It won’t take long into Skraeckoedlan‘s “Flod” for the point to sink in. The song, which comes from their awaited second album, Sagor, boasts Truckfighters-style fuzzy smoothness, and a densely-weighted roll, melody and catchy vibe. My impression from what they say about working with different producers is that the record is actually pretty varied, but in giving a first impression, “Flod” — the title of which translates to “river” — seems to get things off to a solid start.
When the Swedish four-piece decided to change the title of their upcoming LP from Gigantos to Sagor, I’m not sure, but they’ve aligned themselves to Razzia Notes, a label headed by In Flames vocalist Anders Fridén, so they’ve no doubt gotten a bit of a push leading up to the June 10 release. Sagor will be the follow-up to 2011’s Äppelträdet (review here), and no doubt the complexity of the recording process will turn out to have been a factor in its somewhat delayed arrival.
Better late than never, though, and even if you didn’t hear the first outing, “Flod” should still be able to find solid footing. The video shows off a predilection toward classic sci-fi — they’ve begun to use the phrase “fuzzience fiction” — and spaced out themes, and that only adds to the charm of the song itself.
Clip follows here. Please enjoy:
Skraeckoedlan, “Flod” official video
Skraeckoedlan is ready to release their new album, titled “Sagor”. It was recorded in multiple studios during a two year period and features collaborations with several technicians and producers such as Daniel Bergstrand (In Flames, Meshuggah) and Niklas Berglöf (Ghost, Den Svenska Björnstammen). Erik Berglund has done the mixing and has been an integral part in finding the sound of the album.
When working with “Sagor”, Skraeckoedlan got in contact with Anders Fridén and his record label Razzia Notes, who will release the record.
Posted in Whathaveyou on May 26th, 2015 by JJ Koczan
The first night of the upcoming summer tour for Foehammer and Thera Roya, June 12, is the record release party for the former’s self-titled EP on Australopithecus Records. That EP has been available digitally through Grimoire Records for a while, but the vinyl is newly arrived and they’ll reportedly have it ready to go for the tour. Brooklyn’s Thera Roya, meanwhile, should have some new material in tow as well after their “Fat Voyage” single which was released digitally late last year.
A few shows remain unconfirmed for the run, so if you happen to be in one of those cities and have a line on putting something together, be it a bar, house show, whatever, you should probably think about dropping a line to one or both of the bands. If you haven’t heard Foehammer‘s EP yet, it’s devastatingly heavy, and Thera Roya‘s post-metal style will make a fitting complement atmospherically for all that bludgeoning.
T0ur dates, links and audio follow:
THERA ROYA & FOEHAMMER SUMMER TOUR 2015!
Thera Roya & Foehammer take the south by storm! Details to be added as shows are confirmed.
JUNE 12 Fri WDC / Tour Kickoff @ The Pinch w/ Narrow Grave, TBA 13 Sat Charlottesville, VA @ Magnolia House w/ Beldam 14 Sun VA Beach / Norfolk VA 15 Mon Charlotte NC @ Tommy’s Pub w/ Pig mountain, Grande Niño 16 Tue Charleston SC @ King Dusko’s w/ TBA 17 Wed Orlando, FL 18 Thu Miami, FL 19 Fri Tampa FL @ Cafe Hey! w/ Weltesser 20 Sat Dothan, AL 21 Sun New Orleans, LA 22 Mon Baton Rouge, LA 23 Tue Austin TX @ The Lost Well w/ Unmothered 24 Wed Dallas TX 25 Thu Nashville TN 26 Fri Asheville NC @ The Odditorium w/ Black Mountain Hunger, Spliff, Mondays 27 Sat Morgantown WV / Richmond VA 28 Sun Frederick MD – Maryland Doom Fest @ Cafe 611* * – Foehammer Only
The second hour starts a little early this time around, and what I mean by that is when you’re like five minutes into hour two and trying to figure out on the tracklisting below what improv-sounding brilliant cut you’re hearing, pay careful attention to when hour one ended. Just 11 seconds from the start of the second half of the podcast. So yeah, that 18-minute wonder gets filed under hour one instead, but it comes with a wink and a nod. I just couldn’t bring myself to file something under hour two without a one at the front of the time stamp, which shows you how sad and compulsive I am because I’ve only been time-stamping these podcasts for two months now. What a dork.
It’s good stuff this. Always is, I suppose, but starting out with Goatsnake into The Machine and then on from there, it builds a flow that makes some sense one into the next in a way that, listening back to it after I put it together, was especially satisfying. Hopefully you agree as you make your way though.
As always, hope you enjoy:
First Hour:
0:00:00 Goatsnake, “Grandpa Jones” from Black Age Blues
0:04:36 The Machine, “Coda Sun” from Offblast!
0:09:55 Galley Beggar, “Pay My Body Home” from Silence and Tears
0:18:51 Steve Von Till, “Night of the Moon” from A Life Unto Itself
0:25:48 Venomous Maximus, “Through the Black” from Firewalker
0:29:42 Black Pyramid, “Open the Gates” from Dead Star 7”
0:34:59 Ape Skull, “A is for Ape” from Fly Camel Fly
0:39:54 Sunder, “Deadly Flower” from Demo
0:43:53 Eternal Fuzz, “Sea Change” from Nostalgia
0:47:37 Geezer, “Long Dull Knife” from Long Dull Knife
0:53:31 Fogg, “Joy of Home” from High Testament
0:59:49 Shiggajon, “Sela” from Sela
Second Hour:
1:18:07 Blown Out, “Thousand Years in the Sunshine” from Planetary Engineering
1:34:01 Les Lekin, “Loom” from All Black Rainbow Moon
1:47:14 Undersmile, “Knucklesucker” from Anhedonia
I had almost forgotten the glorious trials that NYC traffic could provide. The opportunities to see oneself as being on a great, grueling journey, near-Homerian. A quest undertaken on foot, dragging a cart on your back, covered in shit and mud, sweltering in the sun. Maybe an extreme vision, but the A/C in my car was on the fritz, and it’s summer south of the wall, so it wasn’t exactly an easy drive. Got to Brooklyn in time to have a burrito at the Acapulco Deli next to the Saint Vitus Bar, however, ahead of the start of a four-band bill with Albany five-piece Hush (also stylized as Hush., with the punctuation), Portland, Oregon’s Black Pussy, German duo Mantar and UK destroyers Conan, the latter two wrapping up a coast-to-coast tour that also included stops for Conan at Psycho California and, just the night before, at Maryland Deathfest.
Brooklyn was the second to last stop on the tour, with Philly the next night and then flights out, but I didn’t get a sense of any post-MDF comedown from the band. The Vitus Bar has enough of a reputation at this point that it has become a destination in itself for bands on tour, and for me, seeing Conan there was no less an event. This was their first time in the States, and while I had an advantage in having seen them twice at Roadburn (in 2012 and in 2014) and at Desertfest London in 2013, the prospect was still exciting, not the least because it was a new lineup. I parked myself near the front a couple minutes before Hush went on:
Hush.
One could probably call Hush.‘s style death-doom, but I always ascribe a certain sense of emotional drama to that, and the Upstate fivesome were light on that and heavy on just about everything else. More megasludge than death-doom, but plenty extreme one way or another. Vocalist C. Cure set up in front of the stage, and no wonder. Space was at a premium with the mountain of amps backlined, and Hush.‘s own contributions to that pile of equipment were as considerable as the tones that emanated from them. Slow-sounding even in their faster stretches, their lurch was pervasive and Cure‘s growls met the tide head-on, spit or some other manner of regurgitation flying out of his mouth as he headbanged near the front of the stage such that I thought it might be hitting guitarist Jeff Andrews (also of heavy rockers Ironwweed) in the leg. If he did, Andrews gave no sign of it. With an emphasis on tonal crush running throughout, they tossed in some new material along with “We Left Like Birds” from last year’s Unexist debut full-length, and while they were somewhat unipolar in their overall affect — that is, all heavy, all the time — they gave the evening a vicious, intense start and bludgeoned ferociously as if throwing down a gauntlet to anyone who might dare pick it up, earning their punctuation all the while.
Black Pussy
To be perfectly honest, I was kind of dreading seeing Oregon’s Black Pussy again. Not because they suck. Actually, just the opposite. If they sucked, fine. You write them off as a shitty band with a shitty attention-grab of a name and you move on. But because they’re actually good, and because they put so much attention into the details of their presentation — from drummer Dean Carrol‘s near-manic smile as he plays to the all-Sunn backline, to bellbottoms and vintage shirts on guitarist Ryan McIntire, organist Chief O’Dell and bassist Aaron Poplin, to guitarist/vocalist Dustin Hill‘s sunglasses and apparent unwillingness to keep his tongue in his mouth while he sings — you can’t just ignore them. I decided early in the set that from here on out I’d refer to the band as Five White Dudes in a Band Called Black Pussy, and so I will. Five White Dudes in a Band Called Black Pussy were solid, and I recognized several tracks from earlier-2015’s Magic Mustache (review here), the Queens of the Stone Age-style bounce and warm but still heavy roll, but you pretty much have to put a douchebaggery-filter on to watch them and get any sense of enjoyment out of it. At least if they’d called themselves White Cock you’d be able to say it was vaguely subversive. As it is, they’re just a bummer, and the more I see of them, the more that becomes a palpable reality. Don’t think it’s a racist or sexist name? Think it’s cool and ironic and not at all reinforcing white supremacy or the colonization of black bodies? Think the internet is populated by overly PC “social justice warriors?” Fine. You’re wrong and I don’t give a fuck. Think for a second about what you’re defending. Or don’t. Start your own website instead, and pine for the days when white people could be blatantly racist without being told they should feel bad about it. Have fun with that.
Mantar
Hamburg duo Mantar — vocalist/guitarist Hanno and drummer/vocalist Erinc — arrived in Brooklyn having already made an impression on this tour. I’d heard from several people in other cities who’d been pleasantly surprised by the two-piece’s blend of thickened doom tone and raw metal. They had some technical difficulties at the beginning of the set, something about the power cable into the D.I. box, but once they started, they were zero-to-100 almost immediately, Hanno spitting his lyrics at Erinc from across the stage while the drummer, arranged with his side to the crowd, crashed and slammed away a propulsive course. There were elements of Celtic Frost at their roughest, and a touch of High on Fire and the Melvins in “Astral Kannibal,” but wherever they went sonically, the core of what they were doing was the punishment of their delivery, veins popping out on Hanno‘s neck as he shouted up to his microphone. With just the two of them on the stage, there was plenty of room to thrash around, and Hanno took advantage, switching between different channels in the backlined rig, Orange heads and cabinets set up on both sides of the stage, revealed when Five White Dudes in a Band Called Black Pussy removed their Sunns — it was an evening of expensive-looking gear — used to get both bass and guitar tones out of the guitar. It was unfortunate that their set got cut short and they were visibly frustrated, but assured the room they would be back and would hopefully be able to play longer next time around. I couldn’t imagine it had been an easy tour with routing that basically took them across the country and back, but Mantar did well in the direct-support slot and the punk-rooted dynamic between Erinc and Hanno was evident even as I was relatively unfamiliar with the band.
Conan
Word was that at least some of those Orange stacks had been used in Sleep‘s recent Atlanta show. To have them subsequently carried by Conan on their first run through the US — it surely won’t be their last — seems a fitting inheritance. Conan guitarist/vocalist Jon Davis is the sole remaining founder of the band, and over the course of 2014, he brought on bassist/vocalist Chris Fielding, also producer for not only Conan but also the likes of Electric Wizard, Primordial, etc., and drummer Rich Lewis, so while Conan released their second album last year in the form of their Napalm Records debut, Blood Eagle (review here), they’re essentially a new band. Lewis, who is a man of many cymbals, is the latest addition, but they’ve toured with this lineup before, and coming toward the end of this stint as well, they were duly crisp in their delivery of what has developed into one of the heaviest aesthetics in the world. Hyperbole? Yes, but Conan warrant speaking in absolutes. Opening with “Crown of Talons,” they immediately set the place to a steady rumble and did not relent for the duration of their time on stage, Blood Eagle cuts like “Foehammer” and “Total Conquest” joined by “Hawk as Weapon” from 2012’s Monnos (review here) and “Satsumo” from their landmark 2010 Horseback Battle Hammer EP (review here), as well as a new song that worked in a middle pace to further the overbearing impression of their riff-led pummel. Davis and Fielding traded shouts, the latter almost with a Godfleshy burl, and managed to cut through the tones while Lewis nailed the snare work and quick changes in “Foehammer.” My usual modus is to hang out up front for a couple songs, take pictures and then fall back and enjoy the rest of a set from in back of the crowd, but Conan held me front and center for the duration, headbangers to the left of me, drunken staggering to the right, volume over top and crushing down. It was a brutal push through some of the highlights of their growing catalog, but their set also got cut short on curfew accounts. They wrapped up amid calls for one more song, thanked the crowd, said they’d be back, and took centerstage for a quick photo to mark the occasion, urged by some jerk who’d been taking pictures the whole time.
—
Speaking of, I owe a particular thanks to respected videographer Frank Huang. At the start of the show, I turned on my camera only to find I had no memory card in it, and Frank came to my rescue by letting me borrow a spare. When the show was over, I immediately dumped the photos onto my laptop, which I had in my car because I was slated for a post-gig two-hour drive to Connecticut, where I’d be crashing for the night to continue to Massachusetts on Saturday. Epic in a whole different way. I got in around 3AM with the lumbering “Crown of Talons” still stuck in my head, where it has remained since.
Posted in Whathaveyou on May 25th, 2015 by JJ Koczan
It was kind of a surprise to have Ape Machine ink a deal with Heavy Psych Sounds, not because they don’t deserve to get picked up by a label doing cool things, but because they seemed so firmly entrenched in the roster of Ripple Music, which put out their last full-length, 2013’s Mangled by the Machine (review here), and earlier this year, the Live at Freak Valley (review here) live offering. And actually, it’s not that they’ve signed to Heavy Psych Sounds to the exclusion of everyone else, just that they’ll be working with the label for a tour — Heavy Psych Sounds has a booking arm — and an EP release to coincide with it.
It’s good news for the band, either way, and good news for those who’ve been fortunate enough to catch onto their intricate but still catchy wares. They’ll have a full-length out before too long on Ripple as well, and according to Heavy Psych Sounds — who posted the announcement below — it’s looking like the band will be on the road for the better part of a month. Doesn’t sound too bad. Dates are still to come, but here’s initial word from the label:
HEAVY PSYCH SOUNDS Records is honoured to announce the signing of another awesome band *** Ape Machine ***
A true four-piece, Portland, Oregon’s Ape Machine has been called “a rock and roll band with a finger on the pulse of the 70?s and their asses firmly in the present” and “real heavy-psych for the iPhone generation” that delivers “true guts and glory rock and roll.” Combining psychedelic, classic and progressive rock with arena-worthy metal, bluesy stoner-rock and catchy riffs in odd signatures.
Heavy Psych Sounds Records will release A new Record/Ep in November and will book a four weeks European tour from November 12 to December 5.
more details will be communicate in the next weeks together with new cool announcements!
By 2000, Brant Bjork was half-a-decade out of Kyuss. In 1997, he’d released his first album as the drummer for Fu Manchu, The Action is Go (he’d also produced their 1994 debut, No One Rides for Free), and in 1999, he released his own solo debut in the form of the landmark Jalamanta, bringing his funked-out, soulful desert rock songwriting front and center with laid back tones and nodding cool that dripped from the platter front to back. When Ché issued 2000’s Sounds of Liberation, Bjork was still with Fu Manchu — his final album with them would be California Crossing in 2001 — and it’s clear part of the drive was to be a bandleader in his own right. Having drummed in Kyuss and Fu Manchu and performed everything on his solo record, Ché was an outfit that could get out on stage and perform in a traditional band sense, and that seemed to be the idea behind it.
Bringing together Bjork in guitar and vocals, a post-Queens of the Stone Age (also ex-Kyuss) Alfredo Hernandez on drums and Unida‘s Dave Dinsmore on bass, Ché was an exciting if short-lived prospect. Man’s Ruin, which also put out Jalamanta the year before, issued Sounds of Liberation, and even 15 years later it sounds like an album with considerable promise. In light of what Brant Bjork and the Low Desert Punk Band — which also includes Dinsmore — were able to accomplish with 2014’s Black Power Flower (review here), Sounds of Liberation seems like a precursor to a similar kind of expression, Bjork‘s songwriting, tone and voice very much at the fore, but well complemented in a fashion that, at least going by the sound of it, seemed sustainable and tour-ready. That didn’t turn out to be the case, but with tracks like the jamming “Pray for Rock” and ultra-swinging “Blue Demon,” Sounds of Liberation stands the test of time. It didn’t prove to be the kind of rock and roll freedom Bjork was looking for, and the album has become kind of a footnote in the history of desert rock, but there’s nothing about the results that didn’t work.
Sounds of Liberation was reissued in 2008 by Bjork‘s Low Desert PunkRecordings and there are still copies around for those who’d find them. Hope you enjoy.
—
Still in Jersey. Going to Brooklyn in a little bit to see Conan, then up to Connecticut immediately thereafter. Plan is to drive back to Massachusetts during the day tomorrow, then up to New Hampshire to see Gozu. Reviews of both of those and the new The Machine album at some point next week, but I start work on Tuesday, so I honestly can’t say when or what that’s going to look like.
I’m a little nervous to start work again, but I think it will be good. I’ll have my own office and a little space to figure things out, so that’s good, and you know I’m going to do as much Obelisk stuff as I’m able all the while, whatever it costs me in mental stability or hours of sleep. If I could make a living doing this site, I would. Nobody’s cut me that check yet, so off to work I go. I’m happy to have a job.
Monday is Memorial Day, and I might review the Conan show, but there probably won’t be much more going on than that — four bands on the bill, so I’m sure that will be plenty — and Tuesday, since it’s my first day at the new office, I’ll have a podcast up and maybe a news story or something but that’s probably it. I said the same thing last week, but I ask you to please bear with me while I get settled. It might take a little time.
I hope you have a great and safe weekend. If you’re in the States, enjoy the extra day off. Be safe and thanks for reading. Please check out the forum and radio stream.
Posted in Questionnaire on May 22nd, 2015 by JJ Koczan
One decade after the release of their Translation Loss debut, The Galilean Satellites, Philadelphia’s Rosetta stand on the cusp of their fifth long-player, Quintessential Ephemera. Released in association with Golden Antenna Records, the new album follows 2013’s independently-released The Anaesthete and the 2014 Flies to Flame EP, as well as an original score produced earlier this year for a film about the band, Rosetta: Audio/Visual, and is the latest in a line of deeply creative outings furthering the band’s stylstic meld of atmospheric metal, sludge, post-rock and ambience. Noteworthy also for being their first full-length with the lineup of vocalist/noisemaker Mike Armine, guitarist Matt Weed, bassist Dave Grossman, drummer BJ McMurtrie and guitarist Eric Jernigan after having brought the latter on board in 2014 (he doubles in City of Ships), Quintessential Ephemera continues Rosetta‘s workman-style approach to progressive, fluid and exploratory songwriting, their commitment more to going places they’ve never gone than to any particular genre or other.
Weed took some time out recently to respond to The Obelisk Questionnaire and you’ll find his answers below. Please enjoy:
The Obelisk Questionnaire: Matt Weed
How did you come to do what you do?
Hard to say, since I’ve been in one band or another with our drummer BJ for over half my life. I picked up a guitar when I was 14 and it has always been a kind of territory that I explored, rather than an object I tried to master. So I’ve always written music by default – it was much harder to learn music written by other people. I went to school for totally unrelated stuff and that was probably a good thing, since academic study tends to destroy one’s enjoyment of a thing. I’m a bit of a robot in personality anyway, and music was one of the only ways I could ever access, understand, and communicate about emotion. The verbal language of emotion is either mystifying or outright off-putting to me, but playing an instrument I always felt like I had access to a more truthful way of communicating with people.
Describe your first musical memory.
My parents played a lot of classical LPs on a really crappy integrated turntable/amp system from the ’70s when I was a kid. My dad liked Romantic composers like Brahms and Tchaikovsky a lot, and my mom played the piano in the house, often old hymns. I would sit at the piano and play individual notes to see which I liked. I liked the A two octaves below middle-C the best. I would wail on that note for long periods, sometimes chanting over it (I was about four or five), but my family never complained about it. I guess that was my first foray into drone music.
Describe your best musical memory to date.
In high school, when I was still training on violin, I did a program where high school kids got to sit with members of the Philadelphia Orchestra and play together. Each pair of stand partners was one PO member and one high school student. It was remarkable mainly because I was a “just-okay” student of the violin, but while I was on-stage with such serious players, my technique just seemed like it magically improved, instantly. I had no idea I could play like that. It wasn’t objectively great but it was an order of magnitude better than I was normally capable of. I never forgot it, because it was proof to me that everyone does their best work in collaboration; one person who develops skill and takes risks has a beneficial effect on everyone he or she plays with. Likewise, being lazy or self-satisfied drags down everyone around you.
When was a time when a firmly held belief was tested?
There have been several extended periods where I really struggled with the idea that having integrity and good character is more important than success. I was brought up believing that (my parents were neither achievement-oriented nor overly accommodating), and I still do. But it’s easy to make that statement when you have enough to eat and can make rent and people are regularly affirming the work you do. Society says that integrity matters, but then turns around and judges you exclusively on indicators of wealth, prestige, or social significance. That would probably explain why so many truly awful people are among the most successful. Especially in the world of art, you need to be profitable, popular, or critically acclaimed. If you’re none of the three, you must not be very good at what you do. Then you feel pressure either to adapt your work to the market or to quit entirely. But neither of those options demonstrates integrity. I’m not sure it’s possible to resolve that conflict, ultimately.
Where do you feel artistic progression leads?
Laying aside questions about marketability, it seems like it’s a progression of greater risk-taking. You try something new and then ask, did it communicate what I wanted to say? Was it satisfying? Did I learn something in the process? If it didn’t work, then you go back and try again. If it worked, then you jump off from there and take more risks. If you’re not taking risks, then you’re not making art, you’re producing a commodity. But taking risks necessarily means failing sometimes.
How do you define success?
Sustainability. I don’t just mean that in the financial sense. I’ve never made any money from the band and I probably never will, but I’m happy for the band to support itself. Money hasn’t ever been a goal, it’s just one means to the end of being able to keep going for as long as there is music we want to make. But there are other dimensions to sustainability, like avoiding personal burnout and cultivating new audiences, not getting stuck in unproductive habits, becoming more disciplined people as time goes on. During periods where Rosetta was broke and almost unable to continue, money always loomed as the largest dimension. But once we went independent and the band more or less began to pay for itself, I started to see a lot of different ways it could be derailed that had nothing to do with money. I think success would be a situation where we had what we needed and were spending more time creating than problem-solving.
What is something you have seen that you wish you hadn’t?
A No Doubt show at the Electric Factory in Philadelphia in 2002. Yes, it was for a girlfriend. Someone puked on my shoes.
Describe something you haven’t created yet that you’d like to create.
A drone record made with a guitar and found sounds from my house to a four-track tape recorder.
Something non-musical that you’re looking forward to?
Every year my wife and I try to go on a wilderness backpacking trip to some weird remote location. I always look forward to that. I feel most human in situations where I have to submit to the law of nature, rather than using technology to bend nature to my wishes. Real life seems totally unreal by comparison.
Rosetta, Rosetta: Audio/Visual Original Score (2015)
Posted in Whathaveyou on May 22nd, 2015 by JJ Koczan
Pressed in a total edition of 400 copies, the new split between Mos Generator and Stubb, titled The Theory of Light and Matter, is available now to preorder from HeviSike Records. The release (track stream here) will be out next month in time to coincide with Mos Generator‘s upcoming European tour dates, and will be available in either black/red marble or white vinyl, sold with an included download. Stubb have gigs coming up supporting The Midnight Ghost Train and Siena Root, while Mos Generator will spend the summer on the road with Elder after hitting the East Coast again for the Eye of the Stoned Goat fest on June 13.
Band : Mos Generator, Stubb Title : The Theory of Light and Matter Label : HeviSike Records Catalog ref. : HVSK-1207 Format : Vinyl HVSK-1208 Mos Generator // Stubb – The Theory of Light & Matter
– Limited Edition with OBI Strip –
Two of the most exciting power trios combine forces to deliver a split album on HeviSike Records. Washington, USA stoner rock titans MOS GENERATOR explore a more progressive territory akin to their 2005 album ‘The Late Great Planet Earth’. London, England three-piece STUBB who are well known for their high-energy blues-rock demonstrate their more experimental side.
MOS GENERATOR have built a dedicated following through a heavy touring schedule and releasing consistently top quality music. The band’s 2015 schedule includes tours of both West Coast and East Coast, USA before visiting Europe on a 33 date European summer tour in support of ELDER. 2014 saw the Port Orchard trio release their opus ‘Electric Mountain Majesty’ (Listenable Records).
STUBB are familiar to the European touring circuit having made numerous appearances at events such as Freak Valley and Desertfest and have shared a stage alongside heavyweight contemporaries such as Earthless, Gentlemans Pistols, Sungrazer and The Machine. The London trio recently released their second LP ‘Cry of The Ocean’ (2014, Ripple Music) to critical acclaim.
Available as a strictly limited edition vinyl LP and digital download, THE THEORY OF LIGHT & MATTER is an essential purchase for fans of heavy psychedelic rock. Mastered specifically for vinyl. Cover art by Harley & J. 150 copies Red/Black Marbled (HeviSike Exclusive), 250 White (Band and Distribution)
Pressing Details: 150 Copies – Black/Red Marbled – HeviSike Records Exclusive 250 Copies – White vinyl (For distribution, only 30 copies available here) Total press: 400 copies Artwork by Harley & J Contains OBI Strip with all information Mastered specifically for vinyl
PRE-ORDER: Friday 22nd May 2015 RELEASE DATE: Monday 22nd June 2015
