Skraeckoedlan Premiere “Doomedag” Video; Sagor Reissue out Now

Posted in Bootleg Theater on August 14th, 2020 by JJ Koczan

skraeckoedlan doomedag

Progressive fuzz heavy hitters master thesis business intelligence Best get more dissertation service business continuity plan help desk Skraeckoedlan originally released their second album, Formal Help Writing A Essay Paper provided by myassignmenthelp.net at affordable price. Sagor (review here), in 2015, and it was something of a special moment for the band. Foremost, it was a chance for them to prove decisively that their 2011 debut, https://cheapdissertationwriting.com/about/, Bridgeview, Illinois. 15 likes. It is hard to count how many papers you have to write while studying! Our essay writing service is... Äppelträdet (review here), was no fluke, and further, it was a moment that allowed them to reach a wider audience by releasing through High Quality Writing - Allow us to take care of your essay or dissertation. Essays & researches written by high class writers. professional writers Razzia Records in their native Sweden. I guess it went well — they’re still a band, and they’ve only garnered more notoriety over the last five years since Free math lessons and dig this from basic math to algebra, geometry and beyond. Students, teachers, parents, and everyone can find solutions to Sagor came out, touring and last year releasing the follow-up LP, mba admission essay buy outline Order Of Contents In Dissertations gre issue essay best resume writing services chicago federal Eorþe (review here) through Abraham Essays - Best Masters Thesis Biology Service from uncanny pro-scribes. Online Custom Writing Service prices go from .95/page. Fuzzorama. Fair enough they might want to revisit that time, and Specialist Proofreading & Editing of essays, dissertations, theses and publishable papers by Oxbridge educated Proofreaders. Mit And Admissions And Resume. The Sign Records, which previously reissued the first album in 2018 and is also doing another pressing, obliges with a subsequent Writing Mba Assignments Australia - Get Online Assignment Helper Service By Professional Writers. Qualified Experts Provide You Help With Assignment. We Cover All Sagor LP reissue.

“Doomedag” as I understand it was a bonus cut on the original LP pressing of Need to buy essay online for cheap? Professional US Writers; 24/7 Support; High-Quality; Guaranteed Confidentiality; Sight Word Homework online at professional Sagor that’s never been digitally released before. The only version of it I could find anywhere was a live show from 2017, and while that looked like good fun, with the band in a small venue packed onto a stage, headbanging and all that kind of thing, it’s hardly the most representative of the track itself. All the better then, that here, on the day Glaser Critical Thinking Test service from Canada is the smartest solution for academic coursework writing issues! Choose Ca.EduBirdie.com for greater success! Sagor is being reissued — and that new pressing of Many other visit here services of ours have been assisting most of the students across the globe. Äppelträdet as well — comes a video for the studio version of “Doomedag”; something that hasn’t appeared online before to support an album initially put out five years ago. You’d almost think these things were planned in advance.

But anyhoozle, you’re gonna dig the track, which is on the shorter and less epic end of  help with writing irish essays Best visit are there any legit essay writing services need help my grammar homework Skraeckoedlan‘s sound and has some pretty awesome push behind it from the drums. Plus the single has the art above, and that alone is worth the price of admission, which if you’re keeping up, is nothing. This premiere kind of came in last-minute, but hell, I dig the band and I dug  Did we spoil it? There are. We have brought dissertation writing service for the college and university students Sagor when it came out, and I’ve legitimately never heard this song before, so I’ll take it. Doesn’t need to be any more complicated than that, really.

Enjoy the video:

Skraeckoedlan, “Doomedag” official video premiere

On Spotify: https://open.spotify.com/track/2aw0r5p6kOlpqWUE9HG84p

The Sign Records re-release the second album “Sagor” by Skraeckoedlan on colored vinyl August 14. The album, which turns five years old this year, will be released on 180g double LP with gatefold cover. The first pressing is limited to 1000 copies, and the vinyl is available today.

“Mountains. Colossal peaks stretch past the darkened clouds and further into the cosmos. In the leviathan’s towering shadow the landscape is left black, like the uncertainty of eternity. Only a pulse remains. A barely noticeable but steadily growing sensation, a promise of direction in the fangs of darkness. Through the dream we escape time, to the brink of infinity where love thrives.”

To celebrate the 5 year anniversary of their album Sagor, Skraeckoedlan is now releasing a song that previously only was to find as a bonus track on the original print of the vinyl. The song is called Doomedag, and is a song about finding yourself, to always look ahead and not to be scared about the unknown. The album was recorded in numerous studios with different technicians and producers during a two year period. The band collaborated with Daniel Bergstrand (In Flames, Meshuggah, El Caco) and Niklas Berglöf (Ghost) among others.

The artwork has been made by Johan Leion, who also designed the debut album, Äppelträdet.

Order the vinyl: https://freighttrain.se/skraeckoedlan-

“Sagor” will be available in 1000 copies of colored, 180g gatefold double LP. Besides the re-release of “Sagor”, The Sign Records will also release a new pressing of Skraeckoedlan’s debut album “Äppelträdet” in 500 copies of 180g purple vinyl.

Skraeckoedlan:
Robert Lamu – Vocals/Guitar
Henrik Grüttner – Guitar
Erik Berggren – Bass
Martin Larsson – Drums

Skraeckoedlan’s website

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The Hawkins Premiere “Hilow” Video; Silence is a Bomb out Sept. 4

Posted in Bootleg Theater on August 4th, 2020 by JJ Koczan

The Hawkins Silence is a Bomb

Swedish heavy rockers buy term paper line go to site 2014 is odysseus a hero or not financial research paper The Hawkins are set to issue their second album, Silence is a Bomb, through The Sign Records on Sept. 4. My only regret when it comes to hosting the premiere of the video for “Hilow” is that there isn’t a full-album stream to go with it. As a follow-up to their 2017 debut, Ain’t Rock ‘n’ Roll, the 12-track/39-minute collection is a fascinating document, bringing forth a vision of heavy rock and roll that is unabashedly modern despite being constructed of classic elements, and brazenly takes on the tropes of pop — from direct lyrical references to social media and engrossing, sing-along-ready vocal arrangements to a sense of movement that picks up directly from the bluesy opening the title-track gives the album and pushes through “Roomer” and “Hilow” as the start of a momentum that careens across the entirety. Dynamic in their songwriting, The Hawkins execute their material with that particularly-Swedish sense of we’ve-been-doing-this-since-we-were-six control, and an energy that is infectious, calling to mind the likes of Queen and Dio with strong vocals even as the instruments behind veer in and out of a heavier-toned vision of pop-punk.

Likewise, the detail of the production is incredible. The extra raw snap of snare in “Cut Moon Bleeds,” or the way that “Mynah” seems to build off the rush of “Stones” before it The Hawkins Silence is a Bombbut reach further in its melody. There isn’t a song on side A that doesn’t work as a single, and yes, that includes the opener, which is basically an intro, and the same holds for much of side B in the hooky “Libertine,” the attitude-laced “Stranger in the Room” and even the darker lyric of “Black Gold,” which seems to build on the brooding that’s hidden beneath the uptempo thrust of “Roomer” early on. Metallic-tinged riffing shows up in “Fisherman Blues,” but is met by a grand arrangement of vocals, and the closer “All My Birds are Dead” plays off volume changes as smoothly as cuts prior switched meter to highlight a bigger chorus feel or push a verse to give an all the more twisting feel. This is all done with an unbridled passion for the craft itself, and Silence is a Bomb makes it clear that The Hawkins aren’t just fans of heavy rock looking to exercise (or exorcise) their influences, but looking to bring something of themselves to the pastiche as well.

As for silence — bomb that it is — there isn’t much of it to be found. The Hawkins bring an abidingly raucous feel to the offering, and despite the fact that they’re very much in control of each of these songs, and the production is clear in such a way as to highlight the poppier moods in some of the tracks, “Hilow” among them, the electricity running between them as players is no less affecting than the hooks are catchy. It’s the kind of record that might put you in a better mood providing you’re willing to let it.

So give it a shot. “Hilow” follows here, and as it’s the third song to be released from Silence is a Bomb thus far, I’ve included the band’s Bandcamp player as well, so you can hear how the record kicks off and at least get that much of a taste. CD and LP preorders are, of course, available there as well.

Enjoy:

The Hawkins, “Hilow” official video premiere

The Official Music Video for The Hawkins single “Hilow”. Taken from their second album “Silence is a Bomb”, released by The Sign Records. Filmed by Ted Lindén, Bullsize Production. Artists in the video: Margareta Skogsberg Pettersson, Joel Kallioniemi.

Born and raised within a two-square-meter Swedish village, the four members have shared their musical journeys since they plucked their first chords. The specific journey of The Hawkins started back in March 2013. Deep inside a huge local industrial park, they have built their own Hawks Nest. It’s within these four walls of carpets and egg cartons where all the blistering creative magic happens.

The Hawkins debut album Ain’t Rock N Roll (released via GAIN/Sony Music) entered the world with a superb explosion in October 2017. The album included the single “Fuck You All I’m Outta Here,” a powerful song with a strong anti-fascist message which quickly gained momentum in the Swedish rock scene, securing the band’s role as one the most promising bands of the country.

To follow up the successful release of their debut, The Hawkins started the year of 2018 by going on a 22-day tour across Europe with the fellow Swedish band Corroded, rocking stages in Germany, France, Austria, Switzerland, and Denmark. Since then, The Hawkins have kept rocking and rolling, releasing singles, dealing with broken van- incidents in the overwhelming summer heat of eastern Europe, playing countless gigs in and outside of their home country, and even brewing their own beer — the fresh IPA simply entitled “Fuck You All I’m Drinking Beer.”

Now in 2020, The Hawkins have partnered up with The Sign Records. They’re finally back with a new album entitled Silence is a Bomb, dropping on September 4th, 2020.

The Hawkins are:
Albin Grill
Mikael Thunborg
Johannes Carlsson
Martin Larsson

The Hawkins, Silence is a Bomb (2020)

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Skraeckoedlan Announce Sagor Vinyl Reissue Due in August

Posted in Whathaveyou on July 1st, 2020 by JJ Koczan

skraeckoedlan

Swedish modern progressive heavy rock/metallers Skraekoedlan originally released their second album, Sagor (review here), in 2015 through Razzia Records, and I recall at the time thinking it was kind of a curious fit, as they mostly release pop and not stuff quite so hard-hitting as Sagor was. There was some relation to In Flames, if I remember right. I don’t know. Whatever it was, the album didn’t seem to get the love it deserved, so I’m glad to see it being reissued on vinyl through The Sign Records. The label also reissued Skraeckoedlan‘s debut, 2011’s Äppelträdet (review here), in 2018, and that’s being pressed again as well. The more the merrier.

Preorders are up. Here’s the info from the PR wire:

skraeckoedlan sagor

Skraeckoedlan to re-release second album “Sagor” on colored vinyl

The Sign Records will re-release the second album “Sagor” by Skraeckoedlan on colored vinyl August 14. The album, which turns five years old this year, will be released on 180g double LP with gatefold cover. The first pressing is limited to 1000 copies, and the vinyl is available for pre-orders today.

Skraeckoedlan’s second album “Sagor” was released in June 2015 on Razzia / Sony Music. The album was praised by both critics and fans, and the physical release has for long been difficult to obtain. This year, the album turns 5 years old. To celebrate this, Skraeckoedlan has partnered up with The Sign Records for a physical re-release of the vinyl. The band has previously collaborated with the label – in 2018, The Sign Records released a repress of Skraeckoedlan’s debut album “Äppelträdet”, and in the fall of 2019 Skraeckoedlan headlined The Sign Records’ traveling festival “The Sign Fest”.

Robert Lamu, vocalist and guitarist in Skraeckoedlan, states:

“We are very happy to finally be able to re-release our album “Sagor” on vinyl after 5 long years. This album means a lot to us, and it feels good to finally be able to offer it on the format it was meant for.”

“Sagor” will be available in 1000 copies of colored, 180g double LP. Like the original, the album will have a gatefold cover. In addition, the design of the cover artwork will have a few changes. Besides the re-release of “Sagor”, The Sign Records will also release a new pressing of Skraeckoedlans debut album “Äppelträdet” in 500 copies of 180g purple vinyl.

The re-release of “Sagor”, as well as the new pressing of “Äppelträdet”, will be out on vinyl format August 14. Both albums are available as pre-orders today.

Pre order “Sagor” and “Äppelträdet”:
https://freighttrain.se/preorder/

Skraeckoedlan:
Robert Lamu – Vocals/Guitar
Henrik Grüttner – Guitar
Erik Berggren – Bass
Martin Larsson – Drums

http://www.skraeckoedlan.com/
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Skraeckoedlan, “El Monstro” official video

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Volcanova Premiere “Sushi Sam”; Debut Album Radical Waves out Aug. 21

Posted in audiObelisk on May 21st, 2020 by JJ Koczan

volcanova

Volcanova will release their debut album, Radical Waves, on Aug. 21 through The Sign Records. Denizens of the widely-varied pastiche that is the Icelandic heavy underground — from Icecross of yore to Sólstafir to Misþyrming to The Vintage Caravan, the heavy rock elders of Brain Police, etc. — the trio arrive after six years with a collection of 10 cuts (nine plus an intro) of willful heavy rock for heavy rock heads digging into raw post-Kyuss energy on songs like “Super Duper Van,” with Queeny vocal melodies over gritty riffs and shouted verses. The vibe? Depends who you ask. Check out the post-intro opener “Where’s the Time” and the vibe is go-go-gone. Dig into “I’m Off” a couple tracks later and there’s a spacey beginning before one of Radical Waves‘ most vicious stomps ensues, and then the harmonized voices and a bit of largesse in the roll resumes for “Stoneman” at the end of side A and there’s even some drift to coincide.

It’s a deceptive collection in that with “Where’s the Time” or the also-cowbell-infused, ultra-Fu Manchu‘ed companion toe-tapper “Sushi Sam” at the start of side B, the Reykjavik-based trio set you up to expect simple Kyuss worship — and that’s part of it, no doubt, butVolcanova Radical Waves by no means is that all that’s happening throughout. “Sushi Sam” — which is premiering below — and the swaggering “Mountain” are a blast, while “M.O.O.D.” pulls a bit more from the Deliverance-era Corrosion of Conformity playbook (while thankfully avoiding the trap of Down-esque chestbeating that so much of that style falls into), and “Got Game” brings in some more airy guitar work in its back half en route to “Lights” at the end, which winds its way forward initially, only to draw back at its midpoint to an evocative wistful stretch of guitar that one suspects is the basis for the YOB comparison the PR wire makes below, reminiscent as it is of that band’s masterpiece “Marrow” as it builds up to cap the album, swirling lead and all, finishing with string sounds — one assumes it’s keys or synth of some sort — having covered a surprising amount of ground for a song that’s just under six minutes long.

Are they preaching to the converted? Okay yeah, probably, but that’s hardly a reason not to get down. The prevailing spirit of Radical Waves is an energy-infused kick in the ass that makes itself welcome through the trio’s performance and the sense of the good time they’re having playing the songs, which turns out to be no less infectious than the songs themselves. Going forward from this debut, I wouldn’t be surprised if Volcanova pushed deeper into vocal arrangements and worked to add some of the complexity heard in the beginning of “Stoneman” or the end of “Lights” into their material more generally, but that’s a progression that needs to happen naturally if it’s going to happen at all, and honestly, what’s more important than sonic growth is that they’re playing what they want to play, which it seems very much here like they are. That that comes through so sharply on their first album alone makes it a win.

“Sushi Sam,” with its own cover art and everything, is being issued as a standalone single tomorrow, May 22, ahead of Radical Waves‘ release, but the album is worth focusing on, so if you take it as advance notice three months ahead of time, right on. Nothing like being prepared and all that.

Enjoy the track:

In an alternate reality where Kyuss was born in the barren, volcanic landscape of Iceland, emerges the unholy trio Volcanova. With members hailing from three corners of this unique island of lava fields, glaciers, and hot springs, Volcanova comes together to erupt a fresh take on desert rock.

Building on this style, the band pays homage to the crushing doom of Black Sabbath as well as progressive sludge in the vein of modern bands like Mastodon and Gojira. But wait, there’s more! Volcanova can turn seamlessly to thunderous fuzzy riffs in the style of Fu Manchu or somber moments akin to YOB — all coupled with an irreverent live show that’s straight out of a Red Fang video. There is never a dull moment with Volcanova.

Volcanova was founded in the summer of 2014 with principle song writer Samúel Ásgeirsson on guitar and vocals. After a few lineup changes, the band finally settled on a winning formula with Þorsteinn Árnason of (Rock Paper Sisters) on bass and vocals and Dagur Atlason (Churchhouse Creepers) on drums and vocals.

The trio has an infectious groove and togetherness that’s bolstered by an ability to pull off three-part vocal harmonies, keeping audiences rocking and rolling. Uplifting moments with epic guitar solos are underpinned by headbanging bass grooves and complemented with a tasteful use of cowbell — because who doesn’t have that fever?

Due out August 21st, 2020 via The Sign Records, Volcanova’s debut album Radical Waves will surely propel the band to new heights.

Album Tracklist:
1. Welcome
2. Where’s the Time?
3. Super Duper Van
4. I’m Off
5. Stoneman Snowman
6. Sushi Sam
7. Mountain
8. M.O.O.D.
9. Got Game
10. Lights

Volcanova are:
Samúel Ásgeirsson on guitar and vocals
Þorsteinn Árnason on bass and vocals
Dagur Atlason on drums and vocals

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Vokonis Premiere ‘Live at Studio Underjord 2019’ Video

Posted in Bootleg Theater on May 7th, 2020 by JJ Koczan

Last month, while no doubt restless during the process of making their new album during a time of ongoing global pandemic, increasingly progressive Swedish riffers Vokonis put up a two-songer stopgap called Live at Studio Underjord 2019 that — you guessed it — was recorded in 2019 at — you guessed it again — Studio Underjord. The studio, which in the past has hosted the likes of Skraeckoedlan, Domkraft, MaidaVale, Ocean Chief, Hazemaze, Alastor, The Tower, is set in Norrköping, and Vokonis come from Borås to the south and west. It’s about three-hours between the two, but last September, the band — no strangers to the place; they’ve done their last two LPs there — made the trip to put down live versions of “AntlerQueen” and “Sunless Hymnal,” both of which come from their 2019 album, Grasping Time (review here).

That record wasn’t shy in displaying the increasing breadth that Vokonis‘ sound has come to encompass, or the variety of influence they take from sludge, heavy rock, post-rock, progressive metal, and so on. Particularly, a dynamic of shared vocals between guitarist Simon Ohlsson and bassist Jonte Johansson — while not brand new by any means — became an increasing presence in their sound, and perhaps in addition to wanting to showcase how that comes across live, the band also wanted to get versions of the two songs to tape with Peter Ottosson on drums, whereas Grasping Time was recorded when Emil Larsson was still in the lineup.

So if you need reasons, there are a couple right there. I’m not sure you actually need reasons though, because whatever it was that had Vokonis riding the E4 up to Underjord, the fact remains that the songs are killer heavy and killer heavy is its own excuse for being. Indeed we get to hear Johansson‘s clean singing in the rolling “Sunless Hymnal” mixed in with some of Ohlsson‘s more shouting approach in “AntlerQueen,” and even some screams thrown in at the end, as on the record, and as the two songs appear in succession on the actual studio release as well, they flow together with no hesitation at all, as though they were written that way. Funny how that works out sometimes.

I’m not saying I’ve heard any rough versions of tracks or anything like that, but Vokonis‘ progression is ongoing with their new material, and they’re getting ready to explore some new ideas in terms of arrangement as well, so whatever else 2020 or early 2021 brings, it’s going to be worth your time keeping an eye out for news for what they have coming up. Until then, I’m happy to host the premiere for the video edition of Live at Studio Underjord 2019, because, well, see the paragraph above about “killer heavy.” Especially as someone who’s never gotten to see them live, I appreciate the chance to check this out.

I hope you enjoy:

Vokonis, Live at Studio Underjord 2019 video premiere

Vokonis play “AntlerQueen” and “Sunless Hymnal”, both from their latest album Grasping Time, live at Studio Underjord.

Vokonis are:
Simon Ohlsson – Guitar & Vocals
Jonte Johansson – Bass Vocals
Peter Ottosson – Drums

Vokonis, Live at Studio Underjord 2019 (2020)

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Days of Rona: Simon Ohlsson of Vokonis

Posted in Features on April 9th, 2020 by JJ Koczan

The statistics of COVID-19 change with every news cycle, and with growing numbers, stay-at-home isolation and a near-universal disruption to society on a global scale, it is ever more important to consider the human aspect of this coronavirus. Amid the sad surrealism of living through social distancing, quarantines and bans on gatherings of groups of any size, creative professionals — artists, musicians, promoters, club owners, techs, producers, and more — are seeing an effect like nothing witnessed in the last century, and as humanity as a whole deals with this calamity, some perspective on who, what, where, when and how we’re all getting through is a needed reminder of why we’re doing so in the first place.

Thus, Days of Rona, in some attempt to help document the state of things as they are now, both so help can be asked for and given where needed, and so that when this is over it can be remembered.

Thanks to all who participate. To read all the Days of Rona coverage, click here. — JJ Koczan

vokonis simon ohlsson

Days of Rona: Simon Ohlsson of Vokonis (Borås, Sweden)

How are you dealing with this crisis as a band? Have you had to rework plans at all? How is everyone’s health so far?

It’s been pretty varied. The crisis have affected us mentally. I personally think it’s been very hard to handle the way media and people online are handling this. I’ve suffered from anxiety from a young age and since I was a teen have been obsessed with being clean, washing my hands and not getting ill/sick. Over the years I’ve gotten better with therapy and just trying my best to put myself out there. So it’s been a setback for me personally.

We’ve had to reschedule a bunch of shows. Stockholm, Oslo and Esbjerg Fuzztival in Denmark. Hopefully this blows over soon and we can get back to playing live again. I miss it very much. It’s been a source of energy and a way to challenge my anxiety for these past years. I can’t imagine not doing it.

What are the quarantine/isolation rules where you are?

Sweden has been pretty much behind a lot of other countries. We’re not that affected by government restrictions yet. It feels like it’s gonna crash down soon though.

How have you seen the virus affecting the community around you and in music?

It’s been a source of connectivity online for sure. I think it’s always going to be strengthening people. We managed to play a show just before all of this really broke out and that felt awesome. To be able to give some matter of relief to people in these troubling times gave a lot of perspective not really being offered online.

What is the one thing you want people to know about your situation, either as a band, or personally, or anything?

That we’re still going strong. We try to keep motivated as we’re working on a new album. It’s been a great thing to be able to create right now. Not getting immersed in all of the negativity and trying to keep your head leveled above the water.

Due to us having to reschedule shows we’ve had a massive dent in the band’s economy though. Hopefully we’ll get out there again so the new album won’t be set back due to us not getting money. But know that over on the other side of all this, there lies a new Vokonis album!

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Review & Track Premiere: CB3, Aeons

Posted in audiObelisk, Reviews on December 19th, 2019 by JJ Koczan

cb3 aeons

[Click play above to stream the premiere of ‘Warrior Queen’ from CB3’s Aeons. Album is out Feb. 28 on The Sign Records.]

They never approach what-you-see-is-what-you-get level simplicity in terms of sound, but at least some of what you need to know about CB3 is there in the name. The acronym, which they seem to prefer to go by, stands for Charlotta’s Burnin’ Trio. Sure enough, there are three of them. They’re led by guitarist Charlotta Andersson. And the burn. Their style is rooted in heavy rock as some of Andersson‘s riffing and certainly her tone demonstrate, but there is a willful-sounding embrace of the progressive as well on their The Sign Records label debut and third album overall, Aeons. Andersson and fellow-founding member Natanael Salomonsson started out in jazzier territory on their 2015 self-titled debut, and across a 2016 live offering, the 2017 short release Adventures, early 2018’s sophomore LP, From Nothing to Eternity (discussed here), and the subsequent live EP, Cult of the Crystals, the Malmö, Sweden, outfit have continually ventured into broader and more psychedelic and weighted ground.

Aeons, which runs an utterly manageable 32 minutes across five tracks, continues this push into the uncharted cosmos perhaps most of all on its nine-minute centerpiece “Acid Haze” — an obvious focal point for the record — but also more generally throughout, as AnderssonSalomonsson and bassist Pelle Lindsjö enact organic-sounding instrumentalist fluidity and give their listeners a range of depths/reaches to explore in kind with the band. Songs are arranged for a journey, parabolically or like a mountain being climbed — though, again, at such a gracefully flowing 32 minutes, it’s not exactly a strenuous uphill — with opener “Zodiac” (3:51) and “Sonic Blaze” (6:50) which follows, building in runtime up to the already-noted longer stretch of “Acid Haze” (9:08), and “Warrior Queen” (7:26) and “Apocalypse” (5:00) paring back down from there in length if not in style or breadth.

Indeed, if anything, “Warrior Queen” answers the sprawl of “Acid Haze” with its own outbound push, particularly over the course of its first five minutes moving further and further from the ground as Andersson‘s guitar soars and shimmers above the solidified but still jammy groove beneath. From there, CB3 come together around a sequence of riffs, one into the next, and resolve the track’s final moments with a straightforward thrust that’s a standout moment even amid the sax and mellotron psychedelic wash of “Apocalypse” that follows — turns out the end of the world is kind of pretty; certainly much prettier than it feels living through it. The point, however, is that the second half of Aeons‘ unfurls itself no less gracefully than does the first. Listening to “Zodiac” at the record’s outset, the groove seems more grounded, toying around with a winding blues riff that wouldn’t seem out of place on a Clutch record even as CB3 manipulate it in various ways via shifts of tempo and effects wash, synth (or synth sounds), and so on, eventually finding their way into a slower nod that only pulls itself further down as it proceeds toward its own end and the more active start of “Sonic Blaze.”

One would hardly call these tracks grounded, even in relation to “Acid Haze” or the first half of “Warrior Queen,” and yet, the temptation to put a first/then narrative — as in, first they’re on the ground, then they’re not — to the progression of Aeons is hard to resist, especially with the sax and mellotron so clearly purposeful in their positioning in the final track. But the truth is more complicated, and, honestly, richer in terms of scope. “Sonic Blaze” flirts with some ambient drone before finding footing in a crash-laden YOB-style triplet gallop, which Andersson then moves up the fretboard before finally releasing into the ether, and eventually returns to the central riff of the track before capping with a winding conclusion on the way into the patient start of “Acid Haze” itself.

cb3

And yes, “Acid Haze” go-go-go-goes to new degrees of galaxial spaciousness in a way that CB3 didn’t do even a year ago, the guitar in eyes-closed-Hendrixian-style echo-shred leading the hypnotic wash that ensues on what is a genuinely gorgeous and singular moment on the album, running as far out as it can before Salomonsson‘s popping snare returns to bring momentum and set the stage for the more sweeping second half of the song, though that too has its due portion of noise before the last live-style crashout and the triumphant guitar intro of “Warrior Queen” commences.

Flow becomes central to the penultimate inclusion on Aeons, and in that regard CB3 are right at home, with some joyful headspinning solo fare after the three-minute mark and a generally languid vibe earlier on before, as noted, the more grounded, chugging end takes hold and builds up to the last charge, leaving just “Apocalypse” to round out, its strumming intro and quiet rim-tap snare serving as the initial foundation on which the fuller tonal impact is made. The aforementioned mellotron arrives earlier than the sax, which doesn’t come until just after the halfway mark and seems to show up in layers when it does, but both are central to the song’s statement and the album’s conclusion, bringing together CB3‘s jazz roots with their intent toward classic progressive rock in a way that, thanks to its atmospheric stylization, avoids the self-indulgence one might commonly associate with fusion or such jazzy impulses.

That is a line that CB3 walk well throughout Aeons, grounding themselves at the beginning and periodically afterward even as they venture into new, more cosmic and psychedelic places. Particularly as an instrumental unit, they’re able to bring an imaginative sense to what they do, but they don’t ever seem to lose focus on their central purpose either, and Aeons is a stronger record on the whole for it. I’m left wondering if there isn’t a storyline taking place between the songs as “Sonic Blaze” and “Acid Haze” and “Warrior Queen” flow in succession toward, well, the end of all things, but perhaps that’s a concern best left for the inevitable sequel. For now, Aeons clearly demonstrates CB3‘s ongoing commitment to evolving their sound, and their ability to meld progressive and psychedelic impulses with a rare and well-harnessed vitality. Would seem that’s plenty to ask of a record that’s just over a half-hour long, no?

CB3, Aeons (2020)

CB3 website

CB3 on Thee Facebooks

CB3 on Instagram

CB3 on Bandcamp

The Sign Records on Thee Facebooks

The Sign Records website

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CB3 Sign to The Sign Records; Aeons out Feb. 28

Posted in Whathaveyou on October 16th, 2019 by JJ Koczan

cb3

Cool band. Swedish trio CB3 have been picked up by The Sign Records — wasn’t it just yesterday I was talking about the label’s reliable taste? well here’s another example of it — to release their second long-player, Aeons, on Feb. 28 as the follow-up to 2018’s From Nothing to Eternity (discussed here) and the subsequent live EP, Cult of the Crystals. The progressive psychedelic instrumental outfit are led by and named for guitarist Charlotta Andersson — they’re Charlotta’s Burning Trio when go long-form — and though February 2020 feels like a great and unknown future somewhere off in the distance, actually it’s only a couple months and the band will unveil the new single “Sonic Blaze” from the five-track offering next week, so you don’t actually have to wait all that long to get at least a quick fix.

Until then, here’s info courtesy of The Sign via the PR wire:

cb3 aeons

CB3 – Aeons – The Sign Records

We welcome CB3 (Charlottas Burning Trio) to The Sign Records! CB3 will release their new album “Aeons” the 28th of February 2020, and next Friday – the 25th of October, you’ll be able to enjoy the first cosmic frequencies of the album as the single “Sonic Blaze” reaches earth after a long journey through outer space.

CB3 is here to bring you on a journey with their explosive rock jams and mind-bending cosmic soundscapes. CB3 brings the spirit of psychedelic music to the 21th century; with a style that ranges from heavy psych rock jams like Jimi Hendrix to delicate atmospheric passages like Pink Floyd and progressive rhythms like King Crimson and Mahavishnu Orchestra. Close your eyes, set your mind free and drift away into the musical universe of CB3.

The autumn of 2018, CB3 celebrated a five year anniversary as a band in their hometown of Malmö, Sweden. Half a decade of constant exploration of the unconventional way of playing, fusing rock with jazz tonality and experimenting with rhythms, sounds and structures. After two self-released and self-produced albums, multiple collaborative projects and touring, CB3 signed with Lazy Octopus Records and Drone Rock Records for a cassette and vinyl release of their debut album “From Nothing to Eternity” in 2018. It was sold out immediately and received flourishing reviews.

In spring of 2020 they will release their new album “Aeons” on The Sign Records. Charlotta said of the process “It’s been an exciting journey. Me, Pelle and Nate has almost been living, eating and sleeping music, but above all experimenting with the idea of making the most exciting and kickass instrumental album ever.”. Since the beginning the trio has valued and nourished their thriving lust of exploring new ways in composing music and playing live shows.

The album is recorded by Björn Lindberg at Rabbit Holes Studios in Malmö and mixed and mastered by Joona Hassinen at Studio Underjord in Norrköping, Sweden. Björn is a sound engineer that worked with Hey Elbow. Joona is the sought after engineer in the underground scene in Sweden and has worked with bands like MaidaVale and Vokonis. The last track “Apocalypse” features Martin Wirén on saxophones and Charlotta on mellotrones. Artwork by Robin Gnista (Brant Björk, Radio Moscow, Imperial State Electric). Press Photos by Gianluca La Bruna. Video animations by Matteo Nobis Sandén (3D-artist, illustrator).

CB3 are:
Charlotta Andersson – Electric Guitar
Pelle Lindsjö – Electric Bass
Natanael Salomonsson – Drums

www.charlottasburningtrio.com
https://www.facebook.com/charlottasburningtrio/
https://www.instagram.com/charlottasburningtrio/
https://cb3band.bandcamp.com/
https://www.facebook.com/thesignrecords/
http://www.thesignrecords.com

CB3, “From Nothing to Eternity” (Live 2018)

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