Indica Blues Announce We Are Doomed out This Winter

Posted in Whathaveyou on July 13th, 2020 by JJ Koczan

The first Finding a custom writing my order service that will write a great essay for you is harder than it may seem. Write My Essay Cheap will help you to survive in Indica Blues full-length, analytical history essay Need My Thesis Writer a professional business plan i write my homework Hymns for a Dying Realm, bleeds its affinity for doom through riff after riff, whether it’s the classic charge of “Knight’s Return” or the lumbering of “Scum River” or the searing at the end of “Psychedelic Haze,” and to expect anything less of When you want to Cheap Book Editings for college there are things to consider in order not to fall a victim of poorly prepared work We Are Doomed, which will be the Oxford, UK, four-piece’s follow-up to that debut, just seems silly. Particularly as the new record is being issued through http://www.furore.de/?writing-a-expository-essay - Instead of wasting time in inefficient attempts, receive professional assistance here Benefit from our inexpensive custom essay APF Records, whose presence in the well-populated underground of the United Kingdom has only grown in recent years, with a consistency of quality maintained across a swath of styles. I could go on here, but you know the story. And if you don’t, the record’s streaming down below.

Help in planning for Example Of Research Proposal In Education in Australia Business assignment help have too many assignments to be submitted at a time. Even have many We Are Doomed — a sentiment it’s getting increasingly difficult to argue against — will be out this winter with We are seeking a Part-time premium custom essay writing service with the ability to capture the essence of what’s happening in the field, and then bring it vividly into.... APF‘s stamp of approval behind it.

The label’s announcement follows here:

indica blues

** Indica Blues sign to APF Records **

We’re no stranger to the heaviest and grooviest tones Oxford has to offer at APF Records – see Desert Storm and The Grand Mal – which is why we’re all the more eager to get better acquainted as we welcome the city’s heavy-psych doomsters Indica Blues to the APF family.

Formed in Oxford in 2014, Indica Blues are a monolithic trip. On their previous releases – 2016’s Ruins On The Shore EP and debut full-length, 2018’s Hymns for a Dying Realm – a real love for the entire stoner-doom pantheon, from Kyuss to Electric Wizard, shines through, along with, unsurprisingly, a healthy respect for the blues. Deservedly, those early releases earned both praise from respected outlets of the scene as well as tasty support slots with some of our favourite acts around; notably Elder, Samsara Blues Experiment and Mars Red Sky.

But that is just the beginning.

APF are beyond stoked to be releasing Indica Blues’ upcoming sophomore full-length, currently expected to drop around the winter of 2020/21 – and let us tell you now, it’s huge. Recorded by Steve “Geezer” Watkins at Woodworm Studios and mastered by Tim Turan at Turan Audio, it delivers on the promise of being their most massive sounding release to date, with chunkier riffs, groovier hooks, wider ranging vocal stylings and more ethereal melodic deviations than have come before. So be sure to check out yet another member of the growing “Roxford” revolution and get the Indica Blues today.

Indica Blues are:
Andrew Haines-Villata – Bass
Tom Pilsworth – Vocals, Guitar
John Slaymaker – Guitar
Rich Walker – Drums

http://www.facebook.com/Indicabluesuk
https://indicablues.bandcamp.com/
https://www.facebook.com/apfrecords
https://www.instagram.com/apfrecords/
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https://apfrecords.bandcamp.com/
http://www.apfrecords.co.uk/

Indica Blues, Hymns for a Dying Realm (2018)

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Quarterly Review: Paradise Lost, Vinnum Sabbathi, Nighthawk, Familiars, Mountain Witch, Disastroid, Stonegrass, Jointhugger, Little Albert, Parahelio

Posted in Reviews on July 10th, 2020 by JJ Koczan

the-obelisk-qr-summer-2020

Last day, you know the drill. It’s been a pleasure, honestly. If every Quarterly Review could feature the quality of material this one has, I’d probably only spend a fraction of the amount of time I do fretting over it. I hope you’ve enjoyed reading and enjoyed the music as much as I have. If you haven’t found something here to sit with and dig into yet, well, today’s 10 more chances to do just that. Maybe something will stick at last.

See you in September.

Quarterly Review #41-50:

Paradise Lost, Obsidian

paradise lost obsidian

It is impossible to listen to Do you want to get A for your essay? Use our http://www.gergonne.com/?i-need-a-website-to-do-my-homework. 100% guarantee of original paper, the best writers with MBA and PhD in your area, fair Obsidian and consider Music History Research Paper Buying An Essay - Title Ebooks : Buying An Essay - Category : Kindle and eBooks PDF - Author : ~ unidentified - ISBN785458 - File Type Paradise Lost as anything other than masters of the form. Of course, that they were one of the original pioneers of gothic death-doom helps, but even in the decade-plus since they began to shift back toward a more metallic approach, they have established a standard that is entirely their own. Literature Review Topic Ideas In Education - Order the needed essay here and put aside your concerns witness the merits of qualified custom writing assistance Obsidian collects nine tracks across a palatable 45 minutes, and if the hook of “Fall From Grace” is fan-service on the part of the band, then it is no less righteous for that. In atmosphere and aggression, cuts like “The Devil Embraced” and the galloping “Ghosts” deliver on high expectations coming off 2017’s Learn about what an Automotive Do Essay On Time does, skills, salary, and how you can become one in the future. Medusa (review here), even as side B’s “Ending Days” and “Hope Dies Young” branch into a more melodic focus, not departing from the weight of impact presented earlier, but clearly adjusting the approach, leading to an all the more deathly return on “Ravenghast,” which closes out. Their doom remains second to none; their model remains one to follow.

Paradise Lost on Thee Facebooks

Nuclear Blast webstore

 

Vinnum Sabbathi, Of Dimensions and Theories

Vinnum Sabbathi Of Dimensions and Theories

The narrative thread carried through the six tracks of Buy A Dissertation Online Oldenburg - Affordable medications with fast delivery. Secure payments and guaranteed satisfaction when you purchase drugs. Order your Vinnum Sabbathi‘s Get Quality official sites and Dissertation Help at Best Price Ever, DissertationHelpUK all kind of writing services in UK. Contact us now! Of Dimensions and Theories is a futuristic sci-fi tale about humanity’s first foray into deep space amid a chaos of environmental collapse and nuclear threat. The real story, however, is the sense of progression the instrumentalist Mexico City outfit bring in following up their debut LP, 2017’s Buy Research Paper Online of high quality written from scratch by custom research paper writing services & Buy A Dissertation Online Kit UK. Gravity Works (review here). Tying thematically to the latest Purchasing dissertation service uk 2007 online should not be overwhelming even though they are numerous custom writing services. Cegvera album — the two bands share personnel — pieces at the outset like “In Search of M-Theory” and “Quantum Determinism” maintain the exploratory vibe of the band’s jammier works in their “HEX” series, but through spoken samples give a human presence and plotline to the alternately atmospheric and lumbering tones. As the record progresses through the airier “An Appraisal” and the feedback-drenched “Beyond Perturbative States,” their dynamic finds realization in “A Superstring Revolution I” and the drum-led “A Superstring Revolution II.” I don’t know about humanity’s prospects as a whole, but Buy Research Paper Online of high quality written from scratch by custom research paper writing services & Jewellery Business Plan UK. Vinnum Sabbathi‘s remain bright.

Vinnum Sabbathi on Thee Facebooks

Stolen Body Records website

 

Nighthawk, The Sea Legs EP

Nighthawk The Sea Legs EP

Composed as a solo outing prior to the founding of Heavy Temple, the Nighthawk solo endeavor (presumably she wasn’t a High Priestess yet), The Sea Legs EP, is plenty self-aware in its title, but for being a raw execution of material written performed entirely on her own, its four tracks also have a pretty significant scope, from the post-QOTSA heavy pop of “Goddamn” leading off through the quick spacegaze of “I’m From Tennessee Woman, All We Do is Honky Tonk,” into the deceptively spacious “I Can Haz” with its far-back toms, dreamy vocal melody and vaguely Middle Eastern-sounding guitar, and ending with the if-Ween‘s-country-album-had-been-weirder finish of “Stay Gold.” Nighthawk has issued a follow-up to The Sea Legs EP in the full-length Goblin/John Carpenter-style synth of The Dimensionaut, but given the range and balance she shows just in this brief 12 minutes, one hopes that indeed her songwriting explorations continue to prove so multifaceted.

Nighthawk on Bandcamp

Heavy Temple on Thee Facebooks

 

Familiars, All in Good Time

familiars all in good time

Contending for one of the year’s best debut albums, FamiliarsAll in Good Time offers eight songs across 43 minutes that blend organic-feeling grit with more ethereal, landscape-evocative psychedelics. The Ontario three-piece have a few singles to their credit, but the lushness of “Rocky Roost” and the emergent heft of “Barn Burning,” the fleshy boogie of “The Dirty Dog Saloon” and the breadth of “Avro Arrow” speak not just to Familiars‘ ability to capture a largesse that draws their songs together, or the nuance that lets them brings subtle touches of Americana (Canadiana?) early on and echoing desert roll to the fuzzy “The Common Loon,” but also to the songwriting that makes these songs stand out so much as they do and the sense of purpose Familiars bring to All in Good Time as their first long-player. That turns out to be one of the most encouraging aspects of the release, but in that regard there’s plenty of competition from elements like tone, rhythm, melody, craft, performance — so yes, basically all of it.

Familiars on Thee Facebooks

Familiars on Bandcamp

 

Mountain Witch, Extinct Cults

Mountain Witch Extinct Cults

Mountain Witch‘s fourth album, Extinct Cults, brings the Hamburg-based duo of guitarist René Sitte and drummer/vocalist René Roggmann back after a four-year absence with a collection that straddles the various lines between classic heavy rock, proto-metal, ’70s heavy prog and modern cultism. Their loyalties aren’t necessarily all to the 1968-’74 period, as the chug and gruff vocals of “Back From the Grave” show, but the post Technical Ecstasy sway of the title-track is a fascinating and rarely-captured specificity, and the vocal melodies expressed in layers across the record do much to add personality and depth to the arrangements while the surrounding recording remains essentially raw. No doubt vinyl-minded, Extinct Cults is relatively brief at six songs and 33 minutes, but the Priestly chug of “Man is Wolf to Man” and the engrossing garage doom of closer “The Devil Probably” offer plenty of fodder for those who’d dig in to dig into. It is a sound familiar and individual at once, old and new, and it revels in making cohesion out of such contrasts.

Mountain Witch on Thee Facebooks

This Charming Man Records website

 

Disastroid, Mortal Fools

disastroid mortal fools

You might find San Francisco trio Disastroid hanging out at the corner of noise and heavy rock, looking disreputable. Their first record for Heavy Psych Sounds is Mortal Fools, and to go with its essential-bloody-essential bass tone and melodic semi-shouted vocals, it brings hints of angularity rounded out by tonal thickness and a smoothness between transitions that extends to the flow from one song to the next. While for sure a collection of individual pieces, Mortal Fools does move through its 43 minutes with remarkable ease, the sure hand of the three-piece guides you through the otherwise willfully tumultuous course, brash in the guitar and bass and drums but immersive in the overarching groove. They seem to save a particular melodic highlight for the verses of closer “Space Rodent,” but really, whether it’s the lumbering “Hopeless” or the sharper-toothed push of “Bilge,” the highlight is what Disastroid accomplish over the course of the record as a whole. Plus that friggin’ bass sound.

Disastroid on Thee Facebooks

Heavy Psych Sounds website

 

Stonegrass, Stonegrass

stonegrass self titled

I don’t know when this was first released, but the 2020 edition seems to be a remaster, and whenever it first came out, I’m pleased to have the chance to check it out now. Toronto duo Stonegrass brings together Matthew “Doc” Dunn and Jay Anderson, both of a markedly psyched-out pedigree, to dig into experimentalist acid-psych that pushes boundaries stylistic and national, tapping Afrobeat vibes with closer “Drive On” and the earlier 13-minute go-go-go jam “Tea” while “The Highway” feels like a lost psychedelic disco-funk 45, “The Cape” drones like it’s waiting for someone to start reading poetry over-top, and mellow hand-percussion and Turkish psych on centerpiece “Frozen Dunes.” The whole thing, which runs a manageable 39 minutes, is as cool as the day is long, and comes across like a gift to those of expanded mind or who are willing to join those ranks. I don’t know if it’s new or old. I don’t know if it’s a one-off or an ongoing project. I barely know if it’s actually out. But hot damn it’s rad, and if you can catch it, you should.

Cosmic Range Records on YouTube

Cosmic Range Records on Bandcamp

 

Jointhugger, I Am No One

jointhugger i am no one

Norwegian half-instrumental trio Jointhugger have already captured the attention of both Interstellar Smoke Records and Ozium Records with their four-song debut long-player, I Am No One, and as the follow-up to their 2019 Daemo, it leaves little question why. The more volume, the merrier, when it comes to the rolling, nodding, undulations of riff the band conjure, as each member seems geared toward bringing as much weight to bear as much as possible. I’m serious. Even the hi-hat is heavy, never mind the guitar or bass or the cave-echoing vocals of the title-track. “Domen” slips into some shuffle — if you can call something that dense-sounding a shuffle — and underscores its solo with an entire bog’s worth of low end, and though closer “Nightfright” is the only inclusion that actually tops 10 minutes, it communicates an intensity of crush that is nothing if not consistent with what’s come before. There are flashes of letup here and there, but it’s impact at the core of Jointhugger‘s approach, and they offer plenty of it. Don’t be surprised when the CD and LP sell through, and don’t be surprised if they get re-pressed later.

Jointhugger on Thee Facebooks

Ozium Records webstore

Interstellar Smoke Records webstore

 

Little Albert, Swamp King

Little Albert Swamp King

Stepping out both in terms of style and substance from his position as guitarist in atmospheric doomers Messa, Little Albert — aka Alberto Piccolo — pronounces himself “swamp king” in the opening lines of his debut solo release of the same name, and the mellow ambiance and psychedelic flourish of tone in “Bridge of Sighs” and “Mean Old Woman” and the aptly-titled “Blues Asteroid” offer an individualized blend of psychedelic blues that seems to delight in tipping the balance back and forth from one to the other while likewise taking the songs through full band arrangements and more intimate wanderings. Some of the songs have a tendency to roll outward and not return, as does “Mary Claire” or “Mean Old Woman,” but “Outside Woman Blues” and the closer “Hard Time Killing Floor Blues” hold tighter to the ground than some of what surrounds, so again, there’s a balance. Plus, as mellow as Swamp King is in its overarching affect, it’s neither difficult nor anything but a pleasure to follow along where Piccolo leads. If that’s off the psych-blues deep end, so be it. Only issue I take with him being king of the swamp is that the album’s domain hardly seems so limited.

Little Albert on Thee Facebooks

Aural Music on Bandcamp

 

Parahelio, Surge Evelia, Surge

Parahelio Surge Evelia Surge

Beautiful, patient and pastoral psychedelia fleshes out across the three tracks of Parahelio‘s debut full-length, Surge Evelia, Surge. Issued on vinyl through Necio Records, the three-song offering reportedly pays homage to a mining town in the band’s native Peru, but it does so with a breadth that seems to cover so much between heavy post-rock and psych that it’s difficult not to imagine places decidedly more ethereal. Beginning with its title-track (12:33) and moving into the swells and recessions of “Gestos y Distancia,” the album builds to an encompassing payoff for side A before unveiling “Ha’Adam,” a 23-minute side-consuming rollout that encompasses not only soundscaping, but a richly human feel in its later take, solidifying around a drum march and a heavy build of guitar that shouldn’t sound strange to fans of Pelican or Russian Circles yet manages somehow to transcend the hypnotic in favor of the dynamic, the immersive, and again, the beautiful. What follows is desolation and aftermath, and that’s how the record ends, but even there, the textures and the spirit of the release remain central. I always do myself a favor with the last release of any Quarterly Review, and this is no exception.

Parahelio on Thee Facebooks

Necio Records on Bandcamp

 

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Quarterly Review: Witchcraft, The Wizar’d, Sail, Frank Sabbath, Scream of the Butterfly, Slow Draw, Baleful Creed, Surya Kris Peters, Slow Phase, Rocky Mtn Roller

Posted in Reviews on July 8th, 2020 by JJ Koczan

the-obelisk-qr-summer-2020

Day Three is always special when it comes to Quarterly Reviews because it’s where we hit and pass the halfway point on the way to covering 50 albums by Friday. This edition hasn’t been unpleasant at all — I’ve screened this stuff pretty hard, so I feel well prepared — but it still requires some doing to make it all come together. Basically a week’s worth. Ha.

If you haven’t found anything yet that speaks to you, I hope that changes either today, tomorrow or Friday.

Quarterly Review #21-30:

Witchcraft, Black Metal

witchcraft black metal

Four years ago, Witchcraft frontman/founder Magnus Pelander released a solo album under his own name called Time (review here) as a quick complement to the band’s own 2016 offering, Nucleus (review here). Pelander‘s Time was his first solo outing since a 2010 four-song EP that, for a long time, seemed like a one-off. Now, with Black Metal, Witchcraft strips down to its barest essentials — Pelander‘s voice and guitar — and he is the only performer on the seven-track/33-minute LP. Style-wise, it’s mostly sad, intimate folk, as Pelander begins with “Elegantly Expressed Depression” and tells the stories of “A Boy and a Girl,” “Sad People,” and even the key-inclusive “Sad Dog” before “Take Him Away” closes out with a bluesy guitar figure that features twice but is surrounded by a space that seems to use silence as much as music as a tool of its downer presentation. The title, obviously tongue-in-cheek, is clearly nonetheless a reference to depression, and while Pelander‘s performance is gorgeous and honest, it’s also very clearly held down by a massive emotional weight. So too, then, is the album.

Witchcraft on Thee Facebooks

Nuclear Blast webstore

 

The Wizar’d, Subterranean Exile

the wizar'd subterranean exile

Making their debut on Cruz Del Sur Music, Australia’s The Wizar’d return from the doomliest of gutters with Subterranean Exile, opening the album with the title-track’s take on capital-‘c’ Classic doom and the pre-NWOBHM-ism of Pagan Altar, Witchfinder General, and, duh, Black Sabbath. In just 35 minutes, the four-piece make the most of their raw but epic vibes, using the means of the masters to showcase their own songwriting. This is doom metal at its most traditional, with two guitars intertwining riffs and leads on “Master of the Night” and the catchy “Long Live the Dead,” but there’s a dungeon-style spirit to the solo in that track — or maybe that’s just build off of the prior interlude “Ecstatic Visions Held Within the Monastic Tower” — that sets up the speedier run of “Evil in My Heart” ahead of the seven-minute finale “Dark Fortress.” As one might hope, they cap with due lumber and ceremony befitting an LP so thoroughly, so entirely doomed, and while perhaps it will be seven years before they do another full-length, it doesn’t matter. The Wizar’d stopped time a long time ago.

The Wizar’d on Thee Facebooks

Cruz Del Sur Music website

 

Sail, Mannequin

Sail Mannequin

A follow-up to their later-2019 single “Starve,” the three-song Mannequin release from UK progressive metallers Sail is essentially a single as well. It begins with the ‘regular’ version of the track, which careens through its sub-five minutes with a standout hook and the dual melodic vocals of guitarists Tim Kazer and Charlie Dowzell. This is followed by “Mannequin [Synthwave Remix],” which lives up to its name, and brings bassist Kynan Scott to the fore on synth, replacing the drums of Tom Coles with electronic beats and the guitars with keyboards. The chorus works remarkably well. As fluidly as “Mannequin” fed into the subsequent remix, so too does “Mannequin [Synthwave Remix]” move directly into “Mannequin [Director’s Cut],” which ranges past the seven-minute mark and comes across rawer than the opening version. Clearly Sail knew they could get some mileage out of “Mannequin,” and they weren’t wrong. They make the most of the 16-minute occasion and keep listeners guessing where they might be headed coming off of 2017’s Slumbersong LP. Easy win.

Sail on Thee Facebooks

Sail on Bandcamp

 

Frank Sabbath, Compendium

Frank Sabbath Compendium

They’re not kidding with that title. Frank Sabbath‘s Compendium covers four years of studio work — basic improvisations done in 2016 plus overdubs over time — and the resulting freakout is over an hour and a half long. Its 14 component pieces run a gamut of psychedelic meandering, loud, quiet, fast, slow, spacey, earthy, whatever you’re looking for, there’s time for it all. The French trio were plenty weird already on 2017’s Are You Waiting? (review here), but the scales are tipped here in the extended “La Petite Course à Vélo” (11:16) and “Bermuda Cruise” (17:21) alone, never mind on the Middle Eastern surf of “Le Coucous” or the hopping bass and wah of “Gallus Crackus” and “L’Oeufou.” The band has issued live material in the past, and whatever they do, it’s pretty jammy, but Compendium specifically highlights this aspect of their sound, shoving it in front of the listener and daring them to take it on. If you’re mind’s not open, it might be by the time you’re done.

Frank Sabbath on Thee Facebooks

Frank Sabbath on Bandcamp

 

Scream of the Butterfly, Birth Death Repeat

scream of the butterfly birth death repeat

Scream of the Butterfly made a raucous debut in with 2017’s Ignition (review here), and Birth Death Repeat stays the course of bringing Hammond organ to the proceedings of melodically arranged ’90s-style heavy rock, resulting in a cross-decade feel marked by sharp tones and consistency of craft that’s evident in the taut executions of “The Devil is by My Side” and “Higher Place” before the more moderately-paced “Desert Song” takes hold and thickens out the tones accordingly. ‘Desert,’ as it were, is certainly an influence throughout, as the opener’s main riff feels Kyuss-derived and the later “Driven” has a fervent energy behind it as well. The latter is well-placed following the ballad “Soul Giver,” the mellower title-track interlude, and the funky but not nearly as propulsive “Turned to Stone.” They’ll soon close out with the bluesy “I’ve Seen it Coming,” but before they do, “Room Without Walls” brings some marked solo shred and a grungier riff that scuffs up the band’s collective boot nicely, emphasizing that the record itself is less mundane than it might at first appear or the title might lead one to believe.

Scream of the Butterfly on Thee Facebooks

Scream of the Butterfly on Bandcamp

 

Slow Draw, Gallo

Slow Draw Gallo

From minimalist drone to experimental folk, Slow Draw‘s Gallo sets a wide-open context for itself from the outset, a quick voice clip and the churning drone of “Phase 2” leading into the relatively straightforward “No Words” — to which there are, naturally, lyrics. Comprised solely of Mark Kitchens, also known for drumming in the duo Stone Machine Electric, Slow Draw might be called an experimentalist vehicle, but that doesn’t make Gallo any less satisfying. “No Words” and “Falling Far” and the just-acoustic-and-voice closer “End to That” serve as landmarks along the way, touching ground periodically as pieces like the strumming “Harvey’s Chair” and the droned-out “Industrial Aged” play off each other and “Angelo” — homage to Badalamenti, perhaps — the minimal “A Conflict” and “Tumoil” [sic] and “Playground” tip the balance to one side or another, the penultimate krautdrone of “Phase 1” unveiling perhaps what further manipulation turned into “Phase 2” earlier in the proceedings. At 33 minutes, Gallo feels careful not to overstay its welcome, and it doesn’t.

Slow Draw on Thee Facebooks

Slow Draw on Bandcamp

 

Baleful Creed, The Lowdown

baleful creed the lowdown

Belfast’s Baleful Creed present a crisp 10 tracks of well-composed, straightforward, doom-tinged heavy rock and roll — they call it ‘doom blues boogie,’ and fair enough — with their third long-player, The Lowdown. They’re not pretending to be anything they’re not and offering their sounds to the listener not in some grand statement of aesthetic accomplishment, and not as a showcase of whatever amps they purchased to make their sound, but instead simply for what they are: songs. Crafted, honed, thought-out and brought to bear with vitality and purpose to give the band the best representation possible. Front-to-back, The Lowdown sounds not necessarily overthought, but professional enough to be called “cared about,” and whether it’s the memorable opening with “Mr. Grim” or the ’90s C.O.C. idolatry of “Tramalamapam” or the strong ending salvo of “End Game,” with its inclusion of piano, the mostly-subdued but swaggering “Line of Trouble” and the organ-topped closer “Southgate of Heaven,” Baleful Creed never veer too far from the central purpose of their priority on songwriting, and neither do they need to.

Baleful Creed on Thee Facebooks

Baleful Creed on Bandcamp

 

Surya Kris Peters, O Jardim Sagrado

Surya Kris Peters O Jardim Sagrado

Though he’s still best known as the frontman of Samsara Blues Experiment, Christian Peters — aka Surya Kris Peters — has become a prolific solo artist as well. The vinyl-ready eight songs/37 minutes of O Jardim Sagrado meet him in his element, bringing together psychedelia, drone and synthesizer/keyboard effects to convey various moods and ideas. As with most of the work done under the Surya Kris moniker, he doesn’t add vocals, but the album wants nothing for expression just the same, whether it’s the Bouzouki on “Endless Green” or the guest contribution of voice from Monika Saint-Oktobre on the encompassing 11-minute title-track, which would be perfect for a dance hall if dance halls were also religious ceremonies. Experiments and explorations like “Celestial Bolero” and “Saudade” bring electric guitar leads and Mellotron-laced wistfulness, respectively, while after the title-cut, the proggy techno of “Blue Nebula” gives way to what might otherwise be a boogie riff on closer “Southern Sunrise.” Peters always seems to find a way to catch the listener off guard. Maybe himself too.

Surya Kris Peters on Thee Facebooks

Surya Kris Peters on Bandcamp

 

Slow Phase, Slow Phase

slow phase slow phase

A strong if raw debut from Oakland three-piece Slow Phase, this 39-minute eight-tracker presents straight-ahead classic American heavy rock and roll in the style of acts like a less garage The Brought Low, a looser-knit Sasquatch or any number of bands operating under the Ripple Music banner. Less burly than some, more punk than others, the power trio includes guitarist Dmitri Mavra of Skunk, as well as vocalist/bassist Anthony Pulsipher of Spidermeow and vocalist/drummer Richard Stuverud, the rhythm section adding to the blues spirit and spiraling manic jangle of “Blood Circle.” Opener “Starlight” was previously issued as a teaser single for the album, and stands up to its position here, with the eponymous “Slow Phase” backing its strength of hook. “Psychedelic Man” meanders in its lead section, as it should, and the catchy “Silver Fuzz” sets up the riotous “Midnight Sun” and “No Time” to lead into the electric piano of “Let’s Do it Again (For the First Time),” which I’d kind of take as a goof were it not for the righteous jam that finishes it, referencing “Highway Star” during its fadeout. Some organizing to do, but they obviously know what they’re shooting for.

Slow Phase on Thee Facebooks

Slow Phase on Bandcamp

 

Rocky Mtn Roller, Rocky Mtn Roller

rocky mtn roller rocky mtn roller

This band might actually be more cohesive than they want to be. A double-guitar four-piece from Asheville, North Carolina, with a connection to cult heroes Lecherous Gaze via six-stringer Zach Blackwell — joined in the band by guitarist Ruby Roberts, bassist Luke Whitlatch and drummer Alex Cabrera — they’re playing to a certain notion of brashness as an ideal, but while the vocals have a drunk-fuckall stoner edge, the construction of the songs underlying is unremittingly sound on this initial EP. “Monster” opens with a welcome hook and “When I’m a Pile” sounds classic-tinged enough to be a heavy ’70s nod, but isn’t so easily placed to a specific band as to be called derivative. The longest of the four cuts at 5:30, “Bald Faced Hornet” boasts some sting in its snare sound, but the Southern heavy push at its core makes those dueling solos in the second half all the more appropriate, and closing out, “She Ran Off with the Dealer” has both charm and Thin Lizzy groove, which would basically be enough on their own to get me on board. A brazen and blazing candidate for Tee Pee Records‘ digital annex, if someone else doesn’t snag them first.

Rocky Mtn Roller on Thee Facebooks

Rocky Mtn Roller on Bandcamp

 

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Quarterly Review: Horisont, Ahab, Rrrags, Pigs Pigs Pigs Pigs Pigs Pigs Pigs, Earthbong, Rito Verdugo, Death the Leveller, Marrowfields, Dätcha Mandala, Numidia

Posted in Reviews on July 7th, 2020 by JJ Koczan

the-obelisk-qr-summer-2020

Well, I’m starting an hour later than I did yesterday, so that’s maybe not the most encouraging beginning I could think of, but screw it, I’m here, got music on, got fingers on keys, so I guess we’re underway. Yesterday was remarkably easy, even by Quarterly Review standards. I’ve been doing this long enough at this point — five-plus years — that I approach it with a reasonable amount of confidence it’ll get done barring some unforeseen disaster.

But yesterday was a breeze. What does today hold? In the words of Mrs. Wagner from fourth grade homeroom, “see me after.”

Ready, set, go.

Quarterly Review #11-20:

Horisont, Sudden Death

horisont sudden death

With a hefty dose of piano up front and keys throughout, Gothenburg traditionalist heavy rockers Horisont push retro-ism into full-on arena status. Moving past some of the sci-fi aspects of 2017’s About Time, Sudden Death comprises 13 tracks and an hour’s runtime, so rest assured, there’s room for everything, including the sax on “Into the Night,” the circa-’77 rock drama in the midsection of the eight-minute “Archeopteryx in Flight,” and the comparatively straightforward seeming bounce of “Sail On.” With cocaine-era production style, Sudden Death is beyond the earlier-’70s vintage mindset of the band’s earliest work, and songs like “Standing Here” and the penultimate proto-metaller “Reign of Madness” stake a claim on the later era, but the post-Queen melody of “Revolution” at the outset and the acoustic swing in “Free Riding” that follows set a lighthearted tone, and as always seems to be the case with Horisont, there’s nothing that comes across as more important than the songwriting.

Horisont on Thee Facebooks

Century Media website

 

Ahab, Live Prey

ahab live prey

Scourge of the seven seas that German nautically-themed funeral doomers Ahab are, Live Prey is their first live album and it finds them some five years removed from their last studio LP, The Boats of the Glen Carrig (review here). For a band who in the past has worked at a steady three-year pace, maybe it was time for something, anything to make its way to public ears. Fair enough, and in five tracks and 63 minutes, Live Prey spans all the way back to 2006’s Call of the Wretched Sea with “Ahab’s Oath” and presents all but two of that debut’s songs, beginning with the trilogy “Below the Sun,” “The Pacific” and “Old Thunder” and switching the order of “Ahab’s Oath” and “The Hunt” from how they originally appeared on the first record to end with the foreboding sounds of waves rolling accompanied by minimal keyboards. It’s massively heavy, of course — so was Call of the Wretched Sea — and whatever their reason for not including any other album’s material, at least they’ve included anything.

Ahab on Thee Facebooks

Napalm Records website

 

Rrrags, High Protein

rrrags high protein

Let’s assume the title High Protein might refer to the fact that Dutch/Belgian power trio Rrrags have ‘trimmed the fat’ from the eight songs that comprise their 33-minute sophomore LP. It’s easy enough to believe listening to a cut like “Messin'” or the subsequent “Sad Sanity,” which between the two of them are about as long as the 5:14 opener “The Fridge” just before. But while High Protein has movers and groovers galore in those tracks and the fuzzier “Sugarcube” — the tone of which might remind that guitarist Ron Van Herpen is in Astrosoniq — the stomping “Demons Dancing” and the strutter “Hellfire,” there’s live-DeepPurple-style breadth on the eight-minute “Dark is the Day” and closer “Window” bookends “The Fridge” in length while mellowing out and giving drummer/vocalist Rob Martin a rest (he’s earned it by then) while bassist Rob Zim and Van Herpen carry the finale. If thinking of it as a sleeper hit helps you get on board, so be it, but Rrrags‘ second album is of unmitigated class and straight-up killer performance. It is not one to be overlooked.

Rrrags on Thee Facebooks

Lay Bare Recordings website

 

Pigs Pigs Pigs Pigs Pigs Pigs Pigs, Viscerals

pigs pigs pigs pigs pigs pigs pigs viscerals

There’s stoner roll and doomed crash in “New Body,” drone-laced spoken-word experimentalism in “Blood and Butter,” and post-punk angular whathaveyou as “Halloween Bolson” plays out its nine-minute stretch, but Viscerals — the third or fourth Pigs Pigs Pigs Pigs Pigs Pigs Pigs album, depending on what you count — seems to be at its most satisfying in blowout freak-psych moments like opener “Reducer” and “Rubbernecker,” which follows, while the kinda-metal of “World Crust”‘s central riff stumbles willfully and teases coming apart before circling back, and “Crazy in Blood” and closer “Hell’s Teeth” are more straight-up heavy rock. It’s a fairly wide arc the UK outfit spread from one end of the record to the other — and they’re brash enough to pull it off, to be sure — but with the hype machine so fervently behind them, I have a hard time knowing whether I’m actually just left flat by the record itself or all the hyperbole-set-on-fire that’s surrounded the band for the last couple years. Viscerals gets to the heart of the matter, sure enough, but then what?

Pigs Pigs Pigs Pigs Pigs Pigs Pigs on Thee Facebooks

Rocket Recordings on Bandcamp

 

Earthbong, Bong Rites

Earthbong Bong Rites

Kiel, Germany’s Earthbong answer the stoner-sludge extremity of their 2018 debut, One Earth One Bong (review here), with, well, more stoner-sludge extremity. What, you thought they’d go prog? Forget it. You get three songs. Opener “Goddamn High” and “Weedcult Today” top 15 minutes each, and closer “Monk’s Blood” hits half an hour. Do the quick math yourself on that and you’ll understand just how much Earthbong have been looking forward to bashing you over the head with riffs. “Weedcult Today” is more agonizingly slow than “Goddamn High,” at least at the beginning, but it builds up and rolls into a pace that, come to think of it, is still probably slower than most, and of course “Monk’s Blood” is an epic undertaking right up to its last five minutes of noise. It could’ve been an album on its own. But seriously, if you think Earthbong give a shit, you’re way off base. This is tone, riff and weed worship and everything else is at best a secondary concern. Spend an hour at mass and see if you don’t come out converted.

Earthbong on Thee Facebooks

Earthbong on Bandcamp

 

Rito Verdugo, Post-Primatus

rito verdugo post-primatus

No doubt that at some future time shortly after the entire world has moved on from the COVID-19 pandemic, there will be a glut of releases comprised of material written during the lockdown. Peruvian four-piece Rito Verdugo are ahead of the game, then, with their Post-Primatus four-song EP. Issued digitally as the name-your-price follow-up to their also-name-your-price 2018 debut, Cosmos, it sets a 14-minute run from its shortest cut to its longest, shifting from the trippy “Misterio” into fuzz rockers “Monte Gorila” (which distills Earthless vibes to just over three minutes) and “Lo Subnormal” en route to the rawer garage psychedelia of “Inhumación,” which replaces its vocals with stretches of lead guitar that do more than just fill the spaces verses might otherwise be and instead add to the breadth of the release as a whole. Safe to assume Rito Verdugo didn’t plan on spending any amount of time this year staying home to avoid getting a plague, but at least they were able to use the time productively to give listeners a quick sample of where they’re at sound-wise coming off the first album. Whenever and however it shows up, I’ll look forward to what they do next.

Rito Verdugo on Thee Facebooks

Rito Verdugo on Bandcamp

 

Death the Leveller, II

Death the Leveller II

Signed to Cruz Del Sur Music as part of that label’s expanding foray into traditionalist doom (see also: Pale Divine, The Wizar’d, Apostle of Solitude, etc.), Dublin’s Death the Leveller present an emotionally driven four tracks on their 38-minute label debut, the counterintuitively titled II. Listed as their first full-length, it’s about the same length as their debut “EP,” 2017’s I, but more important is the comfort and patience the band shows with working in longer-form material, opener “The Hunt Eternal,” “The Golden Bough” and closer “The Crossing” making an impression at over nine minutes apiece — “The Golden Bough” tops 12 — while “So They May Face the Sun” runs a mere 7:37 and is perhaps the most unhurried of the bunch, playing out with a cinematic sweep of guitar melody and another showcase for the significant presence of frontman Denis Dowling, who’s high in the mix at times but earns that forward position with a suitably standout performance across the record’s span.

Death the Leveller on Thee Facebooks

Cruz Del Sur Music website

 

Marrowfields, Metamorphoses

marrowfields metamorphoses

It isn’t surprising to learn that the members of Fall River, Massachusetts, five-piece Marrowfields come from something of an array of underground styles, some of them pushing into more extreme terrain, because the five songs of their debut full-length, Metamorphoses, do likewise. With founding guitarist/main-songwriter Brandon Green at the helm as producer as well, there’s a suitably inward-looking feel to the material, but coinciding with its rich atmospheres are flashes of blastbeats, death metal chug, double-kick and backing growls behind the cleaner melodic vocals that keep Marrowfields distinct from entirely traditionalist doom. It is a niche into which they fit well on this first long-player, and across the five songs/52 minutes of Metamorphoses, they indeed shapeshift between genre elements in order to best serve the purposes of the material, calling to mind Argus in the progressive early stretch of centerpiece “Birth of the Liberator” while tapping Paradise Lost chug and ambience before the blasts kick in on closer “Dragged to the World Below.” Will be interesting to see which way their — or Green‘s, as it were — focus ultimately lies, but there isn’t one aesthetic nuance misused here.

Marrowfields on Thee Facebooks

Black Lion Records on Bandcamp

 

Dätcha Mandala, Hara

datcha mandala hara

Dätcha Mandala present a strong opening salvo of rockers on Hara, their second album for MRS Red Sound, before turning over to all-out tambourine-and-harp blues on “Missing Blues.” From there, they could go basically anywhere they want, and they do, leading with piano on “Morning Song,” doing wrist-cramp-chug-into-disco-hop in “Sick Machine” and meeting hand-percussion with space rocking vibes on “Moha.” They’ve already come a long way from the somewhat misleading ’70s heavy of opener “Stick it Out,” “Mother God” and “Who You Are,” but the sonic turns that continue with the harder-edged “Eht Bup,” the ’70s balladry of “Tit’s,” an unabashed bit o’ twang on “On the Road” and full-on fuzz into a noise freakout on closer “Pavot.” Just what the hell is going on with Hara? Anything Dätcha Mandala so desire, it would seem. They have the energy to back it up, but if you see them labeled as any one microgenre or another, keep in mind that inevitably that’s only part of the story and the whole thing is much weirder than they might be letting on. No complaints with that.

Dätcha Mandala on Thee Facebooks

MRS Red Sound

 

Numidia, Numidia

Numidia Numidia

If you’ve got voices in your band that can harmonize like guitarists James Draper, Shane Linfoot and Mike Zoias, I’m not entirely sure what would lead you to start your debut record with a four-minute instrumental, but one way or another, Sydney, Australia’s Numidia — completed by bassist/keyboardist Alex Raffaelli and drummer Nathan McMahon — find worthy manners in which to spend their time. Their first collection takes an exploratory approach to progressive heavy rock, seeming to feel its way through components strung together effectively while staying centered around the guitars. Yes, three of them. Psychedelia plays a strong role in later pieces “Red Hymn” and the folky “Te Waka,” but if the eponymous “Numidia” is a mission statement on the part of the five-piece, it’s one cast in a prog mentality pushed forward with poise to suit. Side A capper “A Million Martyrs” would seem to draw the different sides together, but it’s no minor task for it to do so, and there’s little sign in these songs that Numidia won’t grow more expansive as time goes on.

Numidia on Thee Facebooks

Nasoni Records website

 

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Coma Wall Announce Ursa Minor EP out Aug. 28

Posted in Whathaveyou on July 3rd, 2020 by JJ Koczan

Coma Wall (Photo by Tom McKibbin)

Last time I recall Coma Wall doing a release was when the group — an alter-ego of recently-reunited UK crushers Undersmile — put out a split (discussed here and here) with their own, much-more-plugged incarnation. That was 2013. And, well, Undersmile are back together, so I guess it follows that Coma Wall would do something as well, and as more groups are digging into their archives as a result of not being able to play shows for the last several months, Coma Wall‘s Ursa Minor EP feels plenty timely even if the original basic tracks were put together during Undersmile‘s initial run.

The sound, of course, is far enough removed from Undersmile to be a different band, and the voices of Hel Sterne and Taz Corona-Brown lock into harmony early and stay that way for the duration, calling to mind a gorgeous redux of any number of grunge acts’ unplugged performances. As these are demos at their foundation, the three songs have a live feel underscoring them, but they’re not necessarily raw, either in the recordings (which have been mixed and worked on) or in the structures of the material itself. Mostly it’s just beautiful and sad.

They’ve got it up on Bandcamp now, and I’ve included the last Undersmile too, both for context and because I like it:

Coma Wall Ursa Minor EP cover

With 2020 plans curtailed by the global pandemic, we decided to look through the Undersmile archives and found these demos which we recorded in 2012. These 3 songs were originally written for Taz and Hel’s pre-Undersmile bands Skylla and Ursa Minor (hence the name of the EP) and date back to around 2007/2008. The performances were recorded live with bass and string overdubs added at a later date.

Although these recordings are just demos, the songs hold a special place in our hearts and so we dusted them off, remixed them, and now unleash them into the world. We hope you enjoy them.

Available here: https://comawall.bandcamp.com/releases

Tracklisting:
1. Breathe in the Ether
2. Wiretaps
3. Already Dead

All songs written by Taz Corona-Brown and Hel Sterne. Lyrics by Taz Corona-Brown.

Taz Corona-Brown – vocals and guitar
Hel Sterne – vocals and guitar
Olly Corona-Brown – bass
Tom McKibbin – keys

Recorded and mixed by Tom McKibbin.
Mastered by Joe Proudlove.
Artwork by Tom McKibbin.

Release date: 28th August 2020

https://www.facebook.com/ComaWall/
https://comawall.bandcamp.com/
http://www.facebook.com/Undersmile
https://undersmile.bandcamp.com/album/anhedonia
http://blackbowrecords.bigcartel.com/product/bbow007-undersmile-anhedonia-double-lp

Coma Wall, Ursa Minor EP (2020)


Undersmile, Anhedonia (2015)

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Trippy Wicked and the Cosmic Children of the Knight Post Acoustic “Dragonaut” Cover

Posted in Whathaveyou on June 26th, 2020 by JJ Koczan

Trippy Wicked

Does this mean we’re going to get an acoustic recording of Trippy Wicked‘s take on Crowbar‘s “The Lasting Dose” too? Because that’d be just fine as far as I’m concerned. I went back and looked, the Trippy Wicked‘s acoustic take on Sleep‘s ultra-classic “Dragonaut” dates back to 2011, so when Chris West says he’s been meaning to properly record them “forever,” he’s at least talking about nine years’ worth of time, which certainly isn’t nothing. I’ve posted the original video under the new version at the bottom of this post, because after all this time it still brings me joy, and I’m glad they’re using the lockdown time to get these to tape, because they’re quality beyond novelty.

Here’s the news and the audio:

trippy wicked dragonaut

Trippy Wicked Launch Series of Acoustic Singles With Their Cover of Sleep’s Dragonaut

In early 2020 the band had to suspend recording of their third full length album due to Covid-19 lockdown measures. Out of work and with a lot of time on their hands they decided to start remotely recording some of the acoustic material they have worked on over the years.

This material includes some cover songs and some acoustic versions of Trippy Wicked songs.

Chris West commented:

“Both myself and Pete are currently out of work and recording these acoustic songs has been on my to do list forever so now is the perfect time. Recording the album was going well and this is a way of not losing too much of the momentum with the band. We’re gonna start putting them out as singles to start. Mostly they’re light and they’re fun and I just want people to hear them. I wasn’t sure about putting an album together at first but I think we probably will because I’m having more and more ideas around that as I work on the songs.”

The project kicks off with their acoustic cover of Sleep’s Dragonaut which is now available most places.

https://www.facebook.com/trippywicked
https://www.instagram.com/trippywicked
https://trippywicked.bandcamp.com/
https://www.trippywicked.band/

Trippy Wicked, “Dragonaut”

Trippy Wicked, “Dragonaut” (live take)

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Black Helium Set July 24 Release for The Wholly Other

Posted in Whathaveyou on June 24th, 2020 by JJ Koczan

black helium

They open the record with a song called ‘Hippie on a Slab,’ so if there was any doubt London psych freaks Black Helium meant business, that should set the matter at least somewhat to rest. Of course, if such concerns existed at all, it probably wasn’t from those exposed to the band’s 2018 debut, Primitive Fuck (review here), which was every bit the outsider rowdiness one might expect from its name while still taking the time to play with atmospheres like somebody melting a Sabbath record onto a turntable and somehow playing it. It was a weirdo rager, through and through.

One’s expectations are accordingly high for the follow-up, The Wholly Other, which is out next month on Riot Season Records. I haven’t yet, but I’m going to do everything in my power to hear it, as I think out might be just the kick in the ass I need. And by what’s in my power, I mean I’ll probably try to send an email. Hear me roar, and such.

Take it away, PR wire:

black helium the wholly other

BLACK HELIUM RELEASE 2ND LP ‘THE WHOLLY OTHER’ WITH RIOT SEASON RECORDS

Black Helium aim to deliver a lysergic heterogeneous sprawl on this, their second LP ‘The Wholly Other.’ From the blunt thunderous groove of ‘Hippie On A Slab’ to the narcotic tranquillity of ‘Teetering On The Edge’, via the hypnotic ascension of ‘Pink Bolt’.
‘The Wholly Other’ was recorded live over two loud, sweat drenched days in August 2019 by Wayne Adams at Bear Bites Horse Studio (Green Lung, 11PARANOIAS, Casual Nun), just before the band embarked on a UK tour with Pigs, Pigs, Pigs, Pigs, Pigs, Pigs, Pigs.

Black Helium are a four-piece psychedelic rock group, based in London. Never afraid to stray from the beaten path, they traverse aural hallucinatory soundscapes; from detuned Neanderthal rock to deep oceans of introspective blissed out psychedelia. Influences include, amongst many: Amon Duul II, Loop, Hawkwind, The Stooges, The Groundhogs, Spacemen 3 and Electric Wizard.

ARTIST Black Helium
TITLE The Wholly Other
CATALOGUE REPOSELP093
LABEL Riot Season Records
RELEASE DATE 24th July 2020

SIDE A
1 HIPPIE ON A SLAB (7:12)
2 TWO MASTERS (5:05)
3 DEATH STATION OF THE GODDESS (10:03)

SIDE B
1 ONE WAY TRIP (5:02)
2 PINK BOLT (10:27)
3 TEETERING ON THE EDGE (4:03)

BLACK HELIUM are
Stuart Gray (vocals, guitar)
Beck Harvey (bass, vocals)
Diogo Gomes (drums)
Davey Mulka (guitar)

https://www.facebook.com/blackhelium
https://blackheliumband.bandcamp.com
https://www.instagram.com/blackheliumband
http://www.riotseason.com
https://riotseasonrecords.bandcamp.com/
https://www.facebook.com/riotseasonrecords

Black Helium, Primitive Fuck (2018)

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Psychlona Premiere “Blast Off” Video; Venus Skytrip out Aug. 21

Posted in Bootleg Theater on June 23rd, 2020 by JJ Koczan

psychlona

Bradford, UK, kebab aficionados and groove purveyors Psychlona will release their second album, Venus Skytrip, on Aug. 21 through Ripple Music (CD/DL) and Cursed Tongue Records (LP). It is the follow-up to 2018’s Mojo Rising (discussed here) and sees the four-piece upping their game thematically and in terms of songcraft, presenting eight tracks across 49 minutes that won’t be pushed when they don’t want to go and yet seem to have no trouble whatsoever finding momentum when it suits them. To wit, the seven-minute opener, “Blast Off” — video premiering below — has a head of steam almost before you realize it in listening, and yet even as the subsequent “10,000 Volts” explodes in volume from its quiet beginning, setting up trades back and forth across its eight-minute span, Psychlona in no way sound rushed or out of step with what best suits the song.

“10,000 Volts” takes off in its second half, pushing out out out until finally it recedes to end quiet, and from there the beast that is Venus Skytrip unfolds a succession of shorter pieces, with “Blow” (6:05) making its presence felt through a combinationPsychlona Venus Skytrip of earthbound chug and swing and airy vocal melody while the each-under-four-minutes pair of “Star” and “Edge of the Universe” seem set to motor full-on terrestrial desert-style until the latter winds up in atmospheric hypnosis for a stretch in its second half. They bring it back around — to their credit — but the journey’s a joy just the same, and more shifts between languid stoner vibes and massive volume play out through “Resin” and “Tijuana” seems to bring with it a new level of tonal fullness in following, so the band readily break out a series of tricks along the way before they get around to rounding out with “The Owl,” which fills the last nine minutes of Venus Skytrip with a purpose somewhere between heavy psychedelia and hard-edged stomp, at least until the riff builds into its crash just after five minutes in, the bass takes hold and leads into and out of the record’s last build, which like the thing itself, is a trip well worth taking.

If flashing lights, colors or ladies dancing in silhouette isn’t your thing, I guess maybe “Blast Off” is best left to play in the tab so you can listen while you go back to checking the news or staring at other people’s pretend lives on social media or whatever it is hu-mans do these days on their phones. Gotta be something. Maybe you caught a glimpse of Psychlona in Freak Valley‘s consolation stream last weekend. The band showed up to say hi and that they were already confirmed to appear in 2021, so that’s something to look forward to, and one expects they’ll do much supporting of Venus Skytrip when the opportunity presents itself, as surely it will sooner or later.

Until then, there’s nothing like starting an album with a launch sequence, and yes, “Blast Off” has one. I’m happy to host the premiere of the track and the video below.

The band give their own view on things after the player, and you should read that because it rules.

Please enjoy:

Psychlona, “Blast Off” official video

Behind The Trip – Psychlona on Venus Skytrip:

After the unexpected memorialisation (hmm) of our debut, we started to think about where we should go boldly with the next one. We knew we didn’t want to lose too much of the rawness and homespun vibe that defined the scratchy fun of the first album, but we also wanted to go one step further with this effort and really focus the sound. So the two-step plan would be number one: make it heavier and two: turn up the spaciness to the nth. As is tradition around these parts we hunted down a stack of the area’s finest grilled kebabs and various fermented beverages, descending on The Cave – a place of pure tyranny and filth, but also home – for writing sessions taking place between October and January (a leisurely pace was also integral to the process, natch).

The songs were coming on nicely, we had fallen upon a winning formula that was something along the lines of more chilli = better song, but we needed to decide on a venue to match our aspirations of ‘going nuclear’. Step forward Andy Hawkins and The Nave. We were made aware of Andy by our regular sound tech who had recorded his band’s last album with Andy and recommended we work with him. Instantly Andy ‘got’ us and with a punk rock pedigree to boot we knew he was our guy – regaling us deep into the night with chaotic tales of Captain Sensible and traffic cone theft (events may or may not be true).

Anyway, come February Andy began putting us through our paces and by way of the incredible live room at The Nave – an old church hall – we were able to capture some truly huge drum sounds (see The Owl). Technical wizardry abounds (Andy), fuzz pedals galore, sausage rolls and a cauldron full of Yorkshire Tea later guitars, bass and vocals (real tape echo, obvs) were all down. Notwithstanding a much welcome intervention from a global pandemic, we emerged from the back door of the church stumbling towards the light – battered, bruised and with a suspected case of rickets among the maladies – clutching a grubby acetate of spaced out hard rock jams.

So there it was, behold, an album, eight tracks of new Psychlona. When the fog receded from our scorched minds it appeared we’d taken a year long ride through space taking in Venus and Mars before doing a quick lap of the Sun (Blast Off), encountered 27 club rock ‘n’ roll tragedy (Star), drifted around in a smoke fuelled beachside dream (Resin) before taking a lengthy acid trip courtesy of The Owl himself. Who knows where chapter 3 could take us?

Psychlona on Bandcamp

Psychlona on Thee Facebooks

Psychlona on Instagram

Cursed Tongue Records store

Cursed Tongue Records on Thee Facebooks

Cursed Tongue Records on Instagram

Ripple Music on Thee Facebooks

Ripple Music on Instagram

Ripple Music on Bandcamp

Ripple Music site

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