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

Mouth on Thee Facebooks

Mouth on Bandcamp

Mouth on Soundcloud

Tonzonen Records on Thee Facebooks

Tonzonen Records on Instagram

Tonzonen Records website

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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

Karakorum on Thee Facebooks

Karakorum on Bandcamp

Tonzonen Records website

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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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Review & Video Premiere: No Man’s Valley, Outside the Dream

Posted in Bootleg Theater, Reviews on March 7th, 2019 by JJ Koczan

no mans valley outside the dream

No Man’s Valley, “Eyeball” official video premiere

[Click play above to stream the premiere of No Man’s Valley’s “Eyeball” video. Their new album, Outside the Dream, is out March 22 on Tonzonen Records.]

Both their 2016 debut album, Time Travel (review here), and the new follow-up, Outside the Dream (on Tonzonen), immediately clue the listener into No Man’s Valley‘s priorities. This is not a band dealing in grounded fare. The Horst, Netherlands-based five-piece meld ethereal atmospherics with classic psychedelic blues, resulting in a two-sided long-player that channels Doors-style drift on “From Nowhere” after the earlier “Eyeball” melds echoing lysergics with airy post-rocking guitar and a fervent stomp in its drums. Modern touchstones would be The Flying Eyes (“From Nowhere”) or maybe even All Them Witches (“7 Blows”), but No Man’s Valley present these aspects of their sound with a distinctive, open feeling take on songwriting that’s nonetheless memorable, with a depth of mix that lends even the more straightforward push of “Hawk Rock” an ambient character.

Comprised of vocalist Jasper as well as guitarist Christian, bassist Rob, keyboardist Ruud and drummer Dinand, all of whom contribute backing vocals at one point or another, the band are able to tie together seemingly disparate moods and elements, suck that the subdued and malevolent closer “Murder Ballad” is preceded by “Lies,” which seems to call back to the earlier circus feel in the apex of “Eyeball,” but with something even more vicious at play. If one thinks of the album as a progression of dreaming, the opening title-track leads the listener into a fuzz-drenched subconscious along a soulful, organ-inclusive march, and “Eyeball,” “Hawk Rock” — as in, Hawkwind? certainly possible — and “From Nowhere” follow with a pattern of increasing depth, malleable the way one dream can turn into another instantly, getting weirder all the while. That would make side B opener “Into the Blue,” which is appropriately named as the bluesiest track on the record, a similar launchpoint into something darker throughout “7 Blows,” “Lies” and “Murder Ballad.”

That’s a convenient-enough narrative, but I’m not sure it’s what the band are actually shooting for. The lines aren’t so clearly drawn, and they don’t seem to want to be. There’s no question they end dark with “Lies” and “Murder Ballad,” but the path they take to get there isn’t so black and white, and to think it might be is to undervalue the complexity on display throughout sides A and B of the eight-song/40-minute outing. One would call it grey in its approach if it weren’t so gosh darn colorful. Ultimately, No Man’s Valley‘s breadth is not a detriment, of course, and they have the songwriting behind their explorations of mood to hold it all together. Fair enough, but even to look at the almost-manic assembly of images and figures on Outside the Dream‘s cover art, it’s clear they’re crafting a dreamscape — more inside the dream than out of it; though perhaps the title is referring to that haze in one’s first waking moments when consciousness and the unconscious seem to intertwine.

no mans valley

If that’s the case, the shouts in “Eyeball” and the surrounding swirl of effects, as well as the echoing ramble of “Into the Blue” would seem to make even more sense, making sense — from a conceptual standpoint — isn’t really the idea here. Whatever they might be expressing in terms of theme or story, there’s no question No Man’s Valley distinguish themselves among a swath of European psychedelic heavy by means of both style and substance in their work. “Into the Blue” descends into a glorious wash of guitar while the keys — Rhodes, maybe — still stand out all the more dream-like for cutting through the mix as they do, while the earlier “Hawk Rock” is all about thrust, with a garage-rocking style that resolves itself in a Hammond-drenched verse and a sudden stop ahead of the brooding “From Nowhere,” which indeed makes “nowhere” sound like the place to be.

All along this varied course, the band provide a trail of deceptively lush melody for the audience to follow along with them as they go deeper, and even as “7 Blows” seems to break in its midsection in order to vibe out ahead of the closing duo, there’s a return to the hook impending as if to let everyone know they’re not all the way gone yet. This care and attention to detail further help distinguish No Man’s Valley, but frankly, if their second album proves anything, it’s that they don’t need much help. Even in that vast, mostly empty landscape in the middle of “7 Blows,” Jasper plays a fitting Jim Morrison in order to give a human presence ahead of the cacophonous payoff to come. That transition, like Outside the Dream as a whole, is handled with fluidity and grace, and much as they seem to invite all parties to go get lost with them, they’re never actually lost. Even “Lies” has a swinging undercurrent despite its more cynical take and shorter runtime, and its percussive motion, start-stop guitar and bouncing organ line all come together with boozy verse lines to build to the standout chorus.

That leaves No Man’s Valley right at the precipice of “Murder Ballad,” which indeed lives up to its title. Foreboding guitar howls behind the quietly-delivered vocals and a steady, grounding, bassline. One would be remiss not to mention Nick Cave, but “Murder Ballad” isn’t out of place with the rest of Outside the Dream, it’s just a darker manifestation of that unconsciousness. Without the push of drums, it feels like the moment when the band finally let go into the ether, and even at just over four minutes, it is something of a grand finale in terms of execution without actually being overbearing in terms of volume. Fitting, then, that it should close, since it effectively draws down the dream-side of the album, leaving off to silence in such a way as to make one wonder what happens next. Did we wake up? Are we still asleep? Perhaps that’s an answer that will come with No Man’s Valley‘s third record, but either way, their second builds on the debut in terms of structure and expansion of sound, showing the band as perfectly comfortable in or out of the reaches of the waking world. Like a lucid dream, where they go from here would seem to be entirely up to them.

No Man’s Valley on Thee Facebooks

No Man’s Valley on Twitter

No Man’s Valley on Instagram

No Man’s Valley website

Tonzonen Records on Thee Facebooks

Tonzonen Records on Instagram

Tonzonen Records website

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Pavallion Premiere “Waves” from Stratospheria; Album out Oct. 26

Posted in audiObelisk, Reviews on October 18th, 2018 by JJ Koczan

pavallion (Photo by Philip Lethen)

At 10 minutes long, opening track ‘Waves’ plays an important role on Pavallion‘s second album, Stratospheria, out Oct. 26 on Tonzonen Records. From the spacious post-rock guitar line that opens the song with a drift worthy of its title to the subtle vocal harmonies in its verse lines as it moves toward its midsection, it’s the first impression Stratospheria makes, building to a louder instrumental wash as it approaches minute five and pushing decidedly outward from there in its second half with a fluid blend of ambience and weight made whole through steady but creative drumming. By the time it gets to its final push, it’s traversed a not-inconsiderable distance, and its last 30 seconds or so are just a ringout of the massive wall of sound that’s built, but the initial feel of the soothing intro is still maintained. As much as “Waves” seems to bring the tide of volume in as it plays through, it still doesn’t carry much of a sense of threat in the listening experience, and that’s important, because with the other two tracks that comprise the full-length, “Monolith” (5:11) and “Stratospheria” (24:37) itself, they bring a somewhat darker tonality to bear.

Especially in the shorter “Monolith,” the Krefeld, Germany, four-piece of vocalist/guitarist Sebastian Dückers, guitarist/vocalist Steven Hein, bassist Andreas Zanders and drummer Piet Fischer touch on a doomed atmosphere, with low spoken vocals and sparse, thudding drums and plodding guitar with a consuming distortion unfolding amid eerie whispers and a tense line of horror-style notes that comes to the fore in its apex. That departure — still on side A of the pavallion stratospheriavinyl, so in any format it immediately follows “Waves” — is key to establishing the personality of the release as a whole. Pavallion‘s 2017 debut, 2048, certainly had its progressive elements, and was a longer outing overall with five tracks/48 minutes as opposed to Stratospheria‘s three and 40 minutes, but while it had heavier moments along with its Floyd-loyalist conscioupsychedelia, there wasn’t anything so grim as the near-goth affect of “Monolith,” the mood of which seems to carry into the title-cut that follows, though with a runtime comprising more than half of the entire album, that song of course has no trouble setting a mood of its own. “Stratospheria” is, obviously, central to the record that shares its name, and perhaps unsurprisingly it seems to bridge the gap between “Waves” and “Monolith,” bringing the disparate sides together into a cohesive entirety of marked flow and a naturalist movement. Its ebbs are open-sounding and hypnotic, and the heft it conjures comes on smoothly and gradually, so that its arrival isn’t awkward or out of place, but an organic growth of the forward motion in the track.

Like “Waves,” “Stratospheria” gets significantly heavy, but retains its sense of atmosphere and carries the foreboding vibe of “Monolith” into its own context, as can be heard in the low-end distortion beneath the repeated guitar line about 16 minutes in. As the last push unfolds, Pavallion craft a fervent wash of noise, and the weighted riff that arrives shortly before the 19-minute mark is emblematic of the grim undertone that seems to be lurking all along, coexisting with the heavy psychedelic and progressive shimmer that “Waves” first set forth. That these two sides are able to come together into a coherent, single statement isn’t an achievement to be overlooked, but in the actual listening, that’s less of an outward impression than the level of engagement the band elicits from the beginning onward. That is, one isn’t likely to be sitting listening to Stratospheria saying, “Hmm, quite nice how they’ve married together diverse ambiences,” while utterly hypnotized by the effect of their doing so.

Appropriately enough, the visual accompaniment for “Waves” in the YouTube embed below is, well, waves. It’s waves. The camera is on a boat and it’s waves. Fair enough to give a sense of the album’s total entrancing aspects, and the crucial work “Waves” does as its opening salvo.

More info follows beneath. I hope you enjoy:

Pavallion, “Waves” visualizer premiere

Does music bend space and time? When a five minute song seems like a huge black hole while a 24-minute-epic rushes past in the blink of an eye, one can get the impression that it’s possible. Concerning PAVALLION, time is relative anyway, as already shown on their debut album „2048“. Following the minimalistic catchiness of their 2017 five track LP, these four guys from Krefeld, Germany, now present their second album STRATOSPHERIA.

It contains 3 atmospheric longtracks that slowly unfold into great epics – from the lone, soft echo in a vast openness to the dense, impenetrable wall of sound. Warm, hypnotic post-rock meets modern psychedelic, reminding some of us of the good old Pink Floyd sound. „Close your eyes and be carried away“ seems to be the motto – both live and in front of the record player.

STRATOSPHERIA is already preoderable and will be released on October 26th via the audiophile indie label TONZONEN RECORDS. It will be available as a limited gatefold LP in the vinyl colours marbled yellow (150 copies) and marbled greenblue (350 copies), as Digipak CD as well as for download.

Pavallion is:
Sebastian Dückers – Lead Vocals / Guitar
Steven Hein – Lead Guitar / Vocals
Andreas Zanders – Bass
Piet Fischer – Drums

Pavallion website

Pavallion on Thee Facebooks

Pavallion on Bandcamp

Pavallion on Instagram

Tonzonen Records website

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Pavallion to Release Stratospheria Oct. 26; New Song Streaming

Posted in Whathaveyou on October 4th, 2018 by JJ Koczan

pavallion

German heavy post-rockers Pavallion will issue their second album, Stratpspheria through Tonzonen on Oct. 26. The LP is comprised of three tracks, the last of which, the title-cut, is 24 minutes long. So, you know, awesome. Surrounding and within that massive cut is a work of thoughtful exploration, mellow melodicism and open-ended structures that flow easily but can go just about anywhere they please as they make their way outward to some higher knowledge, individualized plane, off in the great go-go-go, whatever it is — the stratosphere? Maybe. The vibe is certainly altitudinous enough to be lacking oxygen. You can float away on it.

Normally for this kind of thing you’d have to wait, but Tonzonen has all three tracks streaming on the preorder page for the limited CD and vinyl, and you’ll find hem at the bottom of this post. Have at it and enjoy.

Info from the PR wire:

pavallion stratospheria

PAVALLION: German Psyched-out Rock Quartet Announce New Album Stratospheria for a late October Release. First massive single released!

German psyched-out rock quartet Pavallion just announced a new album titled Stratospheria due out on Tonzonen Records in late October.

Does music bend space and time? When a five minute song seems like a huge black hole while a 24-minute-epic rushes past in the blink of an eye, one can get the impression that it’s possible. Concerning Pavallion, time is relative anyway, as already shown on their debut album 2048. Following the minimalistic catchiness of their 2017 five track LP, these four guys from Krefeld, Germany, now present their second album Stratospheria.

It contains 3 atmospheric longtracks that slowly unfold into great epics – from the lone, soft echo in a vast openness to the dense, impenetrable wall of sound. Warm, hypnotic post-rock meets modern psychedelic, reminding some of us of the good old Pink Floyd sound. Close your eyes and be carried away seems to be the motto – both live and in front of the record player.

Stratospheria is already on pre-order and will be released on October 26th via the audiophile indie label Tonzonen Records. It will be available as a limited gatefold LP in the vinyl colours marbled yellow (150 copies) and marbled green- blue (350 copies), as Digipak CD as well as for download.

Tracklist
1. A Waves
2. Monolith
3. Stratospheria

www.pavallion.de
www.facebook.com/pavallion
www.pavallion.bandcamp.com
www.instagram.com/pavallion_music
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No Man’s Valley Post “Lies” Video; Outside the Dream Due Early 2019

Posted in Bootleg Theater on October 3rd, 2018 by JJ Koczan

no mans valley

It’s been fairly quiet since earlier this summer when Netherlands-based classic heavy psych blues rockers No Man’s Valley announced their intentions toward a second full-length to be titled Outside the Dream, and launched a crowdfunding campaign for its completion. Well, I guess it all worked out, because the album is recorded and set for release in early 2019 through Tonzonen Records as the follow-up to 2016’s Time Travel (review here), which came out via Nasoni. They’re giving a first glimpse of what’s in store with the new release in a video for the track “Lies.”

And in a relatively concise three minutes laced with organ, a Stooges-style stomp and a catchy hook that may or may not switch between “It’s alright” and “It’s all lies” — kind of hard to tell with the vocal effects — the song makes its impression melodically and in terms of its structure and tone, as well as in its tight-knit, get-in-rock-and-get-out-again attitude. There’s nothing spare about it, no extra pieces left hanging about. It seems to pull its influence from the time when the only option for it coming out might’ve been pressed as a 45RPM record in a paper sleeve, and sure enough its shuffle and push would well earn that distinction if it came to it. As it stands, it’s just the first piece of Outside the Dream to be made public.

The video is assembled footage from what looks like the public domain — nothing really landmark, but the purpose it’s serving is to highlight the song, and it does that fairly enough. You can and should check it out on the player below. No Man’s Valley have a few live dates in the next month-plus, including later this week in Berlin with Daily Thompson. All info follows the clip itself.

Please enjoy:

No Man’s Valley, “Lies” official video

Check out the new video for the song Lies, taken from our upcoming album Outside The Dream. The album will be released on Tonzonen Records early next year. The album was recorded with Mathijs Kievit (Bartek, Luwten) at Studio Joneski and mastered by Pieter Kloos (Motorpsycho, Beaver, Komatsu). Catch the band live this year at:

10-6 Berlin (DE)- Zukunft Am Ostkreutz w/Daily Thompson
10-26 Arnhem (NL)- Popronde
10-27 Sittard (NL)- Popronde
11-2 Bonn (NL)- Kult 41 w/Giirl
11-15 Breda (NL)- Popronde

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