Review & Track Premiere: Lewis and the Strange Magics, Evade Your Soul

Posted in audiObelisk, Reviews on September 7th, 2017 by JJ Koczan

lewis-and-the-strange-magics-evade-your-soul

[Click play above to stream the premiere of ‘Out of My Home’ from Lewis and the Strange Magics’ Evade Your Soul. Album is out Oct. 20 via Soulseller Records.]

Somewhere in the vast multiverse of alternate timelines and fluid realities, there’s a late ’60s death disco stage that’s just perfect for Lewis and the Strange Magics. The three-piece — who in this reality are based in Barcelona, Spain — stand on that stage in orange and purple paisley-patterned shirts that seem to be moving even when the band is standing still and run through songs like “Ugly Face” and “Lisa Melts the Wax” and “RMS” from their second album, Evade Your Soul, with twisted smiles on their faces that hint at the cultish spirits lurking beneath the pop bounce and easy, fun-loving melodies. Comprised of guitarist/vocalist/keyboardist Lewis P., guitarist/vocalist Javi Bono and drummer Ivan Miguel, Lewis and the Strange Magics marked their arrival with the aptly-titled Demo (review here) in 2014 and were picked up by Soulseller Records for the debut full-length, Velvet Skin (review here), which came out in 2015.

The current of quirk and pop classicism has been a running theme throughout their work all along, and in searching for modern comparison points, one might turn to the garage rock aspects of Uncle Acid and the Deadbeats and the production and songwriting clarity of Ghost, the latter of whom would also seem to be an influence on vocal arrangements for cuts like “You’ll be Free Forever” (video posted here) and album centerpiece “Out of My Home,” the guitars of which play clean and fuzzy tones off each other directly in strummed chords and riffs and leads before turning to the sanctuary of yet another of Evade Your Soul‘s landmark hooks. Those, too, are a running theme for Lewis and the Strange Magics, and as a keystone of their output to-date, they’ve never been so prevalent as they are across this nine-track/38-minute vinyl-ready span.

And as familiar as some elements with which Lewis and the Strange Magics are working might be — the Beatlesian jive of “RMS” is instantly recognizable in the post-McCartney sphere, for example — the band effectively craft an identity of their own from the entire swath, such that while the organ-topped proto-prog of opener/longest track  “Leaving Myself” (immediate points) purposefully leans into early ’70s vibes, the rolling groove that emerges, the flowing rhythm, the patience of tempo with which it’s played, and the subtle Satano-sleaze of the lyrics belong to Lewis and company more than they ever have. That’s one sign of the band having grown since Velvet Skin as songwriters, but it’s by no means the only one. An overarching aesthetic awareness pervades Evade Your Soul that can be heard in the vocal balance of “Ugly Face,” which is a highlight not only for its memorable chorus and dueling keyboard/organ solos, but for the arrangement of Bono and Lewis‘ singing and the bounce over which that arrangement appears.

lewis and the strange magics

Though they were raw when they started out, Lewis and the Strange Magics have always had a plan as regards style. With Evade Your Soul, they seem to have hit the point of bringing that plan to fruition, and in so doing, carved a niche for themselves that’s as much at home introducing a Mellotron in third cut “TV Monsters” as they are riding that texture along a languid proggy drift in the later instrumental “Escape,” where it cuts in and out among xylophone (or a synthesized approximation thereof), a steady low end tumble and a post-midpoint turn of guitar jangle that brings about a build to a final wash of fuzzy noise that leads the way into closer “Another Lonely Soul (on the Road).” Their songwriting proves varied in mood but is unafraid to have what sounds like genuine fun on “Lisa Melts the Wax,” with its falsetto vampire vocals — another Ghost connection there — and uptempo strum before shifting into a dreamy lead that maintains an underlying oddness worthy of Ween, but once again, decidedly Lewis and the Strange Magics‘ own.

Oh yeah, and then they go ahead and gallop their way into a fuzzed-out ending to lead the way into “Out of My Home,” because obviously by that point — right in the middle of the record — they’ve established they’re free to go wherever the hell they want and make it work. That confidence of execution is a boon to Evade Your Soul front-to-back, no question, and though moments like the verses of “Out of My Home” and the second-half push in “You’ll be Free Forever” are heavier than it might seem on first listen, there are points throughout these songs in which Lewis and the Strange Magics might lose control of their direction or performance in terms of meter or arrangement, where they might get caught up in their own riffing to the detriment of the song, or forget the structure in favor of drifting out more than they want to, etc. — but the truth is they simply don’t.

It still feels appropriate to think of them as a young band, if only because they formed three years ago, but whether it’s the swing that leads into the record in such right-on-let’s-go fashion throughout “Leaving Myself” or the Revolver-style melodicism brought forth for “RMS,” Evade Your Soul shows a burgeoning maturity in Lewis and the Strange Magics in the level of command they show throughout and the completeness and the complexity of their ideas. This is, in other words, the sound of a band beginning to pay off their potential. As they wrap with the tambourine-inclusive boogie of “Another Lonely Soul (on the Road),” Lewis and the Strange Magics reinforce the somewhat unspoken tightness at root in these songs, and as Lewis delivers the last line “nevermore” at the end of the song, he does so over a quick, cold finish that leaves one feeling the trio has much more to say.

That may well be the case, and one can only hope they keep moving forward along the delightfully bizarre path that Evade Your Soul sees them as having chosen, but whatever road they might ultimately take to get them to that late-’60s death-disco somewhere in the vast multiverse, they’re sure to continue to make an impression on their journey. Open up your skull and dance.

Lewis and the Strange Magics, “You’ll be Free Forever” official video

Lewis and the Strange Magics on Thee Facebooks

Soulseller Records on Thee Facebooks

Soulseller Records website

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Lewis and the Strange Magics Set Oct. 20 release for Evade Your Soul; New Video Posted

Posted in Bootleg Theater, Whathaveyou on August 18th, 2017 by JJ Koczan

lewis-and-the-strange-magics

Plenty to like immediately about the upcoming second long-player from Barcelona trio Lewis and the Strange Magics. Titled Evade Your Soul and set to release Oct. 20 through Soulseller Records, the follow-up to the band’s 2015 debut, Velvet Skin (review here), shows off an immediate uptick in the weirdo factor in a new video for the cut “You’ll be Free Forever.” It’s the first audio to be made public from Evade Your Soul and bodes remarkably well in its balance of sonic clarity and arrangement flourish — the keys, the call-and-response vocals, etc. — in a way that makes me look forward all the more to hopefully getting to experience the whole album sooner rather than later. Like for an advance review maybe? I’m just spitbaling ideas here. Just seeing what sticks.

Hopefully that sticks. This Fall isn’t short on badass forthcoming releases by any means, but standout stuff like this is always welcome as far as I’m concerned. Album art by Branca Studio, tracklisting details and that video all came down the PR wire, and Lewis and the Strange Magics are also set to play Cheapstock Vol. 4 in Barcelona next month, about which you can find more info here:

lewis-and-the-strange-magics-evade-your-soul

LEWIS & THE STRANGE MAGICS – New album details and video clip available

Spanish Heavy-Psych-Rockers LEWIS & THE STRANGE MAGICS are back with their second full-length!

“Evade Your Soul” will be released on 20th October 2017 via Soulseller Records on CD, vinyl and in digital formats.

Formed in Barcelona during the summer of 2014 and influenced by a wide range of styles from Black Sabbath to The Beatles, they shortly after released their debut demo which received great reception from audience and critics alike. Only a month later the band signed with Soulseller Records to release the debut LP, “Velvet Skin”, in August 2015.

With their new album “Evade Your Soul” the band offers a heavier and more psychedelic sound, highlighting melodic songs with fuzzy riffs, crazy keys, spiritual lyrics and a lot of groove. It was recored, mixed and mastered by L’Antoine LV at La Musaranya, a studio from Olesa de Montserrat. The front cover and all the artwork has been created by Branca Studio.

A video for the song “You’ll Be Free Forever” is available. Preorders start in September.

Tracklist:
1. Leaving Myself
2. Ugly Face
3. TV Monsters
4. Lisa Melts The Wax
5. Out Of My Home
6. You’ll Be Free Forever
7. RMS
8. Escape
9. Another Lonely Soul (On The Road)

Lewis & the Strange Magics:
Lewis P. – vocals, guitar, keyboard
Ivan Miguel – drums
Javi Bono – guitar, vocals

https://www.facebook.com/lewismagics
https://www.facebook.com/SOULSELLERRECORDS/
http://www.soulsellerrecords.com

Lewis and the Strange Magics, “You’ll be Free Forever”

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Cheapstock Vol. 4 Set for Sept. 9-10 in Barcelona; Belzebong, Libido Fuzz, Blaak Heat, Cachemira & More to Play

Posted in Whathaveyou on July 31st, 2017 by JJ Koczan

I hope you’ll pardon me if I step back from the precipice of yet another here’s-me-daydreaming-about-being-independently-wealthy-and-spending-my-days-countryhopping-from-one-awesome-European-fest-to-the-next post — I don’t even know how many there have been at this point; frickin’ countless; this isn’t even the first one today — to note instead that along with the more familiar names included in the lineup for Barcelona’s Cheapstock Vol. 4 like Libido FuzzBelzebongBlaak HeatCachemiraLewis and the Strange MagicsAbrahma and Witchthroat Serpent, there are a slew of others with whom I at least am less introduced. EveUdolPazMad MaciusKamadeva, and so on — most of the bottom half of the bill is new to me, and I think that’s awesome. It’s my favorite kind of homework. More music to explore. Whether or not you can make it to the fest, I hope you’ll likewise take advantage of the checklist below.

Cheapstock Vol. 4 — including a bong giveaway and a Kyuss tribute for the aftershow — is put on by Solo Bongs Records and takes place Sept. 9 and 10 at Pineda de Mar in Barcelona, Spain. Doesn’t that sound nice? I think so.

Here’s all the info, including directions how to get there:

cheapstock vol 4

We are glad to announce the fourth edition of the Cheapstock festival, Cheapstock Vol4 is an outdoor festival for lovers of cosmic environments, heavy riffs and loud sounds. As new this year the festival will last two days and will feature camping for the 2-day pass.

We repeat site, in the football field of the foundation, this is the LINE UP for Cheapsock vol4:

Belzebong (Stoner, doom), first time in Spain! Only show!
BLAAK HEAT (Psych, Progressive, Stoner)
Witchthroat Serpent (DOOM)
Libido Fuzz (Heavy Psych/ Stoner)
ABRAHMA (Psychedelic/Atmospheric Heavy Doom Rock)
Cachemira (70’S Retro Rock / heavy psych)
MadMacius (Garage Punk)
Lewis and the Strange Magics (Heavy Psych Occult)
Nerobambola (experimental Jazz, math psychedellic duo)
EVE (Progressive, psych-doom, Rapsodia)
Electric Valley (Stoner)
Kamadeva (Heavy Psych, Stoner)
UDOL (Psych, Doom, Sludge)
Paz (Doom)

Afterparty
BASTARDS OF KYUSS (Kyuss Tribute)

Stands:
Branca Studio
Doom in aeternum
Anskar Tattoo&Piercing
+Tbc

Foodtrucks:
El alma-zen de los montaditos.
+ TBC

Cheapstock does not disgust anyone or anything, so you will be able to attend being under age or accompanied with your pet (or with your faithful bong). As it’s tradition, we’ll giveaway a fucking bong!! Courtesy of maxupixu smokers.

Tickets: https://entradium.com/entradas/cheapstock-vol4-pineda-de-mar

Arrival:
By Train, R1 Pineda de Mar, there will be a carrilet at the station that will take you directly to the festival compound and back.
By Car, by c32 exit 122, until we reach nii and continue direction girona until the exit of the motorway
By Bus, Pineda de mar train station and carrilet to the venue.
For the most adventurous to say that there are about 25 minutes walking from the pineda de Mar station.
BUS NIT:
To get back to bcn at night you need to take the n82
by Solo Bongs
Collaborate jäger music

https://entradium.com/entradas/cheapstock-vol4-pineda-de-mar
https://www.facebook.com/events/432927297064092/
https://www.facebook.com/cheapstockfest/
https://www.facebook.com/solobongs/
http://solobongsrecords.bandcamp.com/

Belzebong, Greenferno (2016)

Blaak Heat, Shifting Mirrors (2016)

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Kabbalah Post “The Reverend” Video; New Album out Now

Posted in Bootleg Theater on July 14th, 2017 by JJ Koczan

kabbalah

Spanish garage cultists Kabbalah have newly issued their full-length debut, Spectral Ascent, via respected tone-worshiping purveyor Twin Earth Records. If you want to look at the release via a telling statistic, it’s worth noting that three of the nine component tracks contain some version of the word “dark.” Those songs, “The Darkest End,” “The Darkness of Time” and “Dark Revelation” — one might but won’t count the penultimate “The Shadow” in with the bunch as well — only serve to emphasize the thematic point that the album as a whole is making in its organic semi-psych-but-still-clearly-structured atmosphere, given to flashes of post-Uncle Acid/Ghost horror-infused melody (looking at you, “The Darkest End”) but carrying a formative identity from its titular intro through the shuffling finale “Presence.”

“The Reverend,” for which Kabbalah have a new video posted below, is the centerpiece of Spectral Ascent, and it rightly earns its place on the altar with ringing guitar from Alba, a steady and tense low end courtesy of bassist Marga and the crisp punctuation of drummer Carmen‘s snare. Like much of the record that surrounds, its hook does a lot of the work in carrying over the desired vibe, but a little double-kick from Carmen and added flourish of theremin (or a synthesized approximation thereof) lends even more classic-style weirdness to the proceedings as the Pamplona trio move through the sharply executed three-minute push en route to the boogie of the subsequent “The Darkness of Time” and continue Spectral Ascent‘s cohesive, catchy and modern take on raw heavy rock.

The clip is basically an amalgam of garnered footage from horror movies, but it gets the point of the song across one way or the other. Spectral Ascent can be streamed now in its entirety (I’ve included the Bandcamp player at the bottom of this post) and Twin Earth has vinyl available to preorder ahead of an Oct. 1 ship date. Those details follow, courtesy of the PR wire, but of course, first comes the video.

Enjoy:

Kabbalah, “The Reverend” official video

Spanish occult doom metal band KABBALAH are pleased to announce that their new album Spectral Ascent is now available via Twin Earth Records. The album is a blend of occult rock, doom and psychedelic.

Buy the album here: https://kabbalahrock.bandcamp.com/album/spectral-ascent

Pre-order the vinyl edition here: http://twinearthrecords.storenvy.com/products/20518964-kabbalah-spectral-ascent-limited-edition-clear-transparent-vinyl-lp-pre-o

Kabbalah is:
Carmen (drums)
Marga (bass)
Alba (guitar)

Kabbalah, Spectral Ascent (2017)

Kabbalah on Thee Facebooks

Kabbalah on Bandcamp

Twin Earth Records on Thee Facebooks

Twin Earth Records website

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Bones of Minerva Premiere Video for “Overcoming”

Posted in Bootleg Theater on June 27th, 2017 by JJ Koczan

bones of minerva

Spanish four-piece Bones of Minerva issued their debut album, Blue Mountains, earlier this year, and cast themselves in a place somewhere between heavy rock, psychedelia and more aggressive, loosely-metallic fare. One finds this position established in the opening track, “Overcoming,” which though it clocks in at under five minutes long moves from noise-inspired start-stop riffing and soaring melodies into a fervent push of growls and tonally dense nastiness. This line, between heavy rock and metal, can be finer and finer depending on how a given band wants to toy with it, and Bones of Minerva do well throughout their hook-laden, self-released first outing to vary their methods on an almost per-track basis, so that while “Overcoming” makes that shift, an upbeat rocker like “Fear is a Biscuit,” which immediately follows, does not.

Accordingly, the four-piece of vocalist Blue, guitarist Ruth, bassistbones of minerva blue mountains Chloé and drummer Koa don’t fall into a predictable pattern one way or the other. “Defenders” is pissed off almost to a blackened degree, but centerpiece “Eery Octopus” offers more drift, and in a mere 3:47, “Plastic Crown” efficiently ties the two sides together leading into the High Fighter-esque “Aces” and progressively-tinged finale “Whales.” Each cut has something different to offer that broadens the context of the record as a whole, and as their first full-length behind a 2014 EP titled Shot, the seven-song long-player both sees Bones of Minerva find their niche in terms of aesthetic and set themselves up for development going forward within that.

I’m not entirely sure where they’re headed or what exactly the ritual is in the video for “Overcoming,” but if they’re working on their own level, all the better as far as I’m concerned. Either way, I’m happy to host the premiere of the clip, which you’ll find below, followed by more background on the band, who’ll share the stage tomorrow night, June 28, at Wurlitzer Ballroom in their hometown with UK psych revelers Vodun. More info on that show can be found at the Thee Facebooks event page here.

Please enjoy:

Bones of Minerva, “Overcoming” official video

Bones of Minerva formed in 2013 in Madrid, Spain. Their eclectic sound is rooted in the genre of alt metal.

Formed by Blue (vocals), Chloé (bass), Koa (drums) and Ruth (guitars), they seek to merge heavy riffs with hypnotic rhythms, dreamy landscapes with vocals which range between shamanic and aggressive.

“Blue Mountains” is their first self-released album, after a previous Ep “Shot” in 2014, and they have thrown themselves completely into this new release, carrying out everything from the songwriting to the design and album art themselves. With it they intend to prove themselves and take their music as far as possible, with a raw live show which leaves no one indifferent. The band also does acoustic sets, adapting their music and using violin, acoustic guitar, percussion and even acapella vocals.

They are currently promoting the album, seeking to take their music as far as possible, with everything to gain and nothing to lose.

Bones of Minerva website

Bones of Minerva on Bandcamp

Bones of Minerva on Thee Facebooks

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audiObelisk Transmission 061

Posted in Podcasts on May 15th, 2017 by JJ Koczan

the obelisk podcast 61

Click Here to Download

 

Yes! A new podcast! Are you stoked? I’m stoked. If you’re not, you will be when you look at the list of bands included. In any case, let’s be stoked together, because rock and roll, and heavy psych and good music and, well, yeah. That’s pretty much stuff to be stoked about. It’s been absurdly long since the last time we did one of these. Too long. I don’t really have an excuse other than… gainful employment? Don’t worry, though. That’ll be over soon enough. Then it’ll be podcasts out the ass.

There’s some killer goods here though. Yeah, I decided to do a “Yeti” double-shot with Green Yeti into Telekinetic Yeti. That’s my version of me being clever. But both bands are righteous, and if you haven’t heard the Savanah record, or that new Tia Carrera jam, or the Cachemira or Big Kizz or Yagow or Vokonis or the Elder — oh hell, frickin’ all of it — it’s worth your time. That Emil Amos track just premiered the other day and I think will surprise a lot of people, and I liked the way it paired with the dark neofolk of Hermitess. And of course we get trippy in the second hour, as is the custom around here. But first a moment of prog clarity from the aforementioned Elder. That’s a good time as well.

As always, I hope you enjoy.

Track details follow:

First Hour:

0:00:00 Vokonis, “The Sunken Djinn” from The Sunken Djinn
0:06:47 Tia Carrera, “Laid Back (Frontside Rock ‘n’ Roll)” from Laid Back (Frontside Rock ‘n’ Roll)
0:16:33 Supersonic Blues, “Supersonic Blues Theme” from Supersonic Blues Theme / Curses on My Soul
0:19:28 Emil Amos, “Elements Cycling” from Filmmusik
0:22:28 Hermitess, “Blood Moon” from Hermitess
0:26:24 Savanah, “Mind” from The Healer
0:34:22 Yagow, “Non-Contractual” from Yagow
0:42:35 Big Kizz, “Eye on You” from Eye on You
0:45:53 Cachemira, “Jungla” from Jungla
0:52:05 Green Yeti, “Black Planets (Part 2)” from Desert Show
0:58:02 Telekinetic Yeti, “Stoned and Feathered” from Abominable

Second Hour:

1:02:10 Elder, “The Falling Veil” from Reflections of a Floating World
1:13:20 Riff Fist, “King Tide” from King Tide
1:24:15 Cavra, “Montaña” from Cavra
1:39:18 Causa Sui, “A Love Supreme” from Live in Copenhagen

Total running time: 1:55:53

 

Thank you for listening.

Download audiObelisk Transmission 061

 

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Review & Full Album Stream: Cachemira, Jungla

Posted in audiObelisk, Reviews on May 12th, 2017 by JJ Koczan

cachemira jungla

[Click play above to stream Cachemira’s Jungla in full. Album is out today, May 12, on Heavy Psych Sounds.]

More than most records, let alone most debuts, Cachemira‘s first offering, Jungla, gives the front-to-back impression of a live set. With “Ouverture” — French for “opening” — the Barcelona three-piece gradually bring the Heavy Psych Sounds release to life over the course of its first four minutes, and from there, it’s all about the naturalist chemistry that emerges as one song feeds into the next over the course of four pieces on two vinyl sides. When taken together, those two sides, “Ouverture” included, comprise a tight 30-minute set that showcases the band’s personality in what is apparently their formative stage. That is, while Cachemira may not sound like it as they round the hairpin turns of eight-minute tracklist centerpiece and side A closer “Goddess,” which follows “Sail Away” after “Ouverture,” they’re are a pretty new group.

The lineup has some measure of pedigree, as guitarist/vocalist Gaston Lainé has played in Brain Pyramid, bassist Pol Ventura in 1886 and drummer Alejandro Carmona in Prisma Circus, but Jungla is their debut outing together following a recorded early version of the album’s instrumental title-track and a posted leak of “Goddess,” which when taken together here comprise the whole of side B. I suppose one could call it boogie rock with all the scorching guitar-led shuffle in “Goddess” or “Jungla” itself, but the classic-rocking sensibility Cachemira elicit owes more to the likes of Radio Moscow than to Graveyard, and among the most appealing aspects of Jungla is its unpretentious, organic vibe.

Most especially for the heavy rock converted, it’s an easy listen that asks little of its audience other than they tag along for a slew of guitar solos and jam-based songcraft. Anyone who’s heard Prisma Circus can tell you Carmona is a monster shuffle-drummer, and he showcases some of that here, finding complement in the warm low tone of Ventura‘s bass as the band works in classic power trio construction — Carmona and Ventura the powerhouse rhythms section to Lainé‘s frontman presence. As recorded by Lainé‘s Brain Pyramid bandmate, Baptiste Gautier-Lorenzo, the spirit in “Ouverture” is immediately warm with a subtle underscoring of organ for the sweet guitar tone, and as they build toward “Sail Away,” transitioning via that same organ line, the groove that takes hold remains informed by the relatively patient start they give the album.

cachemira

In terms of the basic elements at play, Jungla works in familiar terrain — guitar, bass, drums, vocals, some flourish of keys — but it’s really about what these players bring to it and how well they work together that lets Jungla impress in the way it does. The band has said outright that this is the product of their beginnings, some of their earliest work from about a year ago, and that may well be the case, but that also shows clearly that what they have most going for them at this point is the fluidity of the instrumental conversation between LainéCarmona and Ventura, as the smoothness of their delivery throughout becomes enough to even out the purposeful choppiness and bounce of their writing style such that even the more raucous back half of “Goddess” — drum solo and all — holds firm to its overarching languid mood. Even when they’re in a rush, they don’t sound like they’re in any rush whatsoever.

That’s not to say they don’t build some significant momentum throughout Jungla, because they most certainly do. Even as “Goddess” breaks before the side flip brings on the closing duo of “Jungla” and “Overpopulation,” the sense of motion to the songs is clear, and whether they’re running in circles as “Jungla” builds to a head in its second half, underscored by persistent, insistent crash from Carmona on drums and a steady throb from Ventura on bass, almost jazzy by the finish after a wah-soaked, forward-driven start, or squealing through the starts and stops and winding progression of the finale, that motion is as varied and multidirectional as it ultimately is maintained. If Jungla is to represent Cachemira‘s beginnings, then their beginnings find them not at all afraid of flying off the handle as they twist around complex rhythm structures, and proven that they’re right not to be.

Whether it’s from their collective experience in other outfits or just happenstance that they work so well together — or, I suppose, some combination of the two — the basic fact of the matter is Cachemira‘s debut offers explosive moments amid a liquid, welcoming, almost understated presentation for what they’re actually doing, and in addition to its own accomplishments, it sets them up to move forward and develop along the course they’re setting here. Primarily, though, it speaks to what would seem to be their force as a stage act, and though it’s a short set, there’s no question they leave their audience wanting more. One suspects it won’t be all that long until we get it, but until then, Jungla‘s balance between the head-spinning and the molten makes their first album a significant preach well worth engaging. It would be a hell of a live show.

Cachemira on Thee Facebooks

Cachemira on Bandcamp

Cachemira at Heavy Psych Sounds website

Heavy Psych Sounds on Thee Facebooks

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Atavismo Take Track-by-Track Look at Inerte (Plus Full Album Stream)

Posted in audiObelisk, Features on April 4th, 2017 by JJ Koczan

atavismo

If you’re getting tired of hearing me talk about it, that’s probably just too bad. This Friday, April 7, is the release date for Atavismo‘s wonderfully progressive, lush and psychedelic second album, Inerte (review here). It’s coming out via Temple of Torturous, and between the recent European tour announcement, their video for “La Maldición del Zisco” (posted here), the review/track premiere linked above, the initial album announcement, and my own Most Anticipated of 2017 list, the record has been an ongoing theme for the early part of the year. When I like something, I say so. It’s not like I’m doing this to keep secrets.

atavismo euro tourAnd not that I couldn’t keep rambling about its ongoing appeal, from the opening rush of “Pan y Dolor” to the musings of “Volarás” at the finale, but it seems only fair as it is release week to give someone else a shot. The band, say. Atavismo — the Algeciras-based three-piece of Jose “Poti” Moreno (ex-Viaje a 800, Mind!), bassist/vocalist Mateo and drummer/vocalist Sandri Pow (also ex-Mind!) — have been kind enough to let me host the full stream of Inerte, and while I’d normally pair that kind of thing with a review, that’s already been done, so instead, we’ll get their take on the record.

Below, you’ll find the five-track entirety of Inerte for your streaming pleasure, and I do hope you’ll make your way through it front to back. Beneath that is a track-by-track look at the album courtesy of Atavismo themselves, which is doubly appreciated for the fact that English isn’t their first language.

With special thanks to Becky Laverty for coordinating, I hope you enjoy:

Atavismo – Track by Track Through Inerte

“Pan y Dolor”

“Pan y Dolor” is the first track on the album — and one that we premiered here with the Obelisk! As we said at the time, this song is something of a tribute to the Spanish band, Triana. The act of breathing becomes the succinct exercise of feeling beyond paradigms and self inner worlds. The album starts with some serious psychedelia.

“El Sueño”

“El Sueño” is a long walk in the moonlight, catching all your senses from the first second. When you are completely in charge of creating your own album, you get to decide exactly how it will sound, then the results are a dream come true. We’re very happy with the way this sounds.

“La Maldición del Zisco”

“La Maldición del Zisco” suggests being a decadent trickster. Pot’s amazing vocal melody flies over an insidious bass reminding us of a real ’80s essence, that one which made us fall in love with riding on coloured cotton clouds and apocalyptical rainbows.

“Belleza Cuatro”

“Belleza Cuatro” is a slice of classic psychedelia — and in our opinion, a perfect, original crepuscular soundtrack.

“Volarás”

Inerte finishes with the track “Volarás,” a long way from the intense rhythm of the beginning of the album; it becomes a lysergic and poetic journey through our hearts. Guitar solos and harmony voices destroy our worst fears and make them become the most beautiful feelings of love and real truth.

Overall, Inerte is a neccesary trip, the unhurried sound which is hiding between your future visions; the best auditive pleasure you didn’t know you were looking for.

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