 1914, who lead off the Funeral disc with “8×50 mm Repetiergewehr M95” would seem to have a fixation with WWI — remind me to tell you sometime about how it was the fall of Western Civilization; unless you’re European, in which case you already know — and Lucifer Rising on the Electric disc blend modern buzz tone with classic blues rock thrust, but there are a swath of such interest-piquers as the comp plays out, and the real challenge lies in not being overwhelmed by all of it.

Much to the credit of Robustfellow and to the benefit of the acts contributing, everyone is given a genuine chance to ply their sonic wares, whether that’s a sub-three-minute death-doom rumbler like Monmuth‘s “Vail Seven” or the nine-minute heavy post-rock rollout of Stonefromthesky‘s “67,” which makes sense in a if-you’re-going-to-do-it-and-it’s-already-huge-then-don’t-skimp kind of way, and if the tradeoff for that is there’s a lot of music to dig into, it’s the kind of issue a listener should probably be thankful to take on, even if it requires multiple rounds to get through the front-to-back experience — a four-hour listening session is a rare gift in these busy times. Bottom line is Electric Funeral Cafe Vol. 3 will be there, whether one wants to take it as a whole or in pieces — as a document of Ukrainian heavy, yes, but also the scene’s will to reach outside itself and include others in a creative conversation — and as that movement continues to flourish and progress, such an impulse can only help broaden a scope already shown here to be considerable. And by considerable, I mean staggering.

Various Artists, Electric Funeral Cafe Vol. 3 (2017)

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Electric Funeral Cafe Vol. 3 Compilation Due Next Month

Posted in Whathaveyou on December 14th, 2016 by JJ Koczan

If you’ve had the chance to check out the prior two installments of Robustfellow Productions‘ compilation series Electric Funeral Cafe, you already know they’re massive things. Huge in terms of the sheer amount of music they feature, and with a strong focus solely directed on the Ukrainian heavy scene, they bring to light some acts who those of us outside the region might not necessarily run into on a daily basis. Electric Funeral Cafe Vol. 3 is no different, but it’s worth noting that in addition to the good dose of acts from Kiev and Lviv it provides, it for the first time pushes international and boasts bands from the US, the UK, Belarus, Finland, Japan and Sweden included, so this final installment in the series — which comes with seven more tracks if you get the digital version — is by no means limited. Fitting for the mission of the series that it would expand even unto its conclusion.

I feel like the first line below under specifications really says it all: 41 bands, 9 countries, three discs, over three and a half hours of music. Sold.

Release date is Jan. 21. Here’s info from the PR wire:

electric funeral cafe vol 3

V/A – ‘Electric Funeral Café vol.3’

Formats: 3xCD in Deluxe digipack & Download
Catalogue # RBF 016 | IHR005
Label: Robustfellow Prods. & Iron Hamster Recs.
Release Date: 21 January 2017

Specifications:
– 41 bands from 9 countries on 3 CDs lasts for more than 3,5 hours
– Including 23 special tracks that you hardly hear anywhere else
– Plus 7 bonus tracks on digital version on bandcamp
– The final chapter of EFC trilogy
– Deluxe ltd.ed. that will consist of EFC vol.1,2,3
– Launch Party 21.I.2017 @ Winter Mass [“Monte Ray Live Stage”, Kyiv, UA]

Artwork design by Zinkovskaya Oksana
Design and DTP by Marsym Gavronsky
Made in Ukraine | 21.I.2017

List of robust bands involved in EFC vol.3 from A to Z:
1914 [Lviv, UA]
5R6 [Kharkiv, UA]
A Foggy Realm [Moscow, RU]
Atomic Simao [Kyiv, UA]
Bichkraft [Kyiv, UA]
Black Maloka [Kyiv, UA]
Borum [Kyiv, UA]
Chainsaw Jack [Kharkiv, UA]
Contra [Cleveland, OH, USA]
Dreadnought [Ternopil`, UA]
Drunk Diver [Lviv, UA]
Eternal Elysium [Nagoya, JP]
Ethereal Riffian [Kyiv, UA]
Filthy Rich Preacher [Cherkassy, UA]
Freeky Cleen [Kyiv, UA]
Krobak [Kyiv/Kharkiv, UA]
Katakomba [Kyiv, UA]
Le Scimmie [Vasto, IT]
Les Gendarmes [Kyiv, UA]
Loinen [Karjaa, FIN]
Love’n’Joy [Kyiv, UA]
Lucifer Rising [Kyiv, UA]
MAUT [Ivano-Frankivsk, UA]
Monmuuth [Dnipro, UA]
Nebulae Come Sweet [Minsk, BY]
Night on Fire [Zhytomyr, UA]
Ningen-girai [Cherkassy, UA]
Nödutgång:Självmord [Poltava, UA]
Obriy [Uzhgorod,UA]
Octopus Kraft [Drohobych/Lviv, UA]
Onsager [Khmelnitsky, UA]
OwlCraft [Cherkassy, UA]
Risin Sabotage [Kyiv, UA]
Small Depo [Kyiv, UA]
Sons Of Alpha Centauri [Kent, UK]
Soom [Kharkiv, UA]
Space-man [Lviv, UA]
stonefromthesky [Kyiv, UA]
Straytones [Kyiv, UA]
Submatukana [Dnipro, UA]
Suffer Yourself [Kyiv, UA/Linköping, SWE]
The Curse Of Wendigo [Kharcyzk/Kyiv, UA]
The Jossers [Kalush, UA]
The Legendary Flower Punk [St.Petersburg, RU]
Trip Inside Me [Kyiv, UA]
Tungu [Chernihiv,UA]
Vermilion Nocturne [Kyiv, UA]
Warningfog [Kyiv, UA]

http://robustfellow.blogspot.com/
https://robustfellow.bandcamp.com
https://www.youtube.com/user/TheRobustfellow
https://www.facebook.com/RobustfellowProds/
http://vk.com/robustfellow

Various Artists, Electric Funeral Cafe Vol. 2 (2016)

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H42 Records Marks Three Years with Home of the Deer Vol. I Compilation

Posted in Whathaveyou on December 8th, 2015 by JJ Koczan

Hamburg’s H42 Records has kept itself pretty busy since the 2013 release of The Flying Eyes‘ and Golden Animals‘ split single (streamed here), and the imprint will take a moment to celebrate its accomplishments as it pushes past the three-year mark next month with a new compilation called Home of the Deer Vol. I. The name of course implies it’s a series with more to come, but either way, the 16 included tracks showcase some of the killer material past, present and future in which H42 has been involved with releasing.

Nothing like starting off with some Mos Generator, and from an acoustic track from Kadavar-offshoot The Loranes to previously unreleased cuts from Mangoo, Daily Thompson, Molior Superum and others, there is much to dig into from there. Release announcement and track info follow, as seen on the PR wire:

various artists home of the deer vol. 1

H42 Records CD LABEL SAMPLER ,Home Of The Deer – Vol. I’ sees the light of day before X-Mas!

On 22 January 2016 the Hamburg based Label H42 Records is celebrating its third anniversary. Among other things, this will be celebrated with the Promo Label Sampler ‘Home Of The Deer Vol. 1’. From the 14th December, all songs will be streamed for two days till January 22th 2016 on the Bandcamp page (https://h42records.bandcamp.com/album/the-roaring-deer-vol-one-h42-025) of the label. Among them are well-known songs from H42 Records releases such as ‘Raise Hell’ by The Flying Eyes from H42 Records first output in 2013, but also new previously unreleased tracks as ‘The Awakening’ by Mos Generator or the brand new track ‘Supernova Remnant’ of Molior Superum. Best of all, Everyone who stocks up with vinyl from the H42 Records shop (www.h42records.8merch.com), get one of these limited promo CDs for FREE. Do not forget only available while stock lasts.

Tracklist:
01 Mos Generator – The Awakening (Reference Mix)
Previously unreleased – recorded at HeavyHead Recordings 2015
02 Sons Of Alpha Centauri – 27
originally released 2012 on Bro Fidelity Split 12“-Vinyl
03 Lord Of Giant – Dust Demon
taken from H42-Records release H42-006 ‚Dust Demon/Woman 7“
04 Mangoo – Hooks (Live)
previously unreleased live recording – Live at VR Studios 10.04.2012 Åbo, Finnland
05 Daily Thompson – Lo-Fi
previously unreleased – recorded at MountHoven Studios Dortmund 2015
06 The Loranes – Hey You Said (Acoustic Version)
previously unreleased acoustic version originally from ‚Trust‘ 2015 – recorded November 2015
07 Molior Superum – Supernova Remnant
previously unreleased – recorded 2015
08 The Flying Eyes – Raise Hell
taken from H42-Records release H42-001 Split with Golden Animals 7“
09 Enos – Devil Makes Work (Live)
taken from DVD ‚Live at East Slope‘ – recorded 20.04.2013
10 Dean Allen Foyd –Devil’s Path
taken from H42-Records release H42-007 ‚Sunshine Song‘ 7“
11 Black Salvation – Flickering Days
previously unreleased – recorded on the ‚I am Pretended‘-Session
12 Mother Of God – Dark Sun Above
taken from H42-Records release H42-003 ‚Black Ocean‘ 7“
13 Larman Clamor -Drone Monger (Bonk Then Stomp)
taken from H42-Records Release H42-020 Split with Blackwolfgoat 7“
14 Odd Couple – Nightcrawl
Taken from Odd Couples debut ‚It’s a pressure to meet you‘ 2014
15 Coogans Bluff – She Gave Her Life For A Man
taken fromH42-Records release H42-010 ‚Ein Herz voller Soul‘ 7“
16 Alpha Cat – The Last Day Of Summer
originally released 2009 – first time on vinyl in 2016 on H42 Records

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www.h42records.com
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www.h42records.8merch.com

Sons of Alpha Centauri, “27”

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