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The Road Miles Premiere Video for “The Third Man”; Ballads from the Wasteland out Oct. 23

Posted in Bootleg Theater on October 16th, 2017 by JJ Koczan

the road miles

Athens-based rockers The Road Miles are preparing to release their new full-length, Ballads for the Wasteland, later this month. Their second long-player, it’s also the second offering from new imprint Archaeopia Records, which just last month introduced itself with the limited compilation The Sun, The Moon, The Mountain: A Passage Through Greek Psychedelia (review here). You might recall The Road Miles were featured on that release as well and made an immediate impression with their track “600 Miles.” That song shows up among the seven inclusions on Ballads for the Wasteland too, and proves to be part of an overarching narrative drawing from Western storytelling traditions and specifically the otherworldly thematic of Stephen King’s The Dark Tower.

That focus makes the role of frontwoman Afroditi Tavoulari all the more central to the band’s aesthetic. Atop creative arrangements of guitar from Epameinondas 

the-road-miles-ballads-for-the-wasteland

Koutsoumpas and Michael Chrysos, Yannis Efthymiou‘s bass, Alex Darmis‘ keys and Anargiros Pantazis‘ drums, it’s Tavoulari who takes on the task of narrating the storyline progression that crosses through tracks like “Where I was Born, There I Will End,” “The Last Western Myth” and “Filthy Air,” serving as a steady presence in a vast soundscape of organ-laced classic heavy Western-style psych blues. Blink and you’re out in the desert amid some lost nighttime ritualism. The immersion happens quick with “Where I was Born, There I Will End” as the leadoff and longest track (immediate points), but it only builds from there across the record’s flat, sandy span, and under imagined stars, The Road Miles conjure demons a-wanderin’ and put spurs to the listener to charge deeper into the moodiness of the semi-title-track “Ballad for the Wasteland’ ahead of “The Third Man,” which provides the apex of the storyline ahead of instrumental epilogue closer “Wolves.”

A tense drum progression, sustained organ notes and jazzy guitar and bass give Tavoulari her backdrop, but come and go and come again effectively through repeated verses as the four-minute cut unfolds, not hurried but a definite pickup from “Ballad for the Wasteland” before it. The rise of a fuzzy guitar at the midpoint signals a move toward the apex to come, and sure enough, just before the three-minute mark, “The Third Man” bursts to life like a snake springing out from its coil and caps Ballads for the Wasteland with a brief but effective crescendo that would seem to deliver its poison well enough to let the audience know why exactly the “Wolves” are showing up at the end and just whose bones it is being picked.

Today I have the pleasure of hosting the premiere of The Road Miles‘ new video for “The Third Man,” which you can see below, followed by more info from Archaeopia Records via the PR wire about Ballads for the Wasteland, which again, should be out by the end of this month.

Please enjoy:

The Road Miles, “The Third Man” official video premiere

“The Third Man” is the sixth track in order from The Road Miles sophomore album “Ballads from the Wasteland”.

Composed//Arranged//Lyrics by: The Road Miles
Produced by: Alex Bolpasis
Engineered//Mixed by: Alex Bolpasis @Artracks Studios
Mastered by: Yiannis Christodoulatos @ Sweetpot Studios
Video written and directed by : Danai Simou

Here lies The Road Miles’ sophomore album. The roots of its narrative can be found somewhere between the deathly Mid-World of The Dark Tower, the mystifying Thebes of Oedipus Rex and the cursed Clarksdale Crossroads where Robert Johnson sold his soul to the devil.

Ballads for the Wasteland tracklisting:
1. Where I was Born, There I Will End
2. The Last Western Myth
3. 600 Miles
4. Filthy Air
5. Ballad for the Wasteland
6. The Third Man
7. Wolves

In their sophomore album, The Road Miles adopt an almost cinematic approach to their sound, transferring the auditor straight to the heart of that very desert. Here, every twist and turn of a desert travelogue can be experienced through music: the wearing route, the mortal hazards, the otherworldly delusions. Skillfully maneuvering from electrifying blues to nostalgic Americana and explosive heavy psych to wistful spoken word, the band perfectly captures the feeling of being adrift in such vast wastelands, in a psychedelic loop of fantasy and death.

With Ballads for the Wasteland, The Road Miles unveil their own distinctive narrative. A thrilling narrative, developed through seven heartfelt, esoteric mantras. A narrative of hollow outbursts and deafening silences. A narrative built with the same raw materials as every western myth: a gun, the dust and the open horizon.

The Road Miles is:
Afroditi Tavoulari / Vocals
Alex Darmis / Keys
Anargiros Pantazis / Drums
Epameinondas Koutsoumpas / Guitar
Michael Chrysos / Guitar
Yannis Efthymiou / Bass

Produced, engineered and mixed by Alex Bolpasis at Artracks Studios
Mastering by Yannis Christodoulatos at Sweetspot Studios
Artwork/Layout by George Gkousetis www.goographix.com/semitonelabs
Recorded during the summer of 2016 at Artracks Recording Studios in Athens, Greece

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Various Artists, The Sun, the Moon, the Mountain: Of Ancients and Futures

Posted in Reviews on September 13th, 2017 by JJ Koczan

va-the-sun-the-moon-the-mountain

One should note immediately that the subtitle of The Sun, the Moon, the Mountain is ‘A Passage Through Greek Psychedelia.’ A passage. Not the passage. Because while the six-track debut offering from Archaeopia Records covers plenty of ground across its intricate, varied and obviously-curated 35 minutes — perfect for a limited LP made even earthier and more naturalistic via woodcut-screened cover art and hand-designed calligraphy — there’s just about no way it could be comprehensive at this point in drawing together all sides of Greece’s underground. The scope has simply gotten too big. Certainly to fit on one LP. You might get a sampling across three 12″ platters, but by then the cost is prohibitive and you too easily run the risk of losing listeners’ attentions somewhere along the “journey.”

No. Archaeopia head Theo Prasidis plays it smart with his assemblage here, bringing together seven acts diverse in sound to represent multiple sides of a Greek scene that’s undergone a massive boom in the last five to 10 years with acts like Planet of Zeus and 1000mods spearheading a presence becoming even more known across the wider sphere of Europe. As a movement, it’s still a nascent scene when one compares it to the decades-since established heavy rock output of countries like Sweden or Germany, but in taking influence from these places and bands, the acts represented in The Sun, the Moon, the Mountain bring something of their own — something definitively Greek — to the mix as well, and as that continues to be refined and defined in the years to come, it will no doubt be the foundation of an influence spreading within and without the country’s borders alike. As a document of that process’ beginnings, this passage through Greek psychedelia couldn’t be more welcome.

For convenience’s sake, the roster of bands and tracklisting:

SIDE A THE SUN, THE MOON
1. Tau & Villagers of Ioannina City, Wakey Wakey
2. The Road Miles, 600 Miles
3. Cyanna Mercury, The Flood
4. Sleepin’ Pillow, Amplifier in My Heart

SIDE B THE MOUNTAIN
5. Green Yeti, Monkey Riders
6. Craang, When in Ruins

Part of the challenge The Sun, the Moon, the Mountain puts to its audience is in helping figure out just what that “something definitively Greek” actually is. This may be a question never answered. Why is grunge grunge? What makes Southern heavy Southern? Where does one style end and another begin? Ultimately this kind of question is academic in its nature — it’s entirely possible to make your way through the songs here, not care at all and still have a perfectly good time — but as the leadoff cut “Wakey Wakey” by a collaboration between Tau (who are actually based in Berlin) and Villagers of Ioannina City delves into a ritualized Americana lyrical thematic and sets its foundation in strummed post-Monster Magnet laid back fuzz jangle, the message is clear: buckle up. “Wakey Wakey,” with mantra-esque vocals and an overriding moodiness marked by flourish of slide guitar deeper in the headphone-worthy mix, sets a distinctive tone, but it’s one of only multiple directions in which the release will decide to go.

the sun the moon the mountain woodcut

The Road Miles make a more classic impression with spacey organ and a fervent heavy push on their “600 Miles,” and Cyanna Mercury‘s “The Flood” seems to Europeanize All Them Witches-style heavy rock blues, their own keys a predominant factor but not overwhelming the strength of their chorus, which retains a link to Greek folk in its scale work and later jabbing starts and stops, reminding the listener that right across the border lies Turkey and the gateway to the Middle East. As side A rounds out with the sleek, electronic-beat-inclusive “Amplifier in My Heart” by Sleepin’ Pillow, an already expansive breadth pushes even further outward. A quiet and hypnotic verse rises to a volume swell of guitar for the chorus and rolls out an immersive groove thereafter, tying together with the somewhat darker ambience of “Wakey Wakey” earlier, but in a much different sonic context. And while the aural surroundings could hardly be more modern, somehow it feels appropriate that Sleepin’ Pillow should cap the first half of The Sun, the Moon, the Mountain with talk of an “ancient fire,” since that seems in part to be what’s driving the offering as a whole.

And that spirit — of offering, of passage — is one that only continues as side B pushes into the longer-form work of Green Yeti and Craang. Both acts are upstarts in the Greek scene, but both have already made a mark as well, and their respective inclusions, “Monkey Riders” and “When in Ruins,” are the two longest tracks at 8:21 and 7:56. Sure enough, the flow that results between them is all the more complementary for that, hitting a level of immersion even beyond side A between Green Yeti‘s rolling, feedbacking central riff on “Monkey Riders” and the galloping payoff that ends and Craang‘s patient but still deeply weighted heavy psych execution that caps with a prog-rock dreamscape of keys and fading, drifting guitar. There’s no mystery in the intention on the part of Archaeopia to take the audience to the edge of space and then give that last little shove, but as that scenario plays out, it seems even more crucial for the listener to realize the cultural interplay at work as well and the various traditions being engaged and built upon, by Craang and indeed by all their counterparts included here.

One might rightly accuse Archaeopia of aiming high with its first release. Indeed, little says scope like The Sun, the Moon, the Mountain — short of “the ocean,” you might as well have called the compilation “Light, Dark and Everything” — but what’s happening in these six pieces is not only a showcase of some of the sonic persona of Greece’s underground, but a representation of the forces modern and otherwise that have taken root and helped shape that persona in the first place. For many who engage it, that will of course be a secondary concern to just checking out a new track from Cyanna Mercury, or from Craang, or hearing what Tau & Villagers of Ioannina City bring to light in working together, and that’s fine too, but there’s an underlying message being conveyed, and in the end, it’s less about saying “these are the Greek bands you need to know” than “this is why you should know Greek bands.”

That works out to be a huge difference in the listening experience. I don’t know whether The Sun, the Moon, the Mountain is the beginning of a series or not from Archaeopia — that’s an awful lot to ask of a new label, and no doubt Prasidis wants to get down to the business of releasing proper albums, etc. — but it could be, and even if it’s only a fleeting, one-time passage, it serves notice of the arrival of yet another player of note in the Greek heavy underground in its conceptual purpose and the sheer class of taste behind its selections. “Wakey Wakey” indeed. Nicely done.

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Archaeopia Records Announces The Sun, The Moon, The Mountain Compilation; Cyanna Mercury Track Premieres

Posted in audiObelisk, Whathaveyou on September 4th, 2017 by JJ Koczan

Click play at the bottom of this post to stream the premiere of a new Cyanna Mercury track featured on the upcoming compilation The Sun, the Moon, the Mountain from Archaeopia Records. The song is titled ‘The Flood’ and it’s one of five to be featured on the vinyl release, which is appropriately subtitled as ‘A Passage Through Greek Psychedelia,’ and which also features works by Tau in collaboration with Villagers of Ionnina City, The Road Miles, Craang, Green Yeti and Sleepin Pillow. Six bands on five tracks for a 36-minute deluxe LP that’s rich in vibe throughout and brimming with homage to Greece’s history in heavy, in mythology, and more.

At the same time, if you needed further evidence of the heavy psych and heavy rock explosion happening in Greece right now, at this very moment, look no further. Archaeopia isn’t just highlighting random bands — these acts have been selected and curated for an offering that flows from front to back across its two sides — and not only are they relevant to the past, but to the future of the Greek scene as well. As the label’s slogan goes: “Where Cosmic Beats Vibrate the Deathless Soil.” Clearly we’re looking to cross a span of time here.

That admirable mission bears some righteous fruit on the LP, about which you can read more below ahead of preorders going live in the coming weeks for the Fall release. I’ll have a review up as well soon, so keep an eye out, and the meantime, enjoy the track premiere:

va-the-sun-the-moon-the-mountain

The Sun. The Moon. The Mountain. Three fundamental elements of the Greek psyche. From the Homeric hymns of the fiery-stallion-riding sun-god Helios and his ethereal sister Selene, goddess of the moon, to the myriad myths and legends surrounding the highlands and the consecration of Mount Olympus as the dwelling of the gods, these inextricable components of the Greek landscape, brimming with rich symbolism and religious gravitas, have dominated indigenous lore, mythology, literature, poetry and music for millennia.

In modern-day Greece, one of the music genres that largely incorporated with such symbols and concepts of old -either lyrically or musically- is undoubtedly psychedelic rock. The pioneering work of Socrates Drank The Conium and Aphrodite’s Child in the seventies, established the connection between Greek psychedelic music and religious/folkloric themes. Vangelis’ epically toned solo career focused on mythical ideas, while psych bards Purple Overdose delved deeper into the magical mysticism of antiquity.

Today we’re amidst a full-on psychedelic rock revival. New bands emerge consecutively, recalling old motifs on one hand, contributing essentially to the genre with new ideas on the other, whereas occult and spiritual notions are commonplace. With this release we want to honour the ever-growing Greek psychedelic rock scene that stands strong in the current global renaissance of the genre.

Juxtaposing our title to the collection of songs featured on this vinyl, the following concept might arise: The sun represents psychedelic rock in its most lurid expression, a euphoric desert plain walkabout towards a bacchic celebration of light. The moon takes us on a slow-burning trip into the night, with the melancholic exaltation of glazed psychedelia. The mountain is manifested by a massive wall of sound, evoking visions of dark rites and primordial cults. Each featured band mirrors a singular element,
steering into a substantial whole.

The Sun. The Moon. The Mountain. As influential and imposing and radiant as ever. Enjoy!

Tracklisting:
SIDE A THE SUN, THE MOON
TAU & VILLAGERS OF IOANNINA CITY, WAKEY WAKEY
THE ROAD MILES, 600 MILES
CYANNA MERCURY, THE FLOOD
SLEEPIN PILLOW, AMPLIFIER IN MY HEART

SIDE B THE MOUNTAIN
GREEN YETI, MONKEY RIDERS
CRAANG, WHEN IN RUINS

All tracks are original recordings, except “600 Miles” by The Road Miles, featured in the album “Ballads for the Wasteland” and “Amplifier In My Heart” by Sleepin Pillow, featured in the album “Apples On An Orange Tree”, both newly remastered and presented in vinyl format for the first time.

Artwork by Fotis Varthis. Woodcut engraved, inked and printed by hand on Rosaspina Fabriano 180gr paper by the artist. Watch the entire procedure here: youtu.be/w5QI9L36ICE

www.behance.net/FotisVarthis
cargocollective.com/FotisVarthis

Assembled by Theo Prasidis
Post-mastered by George Nikoglou

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