Look, I’m just a caveman. It seems like maybe it’s been a while since Italian heavy psych rockers Deadpeach posted the video below for this track from their 2014 album, Aurum (review here), but I happen to think it’s never too late to correct an oversight — I’ve gone back into posts and fixed typos half a decade old, if you want proof — so if you want to put the “Traffic” video under the heading of ‘better than never,’ that’s cool by me. The timing actually works out decently well for the clip to come to my attention, since Deadpeach have a vinyl sale going on now for Aurum and their other two full-lengths through their Bandcamp, about which you can read more below.
As for “Traffic” itself, as someone who’s spent a good deal of 2016 sitting in it, I can safely say the song and its video are both a decidedly more pleasant experience than the name might convey. The clip is taken from public domain art footage, but there’s still nudity, so it gets the NSFW tag above — someone walking by your desk, say, might not have the same aesthetic or contextual appreciation — but even if you click play and listen to the track while doing something else, its instrumental flow is worth digging into for sure and makes the process easier through natural tones and a fluid, subdued psychedelic push. Deadpeach, it seems, aren’t so much issuing challenges as invitations. Dress casual. Come as you are.
It’s that kind of party, which I guess makes me fashionably late in getting it posted.
Dig into “Traffic” below, and please enjoy:
Deadpeach, “Traffic” official video
The video was filmed in Milan at the Museum of the 900, where there are exhibited works ranging from: Futurism, Metaphysical, Transavanguardia. The images of the ‘streap tease’ are stock image of archive.org. Videos and music of Deadpeach.
VINYLS 12″ Album “Psycle” on PICTURE DISK artwork by Malleus Album “2” on red vinyl artwork by Loreprod Album “Aurum” on trasparent ‘peach’ color artwork by Epicproblems
Instead of 62 € you will pay 50 euro. You will also receive the code of the 3 albums for unlimited streaming of the album via the free Bandcamp app, plus high-quality downloads in MP3, FLAC and more. You will receive immediately the code of album Aurum, the codes of the other two albums will be included in the package with vinyl. For free you will also receive the code of the EP ‘old fuzz generation.”
Sometimes life is weird. Like the parts of it when you listen to the noise-jazz psychedelic wash of Athenian outfit Kooba Tercu. Those are definitely some strange times. The band, who may or may not represent themselves in the entirety of a single character — referenced below as the disaffected Johnny Tercu — released their self-titled debut album last year in a vinyl edition of 250 LPs, and operated immediately in a wide swath of sonic influences, from jagged indie to worldly percussive tendencies and well beyond into a number of approaches to psychedelia. I’m not sure all of it was completely under control, but neither am I sure it was supposed to be.
What Kooba Tercu made most plain in their debut — a track from which was featured in a podcast here — was that there’s very little that’s off the table, rhythmically, melodically or otherwise in their arrangements. Yet to listen to the skronk bounce of opener “Ukunta” or the later punker blast of “Spit Bucket,” the album doesn’t sound overbaked or overthought. Part of that might stem from the band recording (mostly) live, but as one watches the vague imagery take cohesive form much like the song itself in their new video for “Batman,” I think it makes an eerie kind of sense within the context they establish. And by that I basically mean it makes no sense but the problem is expecting that it would. Free your mind. Then hit play.
Then, if you’re so inclined, you can hit up Kooba Tercu‘s Bandcamp (linked below), where the album is currently a name-your-price download. Don’t expect “Batman,” which is mostly instrumental, to speak for the entirety of the record, because it won’t, but it does encapsulate some of the anti-genre mentality, and the blown-out fuzz that comes to dominate later in the track is worth the price of admission on its own. What, if anything, it has to do with the DC Comics character, I haven’t a clue, but if you’ve heard them before or if you haven’t, I hope you dig it.
Have at you:
Kooba Tercu, “Batman” official video
Johnny Tercu and his crew spend time in a moist, rat & cockroach infested basement playing something loud and heavy. He ventures pointlessly into nothingness with the same sense of no future as most people in Athens these days.
After endless hours of jamming, Kooba Tercu has distilled the ideas developed over a couple of years in ten songs resulting in something that sounds incredibly familiar but maybe not quite like anything you’ve heard before.
Posted in On the Radar on December 6th, 2016 by H.P. Taskmaster
I’ll admit to knowing next to nothing about Stockholm psychedelic rockers Deem. I know they’re from Stockholm because their social media says so, but there’s very little other info announced about the release, and quite frankly, I’ve seen their moniker written as Deem, as D?em, with the mid-central vowel-style, upside-down ‘e’ (the character for which WordPress won’t show, hence that question mark), and as Daem, all in the span of less than a single day since I got sent the tracks by producer Paris Fragkos, also of Greek desert rock upstarts Tuber. The only reason I’m going with Deem is because it’s a word.
Sometimes new bands start out this way, and I’ll admit I have a soft spot for that process unknowing. It means I put on Deem‘s apparently untitled four-track EP and dig into the vaguely Mideastern psychedelic inflection of “Three Doors Leading out of the Dark Room” or the subsequent meditativeness of “Qurban” — named for the animal slaughter practiced during Eid — and have only the music to go on. I don’t know who made it, don’t know where they come from originally or what their connection might be to the ideas they’re working with.
“Qurban” obscures its vocals deep in the mix as well in its quietest parts, letting a subdued drum progression move the song forward for a time as it starts its build. As the spacier shuffle and percussive intricacy in “Digital Paganist” and return to ritualism on the chant-laden psych-folk of finisher “The Trail” continue to expand the palette beyond genre confines, I feel refreshed and renewed by the fact that I’m curious about how the release was made, where Deem are coming from sound-wise, how they wound up recording in Greece and incorporating what sound like regional influences while being based in Stockholm, and so on. Or hell, how many people are involved. My interest is piqued.
Even their artwork carries a sense of mystery. And so, needless to say, I’ll be keeping an eye out for more from them going forward. Here’s the art and tracklisting for now, along with what little info they posted about the release itself, and of course the stream of the tracks from Bandcamp, which I hope you find as exciting as I do.
_ by Deem
Recorded, mixed and produced by Paris Fragkos at Flow Recordings, Serres, Greece. Assistant Yannis Goudanos.
Tracklisting: 1. Three doors leading out of the dark room 07:43 2. Qurban 05:41 3. Digital paganist 06:07 4. The trail 08:55
[Click play above to stream Albinö Rhino’s Upholder in full. Album is out Dec. 9 with US vinyl availability to follow in Jan. 2017.]
To look at the span of dates involved, one can’t help but wonder just as to the particulars behind the making of Finnish trio Albinö Rhino‘s third album, Upholder. By the Helsinki heavy psych rockers’ own declaration, progress would seem to have started in Sept. 2014 with drums and basic tracks. That timing makes sense in light of the fact that the band would’ve released their self-titled sophomore outing earlier in the year (their debut having been 2013’s Return of the Goddess), and the two rumbling, spacious, extended cuts that comprise Upholder, “Uphold the Light Part 2” (20:47) (premiered here) and “Uphold the Light Part 3” (15:43), are direct sequels to the closer of that self-titled, which was called — wait for it — “Uphold the Light Part 1” and itself topped 14 minutes long.
How much in progress the full trilogy (so far) may or may not have been at the time, I don’t know, but it would seem that elements continued to build on top of that basic foundation over the course of the next year-plus by guitarist/vocalist Kimmo Tyni, bassist Ville Harju and drummer Viljami Väre, with Tyni handling the recording himself between 2015 and 2016 at Audiospot in Helsinki. The final piece, apart from a mastering job by Jaakko Viitalähde in Kuhmoinen, would seem to have been a guest appearance on modular synth by Scott “Dr. Space” Heller of Øresund Space Collective — who seems to show up weekly around these parts — which was tracked in Feb. 2016, though it’s entirely possible that Albinö Rhino added more to the release afterwards. In any case, that they managed to come out of what seems to have been such a convoluted process with such a cohesive and flowing album is nothing short of miraculous.
Tonally gorgeous in a way that I’ve already likened to both earliest Natas and Sungrazer — neither is a comparison I’m willing to make lightly — and adventurous in a way one might not expect with how forcefully they underscore the repetitions of the line “Uphold the light” in “Uphold the Light Part 2,” Albinö Rhino‘s 36-minute two-tracker expands its immersion from its very beginning moments. Tyni, Harju and Väre set off with “Uphold the Light Part 2” — both opener and longest track (immediate points) — via a relatively straightforward roll compared to much of what follows. Dream-tone guitar is introduced as well as a fuzzier lead tone over a solid rhythmic foundation, and by three minutes, they’re beginning to dig into the central riff that will back the initial burst of lyrics. By the five-minute mark, Tyni takes another solo and follows it with a wash of feedback and noise to transition back into a heavier “verse” — one might just as easily call it a “chorus” — of the repeated lines, the thicker fuzz calling to mind the riffy triumphs of Toner Low.
The next time Albinö Rhino round out that movement, the jam begins, and once they open the gate on it, the immediate impression is that there’s no way they’re coming back. That same serenity of guitar tone that led off returns past 10 minutes in and is no less hypnotic the second time around. If anything, more so, since it gets fleshed out even further with the backing of Harju‘s warm-toned bass, the play between shimmer and rumble enough to earn the Sungrazer comparison above. A thunder strike circa the 12-minute mark brings the drums to a halt temporarily and sets up a kind of droning nod, from which the bass introduces a groovier progression that, as the rest of the track plays out, will rise to prominence — oh, the glorious noodling that happens on the way! — and much to the listener’s inevitable surprise, gets topped late with another section of lyrics, effectively tying “Uphold the Light Part 2” together as having had a master plan all along even as much as that master plan seemed to be singly geared toward expansion.
With that final shift, and with the fact that as it comes to a finish beyond the 20-minute mark, it actually ends, one doesn’t quite know what to expect going into “Uphold the Light Part 3,” and that’s probably the best way to approach it. The B-side of Upholder isn’t as long as its counterpart, but still has plenty of room to flesh out in its 15-minute sprawl. Its basic progression is arguably more straightforward — they’re essentially riding riffs, one after the other, that divide the total piece into different sections — but with the guest appearance from Heller on synth and some complementary leads from Tyni, there remains plenty of swirl to be had. Nonetheless, it’s a marked shift in vibe from “Uphold the Light Part 2,” which is something of a surprise considering the lineage between the two (or three) tracks, and even at its most laid back moment between about 10 and a half and 12 minutes in, “Uphold the Light Part 3” has a more active overall feel.
Another change from its predecessor is that it stays instrumental for the duration, giving Heller a proper showcase to act as a driving force alongside the trio, and he does not disappoint in that regard, hanging in even as the final minute finds the guitar taking over with a dominant wash that acts as the apex and the last rumble and ring-out features trails of resonant cosmic dust before its sudden cutoff. In addition to Upholder, Albinö Rhino have two other new releases from late in 2016 — the 14-minute digital single Riff Religion and a vinyl split with Morbid Evils boasting the 12-minute “Human Caravan” as their contribution — so it may well be that the band is entering a deeply prolific stage, or it may be happenstance that these recordings from the past several years are all coming to bear at the same time. Either way, the glut of material should offer followers plenty to dig into and listeners who haven’t yet been introduced no shortage of opportunity to become so, and particularly as regards Upholder and what it hopefully stands for in terms of the general progression of Albinö Rhino as a unit, that’s an introduction well worth undertaking.
Posted in Whathaveyou on November 25th, 2016 by H.P. Taskmaster
It’s pretty rare an album can legitimately claim to be 15 years in the making, but Six Sigma‘s Tuxedo Brown is now available to preorder after beginning its life in 2001. The New Jersey-based heavy rockers issued their The Spirit is Gone debut LP at the turn of the century and apparently set about immediate work on the follow-up, only to be stymied by years and who knows what else. With the record evidently done and ready to roll with new mixes, a new bonus track, a variety of bundles and newly-unveiled artwork by David Paul Seymour — of which there’s more you can see at the band’s Thee Facebooks page, linked below — it would seem that drought is coming to an end.
Given the span of years from start to finish, it should be interesting to hear how new and old blend together when Tuxedo Brown is actually released. With the hope of more to come, here’s the info currently available:
First – The name of our new Album: Six Sigma presents… Tuxedo Brown.
Second – We are pleased as punch to announce our new artwork created by the legendary David Paul Seymour. David has worked with some of our favorites including Clutch, The Sword, Graveyard, Kadavar and Truckfighters and we are stoked of his interest to join us for the ride. This artwork will adorn our music in all forms (digital, CD, Vinyl, 8-track). In addition, expect to see Tuxedo Brown smack dab on our posters, shirts and wherever else we can put him.
Who exactly is Tuxedo Brown? Stay tuned….
15 years in the making, Six Sigma’s brand new album is available to pre-order on PledgeMusic now.
Back in 2001, Six Sigma went to the studio to record a brand new album. But it was never released…
Now, for the first time ever, they are releasing this album to the world and you can pre-order it now on PledgeMusic.
The album will be available on download and signed CD or LP, alongside a host of exclusives – from attending the recording of the album to signed lyrics and eating Q with the Sigmas. PLUS, it will feature special newly-recorded bonus track and complete remixes completed this year.
From now until the album release date, Six Sigma will keep you updated with the album’s progress, bonus content and other news from their world through the ‘AccessPass’ section here once you have placed your order.
Pre-order now, and get an instant download of the newest single.
Get involved and be a part of this special journey!
Six Sigma is: Doug Timms – Vox/Guitar Scott Margolin – Bass Mappy – Drums
I’ve listened to it front to back and I can honestly say this is the best podcast I’ve made in the last five months. Truth be told, I know there are plenty of people who do podcasts as their primary outlet, talk on them and whatnot (hey, I tried it once and reserve the right to do it again at some point), but if it’s between crossfading feedback from one song to another and writing a review of a new record, well, crossfading falls into the same category as just about everything else: Write first.
Fortunately, a longer span of time between casts makes it that much easier to pick tracks. Existence does not hand you a 45-minute Øresund Space Collective jam every day, so I thought that was worth featuring, and I just got Megaritual’s new vinyl for review, so I thought featuring their more recent single-song EP would work well too.
I’m happy with the blend overall, and with Asteroid setting the tone. Be patient with it. Let it unfold. Even with a rocking start, it gets pretty psychedelic pretty quickly, and only continues to move further out. My advice is go with it and see where you end up.
As always, I hope you enjoy.
Track details follow:
0:00:00 Asteroid, “Them Calling” from III
0:05:02 Stinkeye, “Orange Man” from Llantera Demos
0:08:31 Hornss, “Prince of a Thousand Enemies” from Telepath
0:11:36 Ice Dragon, “Broken Life” from Broken Life
0:16:08 Wasted Theory, “Odyssey of the Electric Warlock” from Defenders of the Riff
0:20:59 Pelander, “True Colour” from Time
0:29:41 The Freeks, “Blow Time Away” from Shattered
0:34:26 Baby Woodrose, “Freedom” from Freedom
0:37:27 Comacozer, “The Mind that Feeds the Eye” from Astra Planeta
0:45:21 Mos Generator, “Outlander” from The Firmament
0:51:13 Megaritual, “Eclipse” from Eclipse
1:16:25 Øresund Space Collective, “Visions Of…” from Visions Of…
Posted in Whathaveyou on November 22nd, 2016 by H.P. Taskmaster
Meanwhile, in Croatia, crunch-riffing instrumental trio Drone Hunter get ready to play the release gigs for their second album, Welcome to the Hole. A self-release, it follows their 2013 self-titled debut and was posted for streaming on Nov. 15 ahead of the physical version, which will see its official arrival on Dec. 3 in Malta and Dec. 17 with the hometown gig in Varazdin. The three-piece have plans for European touring and video-making in Spring 2017 but will take some time off after celebrating the new outing as they round out the year. Fair enough. From where I sit, once you make a song called “Wine Dick,” you can pretty much take the rest of the year off, particularly if health issues are a concern. Paid leave for all.
Info came down the PR wire:
DRONE HUNTER (CRO) – new album, Welcome to the Hole
DRONE HUNTER have been around since spring of 2012. and have since released a self titled debut album in 2013. and have had about a hundred shows and two European tours in Croatia, Bosnia & Hercegovina, Slovenia, Austria, Switzerland, Germany, Czech Republic, France, Belgium and the Netherlands.
This summer we recorded a brand new album called ”Welcome To The Hole” which we self released and is available on Bandcamp, YouTube, CDBaby, iTunes and Amazon. The album contains 8 new songs and was recorded and mixed at E-Minor Studio in Varazdin, Croatia by Tomislav ‘Tompa’ Novosel which also happens to be our practice space. With all that, the artwork for the album contains photos of the building since it was written, recorded and mixed there.
Mastering was done by Igor ‘Meister’ Male?i? of Meisterwerk Productions in Zagreb, Croatia.
The album was produced by Drone Hunter and the cover, photos and design were done by Drone Hunter with the help of graphic wizard Antonio Mohenski a.k.a. MHNSK from Varazdin, Croatia.
What’s next on the Drone Hunter calendar is a live release show in Zurrieq, Malta on Dec 3rd where we were invited by Silver Tongue booking agency and then a hometown release show on Dec 17th in Varazdin at Elephant Bar. After that we will make a short break due to medical issues, and in that time we will make a live video and a tour video similar to the one for Twisted Horse Boogie from the first album. Also, we have another Euro tour planned for April 2017.
Posted in Whathaveyou on November 22nd, 2016 by H.P. Taskmaster
Ukrainian heavy rockers Stoned Jesus have been on the road in Europe with 5R6 since Nov. 17, still supporting last year’s third offering, The Harvest (review here), while paving the ground for their next work. Today they make official that the inevitable fourth long-player is in progress for a 2017 release, and that they’ll tour next Spring playing their 2012 sophomore outing, Seven Thunders Roar (review here), in full to mark its fifth anniversary and the continued resonance and cult following it has found through word of mouth (i.e. sharing) on the interwebs so long after its release. A sleeper hit in the truest sense with “I’m the Mountain” at 4.5 million YouTube views.
I bothered guitarist/vocalist Igor Sidorenko to talk a little bit about that record’s growing legacy and what went into the decision to play it out in its entirety, as well as where they might be headed for the fourth album. You’ll find what he had to say under the band’s announcement below:
Stoned Jesus Working On A Fourth LP, Playing ‘Seven Thunders Roar’ In Its Entirety On Tour In 2017
A new dawn is on the horizon for Stoned Jesus in 2017, because we begin to work on our 4th full-length album this December! But Spring 2017 also marks the 5th anniversary of “Seven Thunders Roar” release – you know, the one with that indian on the cover – the exactly same LP that brought you “I’m the Mountain”, the most popular stoner/psych/doom song in the history of the interwebs. We thought we’d give you we’ve never done before: we’ll be playing “Seven Thunders Roar” in its entirety during the first half of 2017 on EVERY show! And we’ve already got a bunch of them booked, so stay tuned for tour dates and updates soon. Love, StJ
Igor Sidorenko on playing Seven Thunders Roar and the new album in progress:
“It may look like we’re hopping on this hype train with the whole ‘playing-their-legendary-record-from-A-to-Z. thing, but truth is loads of people haven’t heard these songs live — apart from “I’m the Mountain,” which we play on every show. Revisiting your own material that stood the test of rapidly changing trends is also something that may help us with our fourth record. Also hey, it’s not that legendary… yet!
“It’s pretty early to say anything, but I guess this is gonna be another challenge for us and for our listener. We definitely don’t want to repeat ourselves, but there are certain things you can’t escape, hah. What I know for sure is this is not gonna be a direct sequel to ‘The Harvest’ — we’re not that much angry this time around. #StJFourthLP”
Stoned Jesus current tour remaining shows: 22.11 – Innsbruck (AT) PMK 23.11 – Bologna (IT) Freak Out 24.11 – Erba (IT) Centrale Rock 25.11 – Collegno (IT) Padiglione 14 26.11 – Trieste (IT) Tetris 27.11 – Belgrade (SRB) Bozidarac