Iguana Post “Time Translation Symmetry” Video; Album out Now

Posted in Bootleg Theater on November 21st, 2019 by JJ Koczan

iguana

I’m not really sure what’s happening in the new Iguana video, but I sure dig it. In look and sound, “Time Translation Symmetry” sums up the spirit of the album that sort of bears its name, a classic progressive vibe playing out across mellow-but-tonally-present psychedelic rock. The animation seems to be Flash or whatever the modern digital equivalent of it is — I’m sure it’s not Flash, or if it is, Flash has been updated to the point of being unrecognizable from what my turn-of-the-century-thinking-ass thinks of when he thinks of Flash animation; Homestar Runner, Napster Bad, and so on — but the method I suppose is secondary to the work itself, which is richly colored and nuanced in the texture and of course one could very, very easily say the same thing about the song. It’s nice when things tie together like that. It doesn’t always happen.

Iguana‘s album, Translational Symmetry (review here), was released on Nov. 15 as their first outing for Tonzonen Records — it’s their third full-length overall — and it’s their most realized vision yet in terms of their particular take on progressive rock. Coming as they do from a fuzzy psych background, I think you can hear that in some of the tone on “Time Translation Symmetry,” with a bit of classic strut in there for good measure, but the melodies and the modus of the song itself are clearly reaching beyond simple microgenre confines, and like the mysterious polygon that shows up on the album’s cover and in the video as well — along with some likewise-mysterious hot-dog-in-bun-shaped alien ships — it’s multiple sides coming together to form a cohesive whole.

If you find yourself thinking that’s an awful lot of work for a four-and-a-half-minute track to do, you’re right.

Enjoy the video:

Iguana, “Time Translation Symmetry” official video

Band: Iguana
Song: Time Translation Symmetry
Album: Translational Symmetry
Label: Tonzonen Records 2019
Artwork, animation and cut by Martin Böer.
Additional artwork, animation und cut by Michael Chlebusch.
Order via Bandcamp: https://iguana.bandcamp.com/
Order via Tonzonen Records: https://www.tonzonen.de/iguana/

Iguana is:
Alexander Lörinczy | Vocals, Guitar, Synthesizer
Alexander May | Bass
Robert Meier | Drums
Thomas May | Guitar, Synthesizer

Iguana on Thee Facebooks

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Review & Track Premiere: Iguana, Translational Symmetry

Posted in audiObelisk, Reviews on November 5th, 2019 by JJ Koczan

Iguana Translational Symmetry

[Click play above to hear ‘Below the Hinterlands’ from Iguana’s Translational Symmetry. Album is out Nov. 15 on Tonzonen Records.]

A record that starts off coasting through outer space and ends up wondering amid fuzz and post-rock melo-wash why we just can’t get along, Iguana‘s Translational Symmetry is a progressive genrebender marked by high order songcraft and unrepentantly gorgeous psychedelia. The Chemnitz four-piece’s first offering for Tonzonen and third LP overall behind 2012’s Get the City Love You (review here) and 2015’s Cult of Helios (review here), it comprises nine tracks and runs 44 minutes, seeming in the process to pull influence from a host of styles, from the drifting opening semi-title-track “Time Translation Symmetry” to classic prog and space rock on “Below the Hinterlands” to the desert-tone-meets-hippie-folk-vocals of “Vessel Meerkatze” and the garage-plus-keyboard rocking shove of “Hear the Kid Out” later on.

The name of the game — and it is a game — is dynamic, and Iguana have developed it in earnest over a history that goes back at least a decade before they actually released their first album. Comprised now as they have been at least since 2012 of guitarist/vocalist/synthesist Alexander Lörinczy, guitarist/synthesist Thomas May, bassist Alexander May and drummer Robert Meier, they’ve developed a chemistry that allows them to reach further than they ever have, and though each of their long-players to this point in their tenure has offered something different, whether it was the pure desert worship of the first or the farther-afield, jammy heavy psych warmth of the second, and Translational Symmetry would seem to extend this ethic to the songs themselves.

Tracks are united through a general progressive mindset, and Lörinczy‘s layered vocals play a crucial role in uniting the material while also feeding the various atmospheres the band is working within, but the album shifts in mood and vibe on a nearly per-song basis, hitting on a central riff in “Leaving Crete” that feels like a gift given to the band by Spirit Caravan while using it to their own, broad purposes. This speaks to perhaps the greatest asset of the band’s songwriting at this stage: even when one might recognize an element or an influence in their work, Iguana take it and reshape it to suit the needs of their own work.

The difference is that between playing to style and playing with it, and Iguana are definitely doing the latter on Translational Symmetry. “Leaving Crete” resolves itself in a final hook and fare-thee-well bit of wah before “The Fish Code” takes hold with a jabbier, winding rhythm gracefully executed by the drums and bass with the guitars floating over and the synth seeming to be the current running beneath to hold it all together. Atmosphere is important to the proceedings, but not necessarily central, since the bulk of the material still has a structure underlying; even the eight-plus-minute “Rites of Passages” that opens side B in instrumentalist fashion seems to have an underlying plot, shifting between an initial thrust to dreamier Floydism in a mellower midsection before the energy level creeps back up amid a sleek groove and crash-cymbal wash, ultimately returning to the galloping motion that started off and building on it for a rousing lead that makes a fitting transition into “Hear the Kid Out,” which immediately follows.

iguana

Whether fast or slow, active or dreamy, loud or quiet, Iguana maintain both atmosphere and structure in a balance that’s fluid enough to allow them to enact some sense of a second-half-of-record branch-out, while still having already “branched” in that sense pretty far on the first half of the album. To say their sound has never been so malleable is kind of underselling it, but that’s true just the same. The truth is that Translational Symmetry is a more ambitious work than they’ve issued to-date, and it does not set a goal for itself that it leaves unmet. Those goals are an accomplishment unto itself, but essentially this is the sound of Iguana finding their identity through overcoming their influences and establishing themselves as themselves — their style as their own, to do with as they will. Plus songwriting. So yes, mark it a win.

If one looks at side A as a collection of shorter pieces, still with plenty of sonic diversity between them, from “Time Translation Symmetry” and “Below the Hinterlands” to “Vessel Meerkatze” and side B as made up of “Rites of Passages,” “Hear the Kid Out” and the closing duo of “Repeating Odd Dream” and “Spinning Top” — fascinating that the record would close with two tracks the titles of which both start with gerunds; “Leaving Crete,” earlier, is the only other — then with “Hear the Kid Out” as a relative-back-to-ground moment after “Rites of Passages,” or at least back-to-verses-and-choruses, then the album’s final movement seems to be all the more a cohesive and purposeful delve.

“Repeating Odd Dream” brings air-push fuzz and a complex rhythm, while the melodic focus of “Spinning Top” and its hook give it a spirit that draws on shoegaze but isn’t trying to pretend to sound like it doesn’t care. The synth might actually be a part of that impression, as it fills out the proceedings alongside an easy-nodding groove en route to an effects-laced finish, but really it’s everything. And that’s true of the record as a whole. Songs have their standout moments, rest assured, and those come from a flourish here, an arrangement detail there, a melody, a chorus, a verse line, a perfectly-timed tonal shift or snare pop, whatever it might be, but nothing is so prevalent as to take away from the impression of Translational Symmetry as an entirety. It is best heard as a whole album (said the guy streaming a single) in front-to-back fashion, but it stands up to the scrutiny of a deeper, track-to-track listen as well, with each song smoothly executing dynamic shifts of tempo and vibe that feed into the overarching statement.

It’s hard to pinpoint Iguana‘s trajectory, since Translational Symmetry — which seems to be  titled after what they’ve found in terms of bringing their ideas to life — takes the narrative one might’ve constructed for them after their first two records and throws it in the trash, but clearly the lesson of their third offering is that they’re able to do what they want in terms of the actual material and still make it theirs. From that starting point — from this point — they can go wherever they want.

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Nazca Space Fox Post “Windhund”; Pi out Sept. 27

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

nazca space fox

One can definitely hear shades of Yawning Man in the sun-reflecting guitar tone of Germany’s Nazca Space Fox, whose second album, Pi, will see release on Sept. 27 through Tonzonen, but that’s more of a beginning point than an end point, and fair enough then that it should arrive via a stream of “Windhund.” The opening track of the impending long-player answers back some of the drift from the Frankfurt trio’s 2017 self-titled debut, which took a similarly mellow-heavy tack, and wants nothing for fluidity while adding a further sense of clearheadedness to the production, directing a jam even as it seems to be unfolding. Entirely instrumental, the song runs eight and a half minutes, so should give you plenty of opportunity to dig into its vibe, and I think once you do, you’ll agree it was worth the trip. I’ll admit I hadn’t heard these cats before, but I’m glad to have the opportunity to get on board here.

From the PR wire:

nazca space fox pi

Get Your Psychedelic Rock Groove on with the New Nazca Space Fox Single Windhund!

New Album Pi out late September!

Pi was recorded in several live sessions and now German trio Nazca Space Fox has now reached the place where they feel most comfortable: Between big melodies, loud, groovy riffs and fragile sound parts. The 6 tracks on Pi are more structured and focused than before, yet improvisation was given enough space to unfold. The basic instruments speak for themselves: drums, guitar, bass. Groovy and powerful. Light and fragile. Post-Rock merges with Stoner & Psychedelic.

Pi will be available on limited edition vinyl, CD and digital from Tonzonen Records on September 27, 2019.

The self titled debut album from instrumental rock band Nazca Space Fox was released in 2017, it sold out soon. Now, after numerous live shows (e.g. with ¡Pendejo!, Powder for Pigeons, The Sonic Dawn, Thundermother, Giöbia, Electric Moon) and gigs at major festivals (Burg Herzberg, PsyKa), Nazca Space Fox are back with their second album Pi, which stands for the Indian expression for place or location.

Pi was recorded in several live sessions and now German trio Nazca Space Fox has now reached the place where they feel most comfortable: Between big melodies, loud, groovy riffs and fragile sound parts. The 6 tracks on Pi are more structured and focused than before, yet improvisation was given enough space to unfold. The basic instruments speak for themselves: drums, guitar, bass. Groovy and powerful. Light and fragile. Post-Rock merges with Stoner & Psychedelic.

Tracklist
1. Windhund
2. Space Drift
3. Space Farm Blues
4. Hummingbird
5. Showdown
6. Grinder

Nazca Space Fox is:
Heiko – Drums
Matze – Guitar
Stefan – Bass

http://nazcaspacefox.de
www.facebook.com/nazcaspacefox
https://nazcaspacefox1.bandcamp.com
https://www.tonzonen.de

Nazca Space Fox, “Windhund”

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The Legendary Flower Punk Premiere “Wabi Wu” Live Video

Posted in Bootleg Theater on August 8th, 2019 by JJ Koczan

the-legendary-flower-punk

What began as a side-project from The Grand Astoria‘s Kamille Sharapodinov has and clearly still is expanding, as The Legendary Flower Punk has gone from exploring hippie psych textures to full-band-and-then-some progressive space rock. This Fall, the outfit will release Wabi Wu through Tonzonen Records, the follow-up to 2016’s Zen Variations, which will feature not only Sharapodinov and Michail Lopakov, who founded the project together, but a range of others including a swath of guests on keys and other arrangement elements. I haven’t heard the full thing yet — I don’t even know if it’s done — but they’ve got a live-in-studio video of the band as a four-piece playing the instrumental title-track “Wabi Wu,” and it sounds pretty awesome as far as album-teasers go.

You ever want to see what a locked-in band looks like? Just watch The Legendary Flower Punk play “Wabi Wu” in this clip. They’re not putting on a show. There’s no audience. This is just about four players in the room, facing each other, headphones on, experiencing the joy of something they’re making together. As regards the video, it’s a little unclear at first where Sharapodinov is in relation to the rest of the band, but it works out sooner or later, and indeed, it’s everybody just playing through the song. But look at their faces as they go. They’re concentrating, to be sure, but they’re also having an absolute blast. It makes the funky prog groove that much more infectious to see them so dug into it, and it’s an utter pleasure to watch someone so much enjoy what they’re doing. If you were going to be in a band, you would want to feel this way about it.

I don’t know how much “Wabi Wu” will ultimately speak for the album that bears its name when that arrives, but its sub-seven-minute uptempo push is right on and ready for digging, so do like they’re doing and enjoy it for what it is. When I hear more about the album release, I’ll post accordingly.

“Wabi Wu” was filmed at Galernaya 20 Studio in Saint Petersburg, Russia.

Have fun:

The Legendary Flower Punk, “Wabi Wu” live at Galernaya 20 premiere

Filmed on 17.01.2019 at Galernaya 20 studio by Julia Melikhova.
Live version from the album “Wabi Wu”
To be out in November 2019 via Tonzonen Records (Germany).

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Mouth Premiere “Coffee” from Past Present Future

Posted in audiObelisk on May 23rd, 2019 by JJ Koczan

MOUTH

Space freaks and prog heads, unite! Or, if not, at least chill out for a bit. This summer, Tonzonen will present Mouth‘s Past Present Future collection as a four-track 10″ EP, which in its digital form sets about compiling work that spans some 18 years of material — appropriately enough, the oldest track is the grunge-riffed closer “Youth,” from 2001 — for a 34-minute span that is, as one might expect, kind of all over the place. It’s a document of how far Mouth have come and, indeed, where they might be headed, as the 2018 track “Steamship Shambles” proves to be some of the band’s most experimentalist prog-jazz fusion to date while still managing as well to be drenched in melody. The live-sounding weird-out “Chase ’72” brings nine minutes of jammy exploration, and a new mix of “Into the Light” from 2017’s Vortex (review here) highlights the whirling synthesizer later in the track. From the opening organ line of “Coffee” onward, it’s an offering full of twists and turns that by its very nature is more EP than album, despite what might otherwise be a full-length runtime, jumping between different recording sessions and, occasionally, styles as it does.

The Cologne, Germany-based proggers have settled over time on a decidedly traditionalist approach, taking influence from the more winding aspects of heavy ’70s keyboard-infused adventurers, but Past Present Future unveils some of the roots of where that mouth past present futurecomes from, with “Coffee,” “Stillsad” and “Youth” adding complexity to the tale in shorter execution and more straightforward verse/chorus structuring. Especially considering those songs are the better part of 20 years old — “Stillsad” is from 2002 — they hold up remarkably well, though in the case of “Coffee,” it’s past and present coming together as guitarist/vocalist Christian Koller went back into the original recording and added keys. Mouth of course dealt with the passing of bassist Gerald Kirsch last year, and Koller and drummer Nick Mavridis have come back together with Thomas Johnen handling low end to begin playing shows in August around the time of Past Present Future‘s release, so it’s entirely possible the compilation is a way for the band to reconcile with their own history and begin to move forward from the tragedy of that loss — the potential “future” portion of the title.

Whatever the case, whether it’s the brief excursion of the almost-a-capella “March of the Cyclopes (A Capella Mix)” or the kitchen-sink, everything-is-music vibe that runs through “Steamship Shambles” — a 17-minute version of which is available in the digital edition — Mouth make their progressivism clear in these tracks even from their relatively rudimentary beginnings. There’s no question they’ve developed as a group over time, but in both “past” and “present,” and likely in “future” as well, their commitment to thoughtful songwriting and pushing themselves forward creatively is right there in the material waiting to be heard.

So hear it. Ahead of Past Present Future‘s slated August release on Tonzonen, I’m happy to host the premiere of “Coffee,” which again is a standout on the EP for its direct blend of old and new recordings. Koller gives some comment about the track below, and if you’d like to read more, the complete liner notes for the outing are posted here.

Please enjoy:

Mouth, “Coffee” official track premiere

Christian Koller on “Coffee”:

Well, I think that I can’t really add something new to the liner notes except that the song was a tiny bit influenced by System of Down’s “Chop Suey!” Haha… The song structure is very similar considering the pop bridge. New Metal was the thing in early 2002 and I hated it but I loved the structure of that song so I borrowed it. Just a youthful folly.

“Coffee” was actually covered by another band from Hagen (Nick’s hometown) back in the days. I saw the band performing it once. That was quite nice. I felt really honored.

MOUTH – Past-Present-Future
(Tonzonen 2019)
1. Coffee (2002/2018)
2. Chase‘72 (2017)
3. Into the Light (alternate mix)
4. Steamship Shambles (2018)
5. March of the Cyclopes (a cappella mix)
6. Stillsad (2002)
7. Youth (2001)

The Tonzonen EP version is going to be a vinyl only release but we will also purchase a digital version via Bandcamp.

The vinyl version consists of tracks 1-4. Furthermore the vinyl version of “Steamship Shambles” is edited to 6:11 minutes. [The digital version] is the super extended version.

Tracks 5-7 are only digital bonus tracks.

Mouth is:
Nick Mavridis: Drums
Thomas Johnen: Bass
Christian Koller: Guitar / Keyboards / Vocals

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Iguana Sign to Tonzonen; Announce New Album Translational Symmetry

Posted in Whathaveyou on May 17th, 2019 by JJ Koczan

German progressive heavy rockers Iguana were last heard from with their 2015 full-length, Cult of Helios (review here), and though they’ve always been around and continued to do live shows, there hasn’t been much word of a follow-up. With the news that they’ve signed to Tonzonen Records for their next release and the announcement that said outing will be called Translational Symmetry, we come the closest we have yet to concrete evidence that, yes, such a thing exists.

And not like the footprint in the snow automatically means there’s a yeti. I mean like at some point the album will be out. As to what point, well, that’s still a little blurry on the horizon, but there’s plenty of 2019 left if it might happen then, or there’s always next year, though waiting that long would only seem to tempt the planet to open wide and swallow humanity whole before the thing is released. Which would be a bummer.

If you’d like a refresher, the Bandcamp stream of Cult of Helios is below. Here’s news from Tonzonen‘s site and the band’s social media:

iguana

IGUANA SIGNED TO TONZONEN RECORDS

I’m very happy to announce that IGUANA signed to Tonzonen Records for the new album.

We are in contact since one year and now we can start the collaboration.

More infos about the forthcoming album coming soon.

IGUANA can be found somewhere in the stylistic abyss that comprises symphonic Kraut, Stoner-beats, Nostalgic Grunge, British Invasion and Dreampop-Crooners. Rarily has Fuzz Rock sounded this diverse and experimental – at least not since the legendary Desert Sessions, which certainly struck a chord with the IGUANA boys. For a while now, they’ve been brewing up something of their own, carefully side-stepping the mainstream and any stereotypes, but dropping little pearls from the genre every now and then. And they’ve been playing with all sorts of acts (like Brant Bjork, Saint Vitus, Colour Haze, Kadavar, and Samsara Blues Experiement) at gigs and festivals, and on tours all across Europe.

Says the band: “We are happy to realize our next record ‘Translational Symmetry’ in cooperation with the Krefeld label Tonzonen. When, how and where – you’ll find out soon!”

Please welcome IGUANA.

www.iguana-music.de
www.facebook.com/iguana666
https://www.instagram.com/iguana_band/
www.soundcloud.com/iguanagermany
https://iguana.bandcamp.com/
https://www.facebook.com/Tonzonen/
https://www.instagram.com/tonzonenrecords/
https://www.tonzonen.de

Iguana, Cult of Helios (2015)

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Karakorum Premiere Video for “Phrygian Youth”; Fables and Fairytales out May 24

Posted in Bootleg Theater on May 16th, 2019 by JJ Koczan

karakorum (Photo by Lisa Schuhbeck)

For those unfamiliar with music theory or the historical context, the phrygian scale is essentially that minor-key-type sound so often associated with Eastern sonic inflection, influences from Turkey and the Middle East. As to how that might play into “Phrygian Youth,” there are a number of possibilities, and listening the nine-minute opening track of Karakorum‘s Tonzonen-delivered second album, Fables and Fairytales, is a fitting context for considering them. The track is one of three on the record, and it comes companioned on side A by the 13:52 “Smegmahood,” while side B is devoted entirely to the 23 minutes flat of “Fairytales,” the German five-piece exploring not only a variety of scales during that 46-minute entirety that draw from classic krautrock’s jazzy inflection while holding to a modern sprawling vibe. All five members of the band contribute vocals, so there are due harmonies to bolster the classic feel, and “Phrygian Youth” starts Fables and Fairytales with a suitable otherworldliness and nuance, its vocals and instrumental progressions both offering an intricacy in the writing and execution that, well, must have made life difficult when it was time to sit down and mix the basic tracks.

They got there, though, and Fables and Fairytales is nothing karakorum fables and fairytalesif not balanced in the spirit of decades of proggy tenets. “Smegmahood” follows the opener with a stretch of near-mathy starts and stops before touching on country rock in the bass and tapping Mothers-style weirdness, harmonica included or good measure. It should go without saying they’re not working with traditional structures, but Karakorum manage to find an identity in their linear forms, with harmony helping out along the way in that but underscoring the sense of controlled-direction happening throughout. It’s fitting that “Fairytales” should cap the record by letting go a bit with keyboard and wild percussive whatnot, but even there it’s plain to hear that Karakorum know where they’re headed. There’s a sense that they’re working to still come together as a unit — they’ll continue to flesh out the arrangements they show here as they move forward — but their reach on these three songs sounds organic, and because of that, it seems all the more appropriate that the video for “Phrygian Youth” should basically be the band performing the song live.

Shot by Lisa Schuhbeck with recording by Günther Schuhbeck and mixing by Matthias Hoffmann, the clip “Phrygian Youth” brings us into the band’s rehearsal space for a runthrough of the track in live form. I’ve said multiple times that I don’t know why every band doesn’t do this. Get a couple cameras, play the song, edit it together, sync it with the audio, and boom, video done. I’m not saying every band should do it or it’ll work for every song, but especially for a group with a lush vibe like Karakorum, it gives the person watching a chance to experience “Phrygian Youth” in a rawer setting, the band in their natural habitat. The album is out May 24, so if you’re watching the clip and that’s your introduction to the band’s style, it’s pretty close to the sound of the record itself. The presentation, of course, is somewhat more barebones, but it’s not like anything’s missing, and most important, I think the video gives a sense of the balance in what Karakorum are doing. And even in black and white, it’s all plenty colorful.

Please enjoy:

Karakorum, “Phrygian Youth” official video premiere

Almost two years have gone by since Karakorum’s debut Beteigeuze on Tonzonen Records. Now the Bavarian-based quintet releases their new LP Fables and Fairytales. It’s not another concept-LP, instead this time there are three autonomous long tracks that can’t be more diverse. The music handles the full range from 70s heavy rock to free jazz, from epical melancholy to zappaesque obscurities, but still the band plays their “Karakorum-sound”.

In more than 40 minutes Karakorum invites the listener to a phantastic journey through the width of the Sahara desert or introduces you to some dadaistic fable creatures. It’s not always to be taken serious but if you listen closely you will find several salutes to the quintet’s biggest idols.

Tracklist
1. Phrygian Youth
2. Smegmahood
3. Fairytales

Karakorum is:
Max Schörghuber – electric guitar, percussion, lotus-flute, vocals
Bernhard Huber – acoustic and electric guitar, percussion, vocals
Axel Hackner – organ, synthies, vocals
Jonas Kollenda – bass, siren, vocals
Bastian Schuhbeck – drums, percussion, vocals

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Mouth to Release Past Present Future in August; Playing Krach am Bach

Posted in Whathaveyou on April 10th, 2019 by JJ Koczan

German semi-retro progressive rockers Mouth will in August release a new collection titled Past Present Future that, indeed, collects material new and old spanning an 18-year history of the band. Issuing through Tonzonen, the arrival of Past Present Future coincides with the band making their return to the stage at this year’s Krach am Bach festival — playing alongside Kadavar, Spidergawd, Naxatras, Atavismo and others — that will be their first live show since the passing of their bassist Gerald Kirsch and recently-announced regrouping with Thomas Johnen handling low end. Mouth‘s last release was a limited Alterna Sounds Festival live record (discussed here) that captured their final show with Kirsch in the band.

The new vinyl with digital bonus tracks would seem to be a way to reckon with what the band’s been through in terms of personal trauma while express their continued desire to move forward creatively. In addition to the basic release info, Mouth also sent the liner notes for Past Present Future that you can see below.

Enjoy:

mouth past present future

MOUTH – PAST PRESENT FUTURE 10″

The Tonzonen EP version is going to be a vinyl only release but we will also purchase a digital version via Bandcamp.

The vinyl version consists of tracks 1-4. Furthermore the vinyl version of “Steamship Shambles” is edited to 6:11 minutes. [The digital version] is the super extended version.

Tracks 5-7 are only digital bonus tracks.

MOUTH – Past-Present-Future
(Tonzonen 2019)
1. Coffee (2002/2018)
2. Chase‘72 (2017)
3. Into the Light (alternate mix)
4. Steamship Shambles (2018)
5. March of the Cyclopes (a cappella mix)
6. Stillsad (2002)
7. Youth (2001)

Liner notes:

Side A
Coffee* 3:56
As if Led Zeppelin recorded a jingle together with The Move and John Barry for a Starbucks advertisement in 1972.

The Song was originally recorded in spring 2002. It’s a little tongue-in-cheek thing. I used drink a lot of coffee in those while I was learning for my university exams. In a way its my personal drug song. Last year after Gerald’s death I was browsing some of our very old recordings and I found this lovely peace of rock. Anyway, I played around the recording and added some classical MOUTH keys to it. Finally it sounded like a typical 2018 MOUTH song.

Chase’72** 8:58
This is an impromptu live studio jam from 2017 which sounds a bit like movie score from the early seventies, maybe Dirty Harry.

Side B
Into The Light*** 7:05
This is my original mix which was finally dropped by our late producer and label boss Guido Lucas. For me this is the real version. I’m not a big fan of the album version because the song doesn’t really kick the way it was supposed to be but I think that this version is close to perfection.

Steamship Shambles**** 6:11
This almost experimental peace is based on a basic studio recording from January 2018 and a homerecording demo from 2011. Nick is responsible for all the instruments, (kitchen-) sounds, mixing and editing, except hammond, lead guitar & mellotron. It’s a bit like a Ummagamma studio experiment.

Bonus tracks:
March of the Cyclopes
It’s an a cappella mix minus the basic tracks. I like it because you can actually hear what the choir is singing. Haha.

Stillsad
This is a very early example of a typical MOUTH song in those days. It could have been the B-Side to „Coffee“. This is a studio recording from early 2002. We were able to use a very nice studio for free between 23:00-6:00. I think we nailed it in one night session.

Youth
This song was one of our early anthems (together with „coffee“) and our show closer. It was one of our first songs and a very good example of our „boogie van hippie music“. We recorded this one together with another song at the Blubox in autumn 2001. It was also originally produced by the late Guido Lucas.

*2002/2018 (koller)
revised version
bass: jan wendler
**2017 (kirch/koller/mavridis)
studio jam
***2012 (koller)
alternative mix
****2018 (mavridis)

Mouth is:
Nick Mavridis: Drums
Thomas Johnen: Bass
Christian Koller: Guitar / Keyboards / Vocals

https://www.facebook.com/mouthsound/
https://mouthprog.bandcamp.com/
http://www.soundcloud.com/mouthprog
https://www.facebook.com/Tonzonen/
https://www.instagram.com/tonzonenrecords/
https://www.tonzonen.de

Mouth, Floating (2018)

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