audiObelisk Transmission 061

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

the obelisk podcast 61

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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.

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Cachemira on Bandcamp

Cachemira at Heavy Psych Sounds website

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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.

Atavismo on Thee Facebooks

Atavismo on Bandcamp

CD preorder at Temple of Torturous

Black LP preorder at Temple of Torturous

Clear LP preorder at Temple of Torturous

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MotherSloth Premiere Video for “Shadow Witch”

Posted in Bootleg Theater on March 28th, 2017 by JJ Koczan

mothersloth

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

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MotherSloth on Twitter

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Argonauta Records website

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Atavismo Announce European Tour Dates

Posted in Whathaveyou on March 24th, 2017 by JJ Koczan

atavismo

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 euro tour

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

https://www.facebook.com/Atavismo-233096556878903/
https://atavismo.bandcamp.com/
http://templeoftorturous.com/
https://www.facebook.com/ToTRecords/

Atavismo, “La Maldición del Zisco” official video

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The Wizards to Release Full Moon in Scorpio May 16; New Song Streaming

Posted in Whathaveyou on March 21st, 2017 by JJ Koczan

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

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

www.facebook.com/thewizardsrock
https://twitter.com/the_wizardss
https://thewizardsofrock.bandcamp.com/

The Wizards, “Avidya”

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Atavismo Post “La Maldición del Zisco” Video

Posted in Bootleg Theater on March 13th, 2017 by JJ Koczan

atavismo

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:

Atavismo, “La Maldición del Zisco” official video

Video produced by: Cesar Marquez (http://baudarketypes.cl/).

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

Atavismo on Thee Facebooks

Atavismo on Bandcamp

CD at Temple of Torturous

Black LP at Temple of Torturous

Clear LP at Temple of Torturous

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Svuco Post Video for “Directo Kikazaru” Redux

Posted in Bootleg Theater on February 28th, 2017 by JJ Koczan

svuco

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.

Enjoy:

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

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Svuco on Twitter

Svuco on Bandcamp

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Pelazoh Producciones on Twitter

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