Gin Lady Announce Sept. 15 Release for Electric Earth

Posted in Whathaveyou on August 17th, 2017 by JJ Koczan

gin lady

Right from its very start, Gin Lady‘s upcoming fourth album, Electric Earth is striking in its classic-style impression. Though it doesn’t necessarily fall into a vintage-style production mode, the record — set for release Sept. 15 through Kozmik Artifactz — begins with two five-minute cuts in “Flower People” and “I’m Your Friend,” and the primary impression between the two of them, respectively, is The Rolling Stones and The Beatles. Read that as easy grooves, choice melodic work, a little arrangement flourish in the vocals a deceptive depth of accessible songwriting. They play these impulses off each other throughout and get a touch more raucous in the process later on with the likes of “Water and Sunshine,” but that sing-along feel never leaves them, and the further one digs into Electric Earth, the warmer the outing seems to become.

There’s no audio public from the LP yet, but preorders are up now from Kozmik Artifactz, who sent the following down the PR wire:

gin-lady-electric-earth

Gin Lady return with glorious rock masterpiece “Electric Earth” this September!

Gin Lady from Sweden formed in early 2011 and released in 2012 their same titled debut, which received positive feedback from all over the globe. The group is influenced by artists such as The Faces, Alice Cooper, Master’s Apprentices, Cream and Blue Oyster Cult. The sound is straightforward and heading for the roots of rock.

Earlier ventures, Black Bonzo and The All Janet, clearly show the members taste for detail and perfection in their sound, production and songwriting.

On their 3rd album ‘Call The Nation’, which was released by Kozmik Artifactz in 2016, the band showed their talent for creating catchy melodies and songwriting in the best tradition of Ufo, Free, Rolling Stones, Humble Pie and from the heydays of heavy rock from the seventies.

Now with ‘Electric Earth’ the quartet is proud to present us with their new masterpiece!

Release Date: 15th September 2017

VINYL FACTZ
– Plated & pressed on high performance vinyl at Pallas/Germany
– limited & coloured vinyl
– 300gsm gatefold cover
– special vinyl mastering

TRACKS
1. Flower People
2. I’m Your Friend
3. Badger Boogie
4. The Things You Used To Do
5. Mercy
6. Brothers Of The Canyon
7. Rolling Thunder
8. Water And Sunshine
9. Wasted Years
10. Running No More

Gin Lady are:
Vocals – Magnus Kamebro
Guitar/Vocals – Joakim Karlsson
Bass/Vocals – Anthon Johansson
Drums – Fredrik Normark

https://www.facebook.com/Gin-Lady-254447104608141/
https://ginlady.bandcamp.com/
https://www.facebook.com/kozmikartifactz
http://kozmik-artifactz.com/

Gin Lady, Call the Nation (2016)

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Långfinger Announce Fall 2016 European Tour Dates

Posted in Whathaveyou on August 17th, 2017 by JJ Koczan

langfinger (Photo by Bengt Persson)

Swedish classic-style heavy rockers Långfinger have announced a new round of European touring for this September and October. The Gothenburg three-piece will head out for a run through Germany, Belgium, and the Czech Republic beginning Sept. 28 as they continue to support their 2016 offering, Crossyears (review here), released by Small Stone in the US in conjunction with Cargo Records in Europe.

Though they’re still young, Långfinger are fast becoming veterans of Europe’s heavy rock underground. With Crossyears as their third album behind 2010’s Skygrounds and 2012’s Slow Rivers, the band have more and more refined their sense of songcraft to make their tracks organic, memorable and engaging in their blend of ’70s roots and modern impulses. Earlier this year, they hit the road alongside labelmates Captain Crimson to represent two of Sweden’s strongest upstart presences in next-generation riffage.

Dates for the upcoming autumnal run and more info follow here, courtesy of the PR wire:

langfinger tour poster

Långfinger Autumn Tour
28/9 Kiel (DE) – Schaubude
29/9 Oldenburg (DE) – MTS LP’s & CD’s
30/9 La Louviere (BE) – La Taverne du Theatre
1/10 Rodewisch (DE) – Ars Vitae
2/10 Prague (CZ) – Fatal Club
3/10 Pod?brady (CZ) – Boss Bar
4/10 Kolin (CZ) – Bar Pod Hodinama
6/10 Weimar (DE) – Kasseturm
7/10 Lubbeneu (DE) – Kulturhof

Poster design by: Thomas V. Jäger from Monolord.

Långfinger, from the fertile rock ‘n’ roll city of Gothenburg, are masters of the art. They’ve been playing together since they were in their early teens, and their third album, called ‘Crossyears’, is both the thrilling culmination of their collective endeavour, and a rumination on it – on how Time has shaped them and brought them to this point. Within its hard-hitting grooves, the interlocking of Långfinger’s three disparate characters – Kalle, the unflappable, precision axeman; Jesper, the athletic sticksman battering out physical revenge on his kit; and Victor, the intense, exploratory spirit, bridging thundering bass and howling exorcism – is a magical proposition.

Långfinger:
Kalle Lilja – Guitars & backing vocals
Victor Crusner – Bass, keys & lead vocals
Jesper Pihl – Drums & backing vocals

https://smallstone.bandcamp.com/album/crossyears
https://www.facebook.com/Langfingerofficial/
http://langfinger.net/

Långfinger, Crossyears (2016)

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Truckfighters Announce October Tour Dates

Posted in Whathaveyou on August 16th, 2017 by JJ Koczan

After traipsing and stomping their way around the US earlier this Spring for a two-leg tour, Sweden’s chief fuzz exports Truckfighters are set to do what they do best this October — come back for another round. With a companion West Coast stint to be announced, the Örebro natives his North American shores starting Oct. 6 in gorgeous Montreal as they continue to support the living crap out of 2016’s V (review here), which also marked the first licensing collaboration between their label, Fuzzorama Records, and Century Media.

Speaking of, one can’t help but wonder how much scouting for Fuzzorama‘s lineup in involved in Truckfighters taking on Midwestern duo Telekinetic Yeti as direct support for the Tone Deaf-presented run. The Iowan two-piece’s Abominable (review here) debut album was rich enough in tone that it would seem to position the band as an excellent fit for Fuzzorama if Truckfighters bassist/vocalist Oskar Cedermalm and guitarist  Niklas Källgren decided to bring them aboard. Either way, seems like a great opportunity for Telekinetic Yeti to reach an audience that should be well favorable to their thickened beardo riffery. I hope they play their asses off and do really well. That album continues to rule.

The PR wire brings dates and promises more to come:

truckfighters oct tour

TRUCKFIGHTERS Announce North American Tour Dates in October with Support From Telekinetic Yeti

Lauded as “the best band that’s ever existed” by Queens of The Stone Age’s Josh Homme, Sweden’s fuzz rock charmers TRUCKFIGHTERS are excited to announce a series of headlining dates later this fall across North America. Previously the band has been seen featured as one of the headlining acts of Psycho Fest 2015 and have performed over 700 shows throughout the world.

In continued support of their latest album, “V”, the trio will kick off their upcoming tour on October 6 in Montreal, Quebec – with support provided by stoner doom duo Telekinetic Yeti – until they land in Washington, D.C. on October 16. Full dates can be found in the above admat or listed below. Tickets are on sale now at www.truckfighters.com. Stay tuned for a further announcement with West Coast dates in the coming weeks!

Guitarist Niklas ‘Dango’ Källgren stated: “It was so freakin’ fuzzy awesome last time around so we decided to go back to North America as soon as it was humanly possible – NOW! You demand we obey!”

TRUCKFIGHTER N. American Tour Dates
10/6 Montreal, QC – Foufounes Electriques #
10/7 Quebec City, QC – L’Anti #
10/8 Ottawa, ON – Mavericks #
10/9 Toronto, ON – Hard Luck #
10/10 Chicago, IL – Bottom Lounge
10/11 Millvale, PA – Mr. Smalls Funhouse #
10/12 Columbus, OH – Ace of Cups #
10/13 Richmond, VA – Strange Matter #
10/14 Brooklyn, NY – Knitting Factory #
10/15 Philadelphia, PA – Voltage Lounge #
10/16 Washington, D.C. – Black Cat #
# with Telekinetic Yeti

http://www.truckfighters.com
https://www.facebook.com/truckfighters
https://twitter.com/truckfighters
https://www.youtube.com/user/TruckfightersTV
http://www.centurymedia.com/
https://www.facebook.com/tonedeaftouring/

Truckfighters, Live in Glendale, CA, March 16, 2017

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Six Dumb Questions with The Quill (Plus Track Premiere)

Posted in audiObelisk, Six Dumb Questions on August 9th, 2017 by JJ Koczan

the quill

Time flies, and often in more than a single direction. 11 years ago, Swedish heavy rockers The Quill released In Triumph, what was then the victory lap around four prior successful classic-fueled blasts of rock and roll. The long-players Hooray! It’s a Deathtrip (2003), Voodoo Caravan (2002), Silver Haze (1999) and The Quill (1995) had established them as a powerhouse outfit in a crowded Swedish scene, with the megalungs of frontman Magnus Ekwall at the forefront over guitarist Christian Carlsson‘s riffing, given thrust and groove by bassist Roger Nilsson (who left in 2005) and drummer Jolle Atlagic to land in a place that was no less Led Zeppelin and Black Sabbath than it was contemporary to countrymen outfits like Mustasch, Dozer or The Awesome Machine.

It would be another five years before The Quill followed-up In Triumph with 2011’s Full Circle (discussed here), and when they did it would be without either Ekwall or Nilsson in the band. Carlsson and Atlagic‘s songwriting was intact, but the energy of the group was different, and even as they came “full circle,” they were on uncharted ground. The then-topical Tiger Blood followed in 2013 with Nilsson back in the group alongside vocalist Magz Arnar making his second appearance, and now The Quill return to thethe quill born from fire Silver Haze-era lineup with Born from Fire — a completely over-the-top, righteously unmanageable 66 minutes that’s just as much at home in the Motörheaddy thrust of “Snake Charmer Woman” as in the Sabbathian roll of “Keep it Together” and “Unchain Yourself,” the stomping “Skull and Bones” or tripped-out psych passages like “Set Free Black Crow” or the harmonized apex of “Hollow of Your Hand.”

It’s too bad they already called a record Full Circle, because otherwise, Born from Fire would certainly be a candidate for the title. It’s 12-track stretch finds The Quill rejuvenated and in top form of craft and performance. For not having appeared on a Quill album in more than a decade, Ekwall hasn’t missed a beat in reassuming his former role, and with over 30 years of experience behind them since their first demo, the band delivers crisp, professional-grade heavy rock. For not one minute of the hour-plus release are they anymore lost than they want to be, and whether it’s the nestled-in chug of “Ghosthorse,” the bass-heavy ultra-fuzz of “The Spirit and the Spark,” the swaggering hook of opener “Stone Believer” or the atmospheric epilogue in closer “Metamorphosis,” that command of their approach remains absolute. Whether a given listener is familiar with past offerings or not, Born from Fire lands with a sense of purpose and personality that only straightforward heavy rock at its most done-right could possibly muster. It is a blueprint not just for the best-case-scenario of reuniting with former members, but for the renewal of spirit that reunion can bring about at its most successful.

In the interview below, Ekwall talks about coming back to The Quill after his prolonged absence, how the writing and recording of Born from Fire came together, the band’s intent toward capturing the vibe of their earlier work and much more.

Born from Fire is out Aug. 25 on Metalville Records. Please enjoy the premiere of “The Spirit and the Spark” and the following Six Dumb Questions:

The Quill, “The Spirit and the Spark” (track premiere)

Six Dumb Questions with The Quill

Tell me about coming back to The Quill after so long away. It’s been more than a decade since In Triumph was released. How did rejoining come about? How does it feel to work with the band again? 

Actually, I am really surprised how easy it was to come back. Very natural, no hard feelings. This was not a planned reunion. It just happened. The guys asked me to join them for a local gig playing a bunch of old KISS songs, and when we rehearsed for this, we tried out a few old Quill tunes, of course. Someone had a new riff and suddenly the first new song was written. I believe it was “Set Free Black Crow.”

We just took up from where we ended when Roger left the band back in 2005 or something, no problem. You know, we are living in a small village and we have met several times over these 10 years I have been away from The Quill. Christian and I became friends like 40 years ago. So everything is great and the most important thing is we made an album that we really love otherwise this would never have happened.

What was your time like in the studio? Tell me about arranging vocals for the songs and putting together lyrics for these tracks. How was it stepping back into doing that again? Did you have any specific goals in mind for what you wanted to do vocally or what you wanted to bring to the material this time around?

The album is recorded in two different sessions in a studio close to where we live. I personally like to record fast, a lot of the vocals are first takes, just the way I like it, to keep the feeling right. Lyric-wise, I decided early on to write about stuff that has happened in my life, like an Ekwall biography, to make it easier for me to sink my teeth into writing. They became rather dark in the end. You find a few songs about death and people close to me that have died, in cancer and so on. Some songs, for example “Hollow of Your Hand,” are about my own anxiety and fear of life itself. There is also a few simple rock ´n´ roll lyrics like “Snake Charmer Woman” and “Electrical Son.” During these years away from the band I have written and recorded loads of stuff with both other people and by myself so I never been out of the process. Writing and recording is just a natural process for me.

We decided early on to try and get the same feeling we had when we wrote and recorded the Silver Haze album; just having a laugh, an easygoing atmosphere. Start from zero and just write without any plan. And it turned out very well, the 12 songs on the album are the 12 songs we first wrote, so there is no old leftover material from back in the days, just new, fresh songs. I personally think it sounds a bit like the old, innocent Quill back in the late ‘90s.

Did you find going into Born from Fire that the writing process changed at all from when you were last in The Quill? What was the timing on your coming back and the album being written? How did the tracks come together?

No, nothing has changed at all. As I said before, this was not at all planned from the start we just happened to write some songs we really liked and when you have done that you normally record them and that was just what we did. When the first session was over we decided to go for it!

Writing process is almost the same for every song. Chris or Jolle has a riff, I come up with the melodies and later the lyrics, we kind of do it together in our rehearsal studio. It almost never happens that somebody turns up with a whole song.

The album kind of spaces out after “Hollow of Your Hand,” gets more atmospheric toward the finish. What was the process like putting together the tracklisting and was there something particular you were looking for in terms of the overall flow?

We had a bit of a hard time deciding if Born from Fire should be a double or a single record. But in the end we used all of the recorded tracks and I personally think it was a good decision. Now you get the whole picture and the variety of our music. I like the spaced out songs, always did, I just love the way bands freaked out in the late ‘60s/early ‘70s. Looking back on the Quill catalogue I really dig songs like “Until Earth is Bitter Gone” and “Man Posed.”

You have to try and find some flow in the tracklisting but you also have to consider the length of the tracks but we are pleased and I really hope our old and new fans love it as much as we do.

Would you say that part of the intention of Born from Fire is to capture a vibe similar to records like Voodoo Caravan and Silver Haze? More of a classic heavy rock sound? Or was it not something the band really thought about during the writing and recording?

As I said before we tried to get back into the mood we had circa Silver Haze, no worries on what a future label would think about what we do or how to present ourselves, just an honest an breathtaking album from our hearts. The songs we wrote are the songs you hear on the album, nothing added, nothing taken away.

Any plans or closing words you want to mention?

Well, it is great to be able to be a part of The Quill once again, a band I spent so many years in, building up and created great albums with. I really wish from my heart that the honesty in Born from Fire really shines through.

The Quill on Thee Facebooks

The Quill on Twitter

The Quill website

Metalville Records on Thee Facebooks

Metalville Records on Twitter

Metalville Records website

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Cities of Mars Unveil Cover Art and Preorders for Temporal Rifts

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

Do you have any idea how difficult it is not to write the word ‘riffs’ every time I type out the title of Cities of Mars‘ upcoming debut album? Severe struggle, I’m telling you. Temporal Rifts is due out Sept. 29 via Argonauta Records and will mark the Swedish three-piece’s first offering for the label following their initial 2015 single, Cyclopean Ritual/The Third Eye (review here), and the 2016 EP, Celestial Mistress (review here), that followed, and is set to continue the narrative thread those releases put in motion. By way of a refresher, the track “Envoy of Murder” was premiered here as a preliminary showcase just a couple weeks ago.

Today, in addition to the blue-hued album art, we get the tracklisting for the five-song long-player, preorder links and word that Cities of Mars will tie in the story with more background on their website when the time comes. Here’s the latest off the PR wire:

cities of mars temporal rifts

Swedish Psych Doom masters Cities of Mars release cover artwork and tracklist of their highly anticipated new album “Temporal Rifts”; release date Sept 29th, 2017. CD / LP / DD preorders run now:

CD: http://bit.ly/2eZGchk
LP: http://bit.ly/2vl1SLZ
DD: http://apple.co/2vaWzOI

“It is with great expectation we get closer to the release of Temporal Rifts, our first proper album, on Argonauta Records. Once again our good friend Axel Widén has conjured a piece of art for our evolving saga. Common lyrical themes throughout these five songs are various transitions, transformations and shifts from one set of reality into another, therefore the portal theme suits the album very well. All these songs are set in a distant past in our story, thousands of years before our main character Nadia enters the scene. Upon release, all songs will have a timeline year and a brief piece of background story available on our webpage www.citiesofmars.se.”

TRACK LISTING
1. Doors of Dark Matter Pt 1: Barriers
2. Envoy of Murder
3. Gula, a Bitter Embrace
4. Children Of The Red Sea
5. Caverns Alive!

https://www.facebook.com/citiesofmars
http://citiesofmars.bandcamp.com
https://instagram.com/citiesofmars/
http://www.citiesofmars.se/
https://www.facebook.com/ArgonautaRecords/
http://www.argonautarecords.com/

Cities of Mars, “Envoy of Murder”

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The Obelisk Radio Adds: Boris, Sólstafir, Desert Suns & Chiefs, Elara, Fungus Hill

Posted in Radio on July 31st, 2017 by JJ Koczan

the obelisk radio cavum

Some bigger releases going up to the playlist for The Obelisk Radio this time around, and that’s just fine by me. It’s five albums listed here, but there are a few others included as well that you can see listed on the updates page and it’s good stuff all the way around. It was all actually supposed to go up last week, but you know, life is chaos and all that. I hope as always that you manage to find something you enjoy, and if you haven’t heard some of this stuff as yet — I suspect you have, because you know what’s up and I’m perpetually behind on these things; more than just a week, on average — then all the better. Let’s dig in together.

The Obelisk Radio adds for July 31, 2017:

Boris, Dear

boris dear

If you were Boris and you were looking to celebrate a quarter-century of innovating heavy rock, noise, drone, J-pop, and genreless forays into bizarre sonic delights, how would you do it? If you said, “I’d release 69 heavy-as-hell minutes of rumbling tectonics and progressive scope making for one of the best albums of the year,” you’d seem to be on the money. The Japanese trio’s umpteenth full-length, Dear (on Sargent House in the US/EU and Daymare in Japan), begins with the appropriately-titled “D.O.W.N. – Domination of Waiting Noise,” setting forth a consuming six-minute onslaught of feedback and lumbering pummel before the SunnO)))-rivaling drone of “Deadsong” takes hold, shifting at its midpoint to a spaciousness all Boris‘ own. Then they chug out galloping riff triplets on “Absolutego” like it ain’t no thing. That’s Boris: the band who named themselves after a Melvins song and then utterly outdid their namesake on every creative level and have continued to do so throughout one of underground music’s most landmark tenures. Dear offers simultaneous melodic breadth and droning depth on its centerpiece duo of “Kagero” and “Biotope” after counteracting minimalist march with explosive crash on “Beyond,” but they’re still just getting started. The seven-minute “The Power” leads off the second of the two LPs and seems to stem upward from the same roots as YOB at their harshest, brutally feedbacking into the dronegaze of the shorter “Memento Mori” before the 12-minute “Dystopia – Vanishing Point” and the nine-minute title-track comprise a side D that’s nothing less than a triumphant lesson in how to meet your audience head-on right before you swallow them whole, setting its stage with keys and tribalist drums quickly before hypnotizing through five minutes of quiet stretch and bursting gloriously to life ahead of one last contrast of empty spaces and crushing tonality on “Dear” that gives way at last to the noise and feedback that’s always been so essential to their process. If Dear is a letter to Boris‘ fans, as they have said, it is also a willful embrace of the wide-open sensibilities that have made the last 25 years of their craft so uniquely their own. They can go anywhere stylistically and remain Boris precisely because they refuse to settle on a single idea that defines them.

Boris on Thee Facebooks

Boris at Sargent House’s website

 

Sólstafir, Berdreyminn

solstafir berdreyminn

Having now passed the 20-year mark since their founding in 1995, Iceland’s Sólstafir continue to reshape melancholy in their own image on their sixth album and third for Season of Mist, Berdreyminn. The Reykjavik-based four-piece keep the significant achievements of 2014’s Ótta (review here) close to the chest throughout the eight-track/57-minute offering, but songs like “Ísafold” have an upbeat push behind their emotional resonance, and even on a brooding piano piece like “Hvít Sæng,” the overarching sense of motion and the dynamic is maintained. The penultimate “Ambátt” — first of two eight-minute cuts in a finale duo — might be Berdreyminn‘s richest progressive achievement, with its lush opening vocal harmonies giving way to a patiently-delivered clinic on texture, build and payoff that borders on the orchestral. Of course, strings and horns to appear on the album, adding to already complex arrangements, but Sólstafir never lose their corresponding human center, and as “Bláfjall” closes with an intensity of thrust hinted at by the cymbal-crash wash of opener “Silfur-Refur” and the post-blackened push of “Nárós” but ultimately on its own level, they underline the realization and poise that is simply all their own. Berdreyminn is the sound of a band doing important work, and with it, Sólstafir only prove themselves more crucial on an aesthetic level, yet it might be their ability to somehow still feel in-progress that most defines what makes them so special. More than two decades on, they still come across like a group exploring their sound and finding new ways to develop their songwriting — which they are and which they do here. That in itself is an accomplishment worthy of every accolade they reap, and Berdreyminn lives up to that standard front to back across its engaging, encompassing span.

Sólstafir on Thee Facebooks

Sólstafir at Season of Mist’s website

 

Desert Suns & Chiefs, The Second Coming of Heavy – Chapter 5

second-coming-of-heavy-chapter-5-desert-suns-chiefs

Ripple Music has made its The Second Coming of Heavy series of split LPs an essential showcase of the variety in underground rock. The Second Coming of Heavy – Chapter 5 brings together San Diego heavy psych/blues rockers Desert Suns, who also reissued their debut long-player through Ripple in 2016 and followed it with the single “The Haunting” (review here) in conjunction with Ripple and HeviSike Records, and Phoenix, Arizona’s Chiefs, whose 2015 debut, Tomorrow’s Over (review here), arrived on vinyl via Battleground Records and whose five tracks included on side B here cast them among the best Ripple Music bands in the Southwest not currently signed to Ripple Music for their next album. More than some prior installments, The Second Coming of Heavy – Chapter 5 finds its two featured purveyors complementing each other’s work excellently, as Desert Suns offer three seven-plus minute tracks running from the harmonica-inclusive “Night Train” and the rolling, long-fading “Solitude” with the push of “Heavy” in between and Chiefs — though their individual runtimes are shorter — holding straightforward heavy/desert rock methods at their core in unpretentious fashion across “The Rhino,” the standout “Baron to Chancellor,” “Low Tide,” “Caroline” and “My Last Stand,” nodding initially at ’90s noise rock à la Helmet in “The Rhino” but in the end keeping to their sandy, well-structured mission. As ever, The Second Coming of Heavy asks nothing more of its audience than a basic exploration of the groups included, and certainly both Desert Suns and Chiefs earn that. Whether one takes it on in the context of the prior chapters or as a standalone split release, it delivers a collection of cuts from two outfits with a shared core of quality songcraft and the underlying message that sometimes the straight-line route is the way to go. Right on, once again.

Desert Suns on Thee Facebooks

Chiefs on Thee Facebooks

Ripple Music website

Ripple Music on Bandcamp

 

Elara, Deli Bal

elara deli bal

Both sides of Elara‘s PsyKa Records-released debut full-length, Deli Bal, are comprised of one shorter track on either side of eight minutes and one longer one, 12 and 17 minutes, respectively. Between that and the cover art, it should come as no surprise that heavy psychedelic drift is central to what the Stuttgart, Germany, trio of bassist/vocalist Daniel Wieland, guitarist/noisemaker Felix Schmidt and drummer Martin Wieland — who also stylize their name as the bracketed [Elara Sunstreak Band] — get up to in their first offering, but there’s an underlying progressive melodic sensibility as well, and Schmidt‘s guitar seems to have picked up a few lessons from My Sleeping Karma‘s minor-key solo mysticism, so one can hear a sound beginning to take shape early as the leadoff title-track gives way to “Amida,” which swaps back and forth between organ-laden krautrock meandering and fuller-fuzz thrust, and as “Quarantania” reinforces that classic vibe with a warm bass tone from Daniel. Whether you’re listening to the platter itself and switching sides or digitally or on CD, Deli Bal is clearly intended to be consumed as a whole work, and one can hear the vocal melody of “Harmonia” tying back to that in the opener as another example of the underlying structure with which it plays out, despite the broad feel of the songs themselves and the expanses they both intend and actually do cover. The LP has just the four tracks, but the digital version comes with the 9:42 bonus cut “Trimenon,” which builds around a core post-rocking guitar line to come to a fervent apex before receding again to let the listener go gently from Deli Bal‘s total 56-minute runtime; no minor undertaking, but effectively executed and a pleasure in its wandering mind and spirit.

Elara on Thee Facebooks

PsyKA Records on Bandcamp

 

Fungus Hill, Creatures

fungus hill creatures

This early-2017 psychedelic curio from Umeå, Sweden’s Fungus Hill begins by asking “Are You Dead?” The just-under-nine-minute opener and longest track (immediate points) of the groovy outfit’s four-song, self-released, 28-minute debut Creatures EP doesn’t sound overly concerned with whether the answer is yes or no so much as enacting a serene flow by posing the question over a laid back bluesy vibe. Arrangement? Fluid. With dual vocals from guitarist Gustav Orvefors and percussionist Jenny Isaksson — the five-piece is completed by guitarist Erik Sköld, drummer Nils Mörtzell and bassist Tom Westerlund — Fungus Hill are able to bring variety as they turn to post-Ghost straightforward ’70s chorus-leaning in the first half of “Beware of Evil in the Sky,” prior to a midsection trip outward on subdued shimmy and deceptively complex melodicism. The flute (or keyboard flute sounds) of the jazzy “Evolution” brings Isaksson to the floor with a smoky, even-bluesier feel, and the guitar answers back with fuzzy lead flourish that only enhances the soul on display, while a seven-and-a-half-minute closing title-track delves deepest of all into thicker riffing, a “Na na na na” hook taking hold quickly just in case you weren’t sure it was going to be a highlight. It is. More tonally dense than most retro boogie — and less retro, for that matter — Fungus Hill‘s Creatures nonetheless has its traditionalist elements, but across its individual pieces each one points to a different side of the band’s personality, and from the Alan Watts sample at the beginning of “Are You Dead?” to when we meet the troll later in “Creatures,” each side of that personality utterly shines.

Fungus Hill on Thee Facebooks

Fungus Hill on Bandcamp

 

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Wrapping up #VinylDay2017

Posted in Features on July 26th, 2017 by JJ Koczan

Grooves and platters galore. My motivation behind doing Vinyl Day 2017 was simple: I felt like listening to records and sharing that process. It was kind of an off-the-cuff thing. Just an idea I had and ran with it. I figure it doesn’t need to be anything more than that, right? Isn’t putting on an album its own excuse for putting on an album? I tend to think so.

And yeah, I made it a hashtag. Because it’s the future, and hashtags. Instagrammaphone and whatnot. I’m a novice at best when it comes to the social medias, but it seems to me that if you’re going to share a full day’s worth of what you’re listening to, that’s the way to do it. So that’s what I did. If I clogged up your feed or whatever and it pissed you off, sorry.

For anyone who might’ve missed it, it turned out to be nine records of various sorts. Here they are, complete with accompanying audio when I could get it, because it’s the age of instant gratification:

There you have it. Had to be Sleep to end it. Pretty awesome day of music on the whole, and whatever was on your playlist yesterday, if it was this stuff or anything else, I hope you enjoyed. I’m gonna call Vinyl Day 2017 a definite win. Thanks for reading.

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Spelljammer to Reissue Inches from the Sun Sept. 22; Preorders Available

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

spelljammer

Is something still a reissue if it’s a first pressing on a given format? Underrated Swedish riffpounders Spelljammer released Inches from the Sun in 2010, before they signed to RidingEasy Records to put out Vol. 2 in 2012 and 2015’s third album, Ancient of Days (review here), but it’s never been released on vinyl. So is it a reissue or something else? Not to bother you with too many questions, but it’s four songs and 25 minutes long. Is it an album or an EP? Sure grooves like a full-length — the march of “Mountainside” wouldn’t really have it any other way, no matter what followed — but where’s that line? Does it matter?

Science demands answers to these queries of our age. Or, you know, maybe it’s just something to think about while you get your preorder in ahead of the Sept. 22 release of whatever you want to call the forthcoming Inches from the Sun vinyl. As a special note, I’d like to say thanks to RidingEasy for doing a CD version as well for those of us who still like tiny plastic discs and playing with lasers. That version is also dirt cheap, listed at a suitable $6.66. Just saying. There are advantages.

From the PR wire:

spelljammer-inches-from-the-sun

Spelljammer to reissue debut album Inches From the Sun

Swedish trio’s ‘desert rock’/doom masterwork’s first time on vinyl

Swedish trio Spelljammer announce the forthcoming reissue of their celebrated 2010 debut Inches From the Sun, to be released September 22nd via RidingEasy Records. This is the album’s first time on vinyl, and first proper release worldwide.

RidingEasy previously released Spelljammer’s 2015 album Ancient of Days, as well as the band’s Vol. II EP earlier that same year.

Inches From the Sun is a hypnotic groove-based hybrid of classic Desert Rock and rumbling European doom that launched the band to international acclaim following its release. The 4-song set will be available everywhere on LP, CD and download on September 22nd, 2017 via RidingEasy Records. Pre-orders are available now at ridingeasyrecs.com.

Artist: Spelljammer
Album: Inches From the Sun
Label: RidingEasy Records
Release Date: September 22nd, 2017

01. Mountainside
02. Witcher
03. Nine
04. Rise of the Sonic Surfer

Spelljammer is:
Robert – guitar
Jonatan – drums
Niklas – bass/vocals

spelljammer.bandcamp.com
facebook.com/Spelljammer
www.ridingeasyrecords.com
https://www.facebook.com/ridingeasyrecords/

Spelljammer, Inches from the Sun (2010)

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