Siena Root European Tour Starts Feb. 27; New Single out Soon

Posted in Whathaveyou on January 10th, 2019 by JJ Koczan

siena root

Siena Root touring? Sweet. Siena Root releasing a new single? Even sweeter. Siena Root working on a new record? Ah, there it is. That’s the stuff.

The Swedish classic heavy rockers will head out a mostly-Germany tour starting Feb. 27, bringing their collaboration with vocalist Lisa Lystam to stages also in Belgium and Austria. Neat. I won’t get to see them, but hey, I’m glad they’re getting out. It’s really the prospect of new material from the Swedish outfit that’s got my interest piqued. Their last record was 2017’s A Dream of Lasting Peace (review here), so it hasn’t been all that long since they had a release, but a new single and word of progress on a new LP is definitely welcome. Even if it doesn’t happen until 2020, the point is it’s happening. And that only makes the world a better place.

The tour was announced a bit ago by the band, but I’m slow, so here are the dates and their word of progress on the next full-length:

siena root tour poster

We’re proud to let you know that Siena Root is on tour again! This time the spotlight will be on their recent successful collaboration with blues singer Lisa Lystam, as well as the upcoming single release “In the Fire”. The band is hitting the road in the middle of their work on the next album.

“We had the opportunity to work [on songs] in this vintage rural cinema where legends like Ingmar Bergman used to active. The song writing continues and we are looking forward to make another recording soon.”

27.02 DE Hamburg, Logo
28.02 DE Osnabrück, Kleine Freiheit
01.03 DE Oldenburg, Cadillac
02.03 DE Hagen, Kultopia
03.03 BE Bree, Ragnarok Live Club
05.03 DE Jena, Kulturbahnhof
06.03 DE Leipzig, Moertelwerk
07.03 DE Nürnberg, Der Cult
08.03 DE Aschaffenburg, Colos-Saal
09.03 DE Siegen, Vortex
10.03 DE Mannheim, MS Connexion Complex
12.03 DE München, Backstage
13.03 AT Wien, Viper Room

Siena Root is:
Matte Gustavsson – lead guitar
Sam Riffer – bass and vocals
Love “Billy” Forsberg – drums and vocals
Erik “Errka” Petersson – organs and keyboards
Samuel Björö – lead vocals

https://www.facebook.com/sienaroot
https://sienaroot.bandcamp.com/
https://www.instagram.com/sienaroot/
http://www.sienaroot.com/
http://www.mig-music.de/

Siena Root, “Growing Underground” live at Zytanien 2017

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MaidaVale Announce Spring 2019 Euro & UK Tour Dates

Posted in Whathaveyou on December 21st, 2018 by JJ Koczan

maidavale

Classic-style heavy rockers MaidaVale took on a more expansive sound with their 2018 album, Madness is Too Pure (discussed here), and they haven’t exactly been shy about showing it off. They’ll keep the thread going early in 2019 with a Spring tour of Europe and UK that includes a stop at the Bordeaux Psych Fest in France and rooms in the UK like the famed Star and Garter in Manchester and The Black Heart in London. Seems like they’ve got some really good momentum on their side going into much of next year. I have to wonder where it might all be leading and when they’ll get to work on their next record. Madness is Too Pure followed just two years behind 2016’s Tales of the Wicked West (review here), so if it was early 2020 for the next one, I’d hardly be surprised. Sooner works too though, ha.

Here are the tour dates:

maidavale tour poster

MAIDAVALE announce European tour in Spring 2019

MaidaVale is heading out on a lengthy European tour in March 2019. The tour takes the band to Norway, Germany, France, UK and the Netherlands.

The Swedish band released their latest album ‘Madness Is Too Pure’ in March 2018. The record has since been nominated to a P3 Guld award in their native country.

The tour kicks off at the By:Larm Festival in Norway.

Tour Dates:
28/02 (NO) OSLO – by:Larm Festival
01/03 (NO) OSLO – by:Larm Festival
03/03 (DE) HAMBURG – Hafenklang
04/03 (DE) GOETTINGEN – Dots
05/03 (DE) MANNHEIM – 7er Club
06/03 (DE) NIJMEGEN – Merleyn
07/03 (DE) COLOGNE – Sonic Ballroom
08/03 (FR) STRASBOURG – La Laiterie
10/03 (FR) PARIS – Le Glazart
11/03 (FR) ANGERS – Joker’s Pub
12/03 (FR) POITIERS – Le Cluricaume
13/03 (FR) NANTES – La Scène Michelet
14/03 (FR) RENNES – TBA
15/03 (FR) BORDEAUX – Salle du Gran Parc / Bordeaux Psych Fest
16/03 (FR) LYON – Le Farmer
18/03 (DE) FREIBURG – Slow Club
19/03 (DE) STUTTGART – Keller Club
20/03 (DE) KARLSRUHE – Alte Hackerei
22/03 (UK) LONDON – The Black Heart
23/03 (UK) MANCHESTER – Star and Garter
25/03 (UK) BRISTOL – The Lanes
27/03 (NL) AMSTERDAM – Melkweg
28/03 (DE) BREMEN – Zollkantine

Members:
Matilda Roth – Vocals
Johanna Hansson – Drums
Linn Johanesson – Bass
Sofia Ström – Guitar

http://www.maidavaleband.com/
https://www.facebook.com/maidavaleswe/
https://twitter.com/maidavaleband
https://www.instagram.com/maidavaleband/
https://open.spotify.com/artist/7rsoTsWjPBw9tyPbLXJko2
http://www.thesignrecords.com
https://www.facebook.com/thesignrecords/
http://freighttrain.se/sv/

MaidaVale, Madness is Too Pure (2018)

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The Moth Gatherer Announce New Album Esoteric Oppression out Feb. 22

Posted in Whathaveyou on December 17th, 2018 by JJ Koczan

the moth gatherer

Swedish post-metallers The Moth Gatherer have teased the release of a new single to precede their upcoming album, Esoteric Oppression, out Feb. 22 on Agonia Records. They say the new song will be out “before the end of the year.” I’ll just assume that means that as soon as this post goes live, they’ll post the track, which will render this news immediately obsolete in terms of keeping up with the band. And if that happens, I’ll post that song here, just so I can say — to myself, mind you — I told you so. Because that’s how I do.

Esoteric Oppression follows 2015’s sophomore outing, The Earth is the Sky (review here), which was an expansive and atmospheric push into weight of tone and ambience alike. You can stream that below, if you like, and find yourself caught in the maddening tension of 11-minute closer “In Awe Before the Rapture.” Frankly, there are far worse ways to lose your mind.

Info comes from the PR wire:

the moth gatherer esoteric oppression

THE MOTH GATHERER detail new album “Esoteric Oppression”

Sweden’s THE MOTH GATHERER, an atmospheric doom/sludge/post metal band based in Stockholm, will release its third studio album, successor to critically acclaimed “The Earth Is The Sky” (2015) on February 22nd via Agonia Records. The new album is titled “Esoteric Oppression”. Its cover artwork and tracklisting are available below, in anticipation of a new single, due out before 2019.

THE MOTH GATHERER is a band of varying genres, centered around atmospheric doom, sludge and post metal. Their prolific approach includes electric musical stylings, along with traces of melodic post-rock.

The band commented on the new album: “We’ve put our very fabric into it. Its creation has been a path paved with distress and frustration; one that has left us totally exhausted. But all our effort shows in the music and we can now say that it was worth the turmoil. We’re extremely proud to present Esoteric Oppression to you all. We hope you love it as much as we do”.

THE MOTH GATHERER emerged in 2008 on the initiative of Victor Wegeborn and Alex Stjernfeldt, as a form of therapy to help them deal with loss. The name of the band is an allegory for finding hope; similairly to moths who are always searching for the light. Operating as a duo, they released a debut album “A Bright Celestial Light” in 2010. The recording showcased an attraction towards long and complex compositions, rich in content, and exposed thet band’s urge to channel emotions and difficult experiences into music. Their sound evolved on the second and last album, “The Earth Is The Sky”, from 2015, which took the songwriting to a whole new level, and have deepened the band’s subtle, yet significant electronic aesthetic. The music clearly matured, along with the line-up, which now included Svante Karlsson on drums. Their sophomore work met with warm reception from fans and critics alike, with two singles featured on BBC Radio 1’s Rock Show with Daniel P. Carter, and numerous inclusions on year-end lists from magazines and websites. Having recruited Ronny Westphal on guitars, they later released an EP “The Comfortable Low” (2016), which featured a guest appearance from Dennis Lyxzén (Refused/INVSN) and Fred Burman (Satan Takes A Holiday). The EP also landed on Radio 1’s Rock Show, thanks to the track “This Providence Of Bones”. While the new album, “Esoteric Oppression”, follows in the same direction as previous works, the band went through a transformation, which left co-founder Alex behind. Even though he participated in writing lyrics for the album, bass duites have been taken over by Victor, who also handles vocals, guitars and electronis. Dan Hemgren has been introduced as a new bass player, who’ll continue with the group post the new album.

“Esoteric Oppression” was worked on in several recording studios. Guitars, bass and drums were tracked at Studio Underjord with Joona Hassinen, who later mixed the entire album. Electronics and vocals were recorded at The Lifestream Studio. Magnus Lindberg (Cult Of Luna) mastered the album at Redmount Studios, while the production was laid out by THE MOTH GATHERER. The recording features a guest appearance from Messy Mathi (Barst) on the track “The Drone Kingdom”. SCG prepared the album’s cover artwork and layout.

Tracklist:
1. The Drone Kingdom
2. Motionless In Oceania
3. Utopia
4. The Failure Design
5. Phosphorescent Blight

Line-up:
Ronny Westphal – guitars
Svante Karlsson – drums
Victor Wegeborn – vocals, guitars, electronics
Dan Hemgren – bass

https://www.themothgatherer.com/
https://www.facebook.com/TheMothGatherer/
https://twitter.com/themothgatherer
https://www.instagram.com/themothgatherer/
http://agoniarecords.com
http://tinyurl.com/agoniashop
https://facebook.com/agoniarecords
https://twitter.com/agoniarecords
https://soundcloud.com/agoniarecords
https://agoniarecords.bandcamp.com
https://instagram.com/agoniarecordsofficial

The Moth Gatherer, The Earth is the Sky (2015)

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Candlemass Set Feb. 22 Release for The Door to Doom; Tony Iommi Makes Guest Appearance

Posted in Whathaveyou on December 10th, 2018 by JJ Koczan

candlemass (photo Anders Palsson)

Have you ever been ridiculously happy on a personal level for someone you’ve never actually met? That’s how I feel for Candlemass bassist, founder and principle songwriter Leif Edling on the occasion of his band having Tony Iommi in for a guest spot on their new record. Candlemass — now past the 30-year mark — reunite with original vocalist Johan Langquist for The Door to Doom, which is out Feb. 22, and they’ve been worshiping Black Sabbath in one way or another pretty much the whole time, so yeah, it seems only fitting. Oh, and of course Iommi sits in on the song about the giant octopus. Because fucking a right he does.

A new record from Candlemass would’ve been a highlight of 2019 in doom anyway. But with Langquist fronting the band and Iommi adding guitar? Yeah, well, I mean, you know, uh, yeah.

From the PR wire:

candlemass the door to doom

CANDLEMASS – New Album The Door To Doom Out February 2019

CANDLEMASS have come full circle: their first singer Johan Langquist (who left the band after singing on the legendary 1986 debut Epicus Doomicus Metallicus) has returned!

Now, the epic doom metal veterans announce their 12th full length album The Door to Doom! The album will be released February 22nd via Napalm Records

The Door To Doom unsurprisingly follows the plotline mastermind, songwriter and bass player Leif Edling established in the past years: epic world class doom metal that relies on slow mammoth riffing. With Johan Langquist`s highly dramatic vocal style and the love for details, the band made this album to the next “Epicus”. This masterpiece is rounded off by a beautiful guest appearance by none other than Black Sabbath`s Tony Iommi on ‘Astorolus – The Great Octopus.’

Tony Iommi on his appearance:
“Candlemass are a major force in Scandinavian heavy rock and have always acknowledged the influence we had on their music. They asked if I’d contribute to a track which sounded pretty good so I thought ‘why not’ “.
Leif Edling states:

“We feel very honoured that Tony Iommi said yes to play the solo on ASTOROLUS. The song was sent to the management and amazingly enough, the master agreed to let his mighty SG sing on the track! For me personally this is a dream come true. Tony Iommi has always been my hero and guiding light when it comes to heavy music, so to hear that he likes the song and also would like to play on it, gave me chills down the spine! I’m still in shock! But kudos to him to be so cool to even listen to it. Hats off! Tony Iommi is and will always be God!”

The Door to Doom Tracklisting:
1. Splendor Demon Majesty
2. Under The Ocean
3. Astorolus – the Great Octopus
4. Bridge Of The Blind
5. Death´s Wheel
6. Black Trinity
7. House Of Doom
8. The Omega Circle

Candlemass are:
Leif Edling: Bass
Mats “Mappe” Björkman: Guitars
Jan Lindh: Drums
Lars “Lasse” Johansson: Guitars
Johan Langquist: Vocals

WWW.FACEBOOK.COM/CANDLEMASS
https://www.instagram.com/CANDLEMASS_SWEDEN/
http://www.candlemass.se/
WWW.NAPALMRECORDS.COM

Candlemass, Epicus Doomicus Metallicus (1986)

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Domkraft Premiere “The Watchers” Video

Posted in Bootleg Theater on December 7th, 2018 by JJ Koczan

domkraft

Nothing like pulling an all-nighter if you’ve got to get something done, and that would seem to be how Swedish riffslingers Domkraft made their new video for “The Watchers” from their newly-issued second album, Flood (review here). An all-nighter guerrilla-style all the better. The story goes that the Swedish three-piece and their director, Peder Bergstrand made their way into an amphitheater in Stockholm — looks like Ralambshovparken, if my in-depth knowledge of the Swedish park system is anything to go by; they should do their next one in the skate park — and set up overnight to film at dawn. They don’t seem to have actually played the track live, which you can tell because of the lack of a generator behind the amps, but drummer Anders Dahlgren is still railing pretty hard on his cymbals, and even in syncing to a full-volume playback of the song, reportedly complaints were filed by the neighbors, whose domiciles you can see through the plantlife in the video.

Of course, Dahlgren, guitarist Martin Widholm, bassist/vocalist Martin Wegeland and Bergstrand — known as well for his recent graphic work for Crippled Black Phoenix and for being in Lowrider — would have been long gone by the time the constabulary arrived, and they split with the ultra-widescreen “The Watchers” in tow. Edited together in rhythmic lockstep with the song itself, the muted colors of “The Watchers” speak to the depths of tone brought to bear by Domkraft as well. What the video serves to further emphasize, though — and I’ll admit this is something more about the track than the actual clip — is how fluidly Domkraft blend a progressive style of songwriting with their tone-fueled atmosphere. That’s true throughout Flood — which is out on Blues Funeral Recordings following 2016’s The End of Electricity (review here) on Magnetic Eye — but like the single it is, “The Watchers” distills that impression to its most essential components.

The video of course sets its own vibe with the lighting at dawn and Bergstrand‘s camera work, and it’s my pleasure to host the premiere today. My suggestion is to go fullscreen on it and enjoy. And keep an eye out for new stuff from Domkraft in 2019. I have it on good authority there’s something in the works.

PR wire info follows:

Domkraft, “The Watchers” official video premiere

A dystopian take on Pink Floyd’s “Live at Pompeii,” the video for The Watchers was shot illegally by director and fellow Swede Peder Bergstrand, also singer/bassist of seminal stoner rock outfit Lowrider.

At dusk, band and filmmaker snuck into an old amphitheater in Stockholm and set up their amps and gear. As the first rays of the 5am sunrise hit, Domkraft let rip and played at full volume to the empty amphitheater.

To capture that epic Pompeii vibe and get the desired grit, Peder filmed it on a vintage Russian movie camera with an anamorphic lens. With their completely unauthorized footage secure, the foursome packed up and bolted into the morning before the almost certain arrival of the law.

Domkraft “Flood” is the first release on Blues Funeral Recordings, but it’s the band’s second album to date, with their debut “The End of Electricity” ending up on numerous year-end top lists in 2016.

Domkraft also appears on The Wall [Redux] alongside The Melvins, Pallbearer, Mark Lanegan, and Scott Reeder.

They’re also part of the forthcoming PostWax project in 2019, a lavish limited edition record record series that includes new music from Elder, Spotlights, and Lowrider. Domkraft’s PostWax release will feature several new recordings including a 13-minute monster with guest vocals from Mark Lanegan, Lea from Besvarjelsen and Marty from Slomatics.

Domkraft on Bandcamp

Domkraft on Thee Facebooks

Domkraft on Instagram

Blues Funeral Recordings on Thee Facebooks

Blues Funeral Recordings on Bandcamp

Blues Funeral Recordings website

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Sista Maj to Release Localized Pockets of Negative Entropy on Adansonia Records

Posted in Whathaveyou on November 22nd, 2018 by JJ Koczan

sista maj

Adansonia Records has put out word that it will issue the new album from Swedish progressive instrumentalists Sista Maj, dubbed Localized Pockets of Negative Entropy — it’s bodies, us, humans, in case you were wondering — on LP next month. Space Rock Productions also released a CD of the band’s last album, the late-2016 double-disc Series of Nested Universes, and they may have a CD version of Localized Pockets of Negative Entropy as well, or there might not be one at all, but Adansonia‘s vinyl has the added appeal of two bonus tracks exclusive to it that aren’t available digitally.

Speaking of digitally, Sista Maj put the album out on their own last month via Bandcamp and you can stream it in its entirety — bonus tracks aside, of course — on the player below.

Dig:

sista maj Localized Pockets of Negative Entropy

We have new partners from Sweden’s capital + + + Sista Maj + + +

Their current album “Localized Pockets of Negative Entropy” will be out soon on Adansonia Records.

Sista Maj started as a trio: Andreas Axelsson on drums, Mikael Tuominen on bass and other stuff, Jonathan Segel on guitar, violin and some other musical stuff. Instrumental hypnotic intense psychedelic space rock in the great Northern European tradition, which ranges from Krautrock to the Swedish progg. The band usually came together to improvise, and sometimes they take those improvisations and re-work them. In 2017 Per Wiberg joined the band with his keyboards. Their latest release, “Localized Pockets of Negative Entropy” includes all four of them and a bit of Mattias Olsson (Änglagård, Pineforest Crunch, Necromonkey, etc.) as well.

Sista Maj – from left to right:
Jonathan Segel moved from the US to Sweden in 2012, he lives in Stockholm and has hooked up with several musicians there, including this grouping. He records and performs music under his own name, and continues to play and record with Camper Van Beethoven (mostly in the US) and the Øresund Space Collective (mostly in the EU). Andreas Axelsson is in several bands (Eye Make the Horizon, Lisa Ullén, AAM, etc.). Mikael Tuominen is as well (Kungens Män, Automatism, Fanatism, Eye Make the Horizon) and they’re all amazing. Per Wiberg joined us in 2017 to play keyboards, opening up their sound to new territories, another veteran of many bands including Opeth, Spiritual Beggars and Kamchatka.

The album will be released in mid-December as a DLP and includes two bonus tracks which will be only available on vinyl. Detailed infos coming soon.

Sista Maj is:
Andreas Axelsson: drums
Jonathan Segel: guitar, violin
Mikael Tuominen: bass
Per Wiberg: keyboards

https://sistamaj.bandcamp.com/
https://www.facebook.com/adansoniarecords/
https://www.adansoniarecords.de/

Sista Maj, Localized Pockets of Negative Entropy (2018)

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Review & Full Album Premiere: Iron Lamb, Blue Haze

Posted in audiObelisk, Reviews on October 25th, 2018 by JJ Koczan

iron lamb blue haze

[Click play above to stream Iron Lamb’s Blue Haze in full. Album is out Oct. 26 on The Sign Records.]

Despite a storied pedigree in the more extreme ends of metal, Iron Lamb rock. Period. I’m not sure how else to put it. Blue Haze, issued by The Sign Records, is the Stockholm-based five-piece’s third full-length following 2015’s Fool’s Gold, and it’s a sharp LP at eight songs and 37 minutes given to modern interpretation of a classic heavy rock mindset. Not necessarily uncommon either in general or coming from Sweden specifically — plenty of classic heavy to go around — but what Iron Lamb bring to their third record is a nestle-into-niche sensibility that makes the most of grown-up punk tendencies and the throaty vocals of Daniel Forn Bragman (Tyrant) in order to make a place for itself where the Hammond on closer “Dead Beat” isn’t out of place and neither is the pure Motörhead charge of “The Hunt.”

Those UK megalegends are a primary influence on Iron Lamb, which is comprised of Bragman, guitarists Johan Wallin (ScurvyGallow) and Jens Bäckelin (Martyrdöd, Sanctuary in Blasphemy), drummer Thomas Daun (Dismember, Insision, Repugnant) and bassist Daniel Ekeroth (TyrantUsurpress) — who actually wrote the book on Swedish death metal; it was called Swedish Death Metal and well worth a read as I recall — but much of that influence can be traced to Bragman‘s style, which even in the piano-laced “Erase/Rewind” keeps a gravely approach. Blue Haze is the second record with Bragman as frontman — Gustaf Lindström (RepugnantGhost) handled vocals on the punkier, rawer 2011 debut, The Original Sin — and despite that low-hanging fruit of influence tagging, it’s easy to hear Iron Lamb coming more into themselves this time around. Part of that might be owed to working with Martin “Konie” Ehrencrona, who handles the aforementioned piano and Hammond, recorded and mixed the album and has a pedigree as well of working with the likes of In SolitudeThe Oath and Tribulation at the analog-minded Studio Cobra in Stockholm.

Presumably Blue Haze was tracked to tape as well, which makes sense given its later-’70s affinities — Thin Lizzy, maybe some Scorpions, etc. — but they make no real show of retroism in tone or presentation, instead producing an atmosphere that’s dark but not theatrical and well suited to the pointedly straightforward structures at play in the songs, which stay tight in a four-to-five-minute range and make not even the pretense of avoiding pretense because there’s nothing in that regard to avoid. Like I said at the outset, they rock. They’re not looking to do anything else and they don’t need to. They clearly know what they want to sound like and how to make that happen. Though there are some speedier moments, like the careening “Into the Night” (with keys and Mellotron by Andreas Sandberg of Negative Self) and “Erase/Rewind” or “(Fallin’ Like) Dominoes,” which follows, Blue Haze is by and large slower and less frenetic than was Fool’s Gold (the oddly goth standout “Leave Me Be” on that outing notwithstanding), and that’s something easily traced to the band having a better idea of who they want to be.

iron lamb

In that regard, Blue Haze feels much like the second or third album that it is (second with Bragman, third overall), since it demonstrates a maturity of approach from opener “Apocalypse Express” — not sure who plays the keys there, presumably Ehrencrona — that finds Iron Lamb in sure control of their sound while still having a natural energy to carry it across without being staid or overly samey in their tracks. Their gallop is confident, their riffing brash like it’s 1978 but not entirely given to NWOBHM showiness, and as “Bound by Gravity” gives Daun a platform for impressive tom work, Bäckelin and Wallin offer highlight solos and rhythms leading to a spacier slowdown in the second half that’s not at all psychedelic but still has a sense of atmosphere held together by a pushed-forward bassline from Ekeroth.

Tellingly, it wraps with a quick return to speedier fare ahead of the bass leading the way into “Into the Night,” and that’s of course emblematic of the structure at play throughout Blue Haze and the character Iron Lamb bring to their songwriting. The tracks do not feel overly composed in the sense of trying to out-clever either the listener or the band itself. The band range, but aren’t trying to blindside anybody with gimmicky turns of aesthetic, and there is complexity in the interplay between the two guitars even on the penultimate “The Iron and the Lamb,” which is the shortest cut at 3:47 — ahead of the finale, “Dead Beat,” the longest at 5:31 — which finds room for a chugging underpinning to a rampage of a solo in its second half, right before a deft return to the hook. And in rounding out, “Dead Beat” offers anything but, with a fervent strut that reminds of earlier (not earliest) Judas Priest as heavy metal began to take shape from the rock of the prior generation. Iron Lamb make themselves comfortable in that between-space, willfully standing on the threshold of different styles without giving themselves entirely to one or the other or the other; metal, rock and punk.

Instead, they bask in the fluidity that such refusal allows them, shifting subtly throughout Blue Haze with a sense of turning expectations on themselves and creating an individualized sound. That would seem to be the intention, and it’s successful, but while there’s obvious thought and passion put into the craft and production, and an overarching atmosphere as a result, there’s also nothing to take away from a natural vibe throughout these songs and performances, and while I can’t speak to how Iron Lamb might come across as a live act never having seen them play, they very clearly have put themselves to the task of bringing that electricity to the studio. Fair enough. The bottom line, I’m afraid, is the same as the top line: Iron Lamb rock. There isn’t another way to put it, and to try to put it another way would be doing an injustice to the material throughout Blue Haze. You can keep reinventing the wheel if you want. These guys will be over here cracking their next beer and blowing asses out of the room. Cheers.

Iron Lamb, “Apocalypse Express” official video

Iron Lamb on Thee Facebooks

Iron Lamb on Bandcamp

Iron Lamb website

The Sign Records on Thee Facebooks

The Sign Records website

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The Riven Sign to The Sign Records; Debut Album Due in 2019; New Single This Week

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

On Friday, The Riven will unveil the first single from their impending 2019 debut album. That record doesn’t have a name yet, at least not a public one, but it will be released in a new deal the classic heavy rocking outfit has inked with The Sign Records and it will follow last year’s Blackbird EP (discussed here). Since that five-tracker was recorded in 2016, the band has moved from London to Stockholm, and the new record — because of course — was put to tape in Madrid. Consider it a pan-European heavy rock experience if you must, but The Riven will be another name on 2019’s most anticipated list, and I’ll hope to have more to come on it as we get closer to the release.

For now, here’s the announcement from The Sign Records, as per the PR wire:

THE RIVEN

The Sign Records signs The Riven. The band is set to release their debut album during the spring 2019 and their first single ‘Fortune Teller’ is set for release the 19th of October.

In 2018 The Riven went to Madrid, not to spend time under the Spanish sun but rather curled up in the valved cellar studio at Holy Cuervo Studios. In ten days they powered through the record’s nine songs producing an album that in the words of the drummer Olof Axegärd “Is loud, is rock, is soul, and prog, it has it all!”. The Riven will be releasing their highly anticipated first full length with The Sign Records in the spring of 2019.

The band have recorded their debut album with Ola Ersfjord (Tribulation, Lucifer, Primordial) in Madrid. The album artwork is made by Maarten Donders. The album is a pure injection of Rock into the system.

“The Riven are set to release one of the strongest Swedish debut albums in many years. The band holds a perfect combination of bluesy vocals and classical rock sound. We are humbled over the opportunity to work with, and be able to present The Riven to the world.” – Kaj Sivervik, The Sign Records

“We are super excited to announce that we are signing with the Sign Records. One of the reasons to why we moved the band from the UK to Sweden was that we wanted to be part of the scene over here. We have a great love for bands like Hällas, Hypnos and MaidaVale and to be on the same label as those guys, as well as other great acts too, is really a step in the right direction for us. We knew that working with Kaj and the Patricks would be great for the band when we first heard Kaj speak on Rockpodden. His love and passion for the bands on the label is something you don’t come across too often and we strongly feel that a collaboration of this sort needs to have that element. It was in that moment we knew that we wanted to be on The Sign records. Now let’s bring on the release and let the good times roll!” – Max Ternebring, The Riven

The Riven is:
Charlotta Ekebergh – Vocals
Arnau Diaz – Guitar
Max Ternebring – Bass Guitar
Olof Axegärd – Drums

https://www.facebook.com/TheRivenMusic
https://theriven.bandcamp.com/releases
https://www.facebook.com/thesignrecords/
http://thesignrecords.com/
https://freighttrain.se/en/the-sign-record/skraeckoedlan/

The Riven, Blackbird EP (2017)

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