Houston three-piece/former-solo-project Fostermother appeared earlier this year at Ripplefest Texas, so maybe it shouldn’t be a huge shocker to find that The Ocean — their upcoming second album — will be released through Ripple Music. If you’re paying that close attention, kudos. For the rest of us, the news of the record’s Feb. 18 arrival — which came in like five days ago, lest you think I’m on top of my shit — is welcome just the same, particularly as it brings with it a first sample of the record in question with the video for “Hedonist,” showcasing the band’s blend of heavy rock and doom elements, a classic fuzzy tone being used to deliver somewhat darker fare.

I’ve been keeping a running list of bands whose records I’m looking forward to in 2022 in the Obelisk Collective on Facebook. Fostermother are on it. I didn’t catch their self-titled when it came out — see “not on shit,” above — but there’s a lot to dig into here and I’m interested to do so.

From the PR wire:

Houston fuzzed-out doom trio FOSTERMOTHER share details for new album ‘The Ocean’ on Ripple Music; watch new “Hedonist” video now!

Texas-based doom and fuzz metal merchants FOSTERMOTHER announce the release of their new album ‘The Ocean’, coming out February 18th on Ripple Music.

Originally a solo project Travis Weatherred, quickly joined by bassist Stephen Griffin, FOSTERMOTHER made an impression within the stoner and doom scene with their self-titled debut album. Now a three-head hydra with the addition of drummer Jason Motamedi, the band signed to Californian heavy rock powerhouse Ripple Music for the release of its follow-up ‘The Ocean”. This massive-sounding 7-tracker cranks it up on all levels: it’s darker, harsher, slower, fuzzier, more rumbling than ever, and uncompromising in its ability to drag any listener into the darkest alleys of the human soul.

Frontman Travis Weatherred about the album: “The album is largely about dealing depression and isolation. It also speaks on individuals who would eagerly trade everything and everyone in the pursuit of their own self-interest all while casting judgment on others. These behaviors have a negative impact on friends, family, and society as a whole. Depression is viewed in two ways lyrically; a lack of desire to take care of yourself and the drive to move past it by seeking redemption and new motivations. The Ocean represents Isolation in society. I often find my healing/coping process is found best when I clear my thoughts in quiet room which is where the album ends.”

All music was written and performed by Travis Weatherred (vocals, guitar, synth, drums) and Stephen Griffin (bass, keys, and additional guitar). It was produced and mixed by Travis Weatherred. The artwork was designed by UK-based painter Ryan T. Hancock.

FOSTERMOTHER New album ‘The Ocean’
Out February 18th on Ripple Music: https://ripplemusic.bandcamp.com/

TRACKLIST:
1. Sunday
2. Seasons
3. Hedonist
4. Dark Desires
5. Unholiest of Days
6. The Ocean
7. Arrival
7. Solitude

FOSTERMOTHER is
Travis Weatherred – Guitar, Vocals
Stephen Griffin – Bass
Jason Motamedi – Drums

https://facebook.com/fostermother
https://www.instagram.com/fostermothermusic/
https://twitter.com/fostermotherhtx
https://fostermother.bandcamp.com/
https://www.facebook.com/theripplemusic/
https://twitter.com/RippleMusic
https://ripplemusic.bandcamp.com/
http://www.ripple-music.com/

Fostermother, “Hedonist” official video

Fostermother, The Ocean (2022)

Loop released the Array 1 EP in 2015, and granted that was a 12″ platter, but the last time the outer-dimensional UK psych pioneers released a full-length was 1990. Sonancy, which will be out March 11, 2022, is available to preorder now, including in a limited edition LP and CD that includes bonus remixes by founding member Robert Hampson. Along with his guitar and vocals, Loop boasts The Heads members Hugo Owen Morgan on bass and Wayne Maskel on drums, and guitarist Dan Boyd, and if a studio album from Loop alone isn’t enough to raise your eyebrows in that casual-cool way you have about you, then a Loop studio album with The Heads‘ rhythm section should do the trick nicely.

First single up now. Preorders up now. I don’t mean to press the urgency here — I’m not in the business of selling records — but it’s hard to imagine however many editions of this record currently (pre-)exist won’t be gone in short order.

From the band’s site and social media:

LOOP – Sonancy

New studio album SONANCY is out on March 11 2022. Stream Halo and pre-order the album now at https://loopband.lnk.to/sonancy

All Sonancy Album Pre-orders from the Official Store come with a Free Soundheads Album Club membership. Presale access, online playback sessions and other opportunities are in the works…

Tracklisting:

Side A
1. Interference
2. Eolian
3. Supra
4. Penumbra I
5. Isochrone

Side B
1. Halo
2. Fermion
3. Penumbra II
4. Axion
5. Aurora

“Style wise, it’s incredibly different, going back to thinking about guitars and guitar sounds. Obviously you have to take into consideration things like percussive elements such as drums, which I haven’t been using in my other projects; but this is the mind set that makes up Loop.”

So says Robert Hampson, the indefatigable visionary behind inspirational sonic architects Loop, whose eagerly anticipated fourth LP Sonancy (Latin for “to create noise”) is the perfect document for these strange times. Dynamic, dystopian, righteously angry and unashamedly Loop-ian, it’s an album that marks a vital re-emergence for Hampson and co.

Indeed, with its rich mixture of styles and cadences, Sonancy is the sound of Loop in the 21st century, Hampson’s intense guitar work anchored by propulsive backing in service of songs with clinically dissociative titles such as ‘Eolian’, ‘Supra’, ‘Penumbra’ and ‘Fermion’.

“People who know my music well know that from the last Loop album onwards, my interest in chemistry, science and astronomy have come to the fore,” Hampson elaborates. “I use those titles but I use them in an abstract context. With the cutback, minimalist sound I wanted for this record, I wanted to do that with the lyrics and the titles as well. It’s very immediate. The songs are shorter in length, the lyrics more minimal than ever.

“I’m often asked to print the lyrics but I want people to approach our records with a sense of mystery, so you don’t necessarily know what’s going on. You may call it challenging. I’m influenced by J.G. Ballard and Philip K. Dick to a certain degree. Lyrically, if you listen to it intently, there’s this dystopian outlook. There’s a lot of anger in there. I don’t like seeing the wanton abuse of power, which is what we’re seeing right now and I’m disgusted by it. I wouldn’t say Sonancy is bleak though because I’m one of those people who believes there’s a chance for change. That may be naïve, but I always hope that people will come out of this coma they all seem to be in. I’ve imbued the lyrics with a little bit of hope.”

Hope is a powerful force, one perhaps needed more than ever today. Pandemic lockdowns stretched the making of Sonancy, recorded at long-term Loop soundman Joe Garcia’s Bristol-based studio Joe’s Garage, from an expected couple of weeks to almost a year. Still, if recording was elongated, the experience was made easier by the interplay between the members of what is the most enduring line-up of Loop to date.

“I formed Loop, I’m the sole original member, I’ll just carry on, but the current Loop line-up has been pretty stable for the last six or seven years. We have Wayne [Maskel, drums] and Hugo [Morgan, bass] from The Heads, who a lot of people know, a fantastic rhythm section, and Dan [Boyd] on second guitar, who offered us his services.

“I was very anti-guitar for a long time. You hear progressively through the Main period the guitar fading away. I just felt that it didn’t have any place in what I was sonically trying to do and I didn’t miss it at all. Now, having a guitar in my hands doesn’t bother me anymore as long as I can do something useful with it; and working with the current line-up we have, it’s very enjoyable indeed. Long may it reign.”

https://instagram.com/loopbandofficial
https://facebook.com/loopbandofficial
https://twitter.com/loop_band_uk

Loop, “Halo” 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: Karen O’Connor of The Lucid Furs

—

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

If you would have told 20 year old me if I thought I would end up singing on stage in front of a crowd, I wouldn’t have believed you. I puked after trying out for a solo in high school choir. My first involvement with the music scene was doing event booking and then screen printing t-shirts for bands. At that time I only sang to my dog, almost never publicly unless I had too many drinks.

I was asked to join my first band, Karmic Lava, after doing karaoke at a party, “White Rabbit” I think. I tried to back out of it but my friend Rob Cedar razzed me until I finally caved and came to my first band practice. I am very glad that he did. After a few live shows I came out of my shell. The music was good, just not really what I wanted to play and I didn’t have much of a hand in writing. Two years later, I left the project and began seeking out musicians to form my own, that project turned into The Lucid Furs. I still work for musicians as a printer and try to show my support to anyone who puts themselves out there, knowing how much courage and hard work it takes.

Describe your first musical memory.

When I was a kid my grandparents had this huge antique reed organ in their living room. Spent lots of my time pretending I was playing it while watching Lawrence Welk reruns on public TV. I vividly remember the day I realized I was finally tall enough to reach the foot pumps from the bench.

Describe your best musical memory to date.

In 2018, we played a show at World Famous Kenton Club in Portland. Not a particularly packed gig but, the energy in the room was radiant. As I got off stage I was stopped by a woman, who informed me that we had just played her wedding reception. Their previously reserved spot had double booked, so they moved it to our show spur of the moment. They were super cool, we took some pictures with them, hooked them up with some merch and a round. I’m not much for ceremonies but it did feel nice to participate in a momentous life event of a stranger.

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

My beliefs are continually being tested and that’s a good thing. I am too new to this world to permanently dig my heels in.

Where do you feel artistic progression leads?

A sense of inner peace and enhanced self worth.

How do you define success?

I only ever really set loose goals. Having a rigid definition for success always brought out the avarice in me. Right now the goal is simply to continue writing and touring with my three best friends. Continue pushing forward expanding the band’s horizons and making new connections with potential partners.

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

The US political atmosphere between the years 2016 and now.

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

I’d like to create a communal working space, not just my band but other bands from my area. There has always been a lack of functional private secure spots for musicians here, now more so than ever after the pandemic.

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

Comradery and connecting people from other walks of life.

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

I made sure our tour route landed us near SC on our Monday off so I can stop in Hilton Head Island and see my Grammy. She’s 95 years old, sharp and a tack, very sweet and a riot at happy hour.

http://www.facebook.com/thelucidfurs
http://www.instagram.com/thelucidfurs
https://thelucidfurs.bandcamp.com/
www.argonautarecords.com
www.facebook.com/ArgonautaRecords

The Lucid Furs, Damn! That Was Easy (2021)

With two full-lengths to their name — as well as an EP and some singles — London’s Desert Clouds have signed with Mandrone Records to issue their third LP next year. The album has been dubbed Planexit, which is enough to have me wondering if either it’s got political leanings, escapist leanings, or both. Brexit was/is a thing, and I can also see arguments for wanting to leave Earth altogether — xenophobic voting blocs among them — so as the band follows the streaming-below 2019 outing, Nothing Beyond the Cage, I guess I’m curious to understand where they’re coming from, perspective-wise as well as, you know, riffs.

Presumably the cover art would clear some of that up, though you never really know until you see a lyric sheet, and you don’t always see that either, especially in this age of streams and whatnot. But don’t mind me, I’ll just be over here old-manning about the format wars.

Which I apparently enjoy doing.

Rock and roll coming your way:

DESERT CLOUDS Sign To Mandrone Records

London based DESERT CLOUDS deliver ’60s psychedelic/rock influences and ’90s arrangements (or the other way around), with their own distinctive dark sound. The dynamic outfit sign to Mandrone Records as they prepare to release their new album Planexit in 2022.

The band comments:

“It took long but finally we have found the right people to work with. It’s not easy to find a label like Mandrone Records who prioritizes the artist’s point of view while they work all around it.

Drawing inspiration from all genres and influences from the likes of SYD BARRETT to LED ZEPPELIN to NIRVANA, and TOOL. Lyrically they often explore the darker side of the human condition and draw on interests such as the Italian artistic movement Decadentism, along with existentialism. DESERT CLOUDS have a career spanning two decades. Originating from Italy, the outfit have seen line-up changes, multiple releases, and worked with a range of producers.

https://www.facebook.com/desertclouds
https://desertclouds.bandcamp.com/
https://www.instagram.com/thedesertclouds/
https://open.spotify.com/artist/5eRXH30mqGAGRBF3ZLkzV7
https://www.facebook.com/mandronerecords/
https://www.instagram.com/mandronerecords
https://mandronerecords.com/

Desert Clouds, Nothing Beyond the Cage (2019)

The first outing from Amsterdam’s Temple Fang was the 2020 live album, Live at Merleyn (review here). Recorded in Oct. 2019, it was comprised of two extended pieces that showcased the Netherlands four-piece’s megacosmic psychedelia, a blend of atmospheres conjured through effects, gradual builds and patient craft. At that point, the band had already made an impression on Europe’s festival scene, having featured at Roadburn (review here) as well as Desertfest Belgium and being slated for a slew of subsequently-canceled/postponed 2020 festivals. Fang Temple, a 2LP issued through Right on Mountain and Electric Spark, is something closer to a studio debut, but its root is still in live performance, the band having snuck three sets between lockdown mandates on Dec. 13, 2020, at Db’s in Utrecht, recorded them, and subsequently used those as “basic tracks” to build the rest of the album around. So let us understand immediately, then, that Temple Fang‘s Fang Temple is not a record looking for rigid definition.

While the 79-minute offering from vocalist/guitarist Jevin de Groot (also synth/percussion), bassist/vocalist Dennis Duijnhouwer (also guitar/synth), guitarist/pianist/percussionist Ivy van der Veer and drummer Jasper van den Broeke (since replaced by Egon Loosveldt) approaches what might be considered escape velocity for space rock in the final stretches of 22:15 closer “Not the Skull” — a somewhat shorter rendition of which capped Live at Merleyn as well — stretches like the gentle, minimal, ceremonial beginning of opener “Let it Go/When We Pray” (21:54) aren’t so easily accounted for in terms of style apart from vague catch-alls like progressive or psychedelic. Some of the guitar meandering, underscored by a firm foundation of bass, can be traced back to de Groot and Duijnhouwer‘s work together in the underrated cosmic doom outfit Mühr, but as the first verses in “Let it Go/When We Pray” begin the forward procession of that song’s two-part movement — the shift “Let it Go” to “When We Pray” follows a crescendo solo section and drift-out that happens between minutes 11 and 14 — they set up a passionate vocal delivery in both stretches that becomes an essential part of Fang Temple‘s identity, particularly as “When We Pray” transforms gospel blues into multi-hued celestial worship; the repeated line, “When we trust the hand of god,” arriving as a shared joy rather than an entreaty to conversion.

It is not the first nor the last beautiful moment on Fang Temple. In fact, the album is rife with little-seeming flourishes that might be passed over on one listen while a highlight of the next, whether it’s the percussion backing the Floyd-via-Motorpsycho prog unfurling of “A Strange Place to Land” (18:01) or the jazzy jab of guitar at 5:22 that just seems to have a bit extra behind it than the others around it. No surprise, immersion of the listener is part of the intention, but as with their longform runtimes, Temple Fang are working on a scale of their own — aided by Niek Manders, who recorded the live tracks, and engineer/mixer Sebastiaan van Bijlevet at Galloway Studios in Nijmegen; both also provided “extra instrumentation” — in terms of aesthetic reach, and even if one might drift in and out on the float of guitar interplay from de Groot and van der Veer throughout “A Strange Place to Land,” both the vocals and the rhythm section effectively complement with a hint toward structure, even as elements might come and go, as the drums do after crashing out 13 minutes into the second cut fading way back as the guitars and bass set the plotline for the song’s last linear build, which brings the vocals back as part of the payoff no less engaging than was that of “Let it Go/When We Pray.”

Is that a landing? Not really. Duijnhouwer‘s bass becomes the central piece of “The Knife” (the shortest song at 17:42), but one would still hardly call the proceedings grounded. If anything, bringing the bass more relatively forward allows the initial guitar lines and effects swirls to feel all the more exploratory. “A Strange Place to Land” doesn’t hit the same kind of intensity as “Not the Skull,” but neither is it completely languid, and across its first 10-plus minutes, “The Knife” makes it seem like a rager, and it’s to the band’s credit that even when they begin the louder stretch of their penultimate inclusion, they hold firm to the graceful manner in which their journey began, either on that song or in “Let it Go/When We Pray” nearly an hour earlier. As “The Knife” hits its swell, it remains melodically resonant and light in its swing, not insisting, inviting, ending with a final curiosity of guitar as if to ask if you’re ready yet to go where “Not the Skull” inevitably leads.

And yes, the closer is inevitably about its thrusters-fired breakout in the second half, but that’s not even the only climax in the song, let alone the album surrounding. In a fitting summary of the record proceeding, “Not the Skull” balances its urgency with serenity, and its plotted feel with an improvised, this-is-how-it-happened-this-day-tomorrow-might-be-different sensibility that can be heard in the drums and guitar before it hits its midpoint. Maybe that’s reading into it knowing that it was at least in part recorded live — they are a band aware of narrative and their own ability to set it — but it’s supported as well by the fact that Temple Fang to-date have two releases, “Not the Skull” is on both of them, and it’s changed from one to the next. Further, “Not the Skull” does not neglect the finer details and nuances wrought by the songs before it, and even as the wash gives way to feedback ahead of the fireball about to be launched — have I mentioned that last payoff yet? — the hum feels mindful and no less purposeful than what follows as it relates to Fang Temple as a whole. It must have been quite a show last December.

As to Temple Fang‘s plans to return to touring or festivals or whatnot, I don’t know, but there is no question Fang Temple draws benefit from its methodology. The energy. The substance and the ethereal. The chemistry. They’ll be a different band their next time out, should such a thing happen, but with as much fervency as they deliver these songs, it’s hard to imagine they won’t want to push themselves further.

Temple Fang, Fang Temple (2021)

Temple Fang on Facebook

Temple Fang on Instagram

Temple Fang on Bandcamp

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: Jim Healey of Blood Lightning, Set Fire, We’re All Gonna Die, Etc.

—

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

I am a singer, guitarist and songwriter. I’ve been in a bunch of bands and my newest one is Blood Lightning.

I came to music probably the same way a lot of people did. My dad was really into music and had a decent/weird record collection that he was always playing. Depending on the day, we’d hear anything from The Righteous Brothers to The Beatles, the Moody Blues, Roy Orbison, Roger Whitaker, Bee Gees, Sandy Nelson etc. We had a couple of acoustic guitars kicking around in the house (although my parents weren’t musicians) so I would always try to bang around on those. My Dad showed my brother and I a remedial version of the “Satisfaction” riff on one of the acoustics one day at that was it. He got us electric guitars and drums from the Sears catalog the next Christmas, and I never looked back.

Describe your first musical memory.

I remember listening and dancing around to the old 45’s from my parents. My brother and I had a small Sears record player, and we would spend afternoons just playing through as many of these 45’s as we could. “A Taste of Honey” by Herb Alpert and the Tijuana Brass was a favorite.

Describe your best musical memory to date.

There are many, but I would have to say We’re All Gonna Die touring Ireland in 2007 opening for Diamond Head. We were just three dopes from Boston, and we were received and treated well. Definitely a high-water mark for touring.

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

I find that in the current political climate, this is an everyday occurrence.

Where do you feel artistic progression leads?

Artistic progression leads to being a better artist. I think the more you strive to be better player, singer or writer, the more “doors” that will open in your creativity.

How do you define success?

“Success” has been a moving target over the years. I find that now, I must be content to write and release music the I like and am proud of and just hope that someone vibes with it. Over the years, the best feeling has always been that one person who comes up to me after a show and tells me that they get it.

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

The heavy answer is my Dad dying.

The light answer is Chris Cornell releasing a dance album.

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

I’d like to write a perfect album. I figured with all the downtime from the pandemic that I could have started on my The Dark Side of the Moon, but that hasn’t quite panned out yet.

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

I believe art should convey emotion. Regardless of the medium, I feel that it’s the emotional response to art that keeps the world alive and moving forward.

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

I’m looking forward to my family being able to hang together for the holidays this year.

I’m also really looking forward to The Matrix 4.

https://www.facebook.com/bloodlightning
https://bloodlightning.bandcamp.com/
https://www.youtube.com/channel/UCzK8wKH5BET_4DWg_2Hp3hw
https://www.facebook.com/JimHealeySolo/
http://www.jimhealey.net/
https://jimhealey1.bandcamp.com/

Blood Lightning, “The Dying Starts”

Jim Healey, Nodo (2021)

Let the record show that the first thing I said about Naxatras‘ upcoming album, IV, was that the Greek now-four-piece were ‘going all in.’ The last thing I said about it was I expected copious tour dates to follow in good time. That was last week and, well, the proof is in the poster. Naxatras have never been particularly shy about hitting the road, but as they announce this long round of gigs alongside Puta Volcano, the band seem to be setting themselves up for a big response to the impending full-length, and I think they’re going to get it. More than anything, I’m curious if a US debut won’t be far behind. Psycho Las Vegas, maybe? That’d be just fine, thank you very much. Hell, they can bring Puta Volcano along for that too.

Sound of Liberation booked the run, and the band posted it as you see here, plus a few emojis:

Naxatras European Tour 2022

It feels so great to finally announce our next European Tour, it’s beyond words!

After more than two years since we played our last gig abroad, we can hardly describe how much we’ve missed you people.

Can’t wait to get back on stage and share moments of pure magic with all of you, see you on the road!

We are happy to share this experience with our friends Puta Volcano, who will be our special guests in every show of the tour!

Original artwork and design by CHRIS RW

Final layout by John Kontan

Thank you Sound of Liberation, for booking this.

31.03. – Sofia (BG), “Mixtape 5”
01.04. – Novi Sad (RS), SKCNS Fabrika
02.04. – Budapest (HU), Akvárium Klub Official
03.04. – Zagreb (HR), Klub Močvara
05.04. – Vienna (AT), ((szene)) Wien
06.04. – Linz (AT), Stwst Stadtwerkstatt
08.04. – Munich (DE), Feierwerk
09.04. – Jena (DE), KuBa
13.04. – Stockholm (SE), Hus 7
15.04. – Copenhagen (DK), VEGA
17.04. – Hamburg (DE), Knust Hamburg
18.04. – Dresden (DE), Chemiefabrik Dresden (Chemo)
20.04. – Berlin (DE), Bi Nuu
21.04. – Dortmund (DE), JunkYard
23.04. – Rotterdam (NL), Podium Grounds
24.04. – Paris (FR), La Maroquinerie
26.04. – Marseille (FR), Le Molotov
27.04. – San Sebastian (ES), Dabadaba
28.04. – Madrid (ES), SALA CARACOL MADRID
29.04. – Barcelona (ES), Sala Upload Barcelona
30.04. – Porto (PT), Hard Club
+ more to be announced!

Tickets: will be on sale very soon via https://www.naxatras.gr/tour

New single “Journey to Narahmon” drops November 26th already!

Pre-save “Journey to Narahmon” on all digital platforms: https://orcd.co/naxatras_journeytonarahmon

Naxatras are:
John Delias – Guitar, Vocals
John Vagenas – Bass, Vocals
Kostas Charizanis – Drums and Percussion
Pantelis Kargas – Keyboards and Synthesizers

http://www.naxatras.gr
http://www.facebook.com/naxatras
http://www.instagram.com/naxatras
http://naxatras.bandcamp.com
https://open.spotify.com/artist/6HN1s0JzLowapZ7nhOAJ71?si=w5UAkxrZQDujUwmi7tl8aA
https://www.youtube.com/naxatrasofficial

Probably okay now to admit that I wasn’t sure there was going to be another album from Swedish classic heavy rockers Långfinger, but as of a week ago, the band have finished basic tracks for the follow-up to 2016’s Crossyears (review here). Guitarist Kalle Lilja has been plenty busy as one of the operators of Welfare Sounds in Gothenburg, and drumming in Wolves in Haze, who have a new record out, so without hearing that Långfinger were actively… active… I kind of assumed they weren’t. Happy to have been mistaken.

I don’t know their recording schedule — the below was posted on Nov. 14 through social channels — so it’s possible the recording for the next Långfinger is done by now and the band have moved on to mixing and eventual mastering. While we’re talking about things I don’t know, I also have no clue what their release plan for their next outing might be. Crossyears came out on Small Stone, so that’s a possibility, certainly, but I can name three other labels off the top of my head that would likely welcome the trio with open arms — make it four — so I’m not even going to guess who or when.

But the “what” is a new Långfinger record and that possibility suits me just fine. Earlier this year, they filmed two songs live at Spinroad Studios outside Gothenburg and that clip can be viewed at the bottom of this post, along with the stream of Crossyears from Bandcamp, in case you’d like a refresher:

Hello earth!

As you all have noticed, we are in full swing of recording our first album in five years!

After six intense days at Welfare Sounds, pretty much all of the backing tracks are done. Next up is vocals and overdubs!

And as with our previous album ’Crossyears’, we once again chose to work with Olle Björk and Johan Reivén as the producing team, because we wanted the best!

The return of Långfinger is approaching fast!

Welfare Sounds
Bombastik Drum Recordings

https://www.facebook.com/Langfingerofficial/
https://www.instagram.com/langfingerband
https://twitter.com/langfingerband
https://www.youtube.com/langfingertube

Långfinger, “Meet the Hoopla” & “Skygrounds” Live at Spinroad Sessions (2021)

Långfinger, Crossyears (2016)