Admittedly, what I have to say about Høstsabbat 2024 hasn’t changed all that much since the Oslo-based festival’s last announcement, and that boils down to: the lineup is sick, it’s always a great time, I wish I could go. If you want to skip the rest of my yammering and go straight to the blue text from Høstsabbat‘s socials, you’re not going to hear me tell you you’re wrong.

Four bands this week join the bill, and as the headline above states, it’s Tusmørke, Kosmodome, Häxer and Uma. I’ve seen the first two — caught Tusmørke at Roadburn earlier this year and they were the most fun of anybody while still also being good, and Kosmodome two years ago at Freak Valley and they also ruled; their new album is out Oct. 11 on Stickman — but Häxer and Uma are new to me, which as the announcement itself posits, is a good thing. You need new blood to mix with the old. Otherwise, what’s the point?

I won’t be there to catch them — have I mentioned how fucking bummed out I am not to be going to Høstsabbat this year? sit down, it’ll only take three hours or so — but you might. Høstsabbat is Oct. 25-26, and if you’re not familiar yet, the full bill-thus-far is below. Yeah, it’s cool. Just Inter Arma and Träd, Gräs och Stenar playing the same stage. Definitely the kind of thing you run into all the time. Not a special once-in-a-lifetime happening or anything. Totally pedestrian.

Fucking hell.

Anyway. Hope you skipped all this:

As Høstsabbat is getting closer by the day, preparations are in full swing.

To leave summer behind doesn’t feel that bad at all anymore.

Souls and minds are slowly gearing up for the annual assault of volume, goodtimes, fringes, beers and the needed, deadly amount of murderous, earth shattering rumble.

To welcome you, as the church bells chimes in honor of the Sabbat, we have invited the greenest of wizards, the weirdest of men – our long time acquaintances in Tusmørke.

Even though they are, for us at least, Høstsabbat heavy weights, they haven’t been featured on our festival lineup since 2013. Our very first year.

That’s some occult wizardry for you right there!

To balance these veterans, we obviously need some youngsters. Häxer has been flying high since there debut EP earlier this year, and it’s a no brainer to have their piercing energy transform to Witch Punk before our very eyes.

Another no brainer is the Høstsabbat introduction of Oslo based two-piece UMA. No strangers to any metal head with half a foot in the underground. They have crushed skulls with their progressive, neanderthal sludge for years albeit their young age.

Two guys, massive and intricate, growls and filth.

This time Høstsabbat will be their ritual.

To round up this batch of bands, we are excited to welcome what will probably be one of Norway’s hottest new acts in the coming years. Kosmodome from Bergen managed to score a record deal with the VERY magnificent label Stickman Records, and their label debut will be unleashed just in time for their appearance at Høstsabbat.

Kosmodome floats around in an intriguing sphere of proggy, lush, psych rock with some kind of updated flare to it. It’s almost catchy even.

We’re glad we are invited for ride!

Please welcome these four beautiful bands to our October gathering!

Design by Thomas Moe Ellefsrud / hypnotistdesign

SPOTIFY PLAYLIST
https://spoti.fi/3tkuMZl

NEWSLETTER
https://bit.ly/HostsabbatNews

https://www.facebook.com/hostsabbat/
https://www.instagram.com/hostsabbat/
http://hostsabbat.no/

Høstsabbat Spotify Playlist

As Green Lung make ready to embark on their first round of US touring ever — I always worry touring the States is going to break up UK or Euro acts who’ve never been here before because, well, traveling bands get treated like garbage here compared to other places; good luck to them on living in that stereotype for a week-plus; see you at Desertfest — in about a week’s time, they’re already announcing plans for early next year. What will reportedly be the end of the touring cycle for 2023’s Nuclear Blast label-debut and their third LP overall, This Heathen Land (review here) will also be the most extensive continental jaunt they’ve undertaken to-date. As they have all along, then, Green Lung continue to grow and expand their listenership/fanbase.

And of course, what does the end of a touring cycle mean except the start of an album cycle? I have no info on new Green Lung material, where they’re at in writing or recording, if they’re playing new songs live or digging into the back catalog or what, but as a band who’ve only moved forward since their outset, it seems reasonable/fair to expect that to continue in good order. Unless America ruins it, which, again, one hopes doesn’t happen.

From a Bandcamp update:

GREEN LUNG – THE HEATHEN NEVERLAND TOUR 💚 🗡️ 🌙

We are thrilled that in addition to the previously announced London and Manchester shows, we will be embarking on our biggest tour of Europe yet with Unto Others in February next year, which will include club shows in Sweden, Norway, Finland and Portugal for the first time, and feature support from Satan’s Satyrs. We’re so excited to be bringing the THIS HEATHEN LAND cycle to an end with this grand finale. Tickets for all new shows are available now from greenlung.co.uk. Come, join our rites!

06.02.2025 – SE, Gothenburg – Pustervik
07.02.2025 – NO, Oslo – John Dee
08.02.2025 – SE, Stockholm – Debaser Strand
10.02.2025 – FI, Tampere – Olympia-Kortteli
11.02.2025 – FI, Helsinki – Korjaamo
13.02.2025 – DK, Copenhagen – Amager Bio
14.02.2025 – DE, Hamburg – Gruenspan
15.02.2025 – BE, Antwerp – Zappa
17.02.2025 – UK, Bristol – Marble Factory
18.02.2025 – IE, Dublin – The Academy
20.02.2025 – UK, Glasgow – The Garage
21.02.2025 – UK, Manchester – O2 Ritz
22.02.2025 – UK, London – O2 Forum Kentish Town
23.02.2025 – NL, Utrecht – Tivoli Vredenburg-Pandora
24.02.2025 – LU, Esch-Sur-Alzette – Rockhal
25.02.2025 – FR, Paris – Trabendo
26.02.2025 – FR, Toulouse – Rex
28.02.2025 – PT, Lisboa – LAV – Lisboa ao Vivo
01.03.2025 – ES, Madrid – Sala Copernico
02.03.2025 – ES, Barcelona – Razzmatazz 2
04.03.2025 – IT, Milan – Legend Club Milano
05.03.2025 – AT, Vienna – Flex
06.03.2025 – DE, Munich – Backstage
07.03.2025 – DE, Berlin – LIDO
08.03.2025 – DE, Bochum – Matrix

Green Lung US dates:
09/13/24 BALTIMORE, MD Metro Gallery
09/14/24 BROOKLYN, NY @desertfest_nyc
09/15/24 BOSTON, MA Sonia
09/16/24 MONTREAL, QC Fairmount
09/17/24 TORONTO, ON Velvet Underground
09/18/24 DETROIT, MI Small’s
09/19/24 COLUMBUS, OH Ace of Cups
09/20/24 PHILADELPHIA, PA Milkboy
09/21/24 RICHMOND, VA Music Hall

Green Lung:
Tom Templar: Vox
Scott Black: Guitars
Joseph Ghast: Bass
John Wright: Keys
Matt Wiseman: Drums

https://www.facebook.com/greenlungband
https://www.instagram.com/greenlungband/
http://www.greenlung.co.uk/
https://greenlung.bandcamp.com/

https://www.facebook.com/nuclearblastusa
https://www.instagram.com/nuclearblastrecords/
http://shop.nuclearblast.com/en/shop/index.html

Green Lung, This Heathen Land (2023)

Named in honor of one of the standout hooks from Howling Giant’s 2023 LP, Glass Future (review here), the ‘Sunken City Espresso Roast’ was a surprise from the moment I opened the bag. It is the second collaboration between the Nashville-based band and Frothy Monkey Roasting Co. behind 2021’s ‘Doomsday Express’ medium roast (review here), and had a lot to live up to in terms of the standard that first joint effort set. Sipping it from my Spock mug over the course of the last few mornings as I ground my way through the 12 oz. bag (that’s .34 kg for you metric types) one pot at a time, I was not disappointed.

As noted though, I was surprised. In my apparent ignorance of roaster norms, I tend to think of ‘espresso roast’ as darker, often greasier beans, but when I dumped the bag into the hopper of my grinder — I use an electric burr grinder that gives pretty even output, and grind coarse for an electric Chemex pourover machine; I use bottled water because my tap water has too much limestone and could measure temperature if I was so inclined, but frankly, there are only so many hours in the day — the ‘Sunken City’ beans were markedly light. A quick googling of potentialities informed me that it’s definitely a thing actual coffee reviewers/experts on the internet have opinions about, but that a lighter espresso roast is basically fair game, particularly in a ‘craft’ context.

And as I’m shoehorning disclaimers to cover for the fact that I don’t really know what I’m talking about — that should be familiar enough by now — I’ll say that while it surely would’ve been nice to put the espresso roast in an espresso maker, I have no such apparatus at my disposal. One presses on regardless.

Having come down from my initial surprise and thereby broadened by horizons ever so slightly, I put the grounds in the filter and let the Chemex perform its drippy magic. My principle concern at that point was the acid content, which is just about always on my mind with lighter, drier beans. Where ‘Doomsday Express’ offered +1 dexterity, ‘Sunken City’ is billed as a +1 strength potion, so I expected a hit of flavor that I was glad to find realized on my first cup. Without being overbearingly fruity or nutty and offering a richer mouthfeel than I might have anticipated, I caught hints of what might’ve been in the compact setting of an actual espresso drink while still enjoying it as regular coffee, and like ‘Doomsday Express’ before it, ‘Sunken City’ found a balanced flavor that wasn’t too fancy or in-your-face, but classy and with a character of its own.

You could easily relate that to Howling Giant’s music — “Sunken City,” the song, and the record from whence it comes also find a balance between class and impact — and I’ll say that even as my own taste has veered toward low-acid darkness in roasts, I didn’t hesitate when it came to downing this one, and the creamier mouthfeel (I drink coffee black, exclusively) added dimensionality to the experience that I don’t always get from unburnt grounds. As the band get underway this week touring with Mars Red Sky, they seem to have pulled merch off their Bandcamp page that I assume they’ll be selling at shows, and that includes the coffee. The dates follow:

Howling Giant live:
w/ Mars Red Sky:
9/03 Chicago, IL – Reggie’s
9/04 Milwaukee, WI – X-Ray Arcade
9/05 Minneapolis, MN – 7th Street Entry
9/06 Sioux Falls, SD – Club David
9/07 Rapid City, SD – Fairground
9/08 Denver, CO – Hi-Dive
9/10 Portland, OR – The High Water Mark
9/11 Seattle, WA – Substation
9/12 Boise, ID – The Shredder
9/13 Salt Lake City, UT – Crucial Fest
9/14 Las Vegas, NV – Sinwave
9/15 San Francisco, CA – Bottom of the Hill
9/16 Sacramento, CA – Cafe Colonial
9/17 Los Angeles, CA – El Cid Sunset
9/18 Tempe, AZ – Yucca Tap Room
9/19 Albuquerque, NM – Launchpad
9/20 El Paso, TX – The Rosewood
9/21 Austin, TX – Ripplefest Texas
w/ GOZU:
9/24 Houston, TX – Black Magick Social Club
9/25 New Orleans, LA – Siberia
9/26 Atlanta, GA – Bogg’s Social & Supply
9/28 Nashville, TN – The East Room

I don’t imagine anyone’s going to get to a gig just to pick up a bag o’ beans — though if you do, that’s rad; I hope you stay for the music — but it’ll be worth keeping an eye on the merch page in case any is left when the tour is done. I’ll note as well that the ‘titan jellyfish’ design on the front of the bag is also on a t-shirt (I bought one since I didn’t feel like waiting until they come through in December for it), and if you prefer your logos on top of the design as I do — nobody needs to be reading words off my middle-aged belly — it’s got that going for it.

Whether or not ‘Sunken City’ will be the last time Frothy Monkey Roasting Co. and Howling Giant collaborate, I don’t know, but each of the two coffees these parties have done together offers something distinct from the other. For overcoming a not-what-I-expected first glance, ‘Sunken City Espresso Roast’ impressed all the more, and when/if the opportunity presented itself to do so — like, at a merch table — I would gladly indulge again.

Howling Giant, Glass Future (2023)

Howling Giant on Facebook

Howling Giant on Bandcamp

Howling Giant on Instagram

Frothy Monkey Roasting Co. website

Frothy Monkey Roasting Co. on Instagram

I kind of feel like the recurring headline for Michael Rudolph Cummings as regards solo stuff should just say “…Continues to Do Cool Shit” and leave it at that. New EP coming from the Boozewa frontdrummer, and apart from the golly-I-wonder-who-it’s-about “I Only Play for Money” leading off with a fuller-band arrangement around its post-grunge flow, and two acoustic cuts, his new EP Money rounds out with “Denver,” on which Cummings layers harmony and Dale Crover (Melvins, etc.) provides drums while Mlny Parsonz of Royal Thunder plays bass. I guess it’s nice to have friends. Probably helps when you’re not an asshole. I assure you I wouldn’t know.

Cummings will join Boysetsfire on their 30th anniversary European jaunt this month and will reportedly have a full-length out in 2025 to follow-up last year’s Ripple-issued You Know How I Get (review here), which is neat, and the EP is out Sept. 10 and is short, sure, but has even more going on than the names dropped above. So yes, as noted, Cummings continues to do cool shit.

No public audio from Money that I’ve found, but info and dates from socials:

September 10th 2024 my brand new ep “Money” will be released.

I’m so proud of this and I can’t wait to share even more of what I’ve been working on all year when I hit the road for the remainder of 2024 in Europe and the states alongside boysetsfire, Strike Anywhere, Coma Hole, Scissorfight, The Obsessed and MORE!

Tracklisting:
1. I Only Play For Money
2. Deny The World (acoustic)
3. Easier To Leave (acoustic)
4. Denver

See you all sooooon

Michael Rudolph Cummings w/ Boysetsfire & Strike Anywhere
European tour:
28.09 Wiesbaden DE Schlachthof
29.09 Amsterdam NL Melkweg
30.09 Hamburg DE Grosse Freiheit 36
01.10 Berlin DE Huxleys Neue Welt
02.10 München DE Backstage Werk
03.10 Wien AT Arena
04.10 Karlsruhe DE Tollhaus
05.10 Köln DE Palladium

mRc – guitars/vocals
Dale Crover – drums
Mlny Parsonz – bass
Patrick Shannon – guitars
Mike Bardzik – drums/electric piano
Dennis Pendergast – guitars
Chris Haug – bass

https://michaelrudolphcummings.bandcamp.com/
https://www.facebook.com/backwoodspayback/
https://www.instagram.com/backwoodspayback/

https://instagram.com/boozewa
https://boozewa.bandcamp.com
https://www.BOOZEWA.com

Michael Rudolph Cummings, You Know How I Get (2022)

Australian psychedelic rockers Druid Fluids are set to bring their particular brand of lysergic sunshine to European outlets this Fall. The go-where-the-song-goes outfit have announced a stint that will take them through Belgium, France, of course Germany, but also Spain and Portugal, and that’s noteworthy because you know not everybody makes stops in Iberia, let alone for multiple shows. The band are supporting their 2023 release, Then, Now, Again and Again (review here), and they have a fundraising show booked for Sept. 14 at Jive in their hometown of Adelaide to help them get there. Maybe you go and buy a shirt.

I won’t say a bad word about Europe’s circuit of Fall festivals, but while Druid Fluids would certainly work well doing that run throughout October, this tour is more of a standalone. It gets to Antwerp weeks after Desertfest, and the pop-and-prog-informed psychedelia the band proffer is likewise very much its own thing. I don’t have info on with whom they’ll be sharing these stages, but it’s a cool run covering a lot of ground (with some off-days included, maybe some sightseeing?) and I didn’t want it to pass unnoticed against the backdrop of a busy autumn. If you’re wondering why, the album stream is at the bottom of the post. I encourage you to dig in.

Dates from socials:

Merrily, merrily, merrily, merrily life is but a dream ..

𝗗𝗥𝗨𝗜𝗗 𝗙𝗟𝗨𝗜𝗗𝗦 𝗘𝗨𝗥𝗢𝗣𝗘𝗔𝗡 𝗧𝗢𝗨𝗥 2024

🇧🇪 16/10- Mcp-Apache,Fontaine-l’Evêque
🇫🇷 17/10 – Festival Ici Ithaque, Nantes
🇩🇪 18/10 – Waggenhallen, Stuttgart
🇫🇷 22/10 – Le Nautilus, Perpignan
🇪🇸 23/10 – Rock Beer The New, Santander
🇪🇸 24/10 – Radar, Vigo
🇪🇸 25/10 – Lata de Zinc, Oviedo
🇪🇸 26/10- La Atalaia del Gardonki, Sopelana
🇪🇸 27/10 – Krazzy Kray, Cambados
🇵🇹 30/10 – BOTA, Lisbon
🇪🇸 03/11 – Plant Baja, Granada
🇫🇷 05/11 – The Message, Troyes
🇧🇪 06/11 – Antwerp Music City, Antwerp
🇩🇪 08/11 – Dreikönigskeller, Frankfurt

To minimise the likely hood of having to sell a kidney at the end of the road we’re throwing a EU fundraiser gig at Jive, September 14th W/ pals Pasiflorez & The Dainty Morsels! We would love to see you there 💛💫

Massive thanks to Jonas at Yayayeah music & as always Jim Grimwade Design for the poster

https://www.facebook.com/druidfluidsband/
https://www.instagram.com/druidfluids/
https://druidfluids.bandcamp.com/
https://linktr.ee/Druidfluids

http://facebook.com/copperfeastrecords
http://instagram.com/copperfeastrecords
https://copperfeastrecords.bandcamp.com/
http://www.copperfeastrecords.com/

Druid Fluids, Then, Now, Again & Again (2023)

Confirmed: hemp and goats. There were plenty of both the day a crew of no fewer than 12 players in the sphere of Psychedelic Source Records — something like a collective, but looser, more casual — jammed in a field at the bottom of a small hill. Hemp behind and goats running around on the hillside further back. As I understand it, there was also a very large pig, but I didn’t get to see it. Can’t have everything, and it was already a full day of players switching in and out, trading instruments, stopping for a drink and then picking back up when somebody decided it was time — sometimes that was Bence Ambrus, who organized the get-together-and-jam I was fortunate enough to be hanging around for in Páty, Hungary, last month, sometimes it was someone else — to start playing again.

Released now as the 12-track/two-hour-and-19-minute Recorded at the Goatfarm, the day would seem to have been a success. Obviously unnamed while they were being made up on the spot, songs have been given titles like “Goats on the Horizon” (12:35), “Sungarden” (6:29) and “Heavy Hemping” (7:10) — also “Mercat Encants” (19:52), “Slagamite” (9:56) and “Voids” (10:37), so not everything is strictly farm-relevant — and carved out of the live-captured, improvised pieces played in the grass under the summer sun with the breeze blowing around during the early August afternoon.

I won’t pretend to be impartial about it. It was incredible and humbling to be there while it happened, and hearing Márton Havlik‘s flute amid the languid heavy drift on “Wopila” (10:18), Krisztina Benus‘ vocals and synth on “Goat No. 8” (12:46) and the jazzy drumming — the day boasted three drummers in Máté Varga, Sándor Nagy and Krisztián Megyeri — behind the flowing lead guitar of “Blues From the Field to Mass Customers” (8:35), it’s hard to think of the endeavor as anything other than a success. The fact that Psychedelic Source — and you’ll note on the cover here the ‘Records‘ is dropped — got more than a 2LP’s worth of material from it and have already hosted a similar happening-style jam less than four weeks after the fact would seem to hint toward agreement.

Whether it’s the walking bassline of “Sungarden” (6:29) or the extended cosmic build and float of “You and Me and the Goat Makes Three” (17:00), and no matter who’s playing where — on bass throughout: Ambrus, Barna Bartos, Dávid Strausz, Gergely Szabó, Róbert Kránitz; on guitar: Ákos Karancz, Dávid Nagy, Balázs Tavaszy, also Ambrus — the sound of the recording is alive and organic, exploratory as “You and Me and the Goat Makes Three” reaches into its last two minutes of standalone drone guitar meditation and in the banjo-style saunter of “Hamaku,” with what might be Havlik on zither in the mix alongside the lighter-strummed guitar, and duly broad for having been cast into the open air. Given its near-20-minute reach, it’s not necessarily any great surprise “Mercat Encants” is especially encompassing, but it gets there through likewise expansive and patient flow, a resonant echo of effects tying together movements through and down the other side of its builds. Was that Karancz on guitar? Could be, but from the wash at its most fervent circa 11 minutes in through the will-to-meander course taken from there on, the entrancing aspects of what Psychedelic Source Records does remain at the fore for the duration.

It’s hard to know where my always-spotty memory ends and the actual listening experience of Recorded at the Goatfarm begins, but there is some very fortunate overlap between the two as the extended release plays out. To wit, the wah-drenched pastoralism of “Voids” and the openness in terms of style. Under the vast blue sky depicted on the cover from over to the side of where the jams were happening, seen through tall grasses creating an easily surmountable barrier between where the van was and where instruments were being played — it was an easy walkaround if you didn’t feel like going in the grass — the sounds didn’t have the same kind of immersion as they do on headphones in the after-the-fact, but they complemented the sunshine and warm air gorgeously, and they still do when put in that context.

Varying in length, personnel and intent, each jam finds its own way. “Voids” noodles out like slow-motion Earthless as it heads to its shimmering-tone midpoint where flute-inclusive closer “The Last Goat Was Capricorn” feels more expansive with a current of effects or synth running beneath the main guitar ramble and set atop a vital percussive pulse. In spirit and execution, the material is meditative, and depending on who’s doing what where, it can get pretty far-out if you want to start mixing metaphors between the terrestrial setting and the ever-expanding cosmos just on the other side of the blue sky noted above, but if the music takes you someplace other than where it was made, I think that’s valid. As much as Havlik‘s flute and Benus‘ voice might provide an intermittent folkish tie, there’s plenty on Recorded at the Goatfarm that comes across as otherworldly and ethereal, including those elements.

Ultimately, Recorded at the Goatfarm fits in with the mellow sprawl of many Psychedelic Source Records releases. Less pointed than some of what the likes of Pilot Voyager or River Flows Reverse put together in terms of songwriting, but harnessing something of the primordial energy that lies beneath that craft. As with the best of improv-based heavy psychedelia, there’s appeal in concept and audio alike — that is, you’re not sacrificing listenability to either experimentalist concepts, and there’s no one indulgence taking away from the impression of the whole. Aspects stand out, be it a guitar or bassline, a drum progression, flute, voice, synth or whathaveyou, but the entirety is bolstered by all participation in the process including — one likes to think — that of the after-the-fact listener.

I guess what I’m trying to say is Recorded at the Goatfarm represents something special about Psychedelic Source in a way that much of what comes out through their Bandcamp also does, and that however special it might have been to be there while these sounds were being made, there’s more on offer here sound-wise than my own sentimentality. I may not be there to witness it, but I hope the next goatfarm session produces such vibrant results.

Psychedelic Source Records, Recorded at the Goatfarm (2024)

Psychedelic Source Records on Bandcamp

Psychedelic Source Records on Spotify

It had been a little bit, so I took the tour announcement below from Midwestern fuzz crushers Telekinetic Yeti as a cue to put on 2022’s Primordial (review here) and see how it’s held up. The answer is it still rules, which I guess shouldn’t be any kind of surprise if you heard it. The willfully primitive crunch that would seem to be alluded to in the title is the very heart of modern tone and riff worship, but it’s not like that was going to come off as dated two years later, and in slower nods and moments of rounded-edge, thickened gallop, Telekinetic Yeti never lose themselves in their own burl. Considering the quantities involved there, that is something of a miracle.

They toured hard before the record and have continued the pattern after as well. I can’t help but wonder if 2025 won’t bring new material from them, but they’ve done well in terms of keeping momentum on their side and it would be unreasonable to expect otherwise at this point. The current run will take them north into Canada for a few shows before they loop down the Eastern Seaboard to finish in North Carolina. New material or none, they remain a band worth seeing if you haven’t, and that’s about as plain as I can say it.

From social media or wherever:

Come rip some with us and Bonginator as we skim the northern crest and then venture to Ontario and Quebec before hitting the eastern seaboard! Tix: http://tonedeaftouring.com/yeti

9.25 Milwaukee WI @ Shank Hall
9.26 Dubuque IA @ The Lift
9.29 Cleveland OH @ Grog Shop
9.30 Detroit MI @ Smalls
10.01 Pittsburgh PA @ Mr. Smalls Theatre
10.03 Ottawa ON @ Dominion Club
10.05 Toronto ON @ Bovine Sex Club
10.06 Montreal QC @ Pirhana
10.07 Quebec City QC @ L’Anti
10.08 Manchester NH @ Jewel
10.09 Baltimore MD @ Metro Gallery
10.11 Richmond VA @ Cobra Cabana
10.12 Raleigh NC @ Chapel of Bones

Telekinetic Yeti is:
Alex Baumann – Guitar/Vocals
Rockwel Heim – Drums

https://www.facebook.com/telekineticyetiband/
https://www.instagram.com/telekinetic_yeti/
https://telekineticyeti.bandcamp.com/releases
https://telekineticyeti.com/

teepeerecords.com
https://www.facebook.com/teepeerecords/
https://teepeerecords.bandcamp.com/

Telekinetic Yeti, Primordial (2022)

Don’t let me keep you. There are two songs up now from the new Sandveiss album, Standing in the Fire, and the initial urgency and melodic craft of “No Love Here” speaks better for itself than any of my ongoing blah-blah-blah — from the current of black metal in the guitar informed by Europrog to the stately wash and jabbing that takes hold amid the Elderian twists later — could hope to. And bonus, “No Love Here” is one of two cuts the Quebec City four-piece are streaming along with opener “I’ll Be Rising” which has a soar and charge for something of a different feel. Together, the two give some clarity to the kind of scope Sandveiss are bringing to the record, as the PR wire informs. I haven’t heard the full thing yet — that’s okay, it’s not like October is next month or anything; I’m sure there’s plenty of time and I don’t need to feel like I’m in a rush on everything and I can take my time and actually experience let alone enjoy listening to music, right? RIGHT??? — but there’s plenty of encouragement to dig in between the pair of tracks currently out there, and as I said at the start, if you want to just go ahead and dig in below, then by all means, have at it.

From the PR wire:

Sandveiss Introduces New Album “Standing in the Fire” With Two Powerful Singles “I’ll Be Rising” And “No Love Here”

“Standing in the Fire” Out October 11th, 2024

Sandveiss is a heavy rock band from Quebec City that came to life in 2011. Their music is heavy yet also melodic. On a songwriting level, they like to go to “different places” on the same album, and each time pushing things a little further towards new directions while staying true to what they really are. This is exemplified on the first two singles off their upcoming album “Standing in the Fire”, which comes out on October 11, 2024, from Folivora Records. The singles “I’ll Be Rising” and “No Love Here” paint a juxtaposed image of the band, Vocalist/guitarist Luc Bourgeois comments on the latter:

“I guess that the song “No Love Here” isn’t a typical single due to its longer and unconventional structure, but we wanted to release singles that represent different moods of the album. This track clearly demonstrates the band’s prog-rock influences, both in its musical arrangements and in its sounds and textures. Regarding the lyrics, I rarely write about light subjects, and this one is no exception: I wrote it as a reaction to the alarming and horrific rise in domestic violence and femicide, especially during the pandemic. Not one more.”

“No Love Here” is the most prog-rock song on the record. The longest one, the more “developed” and unpredictable in terms of structure and sound. “I’ll Be Rising” uses a blend of heavy riffing, melodic parts, and somewhat unusual time signatures for the band. It gives the song a proggier feel but still has a lot of their more “usual elements”. A good balance between what they’ve always been and what’s new. Lyrically, it’s a song about resilience, justice, and empowerment from the perspective of a survivor of rape and abuse. Anxiety, shame, depression, and the fear of not being believed.

Sandveiss likes to guide the listener through different kinds of emotions on the same album while of course trying to maintain a certain level of coherence and continuity. A bit like different chapters of the same book. Even the singles were chosen to demonstrate different sides of the album and different moods. It is recommended for fans of Black Sabbath, Mastodon, and The Sword.

Track Listing:​
1. I’ll Be Rising – 5:03
2. Standing In The Fire – 3:51
3. Wait And See – 3:26
4. No Love Here – 7:26
5. Fade (Into The Night) – 3:48
6. Gone Away – 4:53
7. These Cold Hands – 4:57
8. Bleed Me Dry – 5:42

L-R (above) – Dominic Gaumond (Drums), Luc Bourgeois (Vocals, Guitar), Maxime Moisan (Bass), Shawn Rice (Guitar)

Band photo by Paul Di Giacomo.

https://www.facebook.com/Sandveiss
https://www.instagram.com/sandveissband
http://sandveiss.bandcamp.com/

https://www.facebook.com/folivorarecords
https://www.instagram.com/folivorarecords
https://folivora.ca
https://folivora.bandcamp.com

Sandveiss, Standing in the Fire (2024)