Maryland/Virginia doomers Spiral Grave follow-up on the February announcement that they’d signed to Argonauta Records with the art, details, and first audio from their upcoming debut album, Legacy of the Anointed. As the title hints, the band are clearly taking seriously the task before them in living up to the doomly inheritance of their three-fourths association with Iron Man, as well as that of paying homage to that band’s founding guitarist, “Iron” Al Morris III. No minor consideration. They’ve been working their way toward the LP basically since their inception a couple years back, and as a fan both of Iron Man and guitarist Willy Rivera‘s former outfit Lord, to say I’ve been looking forward to this one is something of an understatement.

The PR wire has it like this:

SPIRAL GRAVE Reveal Album Details And Share Brand New Music Video!

Maryland/Virginia- based doom metal veterans SPIRAL GRAVE have finally revealed more details about their upcoming album, entitled Legacy of the Anointed.

SPIRAL GRAVE, comprised of extraordinary vocalist Screaming Mad Dee, Iron Louis Strachan (bass), Mot Waldmann on drums and former LORD guitarist Willy Rivera, was born in 2018 after the tragic death of their longtime band mate, Alfred Morris III, founding member of iconic IRON MAN.

Setting the mood for a classic heavy as hell and in your face doom, SPIRAL GRAVE quickly carved a place for themselves in North America’s heavy music scene, playing well-received sets at New England Stoner Doom Fest or the Maryland Doomfest. Ever since the release of their first single, Nothing, in mid-2019, fans have been impatiently waiting for the band’s first full-length album. But finally, the wait is over: SPIRAL GRAVE’s Legacy of the Anointed will be out on July 16, 2021 through Italy’s powerhouse label Argonauta Records!

Today, SPIRAL GRAVE have released a first music video taken from their upcoming debut. Says vocalist “Screaming Mad” Dee Calhoun: “The song is based on the HP Lovecraft story “The Dunwich Horror,” and tells the first half of the story. It is meant to be a companion to the Iron Man track “Thy Brother’s Keeper (Dunwich pt. 2),” which appeared on the album South of the Earth.” Where the Iron Man track focused on Wilbur Whateley’s brother, “Nightmare” focuses on Wilbur himself.”

Watch SPIRAL GRAVE’s video for the epic album opening track, “Nightmare on May Eve (Dunwich pt. 1)”, here.

“Some of the musical ideas that ended up as songs on our debut were initially written while I was still with my previous band but with a rift growing between myself and the other members over personal and musical differences, I decided to hold onto them til I was able to find the right vehicle for them.“ Guitarist Willy Rivera recently said about SPIRAL GRAVE’s upcoming debut.

“I wanted to step away from the extremity of my former band and get back to writing songs that were heavy but had hooks and a strong vocal presence. For this band, I wanted to draw from bands such as Dio-era Sabbath, Candlemass, Metal Church, Armored Saint, Mountain, UFO and Judas Priest with enough experimentation that would allow us to branch out on future releases. I wanted that to be the template and I found like-minded friends in the surviving members of Iron Man. I’ve known Dee for over a decade and met Lou and Mot from the scene and affiliations and while I knew working with them would bring certain expectations due to the legendary status of Iron Man, I was hopeful in what we could create and had a gut feeling that it would be great. I was very aware of the fact that you only get one shot to make your 1st impression and being that I was writing a lot of the initial ideas, it meant that I had a lot to prove…not to mention, the scrutiny that I may encounter from people who perceived me as somehow trying to replace Al Morris but you can’t replace a legend so you just try to make your own mark. So Spiral Grave is a new band with a debut album that I think will do justice to not only the scene we come from but those who helped pave the way…“

Legacy of the Anointed Tracklist:
1. Nightmare on May Eve (Dunwich pt. 1)
2. Modern Day Golden Calf
3. Out Of My Head
4. Nothing
5. Your Enemy‘s Enemy
6. Walking Talking Dead Man
7. Tanglefoot
8. Abgrund

Legacy of the Anointed will be released on July 16, 2021 via Argonauta Records, the album pre-sale has just started at THIS LOCATION: https://www.argonautarecords.com/shop/

https://www.facebook.com/SpiralGrave/
https://spiralgrave.bandcamp.com/
www.argonautarecords.com
www.facebook.com/argonautarecords

Spiral Grave, “Nightmare on May Eve (Dunwich Pt. 1)” official video

Iron Man, “Half-Face/Thy Brother’s Keeper (Dunwich Pt. 2)”

So this is episode 60 of the bi-weekly The Obelisk Show on Gimme Metal. Yeah, I know the banner above still says ‘Radio.’ I think it still gets the point across and I haven’t had time to make a new banner. In any case, I never would’ve guessed that I’d still be doing this thing for well over two years at this point. I don’t remember the date of the first episode, but I started keeping track of playlists at episode 06 and that was Dec. 2018. Was a pretty good show, too.

I’m not really doing anything special for the ‘anniversary,’ such as it is. But the show kind of works in stages, pushing into some progressive and/or psychedelic black metal before diving into heavy Americana, melancholia and doom and ultimately rounding out with SÂVER, whose 19-minute “Dimensions Lost, Obscured by Aeons” was too perfect a capper not to include. It’s something a little different than the usual heavy rock or psych or doom fare, but still tangential. Oh, and The Pecan puts a guest appearance in for the voice tracks. Always nice when he shows up.

Thanks for listening and/or reading. As always, I hope you enjoy.

The Obelisk Show airs 5PM Eastern today on the Gimme app or at http://gimmemetal.com

Full playlist:

The Obelisk Show – 05.28.21

The Obelisk Show on Gimme Metal airs every Friday 5PM Eastern, with replays Sunday at 7PM Eastern. Next new episode is June 11 (subject to change). Thanks for listening if you do.

Gimme Metal website

The Obelisk on Thee Facebooks

Amsterdam heavy rockers Splinter have been steadily offering up singles for the last year-plus en route to this eventual signing with the Kadavar-run Robotor Records. They’ve got three to their credit as of now — the last of them was issued as a would’ve-been-Roadburn-exclusive; they were set to play in 2020 — and six songs accordingly that either will or won’t be featured on their impending debut album. When that’s coming, I don’t know beyond the “later this year” it says below, but the band make a fitting first signing for Robotor, given their connection to former Kadavar tourmates Death Alley and general remember-when-it-was-just-rock-and-roll-and-that-was-dangerous-enough vibe. With their to-date unabashed poppier aspects, I’ll be interested to hear where the record goes.

You can see their “Bitter Sounds” video at the bottom of the post, and comment from the label and band follows:

Robotor Records signs Splinter

We’re beyond thrilled to announce our first signing on ROBOTOR RECORDS – ladies and gentlemen, welcome Splinter to our roster!

Lupus comments:
“A really exciting moment in our short label history. We have a long friendship with Douwe and Sander and KADAVAR have toured all over Europe with their previous band DEATH ALLEY. Together with Gertjan from BIRTH OF JOY and Barry, they have now founded the super rock n roll band SPLINTER. It is our honor to work with them!”

The Amsterdam based group will release a full-length album on ROBOTOR RECORDS later this year and we welcome you to follow their socials and stay tuned for more info to be revealed very soon!

Douwe adds:
“It’s an absolute thrill that SPLINTER’s first feat of arms is presented to you all by the cool and fresh ROBOTOR RECORDS. These guys have this (successful) sense of doing things your own way – a DIY spirit that also runs through SPLINTER’s veins. We’ve been hanging out with KADAVAR a lot over the past years, so we’re very excited to seal the friendship even further with this collaboration. And after being kept in the doghouse for so long, our imminent release now tastes extra extra sweet. It’s time to let the rubber band snap, and make it stick!”

https://splinter-music.com/
https://www.youtube.com/channel/UCRmxHGiHevwfQaQnjqyECCQ
https://www.instagram.com/splinter.generation/
https://www.facebook.com/splintergeneration
https://www.facebook.com/robotorrecords/
https://www.instagram.com/robotorrecords/
https://robotorrecords.bandcamp.com/
https://www.robotorrecords.com/

Splinter, “Bitter Sounds” official video

The Obelisk Questionnaire is a series of open questions intended to give the answerer an opportunity to explore these ideas and stories from their life as deeply as they choose. Answers can be short or long, and that reveals something in itself, but the most important factor is honesty.

Based on the Proust Questionnaire, the goal over time is to show a diverse range of perspectives as those who take part bring their own points of view to answering the same questions. To see all The Obelisk Questionnaire posts, click here.

Thank you for reading and thanks to all who participate.

The Obelisk Questionnaire: Dan Blomquist of Conclave & Benthic Realm

—

How do you define what you do and how did you come to do it?

I currently play drums in two bands from Massachusetts, Conclave and Benthic Realm. I grew up in a musical family with both my parents being performing violinists. I took piano lessons first growing up, played hand bells at my Dad’s church, then trombone and saxophone in grade school band but ultimately found my sweet spot with smashing things in the drums around sophomore year of high school. Been my drug of choice since.

Describe your first musical memory.

How about my first musical memory of when my musical taste changed from what I was raised to listen to and learn to play, to the heavier side of music. Around 1979 or so, my Dad and I made our ritualistic trip to Radio Shack. He was an electronics engineer and a hi-fi nut so this was like his second home. This particular trip I had enough money that I bought myself a small handheld AM/FM radio. As soon as we got home I headed out to Anne’s Variety Store to go purchase some penny candy with my totally badass handheld radio.

I ran to the top of the hill on the way to the store and BOOM! I had FM Rock Radio on! KISS was playing and I’d never heard anything like them before. That was the moment my tastes changed. My Dad would break my balls after that about every single band I would introduce to him, but he always encouraged me to play… and to play “quieter.” When my Dad passed away five years ago and I had to go through his belongings at his house, I found the radio was still there in a box with all kinds of other radios and gear. I took it home and have it to this day.

Describe your best musical memory to date.

Being a kid helping my Dad by carrying his music stand into what ever music hall, conservatory or orchestra pit he was playing in. He always made me feel like I was part of the orchestra or ensemble he was playing with and it felt amazing, like I was 10 feet tall.

When was a time when a firmly held belief was tested?

I’m actually coming up empty on this one. I suppose I could go back to when I stopped believing in God, but I’m not really sure that I ever truly believed in it to begin with. I’d like to be spiritual, but we’re all just organic matter that will rot away so what’s the point. My whimsical essence isn’t going to travel through the cosmos for eternity. Make the most of the time you’ve got. It’s all you’ve got. Believe that.

Where do you feel artistic progression leads?

Ultimately, where it’s supposed to I would say. Progression in the arts can be very different from one person or form to another. So how and where you progress is kind of organic, evolutionary and unavoidable. Plus progress is the route of all evil they say, so there’s bonus points for being evil.

How do you define success?

I’d define success as being able to take something positive away from everything you do even if you seem to fail at it. In other words, if you set a weight loss goal of dropping 50 lbs in a year and lose less than that in a year, you still succeeded in progressing towards your goal. If you don’t lose sight of that, you’ll continue on and reach your ultimate goal which was to lose the weight, even if it took a longer amount of time. To fall short of your goal and stop before finishing the journey is to be unsuccessful. Don’t stop, don’t give up and you’ll always succeed.

What is something you have seen that you wish you hadn’t?

Family and friends die from alcohol, drug abuse and suicide.

Describe something you haven’t created yet that you’d like to create.

Inner peace.

What do you believe is the most essential function of art?

Feeling. Whether you’re creating it or taking it in, it’s about how it makes you feel. The artist, the viewer, the listener, the reader, all of it, all of them, everyone.

Something non-musical that you’re looking forward to?

NON-musical in the immediate future would have to be my daughter and the youngest of my three, graduating high school in June and beginning her college stem classes this summer. She’s had more than her fair share of struggles and obstacles in her life leading up to this point and I couldn’t be more proud or grateful for the beautiful and incredible person she is.

https://www.facebook.com/conclaveband/
https://www.instagram.com/conclave_ma/
https://conclave1.bandcamp.com/music
www.argonautarecords.com
https://www.facebook.com/ArgonautaRecords/
https://www.instagram.com/argonautarecords/

https://www.facebook.com/benthicrealm/
https://benthicrealm.bandcamp.com/
http://www.benthicrealm.com/

Conclave, Dawn of Days (2021)

Entierro release their new EP, El Camazotz, on June 18. At this point, I’ve covered the Connecticut-based metallers for the better part of seven years, going back to the cassette (or k7, if you prefer) of their self-titled EP in 2014, and to be perfectly honest with you, I’ve never really felt like they were a “fit” with the site. Even on El Camazotz, you can hear in the title-track, the riffs are sharp-edged, turning at angles with purpose between the verse and chorus, aggressive. Linear. Adversarial. They back that up with a Judas Priest cover, by the way. So yeah, it’s heavy metal. Heavy metal enough that both Christopher Begnal and Victor Arduini (the latter also of Arduini/Balich) are listed as lead guitarists, and even heavy metal enough that it’s true.

But while “heavy metal” has never really been what this site’s been about, I guess I’m just a sucker for it sometimes, and Entierro fit that bill. El Camazotz, before it gets to that take on “Call for the Priest,” brings four originals in “The Penance,” “The Tower” and “The Past,” the latter of which you can hear premiering in a lyric video below. It’s the centerpiece, the shortest cut at just under five minutes — everything else is a bit over that line, totaling six tracks/26 minutes for the EP — and the catchiest of the bunch, and though there’s a certain letting-loose happening in the cover tune, “The Past” brings into emphasis the band’s own songwriting prowess, with guitar solos used in classic dramatic fashion atop choice riffs, vocalist/bassist Christopher Beaudette (who’s apparently also in Jasta? oh, Connecticut underground, you’re so weird) smoothing out some of the gruffer style in his voice as compares to “The Penance,” which jabs its central riff in an opening aggro showcase. It’s classic hook-’em-and-hold-’em fare either way, and Entierro do it well, propelled by the gallop of Dave Parmelee‘s drums all the while.

The title-track follows the three “The…” cuts, and I suppose is another one if you put it through translation. The title refers to the human/bat creature out of Mesoamerican mythology that has been the subject of many, many clickbait pieces claiming to have unearthed the secret origins of Batman. Yes, we know. And Superman is a Golem. No shit. In Entierro‘s hands, the subject is granted more substance, as well as a mid-tempo chug that’s nothing if not a suitable lead-in for the cover that rounds out as well as a reinforcement of the EP’s intentions in renewing the aggression of the “The Penance” and “The Tower” behind it. It is a short release, but Entierro clearly put thought into its construction, and in following 2018’s self-titled full-length (discussed here), the band’s wholehearted embrace of their roots filters smoothly through their own craft methodology and only suits them. If you’ve ever raised horns in earnest, they’d like to have a word.

Video follows here. Please enjoy:

Entierro, “The Past” lyric video premiere

Pre-order
https://entierro.bandcamp.com/album/el-camazotz

Lyric Video from their 2021 ep “El Camazotz.”

Connecticut’s Entierro release their long awaited follow-up to their 2018 Self-titled full length on June 18th. Entitled El Camazotz, after the Mayan bat god associated with night, death and sacrifice, the five song EP represents a new chapter in the story of the band. Recorded just prior to the pandemic at Studio Wormwood in Northeastern Connecticut under the engineering mastery of Dave Kaminsky, the songs harken back to the NWOBHM and traditional heavy metal bands that they grew up listening to. This also marks the first truly collaborative effort with former Fates Warning guitarist Victor Arduini, who had joined the band just prior to the recording of their 2018 full length.

On this release, he was an integral part of the writing process working alongside vocalist/bassist Christopher Beaudette (Jasta, NightBitch,) drummer Dave Parmelee (One Master) and second guitarist Christopher Begnal making it a much more definitive presentation of their creative vision. Together, Entierro is solidifying their ability to create songs that manifest the crushing sound that they hope metalheads can continually find inspiration in.

Track Listing
1. The Penance
2. The Tower
3. The Past
4. El Camazotz
5. Call for the Priest [Judas Priest cover]

Album Credits: Mixed and Engineered by Dave Kaminsky at Wormwood Studios, Mansfield, CT. Album Artwork by Maxwell Aston Art. Mastered by Nick Zampiello of New Alliance East Mastering.

Entierro are:
Christopher Beaudette – Vocals/Bass
Christopher Begnal – Lead Guitar
Victor Arduini – Lead Guitar
Dave Parmelee – Drums

Entierro on Thee Facebooks

Entierro on Instagram

Entierro on Bandcamp

Actually-experimentalist three-piece Trialogos will make their full-length debut on June 18 with Stroh zu Gold. Issued as the 100th release for respected purveyor Exile on Mainstream, the project’s first offering brings together a range of seemingly disparate elements, styles and methods, propelled by the willfully-off-the-wall creativity of multi-instrumentalists Kiki Bohemia, Sicker Man and Conny Ochs. And while the latter’s singer-songwriter stylings might be familiar to those who’ve followed his work either as a solo artist or in his Wino & Conny Ochs duo, Trialogos departs such traditionalist structure — there’s guitars in here of various kinds, but from opener “Lavu Santu” onward, the idea is so much more about texture than strum — and the eight-song/39-minute offering varies direction on a per-track basis, ready and willing to go where a given piece might lead.

In the opener, that’s to a droning wash. In the subsequent title-track, it’s key-backed dance-groove night-vibing. In “Batdance” — sadly not a Prince cover — it’s harsh-industrial blast turned to ’80s popmaking turned to ambient noise twists. And in “Il Terzo Sogno,” which I’m going to assume is the wrap for side A, there is some acoustic drum in a modernist-classical-feeling progression; it feels like a lifeline considering the ground Trialogos have covered. And side B mirrors the intent, with “Mali:Berlin” progressing early into a buildup of string sounds around a central rhythm before dropping to drone wash and malevolent churn in its final moments, “Rip Current” renewing the mechanized feel that the opening of “Batdance” hinted at but pushing it into willful aural drudgery, and “Wellenreiter” boasting a few Ulver-style lyrics sung over a desolate soundscape that comes to life in consuming fashion, the voices no more expected than anything by that point but no more out of place.

It is a drifting, floating presence Trialogos create, but Stroh zu Gold is satisfying in its exploration. “Wellenreiter” gives way to the immediately wistful “Hikikomori,” which presents a lonely vision for a lonely time in its arrangement of strings, guitar and effects. Its shorter run recalls the cinematic touch of “Il Terzo Sogno,” and it rises and recedes subtly into the keys and loops that finish in a fade. The band performed “Hikikomori” (among others) in March at WUK Halle/Saale in collaboration with a dance performance by Ellen Brix, and it’s from that footage — suitably manipulated and mirrored, etc. — that the video below comes. There’s also a link where you can see the original dance pieces if so inclined.

Stroh zu Gold isn’t going to be for everyone, and it isn’t meant to be, but it’s a personal expression on the part of Trialogos and resonates in a very real and emotional way for something that so readily leaves the straightforward behind. You would call it evocative for its ability to take you from one place to another.

Please enjoy:

Trialogos, “Hikikomori” official video premiere

Experimental/cinematic rock collective TRIALOGOS – formed by Conny Ochs, Sicker Man, and Kiki Bohemia – presents a new video for the track “Hikikomori,” from the trio’s impending debut LP, Stroh Zu Gold.

The album is available here: https://shop.mainstreamrecords.de/product/eom100

Hikikomori: (jap.) also known as acute social withdrawal, is total withdrawal from society and seeking extreme degrees of social isolation and confinement. Hikikomori refers to both the phenomenon in general and the recluses themselves.

The actual video footage used in the “Hikikomori” video is taken from a performance involving the dancer and choreographer Ellen Brix. In March 2021 Ellen Brix and TRIALOGOS worked together on a dance performance at WUK Halle/Saale in Germany. Brix had developed and constructed a special moving floor on which she danced, while the band supported her with music and sound. The “Hikikomori” video was filmed by Lutz Kretschmann with final editing handled by Tobias Vethake.

The actual dance video can be found here and appears courtesy of Ellen Brix: https://fb.watch/5wTP9JjsP_/

Sicker Man comments on the creation of the track, “TRIALOGOS is a project that was formed during the lockdown of the Coronavirus crisis and the character of this pandemic also defined the way we worked on this album. We were sitting secluded in our studio and improvising structures and musical elements. We interrupted the stream of sound only to eat and drink or to play cards while listening to our recordings. The music was a kind of campfire we sat around to keep us warm and sane. And as ‘Hikikomori’ was part of the session, that was recorded on our very first day; it really represents the atmosphere and process of Stroh Zu Gold.”

Conny Ochs describes the performance as a special experience: “The session at the WUK Theatre space in Halle was our first glimpse at something that came close to an actual live performance. When we were offered the chance to improvise together with Ellen, we sure said yes to the chance to gain access to such a space and play at a high volume finally after weeks of isolation. The experience was truly cathartic, both frightening in the sense of feeling that isolation still after all and facing the gaping void where an audience would supposedly be, but also healing, through simply letting the music reverberate between us, and the longing of each of us to share it. That is why we chose to release some of the material that was shot that day. Having in mind the idea that it can accompany this tune about loneliness and hope in a way that will transport our experience at WUK. That healing comes through sharing.”

Conny Ochs: Acoustic & Electric Guitars, Vocals, Bass, Drums, Percussion
Sicker Man: Acoustic & Electric Cello, Guitars, Juno 6, Moog, Lapsteel, Beats, Effects
Kiki Bohemia: Rhodes, Vocals, Bass, Dictaphone, Autoharp, Effects

Trialogos website

Trialogos on Facebook

Trialogos on Instagram

Exile on Mainstream Records website

It only makes sense that Colour Haze‘s new bassist would be someone already in the band’s orbit. After over 25 years, one wouldn’t expect them to either want or need to look further than their immediate surroundings for someone to fill the rather formidable shoes of longtime low-ender Philipp Rasthofer, whose departure was announced late last year. It just wouldn’t make any sense for them to move forward with a stranger.

Mario Oberpucher was announced as taking up the bassist position when Rasthofer left, and the band has reconfirmed the permanence of that, as well as made available to preorder a remix and remaster of 2003’s Los Sounds de Krauts, with downloads immediate and the CD out now as well; vinyl due this Fall. This was my first Colour Haze record and I hold it dear. I’m looking forward to reengaging with it in the new mix for a review.

The band are also confirmed to appear at Sound of Liberation’s delayed anniversary party next year in Munich, will issue a new live album and a new remaster of We Are.

Details on all this stuff, posted individually as separate updates on social media, follow here:

Dear Friends,

it was a tough year for all of us.

Philipp Rasthofer left Colour Haze for personal reasons within his family. Full of gratitude we look back on 22 great years and wish Philipp and his family all the best and health.

Our longtime live-sound engineer Mario Oberpucher is the new bassist in Colour Haze. We are looking forward to playing and creating new music with Mario.

Berthold Kröker, who already mixed our first shows and tours 20 years ago, will take over from Mario behind the console.

Due to a lot of changes in personal relationships since last spring and because of the loss of our rehearsal place in Munich work became very difficult for us, but we kept being busy, created new music and pushed things in new directions.

We all are looking forward for better times to come.

More news are coming up…

—

Elektrohasch 001-2 Colour Haze – Los Sounds De Krauts – remixed

Finally our 2003 classic Los Sounds De Krauts is available again!

mp3 and HiRes downloads as well as the 2CD can be purchased at www.elektrohasch.de now.

The DLP can be preordered – as always also in a limited handnumbered edition of 500 copies colored vinyl – and will be delivered in autumn.

We had constant trouble with broken data of the 15 year old digital recordings. In the end original sound engineer Tim Höfer managed to get all tracks back running so I could make a new mix of the album in my studio. Only in „Where The Skies End“ I had to record the vocals of the verse again– these were lost forever – everything else is the original live recording.

All this was necessary because the original digital masters were lost or damaged as well. So there was never an option to simply repress the record. I think with the new mixes the songs are coming back to life and the vibe and character of the old recordings get across even better. The new sound comes along with a new cover by Jessica Rassi/thegiantsplap.

—

We have to apologize for all the confusion about our tourdates last year. Obviously many promoters wanted to keep dates as long as possible but in the end had to cancel – so we never knew which concerts are going to happen by ourselves.

For this year shows in Germany and Austria and maybe the UK are booked. Dates will be announced at www.soundofliberation.com and www.colourhaze.de asap. More European shows are upcoming for 2022. We hope so much that with vaccinations normal live shows come back soon.

Confirmed: 10. – 11. June 2022: Colour Haze at the 2-days-festival “17 Years Sound of Liberation” at Backstage, Munich
E-Tickets: www.sol-tickets.de
Hardtickets: www.sol-records.com/collections/hardtickets

—

Releases:

Elektrohasch 062 – Colour Haze – 2020 – Live Vol. 3

We also wanted to offer a streaming concert last year. Unfortunately, with the loss of our rehearsal room, we had additional trouble so it didn’t work out. But we recorded at the Panorama Studio Pfaffenhofen a.d.Ilm the intended set of the never happened WeAre-Tour as 360° video – sort of an insight in our rehearsals.

And we played four shows last summer of which the Freak-TV-streaming-edition of the Freak Valley Festival was recorded on multitrack. Unfortunately the sound of that stream (by the local PA rental) was far from how we actually sounded live. And even more the multitrack recordings were destroyed by strange digital distortions so I couldn‘t replace that „mix“ by my own. In the end we managed to restaurate these recordings. I will release the very nice Transformation version of the Freak-TV show together with recordings from the Panorama Session (a.o. Moon in a different new arrangement and the better live-version of Überall) on LP – sort of a retrospective on this memorable year. The CD / DVD will include the video-recordings and we offer them also as download.

The next project….

We Are remaster

In the hurry to have We Are pressed on time for the tour in march 2020 – which in the end was cancelled – I didn‘t master the record the way as I intendend and was slightly annoyed about that. So in the meantime I remasterd the album. Not a big difference but sonicly more open and fresh. The downloads and since this month the LP are already the new version. The original CD will still be on stock for some time. Don‘t be disappointed if you own the original version already – the difference is not huge.
Downloads

For an add of 5.- Euro all Colour Haze LPs are now also available with additional mp3 download at the Colour Haze / Elektrohasch webshop. There is also a package of the mp3 of all 12 available albums for 60.- Euro – also for those who already own some records and additionally would like to have the mp3.

Please understand that a mp3 download always causes extra cost by which I‘d have to raise the street-price of an LP for 5.- Euro – or I downgrade in the quality of the pressing, weight, cardboard etc. Every label who offers a „free download code“ in fact hides the extra costs one way or another. From many talks and emails with you I know that the majority still doesn‘t take great interest in an additional mp3 download. For some it‘s a nice and useful extra though I‘d of course like to give.

I still aim to deliver the best possible quality – 180gr. vinyl in a lined sleeve and a proper cover-cardboard, all printed in Germany – for a very good price. Therefore I hope I found a good solution that way for all.

I can only offer downloads for Colour Haze. With all other Elektrohasch artists I only licensed physical releases.

—

Last but not least…
With a lot of passion and enthusiasm I have been busy and creative and wrote the core-music for a new album which can become our best. We will find a way to work on it and intend to record this year.

COLOUR HAZE is
Stefan Koglek – guitar & vocals
Mario Oberpucher – live sound, sitar, bass
Manfred Merwald – drums

https://www.facebook.com/COLOURHAZE.official/
http://colourhaze.de/
www.elektrohasch.de
https://www.facebook.com/theripplemusic/
ripplemusic.bandcamp.com
http://www.ripple-music.com/

Colour Haze, Live 2020 at sunset

A raven clutching at pearls is the lead image of Australasia‘s new digital single “Perdere,” and it’s not too hard to imagine where they’re coming from with that. Every time I see someone on the social medias mourning the long passage of time without shows and/or expressing the hope that things can be what they were, as though the nigh-universal trauma of 2020-2021 never took place, it seems likewise that there’s a bird of death carrying off the memory of what was. Italy went through some hard shit. We all did. And by “we,” I mean the species.

“Perdere,” as noted below, translates to English as “to lose” — recall À la recherche du temps perdu — and is the first outing from Australasia since a two-songer in 2019 that followed on from their 2015 EP, Notturno (review here). Those who’ve heard them before or who might at least surmise from the fact that they take their moniker from Pelican‘s record of the same name will probably already guess that there’s an atmospheric focus in “Perdere,” perhaps a wistful, longing kind of feel, and well, you’d be right. The intention seems to be to release however many tracks as singles before presumably compiling them in some fashion, but as a leadoff for that, “Perdere” is intriguing and immersive.

Dig:

Australasia – Perdere

Streaming & Download Link: https://australasia.fanlink.to/perdere

“Perdere” (Italian for “to lose”) is the first piece of a series of singles, which will be published over the next few months, based on the concept of “Perdere e Ritrovare” (To lose and find again). A cycle where negative and positive events follow each other, leaving hope for the future does not fail, even at a time, like the present, when we look at it with so much uncertainty.

Musically, it’s a track centered around the sound of clean guitar that deflates into heavily distorted moments where the voice of a vintage RAT takes center stage. The riffs and arpeggios follow each other, ferrying the listener towards the final catharsis.

The artwork, created by illustrator Sara Fasolin (@sarabaun.art), depicts a magpie (also present in other Australasia covers), collector of forgotten objects or objects taken away from human beings.

The album was recorded and mixed at Last Floor Studio (@lastfloorstudio) by Francesco Barletta.

Label: Golden Morning Sounds

Lineup:
Gian Spalluto – Guitar, Bass, Synth
Giovanni Cilio (@giovacilio) – Drums

http://www.facebook.com/australasiamusic
https://australasia.bandcamp.com/

Australasia, “Perdere”