Quarterly Review: Thou, Liquid Visions, Benthic Realm, Ape Machine, Under, Evil Triplet, Vestjysk Ørken, Dawn of Winter, Pale Heart, Slowbro

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

quarterly-review

We meet again! The second week of this amply-proportioned Quarterly Review begins today as we move ever closer toward the inevitable 100-album finish line on Friday. There is an incredible amount of music to get through this week, so I don’t want to delay for too long, but as we look out across the vast stretch of distortion to come, I need to say thank you for reading, and I hope that you’ve been able to find something that’s kicking your ass a little bit in all the right ways so far. If not, well, there are 50 more records on the way for you to give it another shot.

Here goes.

Quarterly Review #51-60:

Thou, Magus

thou magus

How can something be so raw and forward thinking at the same time? Baton Rouge’s Thou might be the band of their generation who’ve added the most to sludge in terms of pushing the style in new directions and shaping genre to their purposes. Magus (on Sacred Bones), their fourth or fifth full-length depending on whom you ask, is an overwhelming 75-minute 2LP of inward and outward destructive force, as heavy in its ambience as in its weight and throat-ripping sonic extremity, and yet somehow is restrained. To listen to the march of “Transcending Dualities,” there’s such a sense of seething happening beneath the surface of that chugging, marching riff, and after its creeping introduction, “In the Kingdom of Meaning” seems intent on beating its own rhythm, as in, with fists, and even a stop-by from frequent guest vocalist Emily McWilliams does little to detract from that impression. Along with Magus, which rightly finishes with the lurching threat of “Supremacy,” Thou have released three EPs and a split this year, so their pace runs in something of a contrast to their tempos, but whether you can keep up or not, Thou continue to press forward in crafting pivotal, essential brutalizations.

Thou website

Sacred Bones Records website

 

Liquid Visions, Hypnotized

Liquid Visions Hypnotized

Sulatron Records‘ pressing of Liquid Visions‘ 2002 debut, Hypnotized, is, of course, a reissue, but also the first time the album has been on vinyl, and it’s not long into opener “State of Mind” or the grunge-gone-classic-psych “Waste” before they earn the platter. Members of the band would go on to participate in acts like Zone Six, Wedge, Electric Moon and Johnson Noise, so it’s easy enough to understand how the band ties into the family tree of underground heavy psych in Berlin, but listening to the glorious mellow-unfolding-into-noise-wash-freakout of 15-minute closer “Paralyzed,” the appeal is less about academics than what the five-piece of vocalists/guitarists H.P. Ringholz (also e-sitar) and Kiryk Drewinski (also organ), bassist Dave “Sula Bassana” Schmidt (also Fender Rhodes and Mellotron), drummer Chris Schwartzkinsky and thereminist Katja Wolff were able to conjure in terms of being both ahead of their time and behind it. As the album moves from its opening shorter tracks to the longer and more expansive later material, it shows its original CD-era linearity, but if an LP reissue is what it takes to get Hypnotized out there again, so be it. I doubt many who hear it will complain.

Liquid Visions on Thee Facebooks

Sulatron Records webstore

 

Benthic Realm, We Will Not Bow

Benthic Realm We Will Not Bow

The second short release from Benthic Realm behind a 2017 self-titled EP (review here) finds the Massachusetts-based trio of guitarist/vocalist Krista van Guilder (ex-Second Grave, ex-Warhorse), bassist Maureen Murphy (ex-Second Grave) and drummer Dan Blomquist (also Conclave) working toward a refined approach bridging the divide between doom and darker, harder hitting metal. They do this with marked fluidity, van Guilder shifting smoothly between melodic clean singing and harsher screams as Murphy and Blomquist demonstrate like-minded ease in turns of pace and aggression. The penultimate semi-title-track “I Will Not Bow” is an instrumental, but “Save us All,” “Thousand Day Rain” and closer “Untethered” — the latter with some Slayer ping ride and ensuing double-kick gallop — demonstrate the riff-based songwriting that carries Benthic Realm through their stylistic swath and ultimately ties their ideas together. If they think they might be ready for a debut full-length, they certainly sound that way.

Benthic Realm on Thee Facebooks

Benthic Realm website

 

Ape Machine, Darker Seas

ape machine darker seas

Maybe Ape Machine need to make a video with cats playing their instruments or something, but five albums deep, the Portland outfit seem to be viciously underrated. Releasing Darker Seas on Ripple, they take on a more progressive approach with songs like “Piper’s Rats” donning harmonized vocals and more complex interplay with guitar. It’s a more atmospheric take overall — consider the acoustic/electric beginning of “Watch What You Say” and it’s semi-nod to seafaring Mastodon, the likewise-unplugged and self-awarely medieval “Nocturne in D Flat (The Jester)” and the rocking presentation of what’s otherwise fist-pumping NWOBHM on “Bend Your Knee” — but Ape Machine have always been a band with songwriting at their center, and even as they move into the best performances of their career, hitting a point of quality that even producer Steve Hanford (Poison Idea) decided to join them after the recording as their new drummer, there’s no dip in the quality of their work. I don’t know what it might take to get them the attention they deserve — though a cat video would no doubt help — but if Darker Seas underscores anything, it’s that they deserve it.

Ape Machine on Thee Facebooks

Ripple Music on Bandcamp

 

Under, Stop Being Naive

under stop being naive

Stockport, UK, three-piece Under bring a progressive edge to their pummel with their second album, Stop Being Naive (on APF), beginning with the deceptively thoughtful arrangement of crushing opener and longest track (immediate points) “Malcontent,” which unfurls a barrage of riffs and varied vocals contributed by guitarist Simon Mayo, bassist Matt Franklin and drummer/keyboardist Andy Preece. Later cuts like “Soup” and “Grave Diggers” tap into amorphous layers of extremity, and “Happy” punks out with such tones as to remind of the filth that became grindcore in the UK nearly 40 years ago, but while “Big Joke” rolls out with a sneer and closer “Circadian Driftwood” has a more angular foundation, there’s an overarching personality that comes through Under‘s material that feels misanthropic and critical in a way perhaps best summarized by the record’s title. Stop Being Naive is sound enough advice, and it comes presented with a fervent argument in its own favor.

Under on Thee Facebooks

APF Records webstore

 

Evil Triplet, Have a Nice Trip

evil triplet have a nice trip

Trimming the runtime of their 2017 debut, Otherworld (review here) nearly in half, Austin weirdo rockers Evil Triplet present the six-song/38-minute single LP Have a Nice Trip on Super Secret with classic garage buzz tone on “A Day Like Any Other,” a cosmic impulse meeting indie sneer on opener “Space Kitten” and a suitably righteous stretch-out on “Aren’t You Experienced?” — which is just side A of the thing. The pulsating “Open Heart” might be the highlight for its Hawkwindian drive and momentary drift, but “Pyramid Eye”‘s blown-out freakery isn’t to be devalued, and the eight-minute capper “Apparition” is dead on from the start of its slower march through the end of its hook-topped jam, reminding of the purpose behind all the sprawl and on-their-own-wavelength vibes. A tighter presentation suits Evil Triplet and lets their songs shine through while still highlighting the breadth of their style and its unabashed adventurousness. May they continue to grow strange and terrify any and all squares they might encounter.

Evil Triplet on Thee Facebooks

Super Secret Records website

 

Vestjysk Ørken, Cosmic Desert Fuzz

Vestjysk orken Cosmic Desert Fuzz

To a certain extent, what you see is what you get on Vestjysk Ørken‘s debut EP, Cosmic Desert Fuzz. At very least, the Danish trio’s three-tracker first outing is aptly-named, and guitarist/vocalist Bo Sejer, bassist Søren Middelkoop Nielsen and drummer Thomas Bonde Sørensen indeed tap into space, sand and tone on the release, but each song also has a definite theme derived from cinema. To wit, “Dune” (11:41) samples Dune, “…Of the Dead” (9:13) taps into the landmark George Romero horror franchise, and “Solaris” (14:15) draws from the 1972 film of the same name. The spaciousness and hypnotic reach of the latter has an appeal all its own in its extended and subtle build, but all three songs not only pay homage to these movies but seem to work at capturing some aspect of their atmosphere. Vestjysk Ørken aren’t quite rewriting soundtracks, but they’re definitely in conversation with the works cited, and with an entire universe of cinema to explore, there are accordingly no limits as to where they might go. Something tells me it won’t be long before we find out how deep their obsession runs.

Vestjysk Ørken on Instagram

Vestjysk Ørken on Bandcamp

 

Dawn of Winter, Pray for Doom

Dawn of Winter Pray for Doom

I have no interest in playing arbiter to what’s “true” in doom metal or anything else, and neither am I qualified to do so. Instead, I’ll just note that Germany’s Dawn of Winter, who trace their roots back nearly 30 years and have released full-lengths on a one-per-decade basis in 1998, 2008 and now 2018 with Pray for Doom, have their house well in order when it comes to conveying the classic tenets of the genre. Issued through I Hate, the eight-track/51-minute offering finds drummer Dennis Schediwy punctuating huge nodder grooves led by Jörg M. Knittel‘s riffs, while bassist Joachim Schmalzried adds low end accentuation and frontman Gerrit P. Mutz furthers the spirit of traditionalism on vocals. Songs like “The Thirteenth of November” and the stomping “The Sweet Taste of Ruin” are timeless for being born too late, and in the spirit of Europe’s finest trad doom, Dawn of Winter evoke familiar aspects without directly worshiping Black Sabbath or any of their other aesthetic forebears. Pray for Doom is doom, because doom, by doomers, for doomers. The converted will be accordingly thrilled to hear them preach.

Dawn of Winter on Thee Facebooks

I Hate Records website

 

Pale Heart, Jungeland

pale heart jungleland

Semi-retroist Southern heavy blues boogie, some tight flourish of psychedelia, and the occasional foray into broader territory, Stuttgart three-piece Pale Heart‘s StoneFree debut long-player, Junegleland is striking in its professionalism and, where some bands might sacrifice audio fidelity at the altar of touching on a heavy ’70s aesthetic, guitarist/vocalist Marc Bauer, key-specialist Nico Bauer and drummer Sebastian Neumeier (since replaced by Marvin Schaber) present their work in crisp fashion, letting the construction of the songs instead define the classicism of their influence. Low end is filled out by Moog where bass might otherwise be, and in combination with Hammond and Fender Rhodes and other synth, there’s nothing as regard missing frequencies coming from Jungleland, the nine songs of which vary in their character but are universally directed toward honing a modern take on classic heavy, informed as it is by Southern rock, hard blues and the tonal warmth of yore. A 50-minute debut is no minor ask of one’s audience in an age of fickle Bandcamp attentions, but cuts like the 12-minute “Transcendence” have a patience and character that’s entrancing without trickery of effects.

Pale Heart on Thee Facebooks

StoneFree Records website

 

Slowbro, Nothings

Slowbro Nothings

UK instrumentalist three-piece Slowbro‘s full-length debut, Nothings, brings forth eight tracks and 51 minutes of heavy-ended sludge rock notable for the band’s use of dueling eight-string guitars instead of the standard guitar/bass setup. How on earth does something like that happen? I don’t know. Maybe Sam Poole turned to James Phythian one day and was like, “Hey, I got two eight-string guitars. So, band?” and then a band happened. Zeke Martin — and kudos to him on not being intimidated by all those strings — rounds out on drums and together the trio embark on cuts like “Sexlexia” (a very sexy learning disability, indeed) and “Broslower,” which indeed chugs out at a considerably glacial pace, and “Fire, Fire & Fire,” which moves from noise rock to stonerly swing with the kind of aplomb that can only be conjured by those who don’t give a shit about style barriers. It’s got its ups and downs, but as Nothings — the title-track of which quickly cuts to silence and stays there until a final crash — rounds out with “Pisscat” and the eight-strings go ever so slightly post-rock, it’s hard not to appreciate the willful display of fuckall as it happens. It’s a peculiar kind of charm that makes it both charming and peculiar.

Slowbro on Thee Facebooks

Creature Lab Records website

 

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Quarterly Review: Sandrider, Witchkiss, Satta Caveira, Apollo80, The Great Unwilling, Grusom, Träden, Orthodox, Disrule, Ozymandias

Posted in Reviews on December 5th, 2018 by JJ Koczan

quarterly-review

Good morning from the kitchen table. It’s a couple minutes before 4AM as I get this post started. I’ve got my coffee, my iced tea in the same cup I’ve been using for the last three days, and I’m ready to roll through the next 10 records in this massive, frankly silly, Quarterly Review. Yesterday went well enough and I’m three days into the total 10 and I don’t feel like my head is going to explode, so I’ll just say so far so good.

As ever, there’s a lot to get through, so I won’t delay. I hope you find something here you dig. I certainly have.

Quarterly Review #21-30:

Sandrider, Armada

sandrider armada

Armada is the third full-length from Seattle noiseblasters Sandrider, and at this point I’m starting to wonder what it’s going to take for this band to get their due. Produced by Matt Bayles and released through Good to Die Records, the album is an absolute monster front to back. Scathing. Beastly. And yet the songs have character. It’s the trio’s first outing since 2015’s split with Kinski (review here) and follows 2013’s Godhead (review here) and 2011’s self-titled debut (review here) in melding the band’s West Coast noise superiority with a sense of melody and depth as the trio of guitarist/vocalist Jon Weisnewski, bassist/vocalist Jesse Roberts, and omegadrummer Nat Damm course and wind their way through intense but varied material. “Banger” has been tapped for its grunge influence. Eh. Maybe in the riff, but who cares when there’s so much more going on with it? “Brambles” is out and out brutal but still has a hook, and cuts like “Industry” and the closing “Dogwater” remind of just how skilled Sandrider are at making that brutality fun. If the record was six minutes long and just had “Hollowed” on it, you’d still call it a win.

Sandrider on Thee Facebooks

Good to Die Records website

 

Witchkiss, The Austere Curtains of Our Eyes

witchkiss the austere curtains of our eyes

Goodness gracious. Cavernous echo accompanies the roars of guitarist Scott Prater that are offset by the more subdued melodies of drummer Amber Burns, but even in the most spacious reaches of 11-minute second cut “Blind Faith,” Witchkiss are fucking massive-sounding. Their debut album, The Austere Curtains of Our Eyes, presents an especially crushing take on ritualistic volume, sounding its catharsis in a song like “Spirits of the Dirt” and sounding natural as it trades between a rolling assault and the atmospheres of its quieter moments. With the departure since the recording of bassist Anthony DiBlasi, the New York-based outfit will invariably shift in dynamic somewhat coming out of this record, but with such an obvious clarity of mission, I honestly doubt their core approach will change all that much. A band doesn’t make a record like this without direct intention. They may evolve, and one hopes they do just because one always hopes for that, but this isn’t a band feeling their way through their first record. This is a band who know exactly the kind of ferocity they want to conjure, and who conjure it without regret.

Witchkiss on Thee Facebooks

Witchkiss on Bandcamp

 

Satta Caveira, MMI

Satta Caveira MMI

Argentinian instrumentalist trio Satta Caveira make a point of saying they recorded MMI, their second or third album depending on what you count, live in their home studio without edits or overdubs, click tracks or anything else. Clearly the intention then is to capture the raw spirit of the material as it’s happening. The eight songs that make up the unmanageable 62-minute listen of MMI — to be fair, 14 of those minutes are opener “Kundalini” and 23 are the sludge-into-jam-into-sludge riffer “T.H.C.” — are accordingly raw, but that in itself becomes a component of their aesthetic. Whether it’s the volume swell that seems to consume “Don Santos” in its second half, the funk of closer “Afrovoid” or the drift in “Kalifornia,” Satta Caveira manage to hone a sense of range amid all the naturalism, and with the gritty and more aggressive riffing of the title-track and the rush of the penultimate “Router,” their sound might actually work with a more elaborate production, but they’ve got a thing, it works well, and I’m not inclined to argue.

Satta Caveira on Thee Facebooks

Satta Caveira on Bandcamp

 

Apollo80, Lizard! Lizard! Lizard!

apollo 80 lizard lizard lizard

Vocalized only by spoken samples of astronauts, the thrice-exclamatory Lizard! Lizard! Lizard! is the debut EP from Perth, Australia, three-piece Apollo80, who are given mostly to exploring an outpouring of heavy molten vibes but still able to hone a bit of cacophony following the “godspeed, John Glenn” sample in second cut “FFH.” There are four songs on the 26-minute offering, and its spaciousness is brought to earth somewhat by the dirt in which the guitar and bass tones are caked, but it’s more the red dust of Mars than anything one might find kicking around a Terran desert. Unsurprisingly, the high point of the outing is the 10:46 title-track, where guitarist Luke, bassist Brano and drummer Shane push farthest into the cosmos — though that’s debatable with the interstellar drone of closer “Good Night” — but even in the impact of “Apollo” at the outset, there’s a feeling of low-oxygen in the atmosphere, and if you get lightheaded, that’s exactly how it’s supposed to be.

Apollo80 on Thee Facebooks

Apollo80 on Bandcamp

 

The Great Unwilling, EP

the great unwilling ep

The prevailing influence throughout the untitled debut EP from Minnesota’s The Great Unwilling is Queens of the Stone Age, but listening to the layer of wah intertwine with the solo on “Sanguine,” there’s more to their approach than just that, however dreamy the vocal melodies from guitarist Jesse Hoheisel might be. Hoheisel, bassist Joe Ulvi and Mark Messina present a clean four tracks and 20 minutes on their first outing, and for having been together for about 18 months, their songwriting seems to have a firm grasp on what they want to do. “If 3 was 7” rolls along at a heavy clip into an effectively drifting midsection and second half jam before returning to the initial riff, while “Current” leads off with a particularly Hommeian construction, and soon gives way to the flowing pace and apparent lyrical references of the aforementioned “Sanguine.” They finish with the dirtier tonality of “Apostasy” and cap with no more pretense than they started, bringing the short release to a close with a chorus that seems to finish with more to say. No doubt they’ll get there.

The Great Unwilling on Thee Facebooks

The Great Unwilling on Bandcamp

 

Grusom, II

grusom ii

A prominent current of organ alongside the guitars gives Grusom‘s aptly-titled second album on Kozmik Artifactz, II, a willfully classic feel, and even the lyrics of “Peace of Mind” play into that with the opening lines, “I always said I was born too late/This future is not for me,” but the presentation from the Svendborg six-piece isn’t actually all that retro-fied. Rather, the two guitars and organ work in tandem to showcase a modern take on those classic ideas, as the back and forth conversation between them in the extended jam of “Skeletons” demonstrates, and with a steady rhythmic foundation and soulful vocals overtop, Grusom‘s craft doesn’t need the superficial trappings of a ’70s influence to convey those roots in their sound. Songs like “Dead End Valley” and “Embers” have a bloozy swing as they head toward the melancholy closer “Cursed from Birth,” but even there, the proceedings are light on pretense and the atmosphere is more concerned with a natural vibe rather than pretending it’s half a century ago.

Grusom on Thee Facebooks

Kozmik Artifactz website

 

Träden, Träden

traden traden

Having originated as Träd Gräs och Stenar, the group now known as Träden is the product of a psychedelic legacy spanning generations. Founder Jakob Sjöholm has joined forces with Hanna Östergren of Hills, Reine Fiske of Dungen and Sigge Krantz of Archimedes Badkar to create a kind of supergroup of serenity, and their self-titled is blissful enough not only to life up to Träd Gräs och Stenar‘s cult status, but to capture one of its own. It’s gorgeous. Presumably the painting used on the cover is the cabin where it was recorded, and its eight tracks — sometimes mellow, sometimes more weighted, always hypnotic — are a naturalist blueprint that only make the world a better place. That sounds ridiculous, I know. But the truth is that for all the terrible, horrifying shit humanity does on a daily basis, to know that there are people on the planet making music like this with such a genuine spirit behind it is enough to instill a bit of hope for the species. This is what it’s all about. I couldn’t even make it through the Bandcamp stream without buying the CD. That never happens.

Träden on Thee Facebooks

Träden on Bandcamp

 

Orthodox, Krèas

orthodox kreas

Last year, Spanish experimentalists Orthodox released Supreme and turned their free-jazz meets low-doom into a 36-minute fracas of happening-right-now creativity. Krèas, a lone, 27-minute track with the core duo of bassist Marco Serrato and drummer Borja Díaz joined by saxophonist Achilleas Polychronidis, was recorded in the same session but somehow seems even more freaked-out. I mean, it’s gone. Gone to a degree that even the hepcats who claim to appreciate free-jazz on anything more than a theoretical level (that is, those who actually listen to it) will have their hair blown back. The rest of the universe? Well, they’ll probably continue on, blissfully unaware that Orthodox are out there smashing comets together like they are, but wow. Challenging the listener is one thing. Krèas is the stuff of dissertations. One only hopes Orthodox aren’t holding their breath waiting for humanity to catch up to what they’re doing, because, yeah, it’s gonna be a while.

Orthodox on Thee Facebooks

Alone Records webstore

 

Disrule, Sleep in Your Honour

Disrule Sleep in Your Honour

Danish bruisers Disrule run a brash gamut with their second album, Sleep in Your Honour (on Seeing Red). Leading off with the earworm hook of the title-track (premiered here), the album puts a charge into C.O.C.-style riffing and classic heavy rock, but shades of Clutch-y funk in “Going Wrong” and a lumbering bottom end in “Occult Razor” assure there’s no single angle from which they strike. “(Gotta Get Me Some) Control” elicits a blues-via-Sabbath vibe, but the drums seem to make sure Disrule are never really at rest, and so there’s a strong sense of momentum throughout the eight-song/29-minute EP, perhaps best emphasized by two-minute second cut “Death on My Mind,” which seems to throw elbows as it sprints past, though even shouted-chorus closer “Enter the Void” has an infectious energy about it. If you think something can’t be heavy and move, Disrule have a shove with your name on it.

Disrule on Thee Facebooks

Seeing Red Records on Bandcamp

 

Ozymandias, Cake!

ozymandias cake

First clue that all is not what it seems? The artwork. Definitely not a picture of cake on the cover of Ozymandias‘ debut album, Cake!, and accordingly, things don’t take long before they get too weird. “Jelly Beans” hits on harshest Nirvana — before it goes into blastbeats. “Mason Jar” scathes out organ-laced doom and vicious screaming, before “Hangman” gets all danceable like “All Pigs Must Die” earlier in the record. The wacky quotient is high, and the keyboards do a lot to add to that, but one can’t really call “Doom I – The Daisies” or the later “Doom II – The Lilies” anything but progressive in the Devin Townsend-shenanigans-metal sense of the word, and as wild as some stretches of Cake! are, the trio from Linz, Austria, are never out of control, and they never give a sense that what they’re doing is an accident. They’re just working on their own stylistic level, and to a degree that’s almost scary considering it’s their first record. I won’t claim to know where they might be headed, but it seems likely they have a plan.

Ozymandias on Thee Facebooks

StoneFree Records website

 

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Pale Heart Premiere “Flying High” Video; Jungleland Due Dec. 7

Posted in Bootleg Theater on November 5th, 2018 by JJ Koczan

Pale Heart (Photo by Heiko Herrmann)

German heavy blues rockers Pale Heart release their debut album, Jungleland, on Dec. 7 through StoneFree Records/Broken Silence. It’s their first record with the name, but the history of the three-piece who made it — often-chapeau’ed guitarist/vocalist Marc Bauer, organist Nico Bauer and drummer Sebastian Neumeier (since replaced by Marvin Schaber) — goes back a decade to their teenage beginnings as the band White Daze. Also, in the case of Marc and Nico being brothers, you know, childhood and all that. But Pale Heart, who derive the new name from a critique of the ravages of capitalist greed on the human soul — Marx would groove — are a different animal altogether, with the varied keys and synth taking the place of bass in covering low end with the guitar while furthering the melody and Marc‘s vocals as a steady focal point over the swinging, adaptable drums of Neumeier. Whether they’re chilling out slow on “Little World” or  dug into the heavier push in the second half of seven-minute opener “Time to Love” — immediately contrasted by “Evil Man” — or basking in the psychedelia and well-earned organ/synth solo in the 12-minute “Transcendence,” Jungleland isn’t by any means a minor journey at nine songs and 50 minutes, but it stands itself out via songcraft and naturalist, smooth performances.

And if their new video for “Flying High” makes you want to get down by getting all dragged up and putting on a show, pale heart junglelandfucking a. Seems to work pretty well for my man with the cigarettes on his pizza, so all the better. The song, like much of the record it represents, is a hookfest, catchy to its core and given nuance in the sonic space where bass might otherwise reside by Nico‘s Rhodesing and Moogery. As the penultimate cut on Jungleland, it’s somewhat buried behind the aforementioned “Transcendence,” but it’s an uptempo kick right when the album needs it and provides a bridge to the easy-rolling closer “Cry of Desperation” that follows. No complaints, in other words. The production is organic but not strictly retro, and across the record the band flesh out sundry moods and funky nods while holding to the central bluesy feel. It’s a vibe album. It vibes. It wants you to vibe with it. And it makes a convincing case for doing so.

In that, “Flying High” is a more than worthy representation, and even if you don’t have nailpolish handy (why not?), the clip is also fully enjoyable with a cup of coffee, or maybe a slice of cigarette-free pizza if that’s your thing. I’m happy to host the premiere.

PR wire info on the band follows the video itself, which is right down there in that box that looks like a video. Go figure.

Please enjoy:

Pale Heart, “Flying High” official video premiere

Founded in 2008 under the moniker WHITE DAZE, the trio, consisting of brothers Marc and Nico Bauer, and Sebastian Neumeier, found its home within the soulful Blues Rock-spheres of the olden days. And without exaggeration: It’s this baseline feeling that makes the 70ies come alive right in front of you. Forged from the present and fed by the past, their sound isn’t just a combination of those two worlds. It’s an elegant amalgamation that also evokes something new. Sebastian Neumeier isn’t a member of PALE HEART anymore, but it’s him playing the drums on “Jungleland”.

Under the name PALE HEART the band reforms as a trio, this time with Marvin Schaber as the drummer. And good times are ahead: Their new material sounds full, earthy, and gritty, felt to the bone by each member and performed with maximum authenticity. Blues, Rock, Soul, Prog sounds and faintly psychedelic melodies, never too serious despite its depth, never too easy despite its groove. PALE HEART don’t make music to be cool, to get girls, or to be celebrated on hipster blogs. PALE HEART strive to make music because it’s fulfilling. And have adopted an even more free, passionate, and uninhibited sound in 2018.

PALE HEART ON TOUR
11/10/2018 Weil der Stadt – Groove Tonight
11/24/2018 Memmingen – Kaminwerk
11/30/2018 Regensburg – Alte Mälzerei
12/07/2018 Stuttgart – Merlin
12/11/2018 Aachen – TBA
12/12/2018 Köln – Blue Shell
12/13/2018 Bayreuth – TBA
12/22/2018 Stuttgart – Waagenhallen
12/26/2018 Erfurt – Museumskeller
01/05/2019 Ulm – Hexenhaus
01/07/2019 Bamberg – Live Club
01/19/2019 Winnenden – Juze

Pale Heart is:
Marc Bauer (Guitar, Vocals)
Nico Bauer (Hammond Organ, Fender Rhodes Piano, Moog Synthesizer, Moog Bass)
Marvin Schaber (Drums, but former drummer Sebastian Neumeier plays on “Jungleland”)

Pale Heart on Thee Facebooks

Pale Heart on Instagram

Pale Heart on Bandcamp

StoneFree Records website

StoneFree Records on Thee Facebooks

StoneFree Records on Spotify

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Great Rift Release Vesta June 22; “Siren of the Night” Streaming Now

Posted in Whathaveyou on June 12th, 2018 by JJ Koczan

great rift

Later this month will bring the debut album from Vienna heavy psychedelic rockers Great Rift. The Austrian four-piece made their debut last year on Electric Fire Records and that same imprint has joined forces with StoneFree Records to stand behind the new outing, giving it even more of a push than it would otherwise receive. The band have the new song “Siren of the Night” streaming now at the bottom of this post. You know, where the streams go.

In its cover art and color scheme, the Vesta artwork could be said to be in conversation with woefully-missed Dutch outfit Sungrazer, and sure enough there is a tinge of that kind of psychedelic warmth in Great Rift‘s sound, but Vesta owes a more distinctive debt to the blues and hits with a harder edge, as one can hear in the rolling groove that caps the six-minute “Siren of the Night.” As to how the balance tips on the rest of the outing, what’s what June 22 is for, with the vinyl and the album coming out and whatnot.

Some light details about the record follow, more or less as a bridge and an excuse to get to the track posted. Surprise, it’s really about the music. Always was.

In young Majel Barret’s voice: “Working”:

great rift vesta

Great Rift is a four headed heavy/psychedelic Rockband from Vienna, Austria. In 2017 the band recorded their debut EP “Voodoowoodland”, released on “Electric Fire Records“.

In June 2018 their first full length album “Vesta” will be out via “Electric Fire Records” with a vinyl co-release on “StoneFree Records”. Their sound is strongly reminiscent of the heavy blues, hard & psychedelic rock of the 70s.

Tracklisting:
1. The Long High
2. Atlas
3. Siren Of The Night
4. Mercury Sunrise
5. Waves
6. The Grim Reaper
7. Dragonfly

Written by Great Rift
Recorded, Mixed & Mastered by Thomas Ranosz
at Pure Sound Recordings, Vienna
Produced by Great Rift and Thomas Ranosz

Great Rift is:
Thomas Gulyas – Voice & Guitar
David Hüttner – Guitar & Voice
Peter Leitner – Bass
Alexander Böbel – Drums & Voice

https://www.facebook.com/GreatRift.Vienna/
https://greatrift.bandcamp.com
http://www.stonefree.co.at/
https://www.electricfirerecords.com/

Great Rift, Vesta (2018)

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Willow Child Premiere Video for “Starry Road”; Paradise & Nadir out May 11

Posted in Bootleg Theater on April 16th, 2018 by JJ Koczan

willow child by Christian Illing

What do we learn in the new Willow Child video? Well, first off, we see that quite literally it’s vocalist/guitarist Eva Kohl driving the band, and while one could make the argument that the totality of the German five-piece’s debut album, Paradise & Nadir — out May 11 on StoneFree Records — works much the same way, it’s not entirely that simple. Kohl is most certainly a forward presence in the band and in the mix of Paradise & Nadir, which was recorded by vintage specialist Richard Behrens (Heat, ex-Samsara Blues Experiment) and features cover art by Harley and J, but the organ work of Jonas Hartmann plays a significant role in “Starry Road” as well as other album cuts like “Eirene” and “Red Wood,” while Eva‘s brother, David Kohl drives languid bluesy grooves there and on the subsequent, progressively-minded “Mayflies,” which not only highlights Eva‘s vocals in its verses, but leaves room for the lead guitar of Flo Ryan Kiss to shine soulfully as it moves through its midpoint while bassist Javier Zulauf adds depth and tonal warmth alike to a spacious soundscape.

willow child paradiseSo while it may be Eva Kohl in the driver’s seat of that classic Chevy truck, don’t take that to mean the band has nothing else going for them. Paradise & Nadir is a quick-turnaround first album — the band’s lineup only solidified last year — but the songs feel older. Not only older-school, but to listen to the jammy break in the seven-minute “Beyond the Blue Fields,” there’s an established feeling between the players that, no matter how tight they are when they go into the recording studio, simply can’t be faked. Maybe that’s a result of the Kohls and Hartmann playing together longer, but whatever the case, Willow Child‘s dynamic isn’t just making an introduction for itself here: it’s showing that the band entered into the process of making their debut with a firm grip on who they are and what they want to accomplish as a band. Opening both sides of the eight-track offering with the longest piece — that’s “Little Owl” on side A and “Beyond the Blue Fields” on side B — they quickly mark out an expansive feel and balance that with structural traditionalism that only enhances the classic heavy rock aspects in their work.

I don’t have any kind of inside track or anything, but I’d hardly be surprised to find Willow Child‘s logo starting to pop up on festival posters come this Fall or even summer, since I think once people get ahold of Paradise & Nadir the band aren’t going to have any trouble ingratiating themselves to the converted among Europe’s continually staggering heavy rock underground. If you’re up for the ride — and some lasers! — you can check out the “Starry Road” video premiere below, followed by more background from the PR wire.

Please enjoy:

Willow Child, “Starry Road” official video premiere

Directed/Edited by: Nicolas Jansky
Lights: Timon Seidl

Jonas Hartmann (organ) and siblings Eva (vocals, guitar) and David Kohl (drums) had been making music together since 2014, when in 2016 bass player Javier Zulauf completed their ranks. A small setback in 2017: Jonas, who up until then had been playing the guitar in addition to the organ, had to focus solely on the organ after injuring his hand and not making a full recovery, which is when Flo Ryan Kiss joined as lead guitarist.

The whole band takes part in the process of songwriting. “One member will come up with a basic idea, whether it’s a chord sequence, a riff, a feeling, a theme or a verse. Then we usually spin the idea around a little, jam to it and just try out whatever comes to mind, and then the pieces of the puzzle usually start coming together. Of course there are exceptions in songs that are written entirely by one band member, but we always manage to blend individual styles into a bigger picture”, says bassist Javier. Flo Ryan adds: “What we love most is locking ourselves away for a weekend and just jamming out in a practice space in our remote hometown. That really puts our ‘real lives’ on hold and we play 10 to 14 hours a day.”

The goals for 2018 have been set: “We’re working really hard on our music and putting a lot of time, energy and money into it“, Flo Ryan Kiss says. “Even if we can’t make a living off music yet, we really value professional structures. They help us grow as a band and leave more room for creativity. We really feel like our debut album is a great foundation for growing our fan base by touring Europe and playing festivals. In the long run, we want to reach people across all borders with our music.”

Line-up:
Eva Kohl (Vocals, Guitar)
Flo Ryan Kiss (Guitar)
Javier Zulauf (Bass)
Jonas Hartmann (Organ)
David Kohl (Drums)

Willow Child on Thee Facebooks

Willow Child on Bandcamp

StoneFree Records website

StoneFree Records on Thee Facebooks

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Willow Child Sign to StoneFree Records; Paradise & Nadir LP Coming Soon

Posted in Whathaveyou on March 14th, 2018 by JJ Koczan

I know it’s not exactly unheard of, but I think it’s interesting that what first brought German classic-style, organ-inclusive heavy rockers Willow Child together wasn’t the impulse to immediately create something of their own, but to pay homage to their heroes of the late ’60s and early ’70s. They were a cover band. A lot of people slag off tribute acts — not me. If you can get together with your friends for a night, play songs you love in some bar that’s probably going to give you at least like $300 for the effort? I’ve been on the other end of that — playing original material to nobody for no money — and it’s not exactly always a blast. That romance? It fades. So yeah, cover bands. I get it.

Something tells me, however, that even playing original material, Willow Child aren’t going to have any trouble drawing an audience. The five-piece released their debut EP, Trip Down Memory Lane, last year and you’ll find it streaming at the bottom of this post. Later in 2018, they’ll follow up with their first long-player, Paradise and Nadir, which will be out thanks to the estimable tastes of StoneFree Records, who announced the alliance thusly:

willow child

StoneFree Records is more than proud to announce the signing of Willow Child.

After listening to their very promising „Trip Down Memory Lane EP“ in February 2017 we kept in touch and forged out plans concerning a future release.
Now the time has come! BIG TIME!

Willow Child recorded their debut album „Paradise & Nadir“ with Richard Behrens at Big Snuff Studio Berlin in January 2018. The result sounds stunning and will go places for sure. We’ll keep you posted about the release details pretty soon!

Willow Child establish a powerful symbiosis of vivid arrangements and intense lyrics. The quintet based around Nuremberg plays warm blues rock fueled by impelling hard rock riffs and psychedelic instrumental outbursts. Floating guitar licks, thrilling organ grooves and occult vibes are joined together by a rich songwriting.

The band was started 2014 under the name of “Trip Down Memory Lane” and firstly covered old classics from Led Zeppelin, Deep Purple, The Doors and many more. But in late 2015 they began to write their own songs and somehow got stuck with it.

Willow Child’s debut album „Paradise & Nadir“ opens the door to a mystic cosmos!

Willow Child is:
Eva Kohl – vocals, guitar
Flo Ryan Kiss – guitar
Jonas Hartmann – organ
Javier Zulauf – bass
David Kohl – drums

https://www.facebook.com/WillowChildOfficial/
https://instagram.com/Willowchildofficial
https://willowchild.bandcamp.com/
https://www.facebook.com/stonefree.co.at/
https://www.instagram.com/stonefree_records/
http://www.stonefree.co.at/

Willow Child, Trip Down Memory Lane (2017)

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Quarterly Review: Wolves in the Throne Room, Gravy Jones, Marmora, Mouth, Les Lekin, Leather Lung, Torso, Jim Healey, Daxma, The Re-Stoned

Posted in Reviews on January 9th, 2018 by JJ Koczan

Lodewijk de Vadder (1605-1655) - 17th Century Etching, Landscape with Two Farms

The Obelisk’s Quarterly Review continues today with day two of five. I don’t mind telling you — in fact I’m pretty happy to tell you — that this one’s all over the place. Black metal, post-metal, singer-songwriter stuff, psych jams, heavy rock. I feel like I’ve had to go to great pains not to use the word “weird” like 17 times. But I guess that’s what’s doing it for me these days. The universe has plenty of riffs. All the better when they start doing something different or new or even just a little strange. I think, anyhow. Alright, enough lollygagging. Time to dive in.

Quarterly Review #11-20:

Wolves in the Throne Room, Thrice Woven

wolves in the throne room thrice woven

True, it’s something of a cliché when it comes to Wolves in the Throne Room to think of their work as “an awaited return,” and perhaps that speaks to the level of anticipation with which their outings are greeted generally. Nonetheless, Thrice Woven arrives via the band’s own Artemisia Records six years after Celestial Lineage, their last proper full-length, and three after its companion, Celestite (review here), so the five-track/42-minute offering from the USBM innovators is legitimately due. The Washington-based troupe’s black-metal-of-the-land remains heavily focused on atmosphere, with a sharp, experimental-feeling turn to ambience and melody in opener “Born from the Serpent’s Eye” and the later drone interlude “Mother Owl, Father Ocean” that precedes the rampaging closer “Fires Roar in the Palace of the Moon,” which caps Thrice Woven with a long fade into the sound of rolling waves. Between them, “The Old Ones are with Us” casts a vision of blackened folk-doom that seems to pull off what Agalloch was always aiming for, and centerpiece “Angrboda” blasts through an early wash before splitting near the midsection to minimalism and rebuilding itself on a slow march. 15 years on from their beginning, Wolves in the Throne Room still sound like no one else, and continue to push themselves forward creatively.

Wolves in the Throne Room on Thee Facebooks

Artemisia Records on Bandcamp

 

Gravy Jones, Funeral Pyre

gravy jones funeral pyre

It’s a crazy world into which Gravy Jones invite their listeners on their self-issued debut full-length, Funeral Pyre, and the fire they bring is born of a molten classic psychedelic rock underpinned by low end weight and further distinguished by its use of organ and proto-metallic vocal proclamations. Opener and longest track (immediate points) “Heavens Bliss” tops 10 minutes in its weirdo roll, and subsequent cuts “The Burning of the Witch” and “It Came from the Sea” do little to dispel the off-center vibe, the former dug into rawer NWOBHM-ism and the latter, the centerpiece of the five-tracker, beaming in from some kind of alt-universe Deep Purple idolatry to lead into the particularly doomed “Gilgamesh” and the shuffle-into-noisefest onslaught of the closing title-track. All told it’s 41 minutes of bizarre excursion that’s deceptively cohesive and feels like the start of a longer-term sonic exploration. Whether or not Gravy Jones even out sound-wise or hold to such an unhinged vibe, they definitely pique interest here.

Gravy Jones on Thee Facebooks

Gravy Jones on Bandcamp

 

Marmora, Criterion

marmora criterion

Criterion – yes, like the collection – is the debut EP from Chicago four-piece Marmora, who released a single in 2013 before the core brotherly trio of Zaid (guitar), Alejandro (bass) and Ulysses (drums) Salazar hooked up with vocalist/guitarist/synthesist Allan Cardenas in 2015. The three-tracker that has resulted begins with its title-cut, which thrusts forth a wash of heavy post-rock that makes an impression in weight as much as space before turning to the more grounded, propulsive, aggressive and punkishly noise-caked “Apathy” and closer “Flowers in Your Garden,” which turns traditional heavy rock riffery on its head with frenetic drum work and rhythmic turns that feel born of modern progressive metal. Significant as the crunch factor and aggro pulsations are, Criterion isn’t at all without a corresponding sense of atmosphere, and though there isn’t much tying these three tracks together, for a first EP, there doesn’t need to be. Let that come later. For now, the boot to the ass is enough.

Marmora on Thee Facebooks

Marmora on Bandcamp

 

Mouth, Live ’71

mouth live 71

Perhaps in part as a holdover between their 2017 second album, Vortex (review here), and the impending Floating to be issued in 2018, German progressive retroists Mouth offer Live ’71. No, it was not actually recorded in 1971. Nor, to my knowledge, was it recorded in 2071 and sent back in time in a slingshot maneuver around the sun. It’s just a play on the raw, captured-from-the-stage sound of the 55-minute set, which opens at a 19-minute sprawl with “Vortex” itself and only deep-dives further from there, whether it’s into the keyboard throb of “Parade,” the nuanced twists of “Into the Light” or the more straightforward riffing of “On the Boat.” There’s room for all this scope and the stomp of “Master Volume Voice” in a Mouth set, it would seem, and if Live ’71 is indeed a stopgap, it’s one that shows off the individualized personality of the long-running band who seem to still be exploring even as they approach the 20-year mark.

Mouth on Thee Facebooks

Mouth on Bandcamp

 

Les Lekin, Died with Fear

les lekin died with fear

A second full-length from Austrian heavy psych trio Les Lekin, Died with Fear is perhaps more threatening in its title than in its overall aesthetic. The four inclusions on the 43-minute follow-up to 2014’s All Black Rainbow Moon (review here) set their mission not necessarily in conveying terror or some overarching sense of darkness – though low end is a major factor throughout – as in cosmic hypnosis born of repetition and chemistry-fueled heavy psychedelic progressivism. Well at home in the extended and atmospheric “Orca” (10:41), “Inert” (10:21), “Vast” (8:59) and “Morph” (13:34), the three-piece of guitarist Peter G., bassist Beat B. and drummer Kerstin W. recorded live and in so doing held fast to what feels very much like a natural and developing dynamic between them, their material all the more fluid for it but carrying more of a sense of craft than most might expect from a release that, ostensibly, is based around jams. Sweeping and switched-on in kind, Died with Fear turns out to be remarkably vibrant for something under a banner so grim.

Les Lekin on Thee Facebooks

Tonzonen Records webstore

 

Leather Lung, Lost in Temptation

leather lung lost in temptation

Oh, they’re mad about it, to be sure. I’m not sure what ‘it’ ultimately is, but whatever, it’s got Leather Lung good and pissed off. Still, the Boston-based onslaught specialists’ debut full-length, Lost in Temptation, has more to its cacophony than sheer violence, and though that intelligence is somewhat undercut by the hey-check-it-out-it’s-cartoon-tits-and-also-because-snakes-are-like-wieners cover art, the marriage between fuckall noise intensity on “Gin and Chronic” and trades between growl-topped thrust and more open and melodic plod on “Shadow of the Scythe” and upbeat rock on “Momentum of Misfortune.” Put it in your “go figure” file that the closer “Destination: Void,” which is marked as an outro, is the longest inclusion on the 28-minute offering, but by then due pummel has been served throughout pieces like “Deaf Adder” and “Freak Flag” amid the willful stoner idolatry of “The Spice Melange,” so there’s texture in the assault as well. Yeah though, that cover. Woof.

Leather Lung on Thee Facebooks

Leather Lung on Bandcamp

 

Torso, Limbs

torso limbs

I won’t deny the strength of approach Austria’s Torso demonstrate across Limbs, their StoneFree Records debut LP, in the straightforward structures of songs like “Meaning Existence” or “Mirror of My Mind” or “Skinny and Bony” and the semi-acoustic penultimate grown-up-grunge alternarocker “Down the Highway,” but it’s hard to listen to the nine-minute spread of “Red Moon” in the midsection of the album and not come away from its patient psychedelic execution thinking of it as a highlight. Shades of post-rock and moodier fare make themselves known in “Come Closer” and the righteously melodic “Ride Up,” and closer “Voices” delivers a resounding payoff, but it’s “Red Moon” that summarizes the atmospheric and emotional scope with which Torso are working and most draws together the various elements at play into a cohesive singularity. One hopes it’s a model they’ll follow going forward, but neither should doing so necessarily draw away from the songwriting prowess they show here. It’s a balance that, having been struck, feels ready to be manipulated.

Torso on Thee Facebooks

StoneFree Records website

 

Jim Healey, Just a Minute More

jim healey just a minute more

Companioned immediately by a digital release of the demos on which it’s based, including four other songs that didn’t make the cut of the final, studio-recorded EP, Jim Healey’s Just a Minute More conveys its sense of longing in the title and moves quickly to stake its place in a long-running canon of singer-songwriterisms. Healey, known for fronting metal and heavy rock acts like We’re all Gonna Die, Black Thai, Set Fire, etc., could easily come across as a case of dual personality in the sweetly, unabashedly sentimental, acoustic-based opener “The Road” or the more-plugged-in “You and I” at the outset, but in the fuzzed-out centerpiece “Swamp Thing,” the emotionally weighted memorable hook of “Faced,” and the piano-topped payoff of closer “Burn Up,” the 18-minute EP unfurls a sense of variety and a full-band sound that sets the project Jim Healey on its own course even apart from the man himself. Some of those other demos aren’t too bad either. Just saying.

Jim Healey on Thee Facebooks

Jim Healey on Bandcamp

 

Daxma, The Head Which Becomes the Skull

daxma-the-head-which-becomes-the-skull

Signed to Magnetic Eye for the release, Oakland post-metal five-piece Daxma answer the ambition of their half-hour single-song 2016 debut EP, The Nowhere of Shangri-La, with the even-fuller-length The Head Which Becomes the Skull, demonstrating a clear intent toward sonic patience and ambient reach that balances subtle builds and crashes with engaging immersiveness and nod. Three of the six total inclusions top 10 minutes, and within opener “Birth” (10:53), “Abandoning All Hope” (11:34) and the penultimate “Our Lives Will be Erased by the Shifting Sands of the Desert” (13:42), one finds significant breadth, but not to be discounted either are the roll of “Wanderings/Beneath the Sky,” the avant feel of the closing title-track or even the 80-second drone interlude “Aufheben,” which like all that surrounds it, feeds into a consuming ambience that undercuts the notion of The Head Which Becomes the Skull as a debut album for its purposefulness and evocative soundscaping.

Daxma on Thee Facebooks

Magnetic Eye Records on Bandcamp

 

The Re-Stoned, Chronoclasm

the re-stoned chronoclasm

For their first new outing since they revisited their debut EP in 2016 with Reptiles Return (review here), Moscow instrumentalists The Re-Stoned cast forth Chronoclasm, a six-track long-player of new material recorded over 2015 and 2016 that ties together its near-hour-long runtime with a consistency of guitarist Ilya Lipkin’s lead tone and a steady interweaving of acoustic elements. “Human Without Body,” “Save Me Under the Emerald Glass,” “Psychedelic Soya Barbecue” and the title-track seem to have some nuance of countrified swing to their groove, but it’s lysergic swirl that ultimately rules the day throughout Chronoclasm, Yaroslav Shevchenko’s drums keeping the material grounded around Lipkin’s guitar and Vladimir Kislyakov’s bass. The trio are joined on percussion by Evgeniy Tkachev on percussion for the CD bonus track “Quartz Crystals,” which picks up from the quiet end of “Chronoclasm” itself and feels like a nine-minute improve extension of its serene mood, adding further progressive sensibility to an already wide scope.

The Re-Stoned on Thee Facebooks

Oak Island Records on Thee Facebooks

 

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Down with the Gypsies Sign to StoneFree Records

Posted in Whathaveyou on November 2nd, 2017 by JJ Koczan

While there are elements at work that fall into the scope of the modern heavy blues rock one finds increasingly coming out of various Northern European corners, I think if one listens to a Down with the Gypsies track like the piano-into-later-percussion-exploration “Sky Full of Cars” from their 2017 debut album, Kassiopeia, the beginnings of an aesthetic standout can be heard taking shape. I’m also pretty sure the German five-piece are “down” with the gypsies in the sense of “I’m on board with this” rather than like a protest against the Romani people or anything like that, at least judging by the hippie-style presentation. That’s supposition on my part, but it seems like Down with the Gypsies have bigger fish to fry than discriminatory tribalism.

You can stream Kassiopeia in its entirety at the bottom of this post. StoneFree will have the album out on vinyl and CD with new cover art early next year, so keep an eye out and enjoy in the meantime.

The label announced the alliance as follows:

down with the gypsies

NEW SIGNING // band introduction #7 // Down with the Gypsies

We’re honoured to welcome Down with the Gypsies to the family.

After experiencing their intense live show at this years Void Fest, a real goosebumps moment, we decided to look no further and signed this five piece!

DOWN WITH THE GYPSIES is a young psych / folk / prog five piece, based in Karlsruhe, Germany and Linz, Austria. The band was formed in late 2015 by singer & guitarist Gaba Wierzbicka and drummer Tom Schneckenhaus.

In 2016 they already shared the stage with bands like DEATH HAWKS, Mondo Drag, Forever Pavot, Wucan and many more. The first demo tape was recorded in April, just before Melina Tzimou joined the band on guitar. After the show at Psyka Festival, Karlsruhe in October 2016, Maik left the band and Mitja Besen took over on bass.

As there were a lot of changes in their line-up, the band took a break from playing live and turned it into a creative process of songwriting and a period of finding their own sound.

In March 2017 their debut LP “Kassiopeia” was recorded & mixed by Sabina Sloth at KAPU Studio and self-released in July 2017. The band toured Europe for the first time in August & September.

In early 2018 “Kassiopeia” will be released in a new outfit on vinyl & cd. We’re looking forward to release this beast!

Down with the Gypsies are:
Gaba Wierzbicka – Vocals, Guitar, Keys
Melina Tzimou Weis – Guitar
Mitja Besen – Bass
Philipp Reiter – Flute, Clarinette, Percussion
Tom Schneckenhaus – Drums, Saz

https://www.facebook.com/downwiththegypsies/
https://downwiththegypsies.bandcamp.com/album/kassiopeia
https://www.facebook.com/stonefree.co.at
http://www.stonefree.co.at/kassiopeia.html

Down with the Gypsies, Kassiopeia (2017)

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