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.
And 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” 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” is a slice of classic psychedelia — and in our opinion, a perfect, original crepuscular soundtrack.
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.
MotherSloth‘s new album, Moon Omen, is a weird one. Issued through Argonauta Records at the beginning of the month, it brings forth a cultish vision of doom that dips into influences from Alice in Chains to Danzig as it traverses a dark path of six deceptively memorable tracks — the sort of earworms that don’t beat you over the head with hooks, but wind up replaying themselves on the mental jukebox anyway in a “what just happened?” kind of retread. From the title-line howls in the opening cut “Shadow Witch” to the ambient unfolding of nine-minute closer “Moon Omen” and across the melodically resonant “Doomsday Cyborg” and mournful Cantrell-style churn of “Once Human” between, it’s a record that brings a deeply individualized context to a style of doom that draws from both modern and classic spheres. Also from who knows where else.
One would expect for any visual representation of Moon Omen to be accordingly bizarre, and the dark-hued video for “Shadow Witch” most certainly is that. I’m pretty sure the band is in there somewhere, but the whole affair is pretty obscure and willfully vague, and where later in the album, the Madrid three-piece dip into progressive melodies underscored by melancholy lead guitar on “The Firemill,” with “Shadow Witch,” it’s more about the dirge and the ritual, even unto the quiet, whispering break in the song’s second half that leads to the surprising, if brief, apex of all-out cacophony. I’m telling you, and I’m not lying, they do it strange and they do strange well. Moon Omen finds MotherSloth as much centered around atmosphere as basic songwriting, but both work together to serve an overarching purpose of bizarre evocation that’s almost bound to stay with you after the record is done, which of course is the whole idea.
If you haven’t heard Moon Omen in its entirety as yet, it’s available now through Argonauta and streaming in full on MotherSloth‘s Bandcamp page — both of which are linked at the bottom of this post. More background on the band and the video credits follow the clip itself, which you’ll find immediately below.
Hope you enjoy:
MotherSloth, “Shadow Witch” official video
Directed by: Hugo “Brutal Panacota” Martín Production/ Film making/ Post production: Iván “Lobo” Moreno Camera , Edition and VFX : Iván ”Lobo” Moreno Production assistant: Malina Gancarz Make up: Andrea Mena / Iris “Assa” Erza Actors: Druid: Juan Carlos Zar Punk guy: Jimmy Jazz Witch: Leila Díaz Witch Follower 1: MOnica Garcia . Witch Follower 2: Iris ”Assa” Erza Special thanks to Gloria Crespo and Mayte Moraleda for their support
MotherSloth is a Madrid-based band formed in 2008. In the band’s style, you can find several influences – ’70s inspired sounds combined with heavy guitar riffs and open chords, blended with spirally progressive melodies. After various formations, the band records demos under the title “Death Flowers” (2009), and plays live throughout Madrid with other avant-garde stoner bands. In 2012, with a more defined musical path, MotherSloth recorded their debut EP “Hazy Blur Of Life“, edited in 2013 by Peruvian underground label Dooom Records.
In late 2013, MotherSloth decided to focus on the instrumental songs they had been writing throughout the years, recording their new LP “Moribund Star” (2014), edited in 2015 with Germany’s Voodoo Chamber Records. In 2016 the band entered the studio to record their next album, consisting of 6 brand new songs, released by ARGONAUTA Records in CD/DD during Spring 2017.
MotherSloth is: Dani – guitars and vocals Moline – bass guitar and vocals Oscar – drums
Glad to see Algeciras progressive psychedelic rock trio Atavismo getting out in support of their second album, Inerte (review here). That record, still forthcoming with an April 7 official release date through Temple of Torturous and a recently unveiled video for “La Maldición del Zisco” (originally posted here) that you can see below, has been an early favorite of 2017 for me, building on the fluidity of 2014’s engaging four-track debut, Desintegración (review here), while at the same time fleshing out a more pointed approach. Proggier, in other words, but in a classic, patient and not-at-all showy sense of the style. If you haven’t heard the album yet — and it’s okay if you haven’t, what with it not being out and all — keep it in mind. You should hear it.
I know I’ve said that before. Hard to imagine this will be the last time I say it either. Some points are worth reiterating. In any case, Atavismo‘s upcoming Euro run through Spain, Germany, the Czech Republic, Belgium and maybe the Netherlands has a few dates open, and if you’re in that part of the world and can help them out, well, do that.
From the social medias:
ATAVISMO EUROPEAN TOUR
Full of happiness for announcing this Tour Poster, lots of working behind it and not only from us (the design is amazing, thanks again Antonio Ramírez).
THANKS TO EVERYONE who has helped us to book some shows (still some of them TBA), your support has been incommensurable. We love you with all our hearts. This wish has become true.
14.04 El Perro Club Madrid ES 15.04 Inferno Pamplona / Iruna ES 16.04 Sala Shake Bilbao ES 18.04 Tiefgrund Berlin DE 20.04 Immerhin Wurzburg DE 21.04 Villa Nachttanz Heidelberg DE 22.04 Rock Pub Moskva Bilina CZ 23.04 TBA CZ or DE 25.04 The Mix ArtsSense Brussels BE 26.04 TBA NL or BE 27.04 Bombardon Gent BE 28.04 Jam Club Koblenz DE 29.04 TBA FR 30.04 Rocksound Barcelona ES
ATAVISMO are: Poti: Guitar and vocals Sandra: Drums and vocals Mateo: Bass and vocals
May 16 is the set release date for Full Moon in Scorpio, the second full-length and Fighter Records debut from Spanish heavy rockers The Wizards. To mark the announcement, the band has posted the track “Avidya,” which opens the album, for streaming, and as you can hear below, it gets the mastered-in-my-beloved-Garden-State outing off to an energetic start, taking elements from classic metal and an undercurrent of boogie at will and meshing them together in a cohesive package that reminds a bit of the post-NWOBHM dual-guitar antics of Bible of the Devil, which is not at all an unwelcome reminder to get. A little fist-pump to go with your shuffle and nod. Not gonna argue with it.
The track and background on the band came down the PR wire:
THE WIZARDS set release date for FIGHTER RECORDS debut, reveal first track
Spanish ’70s hard & heavy rock band The Wizards have inked a deal with Fighter Records for the release of their highly anticipated second album, Full Moon in Scorpio, which will see the light on May 16th internationally.
Formed in Bilbao (Basque Country) back in 2013, these five outcasts decided to form a band after several intense sessions of drug abuse and hard liquor drinking marathons at backyard parties where the records of Black Sabbath, Danzing, The Cult, Blue Oyster Cult, Pentagram, Deep Purple, Dio, Horisont, and Electric Wizard were played so loud, neighbors would call the police sooner than expected.
In January 2014, The Wizards recorded their first demo, Plagues. With only four songs recorded and a bunch of covers, they were able to win the 26th edition of the local pop/rock contest Villa de Bilbao, and during 2015, they released their self-titled debut album through their own label, Witch Records, in collaboration with French label Geea Music.
The band played live in France, Basque Country, and Spain opening for legendary bands and artists such as The Dictators, Iggy Pop, and Turbonegro, sharing the stage with bands like Horisont, Peter Pan Speed Rock, and Hypnos among others. They were even invited to participate in festivals such as Madrid Stoner Scene Fest, Kriston Fest, and Faan Fest.
During April 2016, The Wizards entered Gaua Studio together with Brooklyn-based produced Dean Rispler, current bass-player for The Dictators. During two weeks, they recorded eight songs that form their upcoming second album, Full Moon in Scorpio, engineered by Asier Zubelbu and mixed & mastered by Jesse Cannon (The Cure, The Misfits, The Dillinger Escape Plan) at Cannon Found Soundation in Union City, New Jersey.
Full Moon in Scorpio contains eight tracks of hard & heavy rock attack, the lyrics dealing with such issues as the destruction of the veils that blind us, the vast concepts of space and time, the search for spiritual enlightenment, and so on. For the band, it truly means a step forward in their quest for world domination. The sound is bigger, the songs are better, and The Wizards are ready to destroy and fuck things up wherever their presence is needed. The western world is collapsing – let’s dance over the fires while we howl at the Scorpio Moon. All in the name of rock ‘n’ roll – all in the name of Lucifer!
The Wizards’ Full Moon in Scorpio will be released May 16th through Fighter Records on CD and vinyl LP formats.
Tracklisting for The Wizards’ Full Moon in Scorpio 1. Avidya 2. Calliope (Cosmic Revelations) 3. Odinist 4. Stardust 5. Leaving the Past Behind 6. Halftones to Eternity 7. Who are You, Mr. Gurdjieff? 8. When We Were Gods
Like the album it’s meant to herald, the new video from Spanish trio Atavismo is deeply colorful, expansive, and underscored by a live-feeling performance. The record is called Inerte (review here), and it’s due out April 7 via Temple of Torturous, which also released the band’s stellar 2014 debut, Desintegración (review here), and the song in the clip is “La Maldición del Zisco,” the centerpiece of the five-track offering. Making use of ascending and descending scales throughout, it makes a particularly resonant impression in putting emphasis on the more progressive take Atavismo show this time around, but amid the headphone-ready synth swirl, layers of vocal melody and winding guitar figures, there are also bouncing drums and a funky bassline, and neither seems the slightest bit out of place. This is among the core factors in what makes Inerte work so well.
I’ve gone on — at length, and multiple times — about this band and how I think they’re onto something special. I know sometimes it’s hard to wade through. The internet is a place full of hyperbole and it’s easy for things to get lost in the wash of opinions, noise and distraction. Still. Take a couple minutes and check out “La Maldición del Zisco,” especially if you haven’t had the chance yet to listen to Atavismo or if you missed the “Pan y Dolor” premiere that went with my review linked above. Aside from the fact that I wouldn’t say these things about Atavismo or about Inerte if I didn’t think they were true, I genuinely believe that good music has the power to make your day, week, month, life better. I believe good art enriches who we are as people, and part of the reason I’m going to encourage you to check out this track as I have Atavismo‘s work all along is because I think it offers the kind of warmth that improves one’s existence. Maybe it’s not for everyone. That’s cool too. At least you will have tried.
That’s my spiel. Until the next one.
Please enjoy “La Maldición del Zisco” below. Inerte is out April 7 on Temple of Torturous, which posted the info you’ll find under the video:
Hailing from Spain, and with a critically acclaimed debut album, Desintegración, already under their belts, ATAVISMO are exploring new territories with their second full length release. Breaking away from the space rock jams of their debut, ATAVISMO have maintained a psychedelic edge, only this time around the evolution of the band is reflected in their more compact, progressive sounds.
The writing process starts with a jam session – as many great creations have – before a firmer structure is applied to the songs. Lysergic lyrics revolve around soulful feelings, love, and bad dreams which the band describe as “existential poetry”. The result, among other things, is a submersion into the Andalusian rock legacy of the legendary band Triana, without losing sight of more current means of understanding psychedelic or progressive rock from bands like Black Mountain, Wolfpeople or Motorpsycho.
Inerte was recorded in October 2016 at Trafalgar Estudios, El Palmar (Cádiz), Spain.
ATAVISMO are: Poti: Guitar and vocals Sandra: Drums and vocals Mateo: Bass and vocals
The situation seems to be that Granada-based four-piece instrumental outfit Svuco have undergone something of an aesthetic shift since they put together their early-2016 second EP, Kikazaru. Fair enough. Those things can happen, especially earlier in a group’s run — somewhat rarer, say, after four albums, but still not unheard of — and Svuco are just a couple years on from first getting together and releasing their Mizaru debut EP in 2015. It’s a move essentially from heavy rock to heavier rock, and one can hear it in the tones of “Kikazaru Directo,” a redux version of the title-track from their second short outing, for which their new video can be seen below.
Right off the bat, “Kikazaru Directo” is about two minutes longer than the original “Kikazaru,” which is still streaming on their Bandcamp. Not an inconsiderable difference, and general tempo is a part of that. Svuco seem to be pulling away from some of their progressive metal influences in favor of greater tonal depth, however, and that comes through as well in “Kikazaru Directo,” as well as the live feel in their execution — something only emphasized by the video itself, which basically captures the band in the studio performing the track, sans frills. Nothing wrong there if they’re looking to make a statement of their direction, as clearly Svuco are. They did call it “Directo” after all. Only fair they should be as direct as possible.
As to where the stylistic turn will lead them — they seem also to have committed outright to an instrumental approach following a split with their prior vocalist — or if it’s done, I wouldn’t guess, but giving those who might check them out an immediate comparison point between where they were and where they are now is an interesting step that not everyone would take, and that alone is worth appreciating, let alone the groove that emerges from “Kikazaru Directo” itself. Though that’s worth appreciating too, as you can see and hear in the clip.
More info from Svuco‘s label, Pelazoh Producciones, follows, as run through a translation matrix.
Svuco, “Directo Kikazaru” official video
Our band Svuco has gotten back into the recording studio but not with the idea of ??recording a new batch of songs. The band has re-recorded Kikazaru, (or their extended version of the direct) track that gives name to their second EP and that is one of the most representative subjects of the sound that Svuco is getting on the stages.
With two EPs on the market in just one year [Mizaru (2015) and Kikazaru (2016), both recorded under the creative collective Pelazoh], Granada’s formation continues to follow the path that has yielded such good results so far, characterized For creative freedom and the assumption of important challenges. The good number of concerts given during 2016 have revealed the power of the live sound of Svuco, being on the scenes where the best experimental stoner rock that the band proposes is shown. Knowing this, they have returned to the studio with the most representative theme of their current sound and with an unusual idea and hence the merit: to record Kikazaru live in the recording studio, with the equipment they carry in the concerts and with the Intention to avoid later production once the subject has been recorded.
Credits: Guitar: Saúl Gonzálvez Drums: Roberto Cano Bass: Nino Sánchez Keyboard: S.Oliver Production: Saúl Gonzálvez Directors: Enrique Pérez / Jose A. Malagón Camera operators: Enrique Pérez / Jose A. Malagón / Zohair / Alejandro García Sound: Enrique Bjeta in Fjr Studios Postproduction: Enrique Pérez / Saúl Gonzálvez
[Click play above to hear the premiere of ‘Pan y Dolor’ from Atavismo’s Inerte. Album is out April 7 via Temple of Torturous and can be preordered on CD, black vinyl and clear vinyl.]
Expectations for the second album from Spanish trio Atavismo were set pretty high following their gorgeously cosmic and serene 2014 debut, Desintegración (review here). Inerte makes short work of them. Expanding from four to five included tracks, it sees guitarist/vocalist/synthesist Jose “Poti” Moreno (ex-Viaje a 800, Mind!), bassist/vocalist Mateo and drummer/vocalist Sandri Pow (also ex-Mind!) push brazenly past the fluid textures of their first outing and hold onto some sense of ethereal psych-jazz jamming — hola, “El Sueño” — as they find ultimately more progressive footing.
Released like its looser-feeling-in-hindsight predecessor through Temple of Torturous, Inerte answers some of the questions the band posed with the space-rocking single “Haribo” (discussed here) and affirmed for their audience that they’ll not necessarily be defined by one course or another, one sound or another, and that their goal is far more individualized than to simply execute the tenets of heavy psychedelia, space or prog rock, even as their aesthetic pulls from each of those and more besides. Songs like “Belleza Cuatro” and opener “Pan y Dolor” offer distinctive moments of resonance marked by beautiful melodies and rhythm that can either be insistent and winding, as in “Pan y Dolor”‘s first half, or barely there at all, something carrying the song forward like a gentle river current, as in the drifting guitar-led midsection of the aforementioned, 11-minute “El Sueño.” This nuanced blend is presented with a lush but natural production captured this past October at Trafalgar Estudios in Cádiz, and does nothing across its 42-minute span to rescind the invitation to the listener issued by its in medias res launch.
The tighter feel of Inerte and the uptick in progressive influence from Atavismo is as immediate as that launch itself. A quick, fuzzy lead line careens into forceful Iberian acoustic strum as the vocals arrive for the first verse. It happens fast, but is welcoming nonetheless, and a play back and forth between the electric and acoustic ensues between chorus and verses for the next several minutes, Moreno and Pow and Mateo singing together in classically prog form as a kind of mini-chorus themselves — an element of space rock willfully repurposed and put to excellent use. Shortly before the halfway point of its eight-and-a-half-minute run, “Pan y Dolor” breaks into a wash of guitar and keys/Mellotron that is as hypnotic as it is joyous, with just an undercurrent of foreboding, cutting itself off at 6:48 in order to reintroduce the acoustic strum and resume the song’s prior course, as if to say, “don’t worry, it was just a dream.” It may well have been, and if so, it wasn’t the last.
“Pan y Dolor” builds to its conclusion and “El Sueño” kicks in with lower tone and a deceptively fast tempo, Mateo‘s bass more prominent in the mix. This is the bed over which vocals soar for another soon-arriving verse, and their being somewhat more drawn out — notes held longer — than the opener prefaces the turn into calmer fare that the second track makes at about the 4:20 mark, the tension Atavismo have thus far mounted seeming to let itself go in favor of more improvised-sounding jamming driven by fuzzed-out psychedelics and effects flourish that settles in a delight of meandering wah and builds to an apex over its last couple minutes as it recalls its own early going without necessarily returning to it outright. That jam carries Inerte‘s longest inclusion to its finish and the finish of side A, ending in a cymbal wash and surge of guitar noise that emphasizes the live feel it has fostered all along.
Centerpiece “La Maldición del Zisco” backs sparse guitar with a steady bass and drum progression and fills out its arrangement with keys, using the guitar more as an outward-ringing accent to its early verses, spacious and patient, before it at last launches into what one might call its chorus right around three minutes in. It’s a moment of taking flight through sound and Atavismo make the most of it in terms of thrust, but they’re still not forcing the song to go anywhere it doesn’t want to go.
They dip back into the verse easily and return to the mostly-instrumental chorus quicker the second time through, then proceed to jam their way out of the track, fading to silence just before the seemingly complementary “Belleza Cuatro” — the two are the shortest cuts on Inerte at 6:18 and 5:18, respectively — takes hold in a soothing trance of liquefied guitar and keys. Its importance in being positioned as the penultimate track before 10-minute closer “Volarás” shouldn’t be understated, and as Moreno, Mateo and Pow drift toward that grand finale, they do so with no less purpose behind them than they had rushing at the outset of “Pan y Dolor.” Vocal harmonies echo under sweet lines of guitar and softly-thudding drums, and a louder, fuller tone rises in the second half, but they still cap quietly, which gives the percussion/keyboard opening of “Volarás” an even more dramatic sensibility. This is something of a ruse, on the band’s part — another dream, maybe — because just after three minutes of building to who knows what, they juke left and shift into a particularly Floydian blend of lightly-strummed guitar, keys, bass and drums, a memorable keyboard line serving as the core around which the rest is placed.
This will be the movement that carries Atavismo out of their second record, and it seems to be a final highlight of the point that their progression is by no means a settled issue. It is striking how many different looks the band gives in these five tracks and how able they are to tie them together as a single flowing work. As “Volarás” quietly makes its way out, Inerte seems to have done as much through understatement as through its reaching new heights, and if it’s in that balance that Atavismo will find their place, then all the better. Whatever they do going forward — Moreno and Pow also have a new four-piece project in the works with former Viaje a 800 guitarist Jose Angel “Oceano” Galindo called Híbrido, adding intrigue to this release — Atavismo have exceeded the potential their debut showed with Inerte and given their listeners a work of depth and breadth that should be treasured for years to come.
Posted in Whathaveyou on February 10th, 2017 by JJ Koczan
So you’re telling me you’ve got a new band with dudes culled from the ranks of Prisma Circus, Brain Pyramid and 1886? Somehow I don’t think I’m gonna have much trouble getting on board with this one, and listening to the instrumental boogie in the “lo-fi take” of “Jungla” — which seems likely to be the title-track of Cachemira‘s forthcoming debut album, and which you can stream at the bottom of this post — the appeal that drove Heavy Psych Sounds to pick the trio up feels pretty obvious. Fiery classic shuffle finds a good home amid a killer label’s unfettered expansion. Who doesn’t like that story?
The version of “Jungla” below, which appeared on a Red Sun Records compilation, is my introduction to the Barcelona-based outfit, but it’s only got me intrigued to dig further. The Italian imprint doesn’t half-ass it either when it comes to promoting its bands, so expect to hear more about Cachemira leading up to the release. For now, here’s the announcement that was posted about the signing:
Cachemira, Jungla – Heavy Psych Sounds
HEAVY PSYCH SOUNDS Records & Booking is proud to announce the signing of a new awesome band!! Welcome on board to CACHEMIRA!!
Cachemira was born in the summer of 2015 in Barcelona, the band started as a duo composed of drummer Alejandro Carmona of Prisma Circus and guitar player Gaston Laine of Brain Pyramid (that had recently moved to Spain), after some intense nights of jams they were finally joined by bass player Pol Ventura (1886) to complete the actual line-up.
All three members meet during shows with their respective bands and decided to gather forces to develop each others compositions. Until early 2016 they kept composing in the search of their old school psych rock dynamic.
From January 2016 with a brand new set, the band started to play as much shows as possible to try out their sound. Through a bit more than half of the year they played various cities through Spain, Portugal, France and Germany, sharing the stage with some international bands from the Psych Rock, Stoner scene.
Recording of the first record started in June 2016 and was finished in August right after they were back from a short summer tour where they played in Sonic Blast Moledo, the band has since then matured its sound and keeps on with composition and shows, developing a genuine heavy psych blues experience!
THE DEBUT ALBUM FOR THIS INCREDIBLE 70’s, Heavy Psych, Bluesy Rock band WILL BE OUT THIS SPRING ON HEAVY PSYCH SOUNDS RECORDS!
More details about the album will be announced soon …so stay tuned!