[Please note: Press play above to stream Old Man’s Will’s Hard Times – Troubled Man in full. Album is out today on RidingEasy. Thanks to the label, PR and band.]
What works so well about Hard Times – Troubled Man is the vigor with which Old Man’s Will carry across its foundation of classic boogie rock. Listening to the unpretentious Swedish four-piece, who capture warm tones in the dark cold of Umeå — a northern town known for being the birthplace of Meshuggah and Refused — they make little attempt to hide their ’70s affinities, their Graveyard influence or their penchant for swinging their way into a memorable hook, but there is a vitality at the core the material that only emphasizes how much the sound of then has become the sound of now. Comprised of eight tracks totaling a manageable 34 minutes, Hard Times – Troubled Man perhaps oversells a sense of melancholy between its cover art and title, but there’s plenty of blues to go around.
Also Purples, since the record finds vocalist Benny Åberg a commanding, Ian Gillan-type presence at the fore of opener “Fools” as guitarist Klas Holmgren, bassist Tommy Nilsson and drummer Gustav Kejving strut and stamp behind. “Troubled Man” follows with immediately locked-in groove as Åberg recounts numerous woes of losing a job, getting kicked out, etc., but the chorus and the verse alike are catchy, so even as Old Man’s Will proffer downtrodden vibes, they do so in an upbeat, good-time spirit. The contrast ends up being one of the album’s great strengths, building on what Old Man’s Will were able to do with their 2013 self-titled debut on Transubstans prior to hooking up with RidingEasy Records for this, their second album, but keeping a live feel in the proceedings that plays well alongside their roots in the heavy of yore.
One has to imagine that when they inevitably do the biopic about RidingEasy Records, Old Man’s Will‘s “Easy Rider” will be in there someplace, but for now the track stands among the strongest hooks of Hard Times – Troubled Man, and “Ratking,” which follows, fleshes out along bluesier lines — complete with a sax solo — on what could easily become a signature piece for the band, as clever lyrically as it is in its subtle instrumental build. Coupled with “Easy Rider,” it shows the songwriting prowess at the core of what Old Man’s Will do, and while the ultimate result is bound to be familiar to those schooled in the development of the band’s genre, there’s little denying the edge that they bring to it or the skill with which they execute those tenets. Even on a cut as in-the-gutter as “Ratking,” Old Man’s Will emerge clean.
Åberg delivers a soulful performance that’s as fluid in its range as Holmgren, Nilsson and Kejving are in sleeking up around it. And in a smart bit of sequencing, the more low-end-minded fuzzer “Got It” follows, tipping back into faster swing and earning its late handclaps as “Troubled Man” earned its cowbell, Holmgren turning in a particularly engaging solo while Nilsson, from deep in the mix, holds the groove tight. I’m not sure if “Got It” is the lead-off for side B or the finale of side A — I’d guess the latter, based on runtime — but “Hazel Eyes,” which follows, brings back the cowbell to underscore another landmark hook of layered vocals, fuzz bass and drums that seem to have taken the ethic of “Easy Rider” to heart. Holmgren meters out another bluesy lead, and just when the track has lulled the listener to a pure state of hypnosis, a kind of instrumental drawl taking hold near the end, the rush of “How Could You Know” snaps one back to a reality of earthy, boogie-laden fuzz.
The dynamic that works through on side B is hopefully prescient of where Old Man’s Will are headed overall, and while they’re not the first to transpose ’70s ballad melancholy onto revivalist heavy rock, seven-minute closer “Another Seven Days” does it especially well, Mellotron adding spaciousness while the lyrics play out scenarios of too much not being enough and push coming to shove and so on, Kejving keeping it classy with light cymbal washes and tom hits as the guitars and bass play out dreamy wistfulness. One might expect the song to explode into a final bout of raucousness, but the vibe holds steady, and they cap instead with a nah-na-na sing-along that does indeed build to a head but stays well within the parameters of what the emotionality of the track has warranted. It is an inviting and engaging finale, and makes for one more instance by which Old Man’s Will showcase how they’ve made this sound their own and what they’ve been able to bring to it.
It’s a long fadeout, but one could hardly accuse them of overstaying their welcome. Instead, Hard Times – Troubled Man plays out with steady efficiency of purpose and execution, and while it may be that the band is their own method of catharsis for all that beat-down bluesery, it seems like sooner or later these guys are going to have to confront just how much fun they’re having.
Posted in Whathaveyou on September 30th, 2015 by H.P. Taskmaster
Swedish upstart heavy rockers Jeremy Irons and the Ratgang Malibus — whose name I’d been pronouncing like “mali-bus,” as though it had a bus at the end one might ride, but have come to discover it’s actually more like the plural of Malibu; learn something new all the time — have announced the dates and cities on and in which they’ll make their first South American tour this November and into December. The run includes shows in Argentina, Uruguay, as well as a warm-up gig in the band’s native Stockholm, and is presented by Abraxas Events, which is previously responsible for bringing the likes of Kadavar and Mars Red Sky to the South American continent.
Not by any means an inconsiderable track record. Looking at the schedule, I can’t help but notice that JIRM, as they’re abbreviated, have a span of four off-nights in a row as November moves into December. They play São Leopoldo on Nov. 29 and Florianópolis on Dec. 4. Now, that’s about a five-hour drive between cities, so maybe they’re taking off a couple days to see the sights, or maybe shows are going to be added as venues are confirmed for the already-announced dates. It seems like a long drive to think that they’ll truck all the way up to Rio de Janeiro and hit Estudio Superfuzz to do some recording, maybe a follow-up to last year’s right-on Spirit Knife (review here) on Small Stone, but also interesting to note that the whole tour winds up in that same city after Dec. 6.
I haven’t even heard hints of that, so don’t go telling people or something, I’m just thinking out loud that it would be another way for Jeremy Irons and the Ratgang Malibus to get the most out of their trip. Even if it doesn’t happen that they get new recordings out of it, I’m sure the tour will be badass.
Announcement follows, courtesy of Abraxas:
Abraxas apresenta: Jeremy Irons & the Ratgang Malibus South America Tour 2015
Venues, ticket information and further info will be updated.
20.11 Stockholm (S) warm-up gig 24.11 Buenos Aires (ARG) 25.11 Córdoba (ARG) 26.11 Montevideo (URY) 27.11 Porto Alegre (BRA) 28.11 Santa Maria (BRA) 29.11 São Leopoldo (BRA) 4.12 Florianópolis (BRA) 5.12 São Paolo (BRA) 6.12 Rio de Janeiro (BRA)
Provided by Statens Kulturråd. Official Tour Poster by Mil
Best song on the record. Graveyard‘s fourth, Innocence and Decadence (review pending), has a few real gems on it. Enough that in a couple months it’ll likely be a top-tenner, at least for me if not in the readers poll — and probably there too — but from where I sit, the soul-rock vibe of “Too Much is Not Enough” completely pays off the spirit of songs like “Hard Times Lovin'” and “Slow Motion Countdown” from 2012’s Lights Out (review here), while also expanding the form into raw soul rock complete with backing singers, Abbey Road-tone leads and a total understanding that this kind of thing not only works within the context of what the Swedish ’70s-style rock forerunners do, but is essential to it. Again, Innocence and Decadence has a few really good songs. I wouldn’t say there’s a clunker in the bunch. Best song on the record.
The album is available now — I haven’t bought a copy yet, but I’ll get there and I have my download to review — and to coincide with the release, the band have unveiled a clip for “Too Much is Not Enough” that follows suit in its cinematic feel from “The Apple and the Tree,” which came out last month. Not sure where Graveyard came into such a video budget — if that’s Nuclear Blast, kudos to Nuclear Blast — but they’re putting it to excellent use, as this new video follows a narrative thread, features the band jamming out in suitably classy surroundings and echoes the melancholy of the song gorgeously.
Graveyard tour the US in December. Dates and PR wire info follow the clip.
Graveyard, “Too Much is Not Enough” official video
Award-winning Swedish rock band GRAVEYARD releases its new album Innocence & Decadence via Nuclear Blast Records. The acclaimed group’s fourth album was recorded live in the studio, directly to analog tape, with producer Johan Lindström and builds on the solid foundation and formidable reputation that GRAVEYARD has cultivated since its formation in 2006, providing the most shining example to date of a sound the band calls “classic rock with a modern roll”.
“We all know how it goes,” the band comments on the song. “There’s ying and there’s yang. Too little and too much and neither one is enough. Somewhere, there is love and the universe finds it’s balance in a perfect ballad.” The “Too Much Is Not Enough” video was shot on location at Sweden’s historic Stadshotell.
GRAVEYARD will embark on fall U.S. tour dates in support of Innocence & Decadence beginning December 4 in Columbus, OH. The live dates are as follows:
GRAVEYARD tour dates: December 4 Columbus, OH Ace of Cups December 5 Chicago, IL Lincoln Hall December 6 Minneapolis, MN Fine Line Music Cafe December 8 Denver, CO Summit Music Hall December 9 Salt Lake City, UT In the Venue December 10 Missoula, MT Stage 112 December 11 Seattle, WA Chop Suey December 12 Vancouver, BC VENUE December 14 Portland, OR Wonder Ballroom December 15 San Francisco, CA The Fillmore December 17 Phoenix, AZ Crescent Ballroom December 19 Austin, TX Mohawk
Posted in Reviews on September 28th, 2015 by H.P. Taskmaster
Truth be told, I’ve been looking forward to this Quarterly Review since the last one ended. Not necessarily since it clears the deck on reviews to be done — it doesn’t — but just because I feel like in any given week there’s so much more that I want to get to than I’m usually able to fit into posting that it’s been good to be able to say, “Well I’ll do another Quarterly Review and include it there.” Accordingly, there are some sizable releases here, today and over the next four days as well.
If you’re unfamiliar with the project, the idea is over the course of this week, I’ll be reviewing 50 different releases — full albums, EPs, demos, comps, splits, vinyl, tape, CD, digital, etc. Most of them have come out since the last Quarterly Review, which went up early in July, but some are still slated for Oct. or Nov. issue dates. Best to mix it up. My hope is that within this barrage of info, art and music, you’re able to find something that stands out to you and that you enjoy deeply. I know I’ll find a few by the time we’re done on Friday.
Fall 2015 Quarterly Review #1-10:
Steve Von Till, A Life unto Itself
A new Steve Von Till solo outing isn’t a minor happening in any circumstances, but A Life unto Itself reads more like a life event than an album. As ever, the Neurosis guitarist/vocalist puts a full emotional breadth into his material, and as it’s his first record in seven years since 2008’s A Grave is a Grim Horse, there’s plenty to say. Sometimes minimal, sometimes arranged, sometimes both, the seven tracks feature little of the psychedelic influence Von Till brought to his Harvestman project, but use lap steel, strings, electrics, acoustics, keys and of course his meditative, gravelly voice to convey a broad spectrum nonetheless, and cuts like “Chasing Ghosts,” “In Your Wings” and the centerpiece “Night of the Moon” (which actually does veer into the ethereal, in its way) are all the more memorable for it. The richness of “A Language of Blood” and the spaciousness of the drone-meets-sea-shanty closer “Known but Not Named” only underscore how far Von Till is able to range, and how satisfying the results can be when he does.
Bizarro vibes pervade Devil Worshipper’s debut LP, Devil Worshipper, what may or may not be a one-man project from Jeff Kahn (ex-Hideous Corpse, Skeleton of God; spelled here as Jevf Kon), mixed by Tad Doyle and released on Holy Mountain. Based in Seattle (that we do know), the project wields molten tones and slow groove to classic underground metal, heavy psych and bleary moods to hit into oddly cinematic moodiness on “Ash Brume” and even nod at Celtic Frost from a long ways away on closer “Lurker (Death).” Most of the drums are programmed, save for “New Spirit World Order,” “Ash Brume” and “Lurker,” but either way, they only add to the weirdness of the chanting layered vocals of “New Spirit World Order,” and just when it seems like eight-minute second track “Chemrails” will have been as far out as Devil Worshipper gets, side B’s “Desert Grave” takes hold for a five-minute dirge that turns out to be one of the record’s most satisfying rolls, reminiscent of something Rob Crow might’ve done with Goblin Cock on downers. Unexpected and living well in its own space, the album manages to be anchored by its lead guitar work without seeming anchored at all.
So, how many guitars on London trio Dr. Crazy’s 13-minute/four-song EP, 1,000 Guitars? Two, I think. The side-project of Groan vocalist Andreas “Mazzereth” Maslen and Chris West, formerly the drummer of Trippy Wicked and Stubb who here plays guitar and bass while Groan’s former guitarist Mike Pilat handles drums, make a bid for the possibility of playing live in bringing in Pilat to fill the role formerly occupied remotely by Tony Reed of Mos Generator on their 2014 debut EP, Demon Lady. Whether that happens will remain to be seen, but they affirm their ‘80s glam leanings on “Bikini Woman” and keep the message simple on opener “Hands off My Rock and Roll” while “1,000 Guitars” makes the most of guest lead work from Stubb’s Jack Dickinson – he’s the second guitar, alongside West – and yet another infectious Mazzereth-led hook, and well, “Mistress of Business” starts out by asking the titular lady to pull down her pants, so, you know, genius-level satire ensues.
An aggressive core lies beneath the progressivism of German five-piece Linie (actually written as ?inie) on their debut full-length, What We Make Our Demons Do, but the material holds a sense of atmosphere as well. Vocalist/guitarist Jörn is very much at the fore of post-intro opener “Blood on Your Arms,” but as the crux of the album plays out on the chug-happy “Lake of Fire” and “No Ideal,” Linie showcase a wider breadth and bring together elements of post-hardcore à la Fugazi, darker heavy rock and purposefully brooding metal. Comprised of Jörn, guitarist/vocalist Alex, bassist/vocalist Ralph, drummer/vocalist Alex and keyboardist Iggi, the band impress on their first offering with not only how assured they seem of their aesthetic, but the expansive manner in which they present it. Their songwriting is varied in approach but unified in mood and while I don’t know what has them so pissed off on a cut like “Inability,” there’s no question whether they’re putting that anger to good use.
Austrian trio The Heavy Minds make their full-length debut on Stone Free with Treasure Coast, a seven-cut LP that fuzzes up ‘70s swing without going the full-Graveyard in retro vibe. “You’ve Seen it Coming” seems to nod at Radio Moscow, but a more overarching vibe seems to share ideology with Baltimore three-piece The Flying Eyes, the classic rock sensibilities given natural presentation through a nonetheless modern feel in the tracks. The bass tone of Tobias (who also plays guitar at points) alone makes Treasure Coast worth hunting down, but doesn’t prove to be the limit of what the young outfit have to offer, drummer Christoph swinging fluidly throughout “Diamonds of Love” in a manner that foreshadows the emergent roll of “Seven Remains.” That song is part of a closing duo with “Fire in My Veins,” which boasts a satisfying bluesy howl from guitarist Lukas, rounding out Treasure Coast with an organic openness that suits the band well.
Momentum is key when it comes to Road Warriors, the new full-length from Detroit four-piece Against the Grain. They amass plenty of it as they thrust into the 12-track/38-minute rager of an outing, but there are changes to be had in tempo if not necessarily intent. Comprised of bassist/vocalist Chris Nowak, guitarist/vocalist Kyle Davis, guitarist Nick Bellomo and drummer Rob Nowak, the band actually seems more comfortable on fifth-gear cuts like “’Til We Die,” “What Happened,” the first half of “Afraid of Nothing” or the furious “Run for Your Life” than they do in the middle-ground of “Guillotine” and “Night Time,” but slowing down on “Sirens” and “Eyes” allows them to flex a more melodic muscle, and that winds up enriching the album in subtle and interesting ways. If you want a clue as to the perspective from which they’re working, they start with “Here to Stay” and end with “Nothing Left to Lose.” Everything between feels suitably driven by that mission statement.
Angel Eyes, Things Have Learnt to Walk that Ought to Crawl
With the ‘t’ and the ‘ought’ in its title, Angel Eyes’ posthumous third full-length, Things Have Learnt to Walk that Ought to Crawl, brims with oddly rural threat. Like the things are people. The Chicago outfit unfold two gargantuan cascades of atmosludge on “Part I” (15:54) and “Part II” (19:18), pushing their final recording to toward and beyond recommended minimums and maximums as regards intensity. They called it quits in 2011, so to have the record surface four years later and be as blindsidingly cohesive as it is actually makes it kind of a bummer, since it won’t have a follow-up, but the work Angel Eyes are doing across these two tracks – “Part I” getting fully blown-out before shifting into the quiet opening of “Part II” – justifies the time it’s taken for it to be released. They were signed to The Mylene Sheath, but Things is an independent, digital-only outing for the time being, though its structure and cover feel ripe for vinyl. Who knows what the future might bring.
Textured, hypnotic and downright gorgeous in its psychedelic melancholy, Baron’s Torpor is a record that a select few will treasure deeply and fail to understand the problem as to why the rest of the planet isn’t just as hooked. A thoroughly British eight-track full-length – their second, I believe, but first for Svart – Torpor creates and captures spaces simultaneously on organ-infused pieces like “Mark Maker,” executing complex transitions fluidly and feeding into an overarching ambience that, by the time they get around to the eight-minute “Stry,” is genuinely affecting in mood and beautifully engrossing. The Brighton/Nottingham four-piece fuzz out a bit on “Deeper Align,” but the truth is that Torpor has much more to offer than a single genre encapsulates and those that miss it do so to their own detriment. I mean that. Its patience, its poise and its scope make Torpor an utter joy of progressive flourish and atmosphere with a feel that is entirely its own. I could go on.
So get this. For their first EP, Swedish trio Creedsmen Arise – guitarist Emil, drummer Simon and bassist Gustaf (since replaced by Jonte) – have taken it upon themselves to pen a sequel to Sleep’s Dopesmoker that, “tells the story about what happened centuries after the Dopesmoker Caravan and it’s [sic] Weedians reached their destination.” Admirably ballsy terrain for the three-piece to tread their first time out. It’s like, “Oh hey, here’s my first novel – it’s Moby Dick from the whale’s perspective.” The three tracks of the Temple EP are fittingly schooled in Iommic studies, but the band almost undercuts itself because they don’t just sound like Sleep. They have their own style. Yeah, it’s riffy stoner metal, but it’s not like they’re doing an Al Cisneros impression on vocals, so while the concept is derived directly, the sound doesn’t necessarily completely follow suit. Between the 10-minute opening title- and longest-track (immediate points), “Herbal Burial” and “Circle of Clergymen,” Creedsmen Arise make perhaps a more individualized statement than they intended, but it’s one that bodes well.
Nola’s cool and all, but when it comes to the nastiest, most misanthropic, fucked-up sludge, choosy moms choose Ohio, and Deadly Sin (Sloth) are a potent example of why. Their Demo Discography tape revels in its disconcerting extremity and seems to grind regardless of whether the Xenia, OH, trio are actually playing fast. Comprised of Jay Snyder, Wilhelm Princeton and Kyle Hughes, Deadly Sin (Sloth) cake themselves in mud that will be familiar to anyone who’s witnessed Fistula on a bender or Sloth at their most pill-popping, but do so with sub-lo-fi threat on the tape and are so clearly intentional in their effort to put the listener off that one could hardly call their demos anything but a victory. Will not be for everyone, but of course that’s the idea. This kind of viciousness is a litmus test that would do justice to any basement show, maddening in its nod and mean well beyond the point of reason.
Posted in Whathaveyou on September 24th, 2015 by H.P. Taskmaster
A busy couple years have gone by quick for Swedish heavy rockers Deville. The Malmö four-piece will release their fourth album, Make it Belong to Us on Truckfighters-helmed imprint Fuzzorama Records Nov. 13 as the follow-up to their 2013 full-length, Hydra (review here), which came out on Small Stone, and a reissue of their 2007 debut, Come Heavy Sleep, that was put out on Heavy Psych Sounds.
Make it Belong to Us will be the first Deville album to feature the lineup of guitarist/vocalist Andreas Bengtsson, drummer Markus Nilsson, bassist Markus Åkesson and guitarist Andreas Wulkan, the latter having joined since the release of Hydra, which in league with the reissue also served as the impetus for the band’s first US tour last year (review here). Whether or not they have similar intentions to support the new record has yet to be revealed — I don’t think one could really hold it against them either way — but they’ll be out in Europe next month to herald the forthcoming release alongside long-running rockers Mustasch, as well as playing at Desertfest Belgium 2015 and the Into the Void festival in the Netherlands.
As a first bit of audio to be made public, Deville and Fuzzorama have offered up the song “Life in Decay,” which you can find under the quickie announcement and the tour dates below:
Fuzzorama Records is streaming a first song “Life in Decay” of the new album” Make It Belong To Us” out 13th of November. The album is produced by Markus Nilsson. Recorded at Sunnanå Studio by Markus Nilsson and Tobias Ekqvist.
Do you like it?
Deville on Tour 10.10 Antwerpen BE Desertfest Belgium 10.16 Essen DE Turock* 10.17 Leipzig DE Hellraiser* 10.18 Berlin DE Magnet* 10.19 Hamburg DE Knust* 10.20 Koln DE Underground* 10.21 Pratteln CH MiniZ7* 10.22 Munchen DE Backstage* 10.24 Leeuwarden NL Into the Void Fest * supporting Mustasch
Posted in Whathaveyou on September 21st, 2015 by H.P. Taskmaster
Some pretty big news out of Stockholm in that Siena Root have changed vocalists ahead of their impending European tour that will take them to Desertfest Belgium and ThElectriCool, as well as other spots in the UK and EU including London’s famed The Black Heart. Plenty of bands switch out singers, but if you heard their 2014 outing, Pioneers, you know Jonas Åhlén played a major role in setting the band’s ’70s vibes. New arrival Samuel Björö has his work cut out for him to say the least, but he’ll be diving in headfirst with the tour — which is the five-piece’s second of 2015, having hit Germany, Austria, Spain, France, Switzerland, Italy and Belgium this past spring — and Siena Root have been around long enough it’s fair to trust that if Björö wasn’t the guy for the job, he probably wouldn’t have it.
The PR wire brings the announcement and tour info:
A NEW ERA BRINGS SIENA ROOT CLOSER TO THE TOP AND DEEPER INTO ROOT ROCK
As Jonas Åhlén decided to step aside after this summer Siena Root are excited to present our new lead voice. The search is over for our fifth member and a new era begins with true Siena Root legacy!
Siena Root are pleased to welcome our new voice, Samuel Björö.
Samuels stinging voice is matched by his wonderful character, full of energy and with a mighty spirit. He comes to us from the deep woods of the very north of Sweden. As much as we welcome him on board onto the root rock train, he’s equally eager to start the ride with us!
SIENA ROOT TOUR DATES – FALL 2015 08.10.2015 – DK Copenhagen, KB18 kødboderne 09.10.2015 – DE Stralsund, Anker Werkstatt Stralsund 10.10.2015 – DE Marburg, Kulturladen KFZ Marburg 11.10.2015 – BE Antwerp, Desertfest Belgium 12.10.2015 – tba 13.10.2015 – FR Rouen, Le 3 Pieces 14.10.2015 – UK Liverpool, O2 Academy Liverpool 15.10.2015 – UK Bristol, Exchange 16.10.2015 – UK London, The Black Heart 17.10.2015 – UK Leicester, The ElectriCool Festival 18.10.2015 – NL Zwolle, Hedon Zwolle 19.10.2015 – NL Nijmegen, De Onderbroek 20.10.2015 – DE Köln, Sonic Ballroom 21.10.2015 – DE Nürnberg, K4 Nürnberg 22.10.2015 – DE Freiburg, White Rabbit 23.10.2015 – DE Essen, Turock 24.10.2015 – DE Leipzig, UT Connewitz
Compiled by Patrik Lager and featuring an edited version of the track “Gånglåt från Vintergatan,” which was originally premiered here, the new video from Swedish progressive instrumentalists Agusa feels about right in its level of trippiness. The album from whence this abridged edition of the track comes, Agusa Två — or Agusa 2, numerically speaking — arrived in July via The Laser’s Edge and the band’s own Kommun2 label, and while you don’t get the full 20-minute breadth of the song, as a sampler, there’s not much more one could reasonably ask that the clip doesn’t deliver.
Including curio fodder. “Gånglåt från Vintergatan” is set to footage from the 1968 Swedish educational film, Curious Alice, which seems to have been an anti-drug propaganda piece, but watching the video it’s pretty obvious the Swedes didn’t mean it. Might be a stretch to assign credit to a single source to the nation’s decades-long affair with heavy, psychedelic and stoner rock(s), but I can’t really imagine being 12 years old, watching Curious Alice and not thinking that lysergics are awesome and something I definitely want to try just as soon as I finish not doing my math homework.
No doubt Agusa‘s sweetly melodic, richly psychedelic flourish is a part of that impression, but if you take a look at the video, you’ll see what I mean either way. The album seems to have been something of a sleeper — not really a surprise given its mostly-instrumental, progressive form; that stuff’s not for everybody as much as it might seem otherwise to the converted while listening — but that doesn’t mean it’s not also a deeply satisfying listen, and if you haven’t heard any of it yet, the video’s a great way to get introduced.
PR wire info follows the clip below. Enjoy:
Agusa, “Gånglåt från Vintergatan” official video
AGUSA: New Video From Swedish Psychedelic/Prog Alchemists Now Playing
Last month, Swedish psychedelic/prog alchemists, AGUSA, dropped the hallucinatory bounty of their Agusa 2 (Två ) full-length via Laser’s Edge. Boasting forty ethereal minutes of tranquil, trance-inducing, folk-inspired, occult rock divided into two epic tracks, AGUSA’s kaleidoscopic output conjures images of nature and the cosmos, their extensive passages meandering into realms of a possibly supernatural or parallel existence.
In celebration of its release, the band offers up the optical companion to opening hymn, “Ganglat Fran Vintergatan.” Captured by Patrik Lager the appropriately tripnotic video features original footage from 1968’s Curious Alice, an educational film for public school children, focused on the dangers of drug and alcohol abuse in the context of Alice In Wonderland story.
AGUSA was spawned in 2013, when Tobias Petterson and Mikael Ödesjö, former members of Kama Loka, recruited Dag Strömqvist and Jonas Berge for their early ’70s progressive rock project. The outfit eventually ventured out to the countryside where Strömqvist lived, to a place called Agusa -a loose gathering of homes deep in the forest. Within these secluded surroundings, and during a amazingly sunny, Summer day, the new collective had an extensive, extremely inspired jam session that helped solidify the direction of their sound. In the Autumn of 2014, the band recorded their debut, Högtid, which was released on vinyl and digital media in early 2014.
Following a number of performances that Winter, Strömqvist fled AGUSA to travel India, and Tim Wallander, also a member of blues trio Magic Jove, joined the band. In the beginning of 2015, armed with a refreshed lineup, AGUSA entered Studio Möllan to record their sophomore full-length, this time having asked a close friend of theirs, Jenny Puertas, to play flute on the recording. The match was so perfect that the band instantly invited her into the band full-time, expanding their lineup once again.
Posted in Whathaveyou on September 3rd, 2015 by H.P. Taskmaster
Swedish twofer Galvano will hit the road next month across Western Europe in support of their earlier-2015 release, Trail of the Serpent, which is also their debut on Candlelight Records. They’re joined for the trek by their countrymen in Snailking and Canada’s Zaum, who I hear will have a new record out in 2016, which is surely good news for anyone who likes their heavy with a bit of ritual behind it. Which I think is just about everybody at this point. Or, at very least, me. Ha.
It’s a more than solid bill, though, with the three bands, and they’ll meet up with the likes of Pentagram and Graveyard along the way as well, so all the better. Dates and background on Trail of the Serpent follow, as well as the stream of the album, all courtesy of the PR wire:
We are hitting Europe again in November, this time with our friends in Snailking and ZAUM. Excited to return to France, this time sharing stage with the mighty Pentagram! Hope to see you out there! Go like these killer bands and share this poster. Thank you.
Galvano on Tour with Snailking and Zaum 11.13 Stengade Copenhagen DK 11.14 Astrastube Hamburg DE 11.15 TBC Rouen FR 11.17 Ferrailleur Nantes FR* 11.18 Little Devil Tilburg NL 11.19 De Onderbroek Nijmegen NL 11.20 Music City Antwerp BE 11.21 Brixton Windmill London UK 11.23 TBC Leipzig DE 11.24 Chemiefabrik Dresden DE 11.25 Alte Meierei Kiel DE 11.26 Schokoladen Berlin DE 11.27 1000Fryd Aalborg DK 11.28 Vulkan Arena Oslo NO** *with Pentagram **with Graveyard
From the deepest, nastiest recesses of Gothenburg comes crushing Swedish sludge duo Galvano. Now comprising Mattias Noojd (guitars/vocals) and Fredrik Kall (drums), Galvano originally started out as a three-piece in 2005.
Galvano embarked on their first mini tour in 2010 visiting Denmark and a set of German cities. That same year the band were asked to feature on a split so they went into the studio and recorded the epic single The Librarian which was mixed and mastered by the legendary Billy Anderson (Orange Goblin, Cathedral, Eyehategod).
This was released as a 10 in 2011 on SM Musik from Leipzig, Germany. The release was then followed up by a full European tour. After this tour the band said goodbye to their fourth bass player and decided to move on as a duo. Early in 2012 they teamed up with UK based label Devouter Records for the release of their debut full-length album Two Titans. The album was released on December 5th and was very well received by both fans and media.
Since then the band has played over 35 shows during several European tours including UK and Ireland. In January 2015, Galvano signed with Candlelight Records.