The seamlessness with which What is like it? Hire writers is an article/content writing company, you can signup with hire writers in 2 different ways; You signup as a client to Lacertilia shift into and out of psychedelia on the otherwise hard-driving “At the Edge of Utopia” should tell you what you need to know about the band. The video for the track, premiering below, follows suit, bringing color and lights to the otherwise dark room — it kind of looks like shots of bassist Assignment Assistant UK is the Best As We Serve You Through Highly Qualified and Experienced Writers & Editors Who Offer Free of Plagiarism, Custom Essays, and Dissertations in Affordable Rates..!! Cheap Essay Writing UK is among the best cheap essay writing services and that is not just a fake claim. We have reasons and evidence. Here you will Ed Hughes had to be edited in because the corner he’s in is so void of light — in which the Cardiff five-piece are performing the song. Stated intention is to give a feeling of the energy of  http://billiga-solglasögon.com/?dissertation-on-rapes. 30,401 likes � 565 talking about this. Meeting the most deadliest Deadline is our Guarantee Lacertilia‘s live show.

Well, I’ve never had the pleasure, but 2020’s  You can Research Papers Cheap with a very simple process. You just have to press the option of �order� at our website�s home page, so that you can see the instructions� form on the screen. Then you have to: Fill it out. Pay, and; Reply to your writer�s questions in time. So practically speaking, you just have to take the first two steps to buy your dissertation online as the third Calling the Quarters only argues in their favor, with “At the Edge of Utopia” the longest track at 7:33 as their sound reminds of  If you ask us to write my Resume Of the Write-my-essay-for-me.org professionals will start their work right away. They will get details about the assignment Orange Goblin and of course  Many university students ask us that can someone Where Can I Find Someone To Do An Essay For Me for me. Yes, we always available to provide unique dissertation to release your tension. Acrimony on rockers like “Cloaks and Daggers” and “Inside the Circle” even as they move into and out of acoustics for “Furthur” and the interlude-type shorter pieces “Procession of Lost Souls” and “Feral,” the latter working in (kind of problematically) tribalist hand-percussion as well ahead of rolling doom rock closer “So Mote it Be.” They cover a lot of ground and kick a lot of ass in a manageable 37-minute stretch, and the vitality that surges at the front of “At the Edge of Utopia” is emblematic of what they can bring at their most ferocious.

Neither is the psych face that shows itself making its only appearance. Both “Cloak and Dagger” and “Labyrinth” before it preface “At the Edge of Utopia”‘s more subdued movement, though neither pushes quite as far. In contrast, “Inside the Circle” is all-go, a kind of manic hard-heavy that to my Garden Stater ears reminds of  Get online more info here service for college students in US to score high grades. Instant Essay Writing provide best academic solution from professional Solace. Yes, that is a compliment. “So Mote it Be,” in its final reaches, brings out a kind of spaciousness as well, and that seems to answer not just the opening salvo but “At the Edge of Utopia” as well. One can’t help but wonder too if the optimism of the longest cut’s title isn’t also meeting some resignation in the closer, but that might just be 2020’s utter hopelessness carrying over.

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Lacertilia, “At the Edge of Utopia” official video premiere

Lacertilia on “At the Edge of Utopia”:

‘At The Edge Of Utopia’ is the third and final single from Lacertilia’s 2020 album ‘Calling The Quarters’. Recorded at Foel Studios in the depths of Mid Wales, the track captures the energy of five primitive humans hurtling towards Nirvana on a ship called planet Earth. The band continue to explore themes of personal growth and change as they traverse the perils of existence in search of a promised land. The video was recorded and edited by Mei Lewis (Mission Photographic) to convey the three distinct sections of the track whilst showcasing the intensity of the band’s live performance.

Lacertilia, Calling the Quarters (2020)

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Proper Tidy Records on Bandcamp

I’ll be honest. It felt a little weird on Xmas Day 2020 when, sitting around my wife’s sister’s living room with family, I loaded up the a topic for a research paper Contemporary Essay Writers Folders best resume writing services 2014 for teachers how to write good literature review for dissertation Kadavar live stream on my phone and watched the Berlin trio kick out jams on after presents were opened. But hey, it was that kind of year.

Established as forerunner of German, and really, greater European heavy rock and roll, Nowadays many students look for a good go to link. The paper writing market can offer you dozens if not hundreds of companies that specialize in Kadavar peaceably severed ties with Com service?. Welcome to TheDissertationTutors. Any Planet Writing Paper level deadline Nuclear Blast in 2020 and announced the formation of their own imprint, seed germination research paper see cell phones in school essay cambridge phd thesis Robotor Records. As early adopters of the live-stream format that’s become so common in the COVID-19 era, the band would have Essay Help in UK � Get top Essay Typers to help with essay papers in UK. Affordable price,24/7 assistance with Outstanding College Essayss. Order Now Studio Live Session Vol. I on their Bandcamp page before most acts even figured out how to go live on Facebook through their phones, taking the momentum they had from an interrupted tour and translating it to that setting. The Xmas show, some nine months later, was all the more welcome.

In November, the three-piece of guitarist/vocalist  Contact our 911 Custom Essay Reviewss world to get awesome papers written by writing experts | We guarantee attractive prices | With us, you will submit Christoph “Lupus” Lindemann, bassist  All you need to do to get your Rose Homework Help Onlines done is click on the place order option on our homepage to sign up and fill out a simple form to tell us what kind of custom thesis writing help you need. You can be as straightforward or as specific you feel is necessary. From there, you have control over the rest of the process as we will immediately connect you to our professional thesis Simon “Dragon” Bouteloup and drummer  Christoph “Tiger” Bartelt issued The Isolation Tapes (review here), which singled itself out from their past offerings not just by being their first self-release, but adopting a sound fitting to the moment of its creation during pandemic lockdown. Germany, as Lindemann explains in the interview below, is currently under another round of closure until at least the beginning of March, so one finds the lonely spirit of some of this material striking in their relevance, even as Lindemann talks of writing a dirty rock record to follow-up. Given the restlessness and anxiety of existing in this stretch of time, you get where he’s coming from there too.

And not to harp on it, but that was part of what made the second livestream, the Xmas show, so refreshing as well; the feeling coming through that Kadavar, who under normal circumstances would’ve spent a significant portion of 2020 on tour, were no less anxious to play than their audience was to listen and watch. I don’t know how the rest of the living room felt, but I was definitely on board.

I’d never interviewed Lindemann before, so I’m glad to report he wasn’t a jerk. We talked about The Isolation Tapes, about the first and second streams, leaving Nuclear Blast and starting a label, writing new songs, the Leipzig-based Re-Generation Festival they were putting together that was of course postponed, flat earth and other conspiracy theories (no, he’s not a believer), and much more.

Hope you enjoy.

Kadavar, Interview with Lupus Lindemann, Jan. 14, 2021

Kadavar, The Isolation Tapes (2020)

Kadavar, Studio Live Session Vol. II (2021)

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Kadavar on Instagram

Kadavar website

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Robotor Records on Instagram

Savannah, Georgia’s Kylesa released their final album, Exhausting Fire, on Oct. 2, 2015. The record came out on Season of Mist, and as was their wont, they did a bunch of touring to support it before and after it came out, including playing what was then Psycho California and I’m sure five or sixty others. By the time Exhausting Fire was six months old, though, in April 2016, they announced they were essentially on permanent hiatus, “no set date to reconvene.”

Don’t get me wrong, I’ve seen worse, but that was kind of a bummer way for Kylesa to end, and to even look at the title Exhausting Fire, one gets the sense that the group — who had already pared down from being a two-drummer five-piece to just guitarist/vocalists Laura Pleasants and Philip Cope (the latter also bass and keys) and drummer Carl McGinley (Jay Matheson also plays bass on the bulk of the outing) — saw it coming. They’d spent years road-dogging. My prevailing memory of them live will always be sitting on grass watching them play with the two drummers set up on a flatbed trailer on a little hill behind a now-gone record store at SXSW one year, but I saw them plenty of times and they always delivered. From their second album, 2005’s To Walk a Middle Course and 2006’s Time Will Fuse its Worth through 2009’s Static Tensions (review here) and the increasingly progressive trio of recordings for Season of Mist in 2010’s Spiral Shadow (review here), 2013’s Ultraviolet (review here) and Exhausting Fire, they never put out the same album twice, and though their fire may have been exhausting — while the lyrics in bulk feel more about personal relationships (not that a band isn’t one), “Night Drive” could easily be read to be about touring — they still pushed themselves forward in their approach and style.

That resulted in some righteously heavy moments, as with the opener “Crusher,” or the riff-forward side A closer “Shaping the Southern Sky,” or the oboe-inclusive “Blood Moon” on side B, but also a more brazenly and more confidently melodic take than they’d ever shown before. Granted, their reemergence from having two drummers was inherently going to realign the dynamic of the group as a whole, making room for that melody to flourish, but one of the overarching narratives of Kylesa‘s discography is the ratio of shared vocals between Cope and Pleasants becoming a defining element of the band. More even than on Ultraviolet, there’s a sense of individual authorship in the songs — he brought this part, she brought this one, etc. — but both parties are still evolving in this material. Cope takes on an almost gothic New Wave aspect with “Moving Day,” backing himself on keys, while Pleasants offers an ahead-of-its-time heavy post-rock with side B leadoff “Falling,” underscored by the weighted punctuation of McGinley‘s drumming.

Songs like “Inward Debate” and “Lost and Confused” find one or the other in the forward position, or effectively switching or working in a thoughtfully constructed arrangement, and by the time they get to the penultimate “Growing Roots,” they manage to pull together a sound like heavy Weezer — which I have to imagine that, if they saw this, they’d take as the compliment it’s intended to be, since “Growing Roots” sounds like heavy Weezer is what they were going for. With Cope at the helm as ever at The Jam Room in Columbia, South Carolina, Kylesa‘s exploration never really ended — until of course it did — and even while there were signature elements of their style in their deceptively angular riffing resulting in the mounting rhythmic tension of their verses headed toward a chorus release, or even the touches of psychedelia worked into “Shaping the Southern Sky” or the arrival of the last shove in album finale “Out of My Mind,” those came accompanied by evident growth that was no less an essential component of the band’s work.

The melodic burst at the end of “Lost and Confused.” The conveyed monotony of “Night Drive.” The boldness of the verses in “Crusher” and the simple fact that that song leads off while being so dynamic rather than just an up-front rocker. There’s so much on Exhausting Fire to argue for Kylesa as an undervalued, taken-for-granted band. It’s not their heaviest album or their most rawly aggressive — maybe that would be their 2002 self-titled, with Cope fresh off his time in Damad; recall their split with Meatjack if you dare — but Exhausting Fire is also more than a band burning themselves out or already being burnt. It’s them turning exhaustion into expression, and it still resonates effectively.

I didn’t review Exhausting Fire when it came out. I don’t remember why. I’d spent a decade at that point listening to them and considered myself a fan, but I was a little scared off by the title, and it goes back to what I was saying before about the band knowing the end was coming. I wasn’t sure I wanted to hear that from a group whose work I’d enjoyed so much. Like how Abbey Road is bittersweet because you know they knew it was over, one last blowout. That’s kind of the vibe that hindsight puts to work across Exhausting Fire, but even in that, their work as songwriters and the chemistry between Pleasants and Cope continued to move forward from where it was a couple years before. It wasn’t until earlier this week that I actually gave Exhausting Fire a fair shot. Now I want the CD. Go figure.

Both Philip Cope and Laura Pleasants have remained active since Kylesa called it a day. Cope produces a swath of acts at The Jam Room and features in the band Oakskin, who have a few singles up on Bandcamp and took part in last year’s Mutants of the Monster virtual festival, while Pleasants has pursued more New Wave and post-punk-inspired atmospheric songcraft with The Discussion, who reissued the 2017 EP Movement Towards a New Beginning (originally just called the European Tour EP) and offered the new single Deathtripper B/W A Forest in 2020. There’s been no word of a reunion and I wouldn’t expect any anytime soon — so it’ll probably happen five minutes after this is posted; that’s how it usually goes when I say something like that — but Kylesa merch continues to be available and their albums still sound vibrant these years after the fact, like they were made to do.

As always, I hope you enjoy. Thanks for reading.

—

Okay. Everything is awful. Mostly me. I’m the worst. Let the record show.

Oh man, I miss the record show.

Anyway. It was just one of those weeks. Muddling, middling, head down, just-get-through-the-day-to-another-one-for-fucking-what kind of week. I mentioned last week the telehealth appointment about meds. Holy fucking shit that was weird. And awkward, and uncomfortable. Dude was asking me questions like I’m supposed to sit there and do Depression Theater for him and talk about how I don’t want to get out of bed or how daily tasks are hard for me and I just said fuck it. “I’m sorry, this is making me really uncomfortable and I’m going to end the call. Thanks for your time.”

Nothing resolved, but at least pulling myself out of that situation felt good. I was weirded out the rest of the day though. Is this really how people do medicine? I’m a fucking stranger tell me about the time you spend curled up on the floor? Shit. I said to him, “I’ve been in treatment long enough to know when things aren’t right.” Fine. So dance for me, you pill-seeking monkey.

I recorded some vocals last Sunday. Sang clean a bit, which is hard for me because I know I’m not good at it and that’s like the omega of self-fulfilling prophecies. A vocal coach once quickly cut to the core of me and said, “Someone in your life once told you you couldn’t sing,” and that’s true. Anyway, I got through it and then went back on Wednesday and added a bunch more screams to the track, because that I can do and of course that’s what the person whose project it is was into. Can’t blame him. Anyway, it came out fine and I think the song will be out in a couple weeks. It’s a Joni Mitchell cover, but I rewrote most of the lyrics so they didn’t feel misogynist coming out of my mouth.

The Patient Mrs.’ semester begins next week. She’s back on campus not quite full-time, I think. I don’t know. Shit changes daily. She’s worried about getting tenure, trying to get writing done while teaching. The Pecan has been in virtual preschool the last couple weeks because the fucking plague is a thing and he maybe goes back next week too to in-person instruction. We don’t even know yet and it’s Friday. He was just finally sitting in the chair long enough to sing the days of the week (which is to the tune of the old Addams Family theme song, hilariously enough) and months of the year (to the tune of something else I can’t put my finger on just now; if The Patient Mrs. reads this as she sometimes does, she’ll probably tell me and I’ll slap my forehead, which is how I do).

I’m sure there’s more, but between that and the general overhang of dread resulting from impending fascist insurrection, is any more really necessary? Look out for a video interview with Lupus from Kadavar on Monday. I talked to him yesterday. Had never interviewed him before and probably should’ve by now, but he was nice.

Great and safe weekend. Don’t forget to hydrate and wear your mask and social distance and all that stuff.

FRM.

The Obelisk Forum

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The Obelisk merch

Germany’s Black Magic Tree will release their first full-length, Through the Grapevine, on Jan. 22 through Karma Conspiracy Records. Ahead of that momentous occasion — and I’m not being sarcastic, a band releasing their debut is a special moment in their lives, perhaps even more considering they’ve waited over a year to do it — they’re premiering today a video for the song “Mandala Lady” that you can see below. Should you be surprised that it features a lot of mandala-type designs? No you should not. But actually in terms of that it does some cool things with animation and bringing a feeling of motion to the proceedings, though the song itself is by no means lacking movement.

Primarily you’ll find that “Mandala Lady,” which was recorded by Richard Behrens (Heat, ex-Samsara Blues Experiment) at Big Snuff Studio, is catchy as hell, and immediately establishes the Berlin five-piece’s penchant for classic hooks. Classic hooks, but not necessarily vintage sound. Behrens has done plenty of heavy ’70s worship before for bands, and done it well, but though Black Magic Tree‘s roots may lie there (pun TOTALLY intended; bite me), the tones of the two guitars are more modern and though the groove is comfortable and warm, it’s not necessarily trying to adhere to the tenets of heavy boogie.

Perhaps that happens elsewhere on Through the Grapevine, I don’t know — haven’t heard the record but I wouldn’t mind doing so — and if it does, cheers to the band on changing things up. But we don’t have long to wait for the seven-song Through the Grapevine to come out, just a week, and until that happens, the clip for “Mandala Lady” makes for an enticing glimpse at things to come. The heavy rock converted will find it no challenge to dig into what’s going on here, and though the black and white flashes speed up a bit during the solo in the second half, if you’re sensitive to that kind of thing, you should still be alright. It’s not hard strobe or anything.

With that and some comment from the band below, I’ll just say enjoy and get ready to have this song repeating in your head for the rest of the day:

Black Magic Tree, “Mandala Lady” official video premiere

Black Magic Tree on “Mandala Lady”:

“Mandala Lady” is the second single off our debut album “THROUGH THE GRAPEVINE” which is due out on January 22, 2021 through Karma Conspiracy Records. The song is about a mysterious “Mandala Lady”. The lyrics revolve around a graceful, spiritual figure everyone is attracted to. Is she real or maybe just an illusion?

The video for the song was shot in September 2020 in front of a green screen. We wanted to utilize psychedelic animations while incorporating video shots of the band members and a dancer who embodies the “Mandala Lady” metaphor. The video turned out really cool and interesting with lots of swirly and hallucinatory visuals while keeping an old school black/white style. Stylistically, the song combines elements of heavy blues rock, heavy psych and stoner rock.

Vinyl preorder: https://www.karmaconspiracy.it/store/black-magic-tree/33-1-through-the-grapevine.html#/74-version-vinyl

Founded in 2018 in Berlin, Germany, BMT released its first EP, “Of Animals and Men”, soon after in 2019. The band has now taken the next step in its evolution with the recording of a full debut album, “THROUGH THE GRAPEVINE”. The seven slabs of rock were laid down in Big Snuff studio in late 2019 under the guidance of Richard Behrens (FOH mixer for Kadavar) and Nene Baratto, who also mixed and mastered the album. The psychedelic album cover art was designed by renowned Berlin-based artist Martin Meir. “THROUGH THE GRAPEVINE” will be available digital and on vinyl on Karma Conspiracy Records.

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Black Magic Tree on Instagram

Black Magic Tree on Bandcamp

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Karma Conspiracy Records website

ONCE Ballroom, like far too many venues in this wretched country that does far too little to support its own arts and culture — #saveourstages — has had to close its doors in the wake of the COVID-19 pandemic. Unlike many others, however, the tenacity and raw passion of venuerunner JJ Gonson (yes, another JJ; they are rare but not unheard of) and those around her has resulted in the ONCE Virtual Venue, which has to this point used the space to put on COVID-safe streaming gigs and played host to a series of shows and interviews, including one recently with myself.

On Saturday at 8PM — remember when shows started at night? — the ONCE Sound Stage Sessions series filmed at the venue will present a “gig” with Kind, Set Fire, Friendship Commanders and Inhalement. Four bands, each offering a streamed set, and Kind are giving a preview of what’s to come in their three-song-set-the-audio-of-which-they-should-probably-release-as-a-live-EP-for-Bandcamp-Friday with the video below for “Faster Number Two.” I know it was 2020 and that was 15 lifetimes ago, but you might recall their second album, Mental Nudge (review here), came out back in September on Ripple and was frickin’ great.

I’ll keep this short because there are links below worth clicking, but hell, if you don’t want to see more after watching the mostly-masked performance below — Craig Riggs pulls his down to sing, drummer Matt Couto‘s swinging style results in his falling below his nose, while Tom Corino and Darryl Shepard stay masked on the flanks, playing bass and guitar, respectively — I don’t know what to tell you. But just to lay on an appropriate guilt trip, ONCE is worth supporting with a donation. Because fuck rent.

Enjoy the video:

Kind, “Faster Number Two” ONCE Sound Stage Session premiere

In May of 2020 ONCE Somerville, an independent venue in the Boston Metro area, decided to launch a “virtual venue”. The venue was started in response to the COVID-19 crisis and the massive amount of cancellations that occurred in the wake of stay at home order. ONCE VV is a place for audiences to interact and enjoy performances that range to suit all sorts of palates.

In June, the ONCE VV team began filming live sessions on the venue’s ballroom stage. Dubbed the ONCE Sound Stage Sessions, these sessions provided artists with a rare opportunity to play on a stage again for the first time since music venues shut down. Between June and December of 2020, over 25 performances were filmed on the ONCE ballroom and lounge stages.

In December, ONCE had to leave its physical space due to financial realities of the ongoing pandemic. But the ONCE VV team remains committed to producing original content and virtual events throughout 2021, made possible by a generous NIVA grant.

Show Youtube link (anyone can watch live):
https://www.youtube.com/watch?v=5UIffE2MHLo&ab_channel=ONCEVirtualVenue

Ticket Link (allows attendees to donate, and the option to join the Zoom event):
https://www.eventbrite.com/e/134906375601

Show details:
KIND, Set Fire, Friendship Commanders (Nashville, TN), Inhalement
Presented by Grayskull Booking, Treebeard Media, Dead Moon Audio, and ONCE Sound Stage
Hosted by Laura from Metal Night
Saturday, January 16, 8pm

Kind, Mental Nudge (2020)

ONCE Virtual Venue Linktree

Kind on Thee Facebooks

Kind on Instagram

Ripple Music on Thee Facebooks

Ripple Music on Bandcamp

Ripple Music website

New Liquid Sound Company does not happen every day. The Texas-based psychedelicatitians have trickled out few songs on Bandcamp over the last few years, most notably up till now the single “Black Light Corridor” that made its way through the muck of an otherwise-distracted May 2020 to shine with lysergic tales of turning to custard and potential defenestration. A follow-up to that track arrives with the new video “Mahayuga” — anyone looking to dive down a rabbit-hole of Hindu cosmology can go ahead and Google that — and though the track in question only runs about four and a half minutes, it does indeed seem to stretch time, classic sitar psych interweaving with molten rhythm and guitar effects purveyed by John Perez, best known for his work as founding guitarist of doom metallers Solitude Aeturnus.

The prospect of a new album, which will be self-released and titled as per the band as Psychoactive Songs for the Psoul, from the Liquid Sound Company is welcome, to say the least. Their Bandcamp loaded up in 2017 and there’s a treasure trove of shroomy goodness to be had there, but the discography it draws from dates back as far as the mid ’90s with the release of the band’s debut album, Exploring the Psychedelic, in 1996 through Perez‘s own Brainticket Records. They’d later hook up with respected purveyor Nasoni Records as one of the few American acts ever to release through the Berlin-based label — fellow Texans Wo Fat are another — for 2002’s Inside the Acid Temple, and keeping their one-per-decade track record going, a third LP, Acid Music for Acid People, would arrive in 2011, also through Nasoni and Rockadrome in the US.

You see what I mean with “not every day,” but if you believe in due, Liquid Sound Company are due. 2021 will mark a decade since Acid Music for Acid People, and “Black Light Corridor” and “Mahayuga” both make it plain that their cosmic luster has faded not a bit. You’ll hear some edge of classic doom amid the riffs that emerge, but it’s all about the swirl here and there’s plenty of that to go around. And around. And around. You get the idea.

With the hope of more to come, enjoy:

Liquid Sound Company, “Mahayuga” official video

I’ve been working with my band members for some time on some new PSYCHEDELIA! Take 5 minutes out of your day, sit back relax and take a peek into the new Liquid Sound Company album with a new track – Mahayuga. From our upcoming 2021 release, Psychoactive Songs For The Psoul on the bands own LSR label! Take an exotic mind melting journey to pleasure and mystic visions. Features sitar by Shaun Hyder of long running U.K. eastern psych band Saddar Bazaar! Here’s a link to the official video on our Youtube channel; https://www.youtube.com/watch?v=zjs_Rtf60Tc.

Liquid Sound Company is:
John Perez – guitars, vocals
Mark Cook – Warr guitar, 12 string, analog synth
Jason Spradlin – drums, keyboards
Allan “Skip” Wise – vocals, lyrics
Ron McCain – keyboards

Liquid Sound Company, “Black Light Corridor”

Liquid Sound Company on Thee Facebooks

Liquid Sound Company on Bandcamp

Liquid Sound Company on YouTube

You got 12 minutes to watch some kids rock out like Stooges-gone-West-Coast-fuzz? Sure you do. What are doing that’s so damn important? Apparently sometime last summer, brash trio Buss — who released their self-titled EP (review here) in May — decided to get together and play. No shows, of course, so they made their own. They’re outside, it’s sunny, warm, under a tree that may or may not indeed be a big-ass grape vine, and with an old boombox by their side, a couple cameras to swap between and a beer on bassist Erik Carpani‘s Orange amp, they just hit it with the first two tracks of the EP. A band, playing songs. Could hardly be more straightforward, right?

Sure, save for the context in which ‘Live Under the Grape’ arrives. I don’t know whose house that is they’re playing in front of, but given the volume they unleash one hopes the neighbors were down to jam. Perhaps, after several months of hard quarantine, they too were ready for whatever glimpse of a gig they could get. Maybe after the cameras stopped it turned into an impromptu and safely-socially-distant block party, everybody out on their porch cracking a beer and toasting each other from far away. Okay, maybe not, but Buss still rip into “Liars” and “TV Show” and if you’ve got a problem with that, I doubt it’d give the band much pause at all. From what I can see here, they seem pretty happy just to be jamming on the songs.

Rightfully so. I’ll spare you the group-creativity-is-a-treasure-during-a-pandemic spiel, but obviously the same applies. I’ve never been to Trieste, Italy, but it’s no stretch to imagine hitting up a show and watching Buss have the kind of infectious fun that vibes all the way through here. So yeah, you’ve got 12 minutes for that. Sorry for your day if you don’t.

Enjoy:

Buss, ‘Live Under the Grape’ official video premiere

BUSS – Live under the grape

Tracklist:
Liars (00:00-6:13)
TV show (6:23-12:15)

Recorded in a hot and sweaty summer afternoon. Listen with the volume cranked up!

We’d had thirst for live performance, so we decided to organise one! No tricky stuff: just loud amps, cold beer and some good friends. Ivan the drummer, provided some basic recording equipment he wanted to try. So this is our first improvised recording; At a old, dusty, and moldy house, the best location for a wild party. We had an amazing time, playing together: we really were on fire, just like our amps. The mix of booze and (too) high volumes continued until early morning hours for the happiness of the beloved neighbours.

Audio & video recordings by BUSS

Mixed by Alessandro Perosa @Track Terminal Studio

Video editing by Alija Bandi

Released with the support from Rocket Panda Management

BUSS DEBUT EP:
https://bussband1.bandcamp.com/album/ep

BUSS is:
Erik Carpani – bass & vocals
Patrik Pregarc – guitar
Ivan Kralj – drums

Buss, Buss EP(2020)

Buss on Instagram

Buss on Thee Facebooks

Buss on YouTube

Buss on Bandcamp

Not a ton of mystery here, and that’s just fine. Andrea Van Cleef, known for his work as vocalist/guitarist of Brescia, Italy’s Humulus, has done solo shows in various guises for years. His most recent studio album, 135, was released in Jan. 2020 as a series of three 7″ platters billed as Andrea Van Cleef and the Fuzz Resistance. For the newer-released-but-earlier-recorded live album, Shine, it’s Andrea Van Cleef and the Forever People, and indeed, Van Cleef — who of course is not to be confused with Napoli outfit Lee Van Cleef — has a full band behind him for the six-song set, including drums, backing vocals, keys and bass, all of which lend the fuzzy “I Wanna Be Like You” a desert-psych vibe that Shine mirrors with its cover art.

The set begins with the melodic flow of “I Passed Away,” and moves through “I Wanna Be Like You” and the noisier Morphine cover “Thursday” before the momentary freakout that is “Friday” — fitting it should be after the day before — and the seven-minute, organ-laced “Shine” before arriving at the closer of the recording, which is “The New Earth.” At 12 minutes, it is both culmination of the set — though apparently the recording is incomplete, so whether there was more before or after, I don’t know; what is time, anyway? — and summary of the total journey, beginning with an early sunrise of guitar and stretching out into a work of melodic psych-prog the fullness of which is not at all undercut by the fact that it’s a live recording. One imagines that, if you were standing in Pavia that April night in 2018, it would’ve been quite a moment to witness.

A video? Don’t mind if I do. Counter perhaps to expectation, the clip is not of “The New Earth” being performed live as it happened, or even assembled from other shows, but the track put to some archival NASA footage that, honestly, fits just as well. You were going to space one way or the other.

Shine is name-your-price and streaming in its entirety at the bottom of this post, because why wouldn’t it be? Van Cleef offers some comment below the video.

Please enjoy:

Andrea Van Cleef and the Forever People, “The New Earth” official video

Andrea Van Cleef on “The New Earth”:

This year’s been a bitch. Sitting at home with nothing to do and browsing thru my personal music archive, I found this .zip files with soundboard recording from a show I played with my solo band two and a half years ago. We played soft psychedelia and classic rock, it was (my second solo album) “Tropic of Nowhere” tour. The recording — albeit incomplete, only part of the set was included — sounded really good, so I decided to mix and master those songs and put out a live album, available on Bandcamp as “name your price” offer: https://andreavancleef.bandcamp.com/album/shine-live-in-pavia-april-12-2018

Then the drummer of the Forever People (my “solo” band) told me that NASA has got a wide archive of amazing footage, which I thought could make a good match with the last song of the album, the Pink Floyd influenced “the new earth”. This is how this video came to light. I hope you guys enjoy the trip! Take care!

Written by Andrea Van Cleef, performed by AVC & The Forever People (AVC: guitar, vocals; Giorgio Finulli: bass; Matteo Melchiori: drums; Andrea Braga: keyboards; Sara Gozzi, Daniel Rosa, Marco Pasetti: backing vocals)

Recorded live at Spaziomusica, Pavia, ITALY on April 12, 2018.

Free footage courtesy of NASA, JSC PAO Video Collection –
NASA Johnson Space Center Public Affairs Office.
https://www.nasa.gov/

Photo by Gigi Fratus.

Andrea Van Cleef and the Forever People, Shine: Live in Pavia, April 12, 2018 (2021)

Andrea Van Cleef on Thee Facebooks

Andrea Van Cleef on Bandcamp

Andrea Van Cleef website