Motorpsycho European Tour Starts Tonight

Posted in Whathaveyou on May 14th, 2019 by JJ Koczan

Europe needs my American ass to tell it to go see a Motorpsycho gig like it needs a surge of right-wing populism — which is to say not at fucking all — but as the ultra-prolific Norwegian progressive heavy rockers begin their Spring 2019 tour this evening in support of their latest album, The Crucible, I’d like to point out that their tour will meet up with Elder‘s on May 16 in Hamburg, and together they’ll play a gig marked out as a 25th anniversary celebration for Stickman Records. Damn right. Motorpsycho and Elder sharing a bill is about as much as you could ask for in an evening, so yeah, I’d think if there’s going to be an anniversary party for their label, that would be the night to do it.

Motorpsycho are an institution when it comes to heavy prog, so while I don’t need to tell Europe to go see it, in the name of friendship, I will anyway. I’ll have a writeup for The Crucible in the next Quarterly Review at the start of July — which is much closer than it sounds like — but obviously, the short version is, “duh, it’s Motorpsycho.”

Here are the tour dates:

motorpsycho

Motorpsycho – European Tour Dates

Good news if you’re on the European continent – Motorpsycho and Elder have embarked on respective tours this spring/summer.

The two will team up on May 16th at the Markthalle in Hamburg, Germany for a special show to celebrate 25 years of Stickman Records!

Those in attendance will be able to enter into a raffle to win one of a number of test pressings offered up by the bands and Stickman. All proceeds from raffle ticket sales will be donated to One Earth One Ocean, an environmental organization that works to improve the health of our oceans by removing plastic waste.

For those of you who also want to do good and throw your hat in the ring for some rare test pressings, we will be holding another raffle online in the coming months.

Motorpsycho live:
14.05.19 Aarhus (DK), Train
15.05.19 Copenhagen (DK), Hotel Cecil
16.05.19 Hamburg (DE), Markthalle
19.05.19 Utrecht (NL), Tivoli
21.05.19 Groningen (NL), Vera
22.05.19 Leuven (B), Het Depot
23.05.19 Hannover (DE), Faust
24.05.19 Wiesbaden (DE), Schlachthof
25.05.19 Lausanne (CH), Les Docks
27.05.19 Wien (AUS), Arena
28.05.19 Trezzo Sull’Adda (IT), Live Club
29.05.19 Bologna (IT), Zona Roveri
30.05.19 Avelino (IT), Teatro Partenio
31.05.19 Ciampino (IT), Orion
01.06.19 Genova (IT), Goa Boa Preview
02.06.19 Reutlingen (DE), franz.K
28.06.19 Trondheim (NOR), Trondheim Rocks
31.07.19 Trondheim (NOR), Olavsfestdagene
06.08.19 Oslo (NOR), Øya Festival
29.09.19 Bremen (DE), Schlachthof
01.10.19 Köln (DE), Gloria Theater
15.10.19 Frankfurt (DE), Mousonturm
16.10.19 Leipzig (DE), Conne Island
17.10.19 Berlin (DE), Festsaal Kreuzberg

Motorpsycho is: Bent Sæther, Hans Magnus “Snah” Ryan, Tomas Järmyr.

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Motorpsycho, “Lux Aeterna”

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Dune Sea Premiere “Dune Sea” from Self-Titled Debut LP out May 3

Posted in audiObelisk on April 18th, 2019 by JJ Koczan

dune sea

Dune Sea release their self-titled debut album May 3 through All Good Clean Records. The Norwegian band began as the project of guitarist, vocalist, keyboardist and noisemaker Ole Nogva, who gradually was joined by drummer Erik Bråten and bassist Petter Solvik Dahle, and though their moniker might conjure all sorts of images of retread desert rock riffing, the truth of what they do throughout the nine-track/31-minute Dune Sea is much more complex, drawing from the synth-laced space thrust of closer “Cosmic Playground” and the jangle-into-drift-into-futuristic-push of “Morphine,” which isn’t the first track on the record to be named after a controlled substance, following as it does a few songs behind opener “Pentobarbital and Ethanol.” All around the album, cuts like the eponymous “Dune Sea” and the subsequent brief fuzz wash and stomping rhythm of “Future,” the brief keyboard infusion in “Bounty Hunter” — like a heavy version of proto-New Wave space vibing — and the cosmic command in “Astrodelic Breakdown” lead the listener on a charted but varied course into the greater reaches of the far out, engines burning at warp factor whatever as the stars turn to streaks outside the window.

If it’s desert rock, then, it’s a desert on some distant undiscovered world waiting for the most intrepid of explorers.

But let’s leave the moniker behind much as the penultimate “Awake” leaves the ground. Dune Sea play dune sea cosmic playgroundfully-activated cosmic heavy rock. It’s an amalgam ultimately of space, psych and progressive styles, but their debut full-length — and when you listen through and think about that, that’s really the scary part; this is their first record — careens between them with such a fluid playout that it’s nearly impossible to pin down where one element ends and the next begins. Tones and grooves are hypnotic, melody is pervasive, and the spirit and energy with which Dune Sea handle the turns from one piece to another, as on the absolutely-drenched-in-acid classic psych rocking centerpiece “Green,” are infectious to the point of entering the bloodstream. That starts right from the ultra-swing at the apex of “Pentobarbital and Ethanol,” with a full album’s worth of swagger packed into about 35 seconds that lead the way into the rest of Dune Sea with an assured push that sets up the rest of the madness to follow. Dudes are right off the wall. I mean really. We’re talking about the snozzberries tasting like snozzberries, here. It’s a trip that should come with a warning label: “This machine alienates squares.”

And it’s 31 minutes. Short for an LP, but that too becomes a strength on the part of the band, because they manage to pack so much into that time. It’s condensed, but somehow when you listen, it feels like the songs unfold over a much more spacious scale than they do. That’s credit to the mix, which is packed with layers of lysergic detailing, but there’s a constant melodic presence as well through even the various vocal effects that helps the listener along this purposefully bumpy path, and that only makes the record all the more of a joyful undertaking. I’m saying that if you think you can get down, you should.

To that end, I’m thrilled to host Dune Sea‘s “Dune Sea” from Dune Sea as a premiere for your streaming pleasure below. Second of the nine inclusions, the eponymous song on any band’s record can serve as a crucial statement of intent and who they are, and as Dune Sea cry out for freedom in the track, they would seem to be making precisely that statement. Crack open your skull and pour this one in. Somehow I doubt you’ll regret it.

Enjoy:

Dune Sea is a power trio from Norway playing a stoner rock mixed with shoegaze and space rock. The Trondheim based group are often compared with bands like Hawkwind and Queens of the Stone Age.

The Dune Sea album features nine tracks that range from stretched out psychedelic sci-fi soundscapes to synth based monolithic riffs. The sound unfolds within a cinematic universe, which is both retro and futuristic.

The band started out as Ole Nogva’s solo project back in 2012. Drummer Erik Bråten joined Ole in the spring of 2017 to record drums for the EP “All Quiet Under The Suns”.

In early 2018 bassplayer Petter Solvik Dahle became a permanent member of Dune Sea and the recording process of their self-titled debut album began. The album is recorded and produced by the band themselves in various locations in Trondheim and will be released through All Good Clean Records on May 3rd 2019. The mastering is done by Rhys Marsh at Autumnsongs Recording Studio.

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Quarterly Review: Stuck in Motion, AVER, Massa, Alastor, Seid, Moab, Primitive Man & Unearthly Trance, Into Orbit, Super Thief, Absent

Posted in Reviews on March 18th, 2019 by JJ Koczan

quarterly-review-spring-2019

Let the games begin! The rules are the same: 10 albums per day, this time for a total of 60 between today and next Monday. It’s the Quarterly Review. Think of it like a breakfast buffet with an unending supply of pancakes except the pancakes are riffs and there’s only one dude cooking them and he’s really tired all the time and complains, complains, complains. Maybe not the best analogy. Still, it’s gonna be a ton of stuff, but there are some very, very cool records included, so please keep your eyes and your mind open for what’s coming, because you might find something here you really dig. If not, there’s always tomorrow. Let’s go.

Quarterly Review #1-10:

Stuck in Motion, Stuck in Motion

stuck in motion self-titled

The classic style cover art of Swedish trio Stuck in Motion‘s self-titled debut tells much of the story. It’s sweet-toned vintage-style soul rock, informed by Graveyard to some degree, but more aligned to retroism. The songs are bluesy and natural and not especially long, but have vibe for weeks, as demonstrated on the six-minute longest-track “Dreams of Flying,” or the flute-laden closer “Eken.” What the picture doesn’t tell you is the heavy use of clavinet in the band’s sound and just how much the vintage electric piano adds to what songs like “Slingrar” with its ultra-fluid shifts in tempo, or the sax-drenched penultimate cut “Orientalisk.” Comprised of guitarist/vocalist Max Kinnbo, drummer Gustaf Björkman and bassist/vocalist/clavinetist Adrian Norén, Stuck in Motion‘s debut successfully basks in a mellow psychedelic blues atmosphere and shows a patience for songwriting that bodes remarkably well. It should not be overlooked because you think you’re tired of vintage-style rock.

Stuck in Motion on Thee Facebooks

Stuck in Motion on Bandcamp

 

AVER, Orbis Majora

aver orbis majora

Following up their 2015 sophomore outing, Nadir (review here), which led to them getting picked up by Ripple Music, Australia’s AVER return with the progressive shove of Orbis Majora, five songs in 50 minutes of thoughtfully composed heavy progadelica, and while it’s not all so serious — closer “Hemp Fandango” well earns its title via a shuffling stonerly groove — opener “Feeding the Sun” and the subsequent “Disorder” set a mood of careful craftsmanship in longform pieces. The album’s peak might be in the 13-minute “Unanswered Prayers,” which culls together an extended linear build that’s equal parts immersive and gorgeous, but the rest of the album hardly lacks for depth or clarity of purpose. An underlying message from the Sydney four-piece would seem to be that they’re going to continue growing, even after more than a decade, because it’s not so much that they’re feeling their way toward their sound, but willfully pushing themselves to refine those parameters.

AVER on Thee Facebooks

Ripple Music on Bandcamp

 

Massa, Walls

massa walls

Flourish of keys adds nuance to Massa‘s moody, heavy post-rock style, the Rotterdam-based trio bringing an atmosphere to their second EP, Walls, across five tracks and 26 minutes marked by periodic samples from cinema and a sense of scope that seems to be born of an experimental impulse but not presented as the experiment itself. That is, they take the “let’s try this!” impulse and make a song out of it, as the chunky rhythm of instrumental centerpiece “Expedition” or the melodies in the prior “#8” show. Before finishing with the crash-into-push of the relatively brief “Intermassa,” the eight-minute “The Federal” complements winding guitar with organ to affect an engaging spirit somewhere between classic and futurist heavy, with the drums holding together proceedings that would seem to convey all the chaos of that temporal paradox. Perhaps it was opener “Shiva” that set this creator/destroyer tone, but either way, Massa bask in it and find a grim sense of identity thereby.

Massa on Thee Facebooks

Massa on Bandcamp

 

Alastor, Slave to the Grave

alastor slave to the grave

The first full-length from Swedish doomplodders Alastor and their debut on RidingEasy Records, late 2018’s Slave to the Grave is the four-piece’s most expansive offering yet in sonic scope as well as runtime. Following the 2017 EPs Blood on Satan’s Claw (review here) and Black Magic (review here), the seven-song/56-minute offering holds true to the murk-toned cultism and dense low-end rumble of the prior offerings, but the melodic resonance and sense of updating the aesthetic of traditional doom is palpable throughout the roller “Your Lives are Worthless,” while the later acoustic-led “Gone” speaks to a folkish influence that suits them surprisingly well given the heft that surrounds. They make an obvious focal point of 17-minute closer “Spider of My Love,” which though they’ve worked in longer forms before, is easily the grandest accomplishment they’ve yet unfurled. One might easily say the same applies to Slave to the Grave as a whole. Those who miss The Wounded Kings should take particular note of their trajectory.

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RidingEasy Records website

 

Seid, Weltschmerz, Baby!

seid-weltschmerz_baby-web

If Norwegian space-psych outfit Seid are feeling weary of the world, the way they show it in Weltschmerz, Baby! is by simply leaving it behind, substituting for reality a cosmic starscape of effects and synth, the odd sample and vaguely Hawkwindian etherealism. The centerpiece title-track is a banger along those lines, a swell of rhythmic intensity born out of the finale of the prior “Satan i Blodet” and the mellow, flowing “Trollmannens Hytte” before that, but the highlight might be the subsequent “Coyoteman,” which drifts into dream-prog led by echoing layers of guitar and eventually given over to a fading strain of noise that “Moloch vs. Gud” picks up with percussive purpose and flows directly into the closer “Mir (Drogarna Börjar Värka),” rife with ’70s astro-bounce and a long fadeout that’s less about the record ending and more about leaving the galaxy behind. Starting out at a decent clip with “Haukøye,” Weltschmerz, Baby! is all about the journey and a trip well worth taking.

Seid on Thee Facebooks

Sulatron Records website

 

Moab, Trough

moab trough

A good record tinged by the tragic loss of drummer Erik Herzog during the recording and finished by guitarist/vocalist Andrew Giacumakis and bassist Joe Fuentes, the 10-track/39-minute Trough demonstrates completely just how much Moab have been underrated since their 2011 debut, Ab Ovo (discussed here), and across the 2014 follow-up, Billow (review here), as they bring a West Coast noise-infused pulse to heavy rock drive on “All Automatons” and meet an enduring punker spirit face first with “Medieval Moan,” all the while presenting a clear head for songcraft amid deep-running tones and melodies. “The Will is Weak” makes perhaps the greatest impact in terms of heft, but heft is by no means all Moab have to offer. With the very real possibility this will be their final record, it is a worthy homage to their fallen comrade and a showcase of their strengths that’s bound someday to get the attention it deserves whenever some clever label decides to reissue it as a lost classic.

Moab on Thee Facebooks

Moab on Bandcamp

 

Primitive Man & Unearthly Trance, Split

primitive man unearthly trance split

Well of course it’s a massive wash of doomed and hate-filled noise! What were you expecting, sunshine and puppies? Colorado’s Primitive Man and Brooklyn’s Unearthly Trance team up to compare misanthropic bona fides across seven tracks of blistering extremity that do Relapse Records proud. Starting with the collaborative intro “Merging,” the onslaught truly commences with Primitive Man’s 10-minute “Naked” and sinks into an abyss with the instrumental noisefest “Love Under Will,” which gradually makes its way into a swell of abrasive drone. Unearthly Trance, meanwhile, proffer immediate destructiveness with the churning “Mechanism Error” and make “Triumph” dark enough to live up to its most malevolent interpretations, while “Reverse the Day” makes me wonder what people who heard Godflesh in the ’80s must’ve thought of it and the six-minute finishing move “418” answers back to Primitive Man‘s droned-out anti-structure with a consuming void of fuckall depth. It’s like the two bands cut open their veins and recorded the disaffection that spilled out.

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Unearthly Trance on Thee Facebooks

Relapse Records website

 

Into Orbit, Shifter

Into Orbit Shifter

Progressive New Zealander two-piece Into OrbitPaul Stewart on guitar and Ian Moir on drums — offer up the single Shifter as the answer to their 2017 sophomore long-player, Unearthing. The Wellington instrumentalists did likewise leading into that album with a single that later showed up as part of a broader tracklist, so it may be that they’ve got another release already in the works, but either way, the 5:50 standalone track finds them dug into a full band sound with layered or looped guitar standing tall over the mid-paced drumming, affecting an emotion-driven atmosphere as much as the cerebral nature of its craft. Beginning with a thick chug, it works into more melodic spaciousness as it heads toward and through its midsection, lead guitar kicking in with harmony lines joining soon after as the two-piece build back up to a bigger finish. Whatever their plans, Into Orbit make it clear that just because something is prog doesn’t mean it needs to be staid or lack expressiveness.

Into Orbit on Thee Facebooks

Into Orbit on Bandcamp

 

Super Thief, Eating Alone in My Car

super thief eating alone in my car

Noise-punk intensity pervades Eating Alone in My Car, the not-quite-not-an-LP from Austin four-piece Super Thief. They call it an album, and that’s good enough for me, especially since at about 20 minutes there isn’t much more I’d ask of the thing that it doesn’t deliver, whether it’s the furious out-of-mindness of minute-long highlight “Woodchipper” or the poli-sci critique of that sandwiches the offering with opener “Gone Country” immediately taking a nihilist anti-stance while closer “You Play it Like a Joke but I Know You Really Mean It” — which consumes nearly half the total runtime at 9:32 — seems to run up the walls unable to stick to the “smoke ’em if you got ’em” point of view of the earlier cut. That’s how the bastards keep you running in circles, but at least Super Thief know where to direct the frustration. “Six Months Blind” and the title-track have a more personal take, but are still worth a read lyrically as much as a listen, as the rhythm of the words only adds to the striking personality of the material.

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Learning Curve Records website

 

Absent, Towards the Void

absent towards the void

Recorded in 2016, released on CD in 2018 and snagged by Cursed Tongue Records for a vinyl pressing, Absent‘s Towards the Void casts a shimmering plunge of cavernous doom, with swirling post-Electric Wizard guitar and echoing vocals adding to the spaciousness of its four component tracks as the Brasilia-based trio conjure atmospheric breadth to go along with their weighted lurch in opener “Ophidian Womb.” With tracks arranged shortest to longest between eight and a half and 11 minutes, “Semen Prayer,” “Funeral Sun” and “Urine” follow suit from the opener in terms of overall approach, but “Funeral Sun” speeds things up for a stretch while “Urine” lures the listener downward with a subdued opening leading to more filth-caked distortion and degenerate noise, capping with feedback because at that point what the hell matters anyway? Little question in listening why this one’s been making the rounds for over a year now. It will likely continue to do so for some time to come.

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Review & Track Premiere: Spidergawd, V

Posted in audiObelisk, Reviews on January 4th, 2019 by JJ Koczan

spidergawd v

[Click play above to stream the premiere of Spidergawd’s ‘Knights of CGR.’ Their new album, Spidergawd V, is out Jan. 11 on Crispin Glover Records.]

Consistency of the kind Spidergawd have honed across their now-five albums never just happens. The Trondheim, Norway, outfit may have missed putting out a full-length in 2018, but mostly because they were busy touring, and otherwise, their discography has been built on a per-year basis, with Spidergawd IV (review here) in 2017, Spidergawd III (review here) in 2016, Spidergawd II (review here) in 2015 and Spidergawd (review here) in 2014. Released as ever through Crispin Glover RecordsSpidergawd V is the band’s second outing with Hallvard Gaardløs on bass alongside the remaining founding trio of guitarist/vocalist Per Borten, baritone saxophonist Rolf Martin Snustad and drummer Kenneth Kapstad, and from its blindingly colorful cover art — also a regular feature of their work, as provided by Emile Morel — to its driven classic heavy rock feel, it is immediately recognizable as Spidergawd songcraft.

Comprised of eight tracks for a crisply-produced 38-minute long-player, Spidergawd V is absolutely air tight. No fluff. No filler. No time for messing around. Every minute of every song has its purpose, whether it’s the wah in “Green Eyes” or the sax-led intro to album opener and longest track (immediate points) “All and Everything,” or the sax and guitar seeming to lockstep later in the penultimate “Whirlwind Rodeo” to touch on “Hole in the Sky”-style riffing en route to some of the NWOBHM-isms that showed up on the last record, and as a unit, they are given to the kind of road-born sharpness that only touring and experience can provide. And for all their consistency, for all their recognizable aspects, and for the sheer fact that they’ve put out five albums essentially with the same title and the same style of art based around similar elements with straightforward structures, Spidergawd never seem to be repeating themselves. Their songs vary in mission and vibe, and the spirit of Spidergawd V underscores the fact that while there’s definitely some carryover from one offering to the next, the band have never actually failed to grow between their releases.

And they’ve done it quickly. Granted, they very clearly knew the band they wanted to be when they made the 2014 self-titled. The years since have only made that more apparent, but as “All and Everything” careens through its propulsive hook on its way to the first of any number of classy-as-hell, festival-ready guitar solos to be found throughout the album, the sheer ease with which they deliver their material is staggering, and it only becomes more so as “Ritual Supernatural” touches on Thin Lizzy troublemaking and “Twentyfourseven” reimagines chugging KISS strut-and-chorus vibes with an edge of the ’80s metal that followed in its wake. With Borten‘s voice and the structure of the verses and choruses he’s singing as a grounding factor, Spidergawd are free to follow whatever whims they might want and still find themselves on solid footing. And over their amassed discography, they’ve done that, with flourishes of psychedelia and metal playing out alongside their core of heavy rock.

spidergawd

Following “Twentyfourseven,” “Green Eyes” fills out more of the metal side of their approach, with layers of acoustic and electric guitar working together in an arrangement that only makes one wonder how the hell the song isn’t about “the night,” though one way or the other it kind of is anyway. With Snustad‘s sax wailing away as Kapstad pushes “Green Eyes” to its apex, side A wraps with an adrenaline surge that resolves itself in half-shouted lyrics and a controlled-as-ever crashout. Even in their most unhinged moments, Spidergawd hold tight on the reins of their sound. That’s not to say there’s no danger in what they’re doing, just that the way through that terrain is no less efficient and no less guided by a sure hand. Same is true as “Knights of CGR” — note the name of the label if you’re wondering what the acronym might stand for — takes hold at the outset of side B and works its way more patiently into its first verse. There’s a subtle shift in vibe, a pullback from some of the all-go-go-go of the first half of the album, but Spidergawd are hardly taking it easy with the Dio Sabbath riff — or is it “Stand up and Shout?” — that carries them to the song’s conclusion.

But even that shift has its purpose in the scope of Spidergawd V, which started out side A with a figurative-deep-inhale intro before “All and Everything” kicked in. “Avatar,” which follows “Knights of CGR” is a straightforward classic swinger, a subtle highlight for its melody and the interplay between Borten‘s guitar and Gaardløs‘ bass, the pace somewhat drawn down, but still moving through smoothly on its well-charted path, with Snustad‘s sax topping a later crashing finish that prefaces the aforementioned “Hole in the Sky”-ness of “Whirlwind Rodeo” to come. There is more Thin Lizzy in there with the steady bassline beneath the winding lead lines in the guitar and the sax blowing steady overarching notes in the verse, but the break in the second half of the song is a departure and might account for some of the time difference between “Whirlwind Rodeo” at 5:10 and everything else, which is between four and five minutes long, the opener notwithstanding. Still, they make their way back to the verse and the chorus to finish and start the closer “Do I Need a Doctor” at an ultra-rush that turns to punctuating jabs of guitar and sax in the verse before finding its melodic and memorable personality in the hook an reviving the push.

Here too, Spidergawd have it all under control, and even though they hit the brakes for a dream-toned bridge in the back end, they pick the tempo up again to round out and once more reinforce the notion that’s been the case with the band all along: that it’s the songwriting. Of all the pieces of their approach that have crossed the line from one LP to the next, when it comes to Spidergawd, by far the most crucial has been their songwriting. And five records deep, the challenge isn’t so much whether Spidergawd are going to put out a killer collection of songs, but whether their audience is going to be caught up to the last one by the time they do. That may be less of a challenge with Spidergawd V having the extra year out from its predecessor, but frankly, it may not. Looking back over what they’ve done in the last half-decade, it may well be a much longer time before their work is giving its full level of appreciation. But as of now, they are relentless on all fronts, and if we’re lucky, they’ll continue to outpace the rest of the planet for a long time to come.

Spidergawd website

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Motorpsycho Set Feb. 15 Release for The Crucible LP

Posted in Whathaveyou on November 27th, 2018 by JJ Koczan

motorpsycho (Photo by Geir Mogen)

I’m not even going to pretend to know how many full-length albums Norway’s Motorpsycho have at this point released in their almost 30-year history, but The Crucible is the latest of the bunch, and it will follow behind 2017’s The Tower (review here), which marked a more rocking turn from the long-established progressive stylings of the band. Sort of a return to roots without forgetting the lessons learned along the way. Stickman Records, which released that album and will again stand behind this one, seems to posit The Crucible as pushing forward along those lines, and I’d believe it, given both the relatively quick turnaround (at least on general terms; Motorpsycho aren’t strangers to putting out multiple releases in a year, but they’ve also been touring) and the band’s penchant for moving ahead with ideas from one LP to the next.

Easy pick for your most-anticipated-of-2019 list, as well as my own, so keep an eye out for more to come as we get closer to February. I streamed a track from The Tower at the time, and I expect I’ll go begging for one for The Crucible as well to go with a review, if only because these guys are fun to write about, being such a nuanced kind of brilliant and all.

Stickman sent the following down the PR wire:

motorpsycho the crucible

New Motorpsycho album The Crucible to be released February 15th

We are beyond pleased to announce the coming arrival of a new Motorpsycho album, titled “The Crucible”! Release date is set for February 15th, 2019 on vinyl, CD and digitally. More details will follow, but here’s a little taster for you:


Crucible

noun

cru·?ci·?ble | \?krü-s?-b?l

1: a severe test

2 : a place or situation in which concentrated forces interact to cause or influence change or development

Both visually and musically, The Crucible starts where the last album The Tower ended, but it soon takes on its own hue, and it is clear that it cannot be called a ‘sequel’ as such: this is very much a step further out than anywhere the band ventured on The Tower. While it is broader lyrically speaking, it is even sharper focused musically and, if possible, even more idiosyncratic and insular than ever. Unarguably a Motorpsycho album, it is one that is going to make the novice Psychonaut’s head spin, but feel comfortingly unfamiliar to the acolyte. Motorpsycho was always too gnarly for prog nerds as well as too musically unwieldy for punks, and as their appeal becomes ever more selective, they are still proudly falling between all cracks, stools or chairs one might think of putting in their way. ‘Prog rock’? Call it Motorpsychodelia!

The Crucible was recorded at Monnow Valley Studios in Wales in August 2018 by Hans Magnus Ryan (guitars, vocals), Bent Sæther (bass, vocals, sundry) and Tomas Järmyr (drums), with co-producers Andrew Scheps and Deathprod. To these ears, and to the band’s satisfaction, this co-production ploy worked out wonderfully, and has resulted in a beautifully crafted record, smaller in size but at least equal in ambition to its celebrated predecessor. It is somehow both more focused, and denser in content, but also compositionally more ambitious than The Tower. One would perhaps think that this necessarily results in a diminished sonic assault, but the album still packs a wallop like a good rock record should. And – ‘for once’ some waggish tongues would say – does not outstay its welcome.

Motorpsycho is: Bent Sæther, Hans Magnus “Snah” Ryan, Tomas Järmyr.

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Motorpsycho, “In Every Dream Home There’s a Dream of Something Else” Live at Bruis Festival 2018

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Spidergawd Set Jan. 11 Release for V & Post New Single; Tour Dates Announced

Posted in Whathaveyou on November 20th, 2018 by JJ Koczan

spidergawd

By the time it’s done, 2018 will be the first year since 2014 without a new Spidergawd LP. True, the Trondheim, Norway, heavy rock specialists — and as per 2017’s Spidergawd IV (review here), NWOBHM-dabblers — have a new single out called All and Everything and in the spirit of its title that’s not at all nothing, but they had a pretty unbelievable pace going and one can only wonder what the extra time taken to put together Spidergawd V will bring upon the album’s release in January 2019 through Crispin Glover Records. I’m not saying I’ve heard it or anything, but yeah, I have and it smokes.

As they’ll do, they have a sizable tour booked to coincide with the release, and you’ll find those dates below courtesy of social media along with some tantalizing “Lucy in the Hole in the Sky”-style info about the album from the PR wire.

Dig:

spidergawd v

Spidergawd – V

In 2018, Spidergawd vanished from the surface, but not to rest. Rather the opposite. On the 11th January they are back with their fifth studio album, not surprisingly titled ‘ Spidergawd V’.

Once again the band mates Rolf Martin Snustad (Barytonsax) Hallvard Gaardløs (Bass) Kenneth Kapstad (Trommer) and Per Borten (Gitar/Vokal) have managed to make an impressive album in their own unique sound.

Whereas Spidergawd I and II were documentations on an adult musical playground, Spidergawd III and IV headed the band towards a more serious and defined identity. With the NWOBHM- references from IV and the heavy weight from III, Spidergawd V is very much recognizable and keeping up with style. Imagine yourself in a boat on a river with spidergawd trees and black sabbath skies and you’ll be close enough to visualize what to expect in the beginning of 2019.

Spidergawd, with its fifth album under its arm, can be seen on tour in Norway and throughout Europe from January to the end of March 2019.

First single from Spidergawd V, ‘All And Everything’, and B-side ‘My Occupation’ is out on all streaming platforms!

Spidergawd live:
18/01 STORSTUGGU / RØROS / NO
19/01 GREGERS / HAMAR / NO
24/01 VERA / GRONINGEN / NL
25/01 JC DE KLINKER / AARSCHOT / BE
26/01 TBA / NL
27/01 AMSTERDAM / MELKWEG SUGAR FACTORY / NL
07/02 FLYTTEN / HAUGESUND / NO
08/02 FOLKEN / STAVANGER /NO
09/02 TEATERET / KRISTIANSAND / NO
15/02 TERMINALEN / ÅLESUND / NO
16/02 BYSCENEN / TRONDHEIM / NO
21/02 ÆLVESPEILET / PORSGRUNN / NO
22/02 ENERGIMØLLA / KONGSBERG / NO
23/02 ROCKEFELLER / OSLO / NO
27/02 TBA / MO I RANA / NO
28/02 SINUS / BODØ / NO
01/03 DRIV / TROMSØ / NO
02/03 TBA / BERGEN / NO
06/03 POSTEN / ODeNSE / DK
07/03 1000 FRYD / AALBORG / DK
08/03 BETA / COPENHAGEN / DK
09/03 FZW / DORTMUND / DE
10/03 TOWER / BREMEN / DE
12/03 TBA
13/03 LUX / HANNOVER / DE
14/03 NATCHLEBEN / FRANKFURT / DE
15/03 FORUM / BIELEFELD / DE
16/03 LUXOR / COLOGNE / DE
17/03 STADTMITTE / KARLSRUHE / DE
19/03 TBA
20/03 GASWERK / WINTERTHÜR / CH
21/03 ROCKHAOUSE / SALZBURG / AT
22/03 ARENA / WIEN / AT
23/03 STROM / MÜNCHEN / DE
24/03 TBA
26/03 HIRSCH / NÜRNBERG / DE
27/03 UT CONNEWITZ / LEIPZIG / DE
28/03 KNUST / HAMBURG / DE
29/03 BEATPOL / DRESDEN / DE
30/03 MUSIK & FRIEDEN / BERLIN / DE

https://www.facebook.com/spidergawd/
https://www.instagram.com/spidergawdofficial/
http://www.spidergawd.no/
https://www.stickman-records.com/
http://www.crispingloverrecords.com/

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Juicer Premiere “Concussion Machine” from Mach IV

Posted in audiObelisk on August 30th, 2018 by JJ Koczan

juicer

Norwegian five-piece Juicer are set to release their debut long-player, the deceptively-titled Mach IV, on Sept. 21 through All Good Clean Records. Like swagger incarnate, the classic heavy rocking outfit bust out a tight-knit 10-track collection informed by garage rock, early metal and ’70s vibes, peppered with a healthy dose of Scandinavian screw-all, and focusing on the songs, the songs, the songs when it comes to priorities. In intricacies like the piano worked into “Forever is a Long Time” and the twin-guitar leads of the earlier “Saturday Night O.D.,” Juicer present an attention to detail that fleshes out the basic level of craft, but it becomes clear throughout the album’s 38-minute run that it’s in fact that basic craft that’s meant to be the focus.

With Vegar Husby Fiskum‘s vocals front and center on the proto-metallic “Catch 25” and the not-at-all-slacking harmonies in the hook of “The Slacker,” they bask in traditionalist heavy vibes without losing their sound entirely to retroism and their hyper-unpretentious approach speaks to punker roots somewhere in the lineup of Fiskum, guitarists Ole Aleksander Ekker and Fredrik Lian (the latter also vocals), bassist/vocalist Ole Christian Pedersen and drummer Andreas Barlien that keep things exciting without going over-the-top in speed or a hollow-sounding performative nature.

juicer mach ivThat is, they nail the balance just about all the way around. Mach IV — which would seem to be named to make the casual listener think it’s not at all a debut — has a deceptive amount of class to it, whereby cuts like the opening title-track and the later “Concussion Machine” turn out strutting grooves like Thin Lizzy throwing down with Death Alley and still seem to come out of it with their hands clean. Production is a big part of it in that Juicer manage to hone a sound that’s both natural and still crisp-sounding, as ready for vinyl in its content as its sub-40-minute runtime, and clear-headed in its delivery without being stale.

The solo at the outset of the penultimate “Burrito” and the organ included behind the locked-in groove of “You Scared Me Straight” may be layered in or may be recorded live — the point is the album is naturalist enough that it doesn’t really matter which it is. The results are still the same, and the results are engaging and briskly done in harnessing familiar style elements and recrafting them into something of the band’s own. On that level, as well, Mach IV does little to let its audience know it’s the band’s first LP.

So be it. If you’ve got ears to get down with the cause, Mach IV makes no shortage of arguments in its own favor, and while Juicer at times sound like they might want to be rougher-edged than they are here — one expects when they take a stage, they have a bit more grit to their style — the recording highlights their deftly executed stylistic turns and varied moods while still remaining consistent in tone and overall demeanor. It’s an offering with no shortage of personality, as you can hear in the premiere of “Concussion Machine,” via the player below.

Album info follows from the PR wire. Please enjoy:

Juicer on “Concussion Machine”:

Concussion Machine is a rock and roll epic with a catchy refrain and lots of twin guitars. I guess it follows the same recipe of the remaining tracks with our shameless use of tried and true rock and roll clichés. The lyrics are about knocking the senses of whining and useless people in today’s society, basically we tried to addresses the philosophical questions regarding the everyday life of five ordinary, inconvenient and disillusioned men in their late 20s.

Juicer is a five piece orchestra who plays potent and trashy rock. Their debut album ‘Mach IV’ contains 10 hook based, all killer no filler rock and roll epics. Every single track has been processed through Juicer’s eminent orchestration machinery, complimented with sharp, well formulated lyrics and recorded in an extremely expensive recording studio in down town Trondheim. All this done with a large portion of self-irony and humour that is easy to relate to.

Juicer shows that they’re not afraid to go against the trends and norms of today’s contemporary musical landscapes, making “Mach IV” somewhat of a niche product designed with the lovers of guitar based rock music in mind, by lovers of guitar based rock music.

Tracklist:
1. Mach IV
2. Saturday Night OD
3. Catch 25
4. You Scared me Straight
5. Unconditional Love
6. Forever is a long time
7. Concussion Machine
8. The Slacker
9. Burrito
10. On the move

Juicer is:
Vegar Husby Fiskum – Vocals
Andreas Barlien – Drums
Ole Christian Pedersen – Bass & Vocals
Ole Aleksander Ekker – Guitar
Fredrik Lian – Guitar & Vocals

Juicer on Thee Facebooks

Juicer on Bandcamp

All Good Clean Records on Thee Facebooks

All Good Clean Records website

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Black Moon Circle, Psychedelic Spacelord: Newfound Purposes

Posted in Reviews on July 11th, 2018 by JJ Koczan

Black Moon Circle Psychedelic Spacelord

I’m not sure what other kind of spacelord it would be — at least in the hands of Trondheim, Norway’s Black Moon Circle, but indeed, it’s a Psychedelic Spacelord. All the trip-out you can handle and then a bunch more from there. Enough so that the line, “Sometimes I feel I’m falling out of time… and space,” has a grounding effect. Issued by Crispin Glover RecordsPsychedelic Spacelord is the sixth Black Moon Circle LP in four years, following behind last year’s The Studio Jams Vol. III: Flowing into the 3rd Dimension (review here), 2016’s 2016’s Sea of Clouds (review here) and 2016’s The Studio Jams Vol. II (review here), 2015’s The Studio Jams Vol. I: Yellow Nebula in the Sky (discussed here), 2014’s Andromeda (review here) and also-2014’s self-titled debut EP (review here) and continuing the band’s lysergic outward journey, finding a place for itself amid a crowded subspace field of star-eyed heavy psychedelic explorers via a sense of openness that extends beyond even sheer sonics to the actual band makeup.

Still comprised of the founding trio of guitarist/backing vocalist Vemund Engan, bassist/vocalist Øyvin Engan, and drummer Per Andreas GulbrandsenPsychedelic Spacelord boasts returns from Scott “Dr. Space” Heller of Øresund Space Collective and his magical customized synth box and recording engineer Magnus Kofoed, who contributes Rhodes, Mellotron and Hammond, and a first appearance from violinist Jonathan Segel. It’s worth noting that these are not listed as guest contributions. Dr. Space has been a member for a while now, and Kofoed recorded The Studio Jams Vol. III and played on that as well, so neither is exactly a stranger to Black Moon Circle‘s jammy modus, but as Segel makes his debut with the band, all three are listed as part of a six-piece incarnation: The Black Moon Circle Psychedelic Spacelord Family Band.

Okay, the name needs some work, I’ll admit, but you get the idea. The point is that over the last several years as Black Moon Circle have developed aesthetically, growing a chemistry between the brothers Øyvin and Vemund and Per on drums, they’ve extended that development to the actual structure of the group. A sonic reach grown in proportion to the amount of personnel involved. How does one even start to comprehend such a thing? I’ll admit, I don’t know, but if you can get your brain around it, the latest version of Black Moon Circle would like to immediately set about melting that same brain with their ultra-molten, gorgeously-patient and soaking-wet psychedelic flow, as represented on Psychedelic Spacelord by the 47-minute title-track that comprises the entire thing. That’s right. Black Moon Circle have both expanded to a six-piece and put out a one-song album. Ever wonder what it might be like when a band is truly on their own wavelength? Well, next time you need an example, you’ve got one.

In truth, putting aside the human-resources aspect of Psychedelic WarlordBlack Moon Circle have been headed toward the extended-single-track format for a while now. For bands of their sort — and if you don’t yet hold them in the same league as the Electric Moons, Papirs and Øresund Space Collectives of the universe, this record might change your mind — it’s almost a rite of passage when it comes to how vital a group’s jams have become. How far can they go? “Psychedelic Warlord” divides roughly in half to account for the limitations of the vinyl format, fading out at about 23 minutes in only to reemerge slowly after a minute or so of quiet, but it’s not like the jam ever actually stops. It’s just been edited.

Black Moon Circle

So to answer the question, they go pretty damn far. The Engan brothers and GulbrandsenKofoedHeller and Segel dig into hypnotic fluidity that once more finds suitably striking representation on the album cover, the image of which is taken from the oil/light show that accompanies the band live, and which only highlights the energetic approach that remains so prevalent in their methodology.

Remember that Psychedelic Spacelord is a named Black Moon Circle release. It’s still certainly based around a jam that’s semi-plotted but seems to have plenty of room for improvisation along its course, but what the band seem to do after getting that basic foundation established beneath them is build upward. Maybe they were recorded at the same time and the whole thing was done live, or maybe they were overdubbed later, but the vocals have always been something of a standout factor for Black Moon Circle, separating them from the instrumentalists when they want to be separate and finding them joining those ranks in the Studio Jams material. One recalls the 26-minute “Waves” from The Studio Jams Vol. III, and on multiple levels, it can be argued “Psychedelic Warlord” is an outgrowth of the same impulses. But the new offering is distinct unto itself not only for the human presence the vocals establish as they call out between the wash of synth, guitar, bass, cymbals and Mellotron in the song’s second half, but also because of Segel‘s first-time contributions on violin.

Treated with echo to match its cavernous surroundings, the violin is a defining presence on Psychedelic Spacelord and makes itself absolutely essential to the proceedings. That is, it’s not flourish. It plays as much a role as the various keyed instruments in setting the atmospheric breadth Black Moon Circle bring to bear, and while I certainly didn’t listen to their last release and think, “Golly these guys sure could use some strings,” by no means does Segel‘s participation make Black Moon Circle any more over-the-top than they clearly want to be. It brings class and further melodic intricacy to complement the keys, vocals, synth and guitar, and weaves through the extended piece with a grace that only highlights the same in the other elements at play. It makes Black Moon Circle a stronger, more complete band. Do they have room for a saxophone? Maybe. There’s an awful lot of space being created. Black Moon Circle Psychedelic Spacelord Orkester: coming soon.

Or, more likely, not. But take it as an indication of just how open Black Moon Circle‘s processes have become over these prolific years. As they approach a half-decade since their first long-player, they’ve not only amassed more of a catalog than some acts get in their entire career, but they’ve successfully managed to capture their will to push themselves forward each time out, as well as the meta-expansiveness that has made them who they are. All of them, acting together. Black Moon Circle may or may not be set in terms of their lineup, and I wouldn’t dare predict what they might do next or where it might go in sonic terms, but Psychedelic Spacelord conjures focus even as it subsumes the consciousness, becoming memorable through osmosis and a joy to undertake for its immersive, extended duration. Six albums in and one still can’t help but think of the potential and the possibilities for what lie ahead of Black Moon Circle. One more indicator of how special a band they are.

Black Moon Circle, Psychedelic Spacelord (2018)

Black Moon Circle on Thee Facebooks

Black Moon Circle on Bandcamp

Crispin Glover Records website

Stickman Records website

 

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