Posted in Whathaveyou on December 12th, 2023 by JJ Koczan
Okeydokey, what do we learn here? Bongzilla will be in Europe this Spring, and Mondo Generator will be out to follow up on Nick Oliveri‘s winter solo tour, and Kadabra will go supporting their most excellent 2023 outing, Umbra (review here), though that was already apparent from the first Desertfest London announce. Along with MR.BISON, the esteemed Ufomammut — who’ll have a new LP out sometime in 2024, allegedly — Greek mainstays Nightstalker and upstarts 1782, speedrockers Tankzilla and punkers The Clamps, that’s the bill as it stands that will swap acts back and forth across two nights in Bologna and Trieste next May for Heavy Psych Sounds Fest Italy 2024.
This is not the end of the announcements, of course, but it’s a rousing start as the Italian label and booking agency continues to branch out to new places. You’ll note Trieste is home for Rocket Panda Management, who are involved here and also behind the StonerKras Fest that’s taken place the last couple of years later in the summer. I assume that’s still happening too, and will do so until I hear or see otherwise.
I don’t have numbers on the site’s readership in Bologna or Trieste, but I think these things are relevant anyway exactly because of the above: they show you who’s going to be where when. And it gives me an excuse to post the Kadabra record again. Double-win.
From the PR wire:
Heavy Psych Sounds to announce HEAVY PSYCH SOUNDS FEST ITALY 2024 Bologna & Trieste – TICKETS PRESALE + FIRST BANDS !!!
Heavy Psych Sounds Records & Booking will smash Bologna and for the first time Trieste with their highly acclaimed mini festival-series, the HEAVY PSYCH SOUNDS FEST!
In cooperation with Freakout Club and Rocket Panda Management, today Heavy Psych Sounds has announced the first confirmed bands + TICKETS PRESALE for the upcoming HEAVY PSYCH SOUNDS FEST ITALY 2024 !!!
The HPS Fest Italy will be taking place 3rd and 4th of May at the Teatro Miela in Trieste and 4th and 5th of May at the TPO Club in Bologna !!!
HEAVY PSYCH SOUNDS FEST ITALY 2024 – BOLOGNA & TRIESTE
@ TPO, Bologna // 4th and 5th May 2024
@ Teatro Miela, Trieste // 3rd and 4th May 2024
feat. BONGZILLA MONDO GENERATOR UFOMAMMUT NIGHTSTALKER 1782 KADABRA MR. BISON TANKZILLA THE CLAMPS + more TBA
Posted in Reviews on April 18th, 2023 by JJ Koczan
So here we are. A fascinating and varied trip this has been, and while I’m tempted to find some greater meaning in it as regards the ongoing evolution of genre(s) in heavy underground music, the truth is that the overarching message is really that it’s impossible to keep up with that complexity as it unfolds. Hitting 70 releases on this last day with another 50 to come in a couple weeks, I feel like there’s just so much out there right now, and that that is the primary signifier of the current era.
Whether it’s pandemic-born projects or redirects, or long-established artists making welcome returns, or who knows what from who knows where, the world is brimming with creativity and is pushing the bounds of heavy with like-proportioned force and intent. This hasn’t always been easy to write, but as I look at the lineup below of the final-for-now installment of the QR, I’m just happy to be alive. Thanks for reading. I hope you have also found something that resonates.
Quarterly Review #61-70:
Dommengang, Wished Eye
A fourth full-length from Dommengang — are they in L.A. now? Portland, Oregon? does it matter? — neatly encapsulates the heavy psychedelic scope and the organic-vibing reach that stands them out from the pack, as somehow throughout the nine songs of Wished Eye, the Thrill Jockey denizen trio are able to inhabit a style that’s the Americana pastoral wakeup of “Runaway,” the hill-howling “Society Blues,” the drift-fuzz of over solid drums of “Last Card,” the dense tube-burning Hendrixism of “Myth Time,” and the minimalist guitar of “Little Beirut.” And oh, it keeps going; each track contributing something to the lush-but-natural spirit of the whole work. “Blue & Peaceful” brings acoustics to its midsection jam, while “Petrichor” is the West Coast freedom rock you’ve been waiting for, the title-track goes inland for nighttime desertscaping that finishes in hypnotic loops on a likewise hypnotic fade, and “Flower” proves to be more vine, winding its way around the lead guitar line as the vocals leave off with a highlight performance prior a fire-blues solo that finishes the record as the amps continue to scream. Undervalued? Why yes, Dommengang are, and Wished Eye makes the argument in plain language. With a sonic persona able to draw from country, blues, psych, indie, doom, fuzz, on and on, they’ve never sounded so untethered to genre, and it wasn’t exactly holding them back in the first place.
Formerly the frontman of Richmond, Virginia, sludgers Gritter, Ryan Kent — who already has several books of poetry on his CV — casts himself through Dying Comes With Age as a kind of spoken word ringmaster, and he’s brought plenty of friends along to help the cause. The readings in the title-track, “Son of a Bitch” and the title-track and “Couch Time” are semi-spoken, semi-sung, and the likes of Laura Pleasants (The Discussion, ex-Kylesa) lends backing vocals to the former while Jimmy Bower (Down, EyeHateGod) complements with a low-key fuzzy bounce. I’ll admit to hoping the version of “My Blue Heaven” featuring Windhand‘s Dorthia Cottrell was a take on the standard, but it’s plenty sad regardless and her voice stands alone as though Kent realized it was best to just give her the space and let it be its own thing on the record. Mike IX Williams of EyeHateGod is also on his own (without music behind) to close out with the brief “Cigarettes Roll Away the Time,” and Eugene S. Robinson of Oxbow/Buñuel recounting an homage apparently to Kent‘s grandfather highlights the numb feeling of so many during the pandemic era. Some light misogyny there and in “Message From Someone Going Somewhere With Someone Else Who is Going Somewhere” feels almost performative, pursuing some literary concept of edge, but the aural collage and per-song atmosphere assure Dying Comes With Age never lingers anywhere too long, and you can smell the cigarettes just by listening, so be ready with the Febreze.
The first hook on Clamor Luciferi, in post-intro leadoff “Succubus,” informs that “Your god is poison” amid a gravitationally significant wall of low-end buzzfuzz, so one would call it business as usual for Sardinian lurch-doomers 1782, who answer 2021’s From the Graveyard (review here) with another potent collection of horror-infused live resin audibles. Running eight songs and 39-minutes, one would still say the trio are in the post-Monolord camp in terms of riffs and grooves, but they’ve grown more obscure in sound over time, and the murk in so much of Clamor Luciferi is all the more palpable for the way in which the guitar solo late in “Devil’s Blood” cuts through it with such clarity. Immediacy suits them on “River of Sins” just before, but one would hardly fault “Black Rites” or the buried-the-vocals-even-deeper closer “Death Ceremony” for taking their time considering that’s kind of the point. Well, that and the tones and grit of “Demons,” anyhow. Three records in, 1782 continue and odd-year release pattern and showcase the individual take on familiar cultism and lumber that’s made their work to-date a joy to follow despite its sundry outward miseries. Clamor Luciferi keeps the thread going, which is a compliment in their case.
What Seum might be seen to lack in guitar, they more than make up in disgust. The Montreal trio — vocalist Gaspard, bassist Piotr, drummer Fred — offer a mostly-hateful 32-minute low-end mudslide on their second album, Double Double, the disaffection leaking like an oily discharge from the speakers in “Torpedo” and “Snow Bird” even before “Dog Days” lyrically takes on the heavy underground and “Dollarama” sees the emptiness in being surrounded by bullshit. For as caustic as it largely is, “Torpedo” dares a bit of dirt-caked melody in the vocals — also a backing layer in the somehow-catchy “Razorblade Rainbow” and the closing title-track has a cleaner shout — and the bass veers into funkier grooves at will, as on “Dog Days,” the winding second half of “Snow Bird,” where the bassline bookending the six-minute “Seum Noir” reminds a bit of Suplecs‘ “White Devil” in its fuzz and feels appropriate in that. Shades of Bongzilla persist, as they will with a scream like that, but like their impressive 2021 debut, Winterized (review here), Seum are able to make the big tones move when they need to, to the point that “Dollarama” brings to memory the glory days of Dopefight‘s over-the-top assault. Righteous and filthy.
Clearheaded desert-style heavy rock is the thread running through Old Mine Universe‘s debut album, This Vast Array, but with a bit of blues in “No Man’s Mesa” after the proggy flourish of guitar in “Gates of the Red Planet” and the grander, keyboardy unfolding of “My Shadow Devours” and the eight-minute, multi-movement, ends-with-cello finale “Cold Stream Guards,” it becomes clear the Canadian/Brazilian/Chilean five-piece aren’t necessarily looking to limit themselves on their first release. Marked by a strong performance from vocalist Chris Pew — whom others have likened to Ian Astbury and Glenn Danzig; I might add a likeness to some of Jim Healey‘s belting-it-out there as well, if not necessarily an influence — the songs are traditionally structured but move into a jammier feel on the loose “The Duster” and add studio details like the piano line in the second half of “Sixes and Sirens” that showcase depth as well as a solid foundation. At 10 songs/47 minutes, it’s not a minor undertaking for a band’s first record, but if you’re willing to be led the tracks are willing to lead, and with Pew‘s voice to the guitar and bass of David E. and Todd McDaniel in Toronto, the solos from Erickson Silva in Brazil and Sol Batera‘s drums in Chile, it shouldn’t be a surprise that the tracks take you different places.
Although Olso-based riffers Saint Karloff have tasked Nico Munkvold (also Jointhugger) for gigs, the band’s third album, Paleolithic War Crimes, was recorded with just the duo of guitarist/vocalist Mads Melvold (also keys and bass here) and drummer Adam Suleiman, and made in homage to original bassist Ole Sletner, who passed away in 2021. It is duly dug-in, from the lumbering Sabbath-worship repetitions of “Psychedelic Man” through the deeper purple organ boogieprog of “Blood Meridian” and quiet guitar/percussion interlude “Among Stone Columns” into “Bone Cave Escape” tilting the balance from doom to rock with a steady snare giving way to an Iommi-circa-’75 acoustic-and-keys finish to side A, leaving side B to split the longer “Nothing to Come” (7:01), which ties together elements of “Bone Cave Escape” and “Blood Meridian,” and closer “Supralux Voyager” (8:26) with the brash, uptempo “Death Don’t Have No Mercy,” which — I almost hate to say it — is a highlight, though the finale in “Supralux Voyager” isn’t to be ignored for what it adds to the band’s aesthetic in its patience and more progressive style, the steadiness of the build and a payoff that could’ve been a blowout but doesn’t need to be and so isn’t all the more resonant for that restraint. If Munkvold actually joins the band or they find someone else to complete the trio, whatever comes after this will inherently be different, but Saint Karloff go beyond 2019’s Interstellar Voodoo (review here) in ambition and realization with these seven tracks — yes, the interlude too; that’s important — and one hopes they continue to bring these lessons forward.
Astral Sleep, We Are Already Living in the End of Times
Feels like a gimme to say that a record called We Are Already Living in the End of Times is bleak, but if I note the despair laced into the extremity of songs like “The Legacies” or “Torment in Existence,” it’s in no small part to convey the fluidity with which Finland’s Astral Sleep offset their guttural death-doom, be it with melancholic folk-doom melody as on the opening title-track, or the sweetly weaving guitar lines leading into the bright-hued finish of “Invisible Flesh.” Across its 46 minutes, Astral Sleep‘s fourth LP picks up from 2020’s Astral Doom Musick (review here) and makes otherwise disparate sounds transition organically, soaring and crashing down with emotive and tonal impact on the penultimate “Time Is” before “Status of the Soul” answers back to the leadoff with nine-plus minutes of breadth and churn. These aren’t contradictions coming from Astral Sleep, and while yes, the abiding spirit of the release is doomed, that isn’t a constraint on Astral Sleep in needing to be overly performative or ‘dark’ for its own sake. There’s a dynamic at work here as the band seem to make each song an altar and the delivery itself an act of reverence.
The second single in two months from New Jersey sludge slayers Devoidov, “Amputation” backs the also-knife-themed “Stab” and brings four minutes of heavy cacophonous intensity that’s as much death metal as post-hardcore early on, and refuses to give up its doomed procession despite all the harshness surrounding. It’s not chaotic. It’s not without purpose. That mute right around 2:40, the way the bass picks up from there and the guitar comes back in, the hi-hat, that build-up into the tremolo sprint and kick-drum jabs that back the crescendo stretch stand as analogue for the structure underlying, and then like out of nowhere they toss in a ripper thrash solo at the end, in the last 15 seconds, as if to emphasize the ‘fuck everything’ they’ve layered over top. There’s punk at its root, but “Amputation” derives atmosphere from its rage as well as the spaciousness of its sound, and the violence of losing a part of oneself is not ignored. They’re making no secret of turning burn-it-all-down into a stylistic statement, and that’s part of the statement too, leaving one to wonder whether the sludge or grind will win in their songwriting over the longer term and if it needs to be a choice between one or the other at all.
Norwegian fuzz rollers Wolfnaut claim a lineage that goes back to 1997 (their debut was released in 2013 under their old moniker Wolfgang; it happens), so seems reasonable that their fourth full-length, Return of the Asteroid, should be so imbued with the characteristics of turn-of-the-century Scandinavian heavy. They might be at their most Dozerian on “Crash Yer Asteroid” or “Something More Than Night” as they meet careening riffs with vital, energetic groove, but the mellower opening with “Brother of the Badlands” gives a modern edge and as they unfurl the longer closing pair “Crates of Doom” (7:14) and “Wolfnaut’s Lament” (10:13) — the latter a full linear build that completes the record with reach and crunch alike, they are strident in their execution so as to bring individual presence amid all that thick tone crashing around early and the takeoff-and-run that happens around six minutes in. Hooky in “My Orbit is Mine” and willfully subdued in “Arrows” with the raucous “G.T.R.” following directly, Wolfnaut know what they’re doing and Return of the Asteroid benefits from that expertise in its craft, confidence, and the variety they work into the material. Not life-changing, but quality songwriting is always welcome.
If you’re gonna go, take a compass. And if your compass can be made of primo fuzz riffing, isn’t it that much more useful? If not as an actual compass? Each of the four cuts on Washington D.C. instrumentalists Fuzz Voyage‘s Heavy Compass Demo coincides with a cardinal direction, so you get “South Side Moss,” “North Star,” “East Wind” and “West Ice Mountain.” These same four tracks featured across two separate ‘sessions’-type demos in 2020, so they’ve been fairly worked on, but one can’t discount the presentation here that lets “East Wind” breathe a bit in its early going after the crunching stop of “North Star,” just an edge of heavy psychedelia having featured in the northerly piece getting fleshed out as it heads east. I might extend the perception of self-awareness on the part of the band to speculating “South Side Moss” was named for its hairy guitar and bass tone — if not, it could’ve been — and after “East Wind” stretches near seven minutes, “West Ice Mountain” closes out with a rush and instrumental hook that’s a more uptempo look than they’ve given to that point in the proceedings. Nothing to argue with unless you’re morally opposed to bands who don’t have singers — in which case, your loss — but one doesn’t get a lot of outright fuzz from the Doom Capitol, and Fuzz Voyage offer some of the densest distortion I’ve heard out of the Potomac since Borracho got their start. Even before you get to the concept or the art or whatever else, that makes them worth keeping an eye out for what they do next.
Posted in Radio on February 17th, 2023 by JJ Koczan
I was sitting on the couch earlier this week, in the usual spot, putting this playlist together and, knowing that I wanted to start with the title-track of the new Mansion album — something about Alma crooning that second death is upon you felt just right — I was immediately stuck. How on earth do you follow that? I was glad that I remembered Samán and could use them to transition to a kind of riffier take, but yeah, in terms of vibe, the severity of that Mansion record is a tough one to answer immediately with something else. Where do you go from there beyond an actual dungeon?
This show kind of divides in half. The first hour is new music. The second hour is a look at some Polish heavy, which if you’ve been paying attention to the last few Friday Full-Lengths (including today’s, which isn’t posted yet), you know has been on my mind. Dopelord, Major Kong, Belzebong, Sunnata and Weedpecker represent Poland well, I thought — Spaceslug are the obvious name left out, but I’m keeping them in reserve for later — and after that I wanted to close with SubRosa just because “Black Majesty” is long, brilliant, not a jam, and something that was in my head. It’s been an up and down couple of weeks, I guess, as regards general well-being.
If you’re unfamiliar, keep an ear out for Moodoom early, plus the tracks from The Machine, Swan Valley Heights, Stoned Jesus and Troll Teeth. The 1782 track isn’t my favorite off their new record — anything about lady-demons is kind of a turnoff for me at this point — but the band is cool and that’s the single from the album, so I wasn’t about to be a jerk and pick something else. And if you didn’t hear the L’Ira del Baccano earlier this week when it premiered, that’s time well spent in instrumental immersion, and makes a great leadoff for that extended block of tunes, I think.
As always, I hope you enjoy the show if you listen. Thanks for reading.
The Obelisk Show airs 5PM Eastern today on the Gimme app or at: http://gimmemetal.com.
Full playlist:
The Obelisk Show – 02.17.23 (VT = voice track)
Mansion
Second Death
Second Death
Samán
A las puertas
II. Montaña Roja
1782
Succubus
Clamor Luciferi
Moodoom
Las maravillas de estar loco
Desde el Bosque
VT
L’Ira del Baccano
The Strange Dream of My Old Sun
Cosmic Evoked Potentials
The Machine
Reversion
Wave Cannon
Swan Valley Heights
The Hunger
Terminal Forest
Stoned Jesus
Get What You Deserve
Father Light
Troll Teeth
Garden of Pillars
Underground Vol. 1
Dopelord
Doom Bastards
Sign of the Devil (2020)
Major Kong
Fading Memory of the Planet Earth
Off the Scale (2020)
Belzebong
Roached Earth
Light the Dankness (2018)
Sunnata
A Million Lives
Burning in Heaven, Melting on Earth (2021)
Weedpecker
Big Brain Monsters
IV: The Stream of Forgotten Thoughts (2021)
VT
SubRosa
Black Majesty
For This We Fought the Battle of Ages (2016)
The Obelisk Show on Gimme Metal airs every Friday 5PM Eastern, with replays Sunday at 7PM Eastern. Next new episode is March 3 (subject to change). Thanks for listening if you do.
Posted in Whathaveyou on February 13th, 2023 by JJ Koczan
This is gonna sound like I’m kissing ass, but Heavy Psych Sounds is real-deal upping its festival game this year. From the stellar California lineup to Italy to this, it’s been fun to watch as the shows get bigger and more plentiful. El Perro and maybe Acid Mammoth/1782 (?) had this fest in their latest tour dates, so the existence of Heavy Psych Sounds Fest Switzerland isn’t exactly news — and they’re both booked by HPS, so if it was a leak, it wasn’t done without the label knowing it since the bookers and the label are the same people — but the lineup is right on with Truckfighters in the headline slot, the aforementioned El Perro, Acid Mammoth and 1782, Giöbia and Oreyeon ticking any boxes you have for weird, and Deadsmoke for a bit of something nastier. I’ll be interested to see who else gets added — certainly there are plenty of acts on tour in May and with so many festivals happening around then — but if this was it I’d still say it’s a good one. And the poster alone is giving the lineup alone a run for its money.
Shows are in Martigny and Winterthur, and if you need me to say any more about Heavy Psych Sounds, I’m done here, but I’m pretty sure there will be more news from them in about five minutes, so just sit tight.
From the PR wire:
First names and tickets for HEAVY PSYCH SOUNDS FEST SWITZERLAND available; May 26-27th on Winterthur and Martigny!
Today, Heavy Psych Sounds Records unveil the first names for the 2023 edition of HEAVY PSYCH SOUNDS FEST SWITZERLAND, the stoner, doom and psych rock mini-festival taking place simultaneously on May 26-27th in Winterthur and Martigny. Two days, two cities, same lineup: all the fuzz!
Following on from the recent HPS Fest Italy and HPS Fest California announcements, it’s now time to get ready for the summer season with the yearly Swiss gathering of all things heavy and fuzzy-sounding! As always with Heavy Psych Sounds, some of the finest bands of their label roster will hit the festival’s stage, joined by one or two cornerstone acts of the international heavy rock scene: on this special occasion, Swedish stoner rock icons Truckfighters are confirmed as headliners for this 2023 edition!
All bands announced are set to play both in Winterthur and Martigny across the weekend of April 26-27h of April. Day splits and timetables to be unveiled soon!
Posted in Whathaveyou on February 1st, 2023 by JJ Koczan
Every day it’s something else from Heavy Psych Sounds. Actually, most days at least in the early unfolding of 2023 so far, it’s two something elses. Tours, festivals, releases upcoming. The Italian imprint has been arguably the world’s foremost purveyor of underground heavy, new and old, for a few years now, and while it might sound like I’m complaining about not being able to keep up — to be sure, a nuisance, but one that only makes me annoyed at myself, which is a familiar enough feeling — I’m actually amazed at the level of output. It’s a thing worth appreciating while it’s happening, and as 1782 and Acid Mammoth join forces for a 2023 sequel to their April 2022 joint tour, the pairing of two of the label’s up and comers emphasizes just how broad the imprint’s reach has become.
I don’t know about new Acid Mammoth, but 1782 recently announced their new record, Clamor Luciferi (info here), which will see release concurrent to this run, and that’s for sure something to look forward to. Note as well a few open dates if you’ve got a spot to host.
They’re calling it ‘Doom Tour Vol. 2,’ so, you know, points for accuracy. If they keep this up they’ll have to do a split eventually. Oh wait.
Dates follow:
Heavy Psych Sounds Records & Booking to announce 1782 + ACID MAMMOTH Doom tour vol. 2 !!!
Heavy Psych Sounds Records & Booking is proud to announce *** 1782 + ACID MAMMOTH *** – DOOM TOUR VOL. 2 –
We are stoked to announce a very special DOOM combo: 1782 + ACID MAMMOTH !!!
*** 1782 + ACID MAMMOTH *** Doom tour vol. 2 TH 06/04/2023 IT OPEN SLOT** FR 07/04/2023 IT BOLZANO – PIPPO STAGE SA 08/04/2023 DE SAARBRUCKEN – HORST SU 09/04/2023 FR LILLE – LA BRAT CAVE MO 10/04/2023 FR PARIS – BLACK DOG TU 11/04/2023 FR NANTES – THE BLACK SHELTER WE 12/04/2023 FR OPEN SLOT** TH 13/04/2023 ES OPEN SLOT** FR 14/04/2023 ES BARCELONA – SALA TEXTIL SA 15/04/2023 FR OPEN SLOT** SU 16/04/2023 FR MARSEILLE – LE MOLOTOV MO 17/04/2023 FR OPEN SLOT** TU 18/04/2023 FR CHAMBERY – BRIN DE ZINC WE 19/04/2023 IT BOLOGNA – FREAKOUT TH 20/04/2023 HR ZAGREB – DVA OSAM FR 21/04/2023 SL OPEN SLOT** SA 22/04/2023 IT PORDENONE – ASTRO CLUB
ACID MAMMOTH is: Chris Babalis Jr. – Vocals, Guitars Chris Babalis Sr. – Guitars Dimosthenis Varikos – Bass Marios Louvaris – Drums
1782 is: Marco Nieddu – vocals/guitar Gabriele Fancellu – drums/back. vocals Francesco Pintore – bass
Posted in Whathaveyou on January 20th, 2023 by JJ Koczan
Lurching groove, cavernous echoes, a cultish sense of drudgery to mystify the mundane corners of one’s existence, yeah, 1782 sound like they’re on the right track with their new single “Succubus.” That it’s the second song on the Sardinian trio’s upcoming album, Clamor Luciferi, makes me think the preceding opener “A Merciful Suffering” either is or contains an intro to the whole record, otherwise it’d probably be the leadoff cut streaming first — that’s how it usually goes with Heavy Psych Sounds releases — but I haven’t heard the rest of the tracks yet, so I don’t know anything. In any case, this one is a nodder and I’m glad to nod accordingly.
We’ve got some time before the April 14 release of Clamor Luciferi, and no doubt there will be other material streaming publicly before then, but 1782‘s two full-lengths to-date have been gems of dug-deep dirty doom fuzz, and I expect no less for album three based on what I’m hearing here. The third LP is a special moment in the life of any band, and while 1782 have never lacked awareness of who they are as a band and what they want their sound to be, it does seem fair to expect a particularly virulent manifestation based on their growth to this point. One to look forward to, in other words.
The PR wire has details:
Italian occult doom metal specialists 1782 share first track off new album “Clamor Luciferi”; to be issued April 14th on Heavy Psych Sounds
Sardinia-based occult doom specialists 1782 announce the release of their third full-length “Clamor Luciferi” on April 14th through Heavy Psych Sounds, alongside the vinyl reissue of their first two albums. Listen to the thunderous first track “Succubus”!
On this new single, 1782 explore the ancient tale of the Succubus: “Attractive and seductive, she enters your nightmares, takes possession of your body and with ancient echoes drags you towards the deepest darkness. Follow the riff and watch out for evil echoes!”
“Clamor Luciferi” means the scream of Lucifer, a hostile scream but also noise and uproar! 1782 have created the heaviest and most evil songs they ever made. The album opens with an organ piece that conveys anxiety, suffering and melancholy. As always with the Sardinian trio, the themes revolve around the occult and local legends, dragging you into the deepest and most deafening darkness. It album was recorded, mixed and mastered by Alfredo Carboni at “RKS Studios” in Ossi, Sardinia (Italy) in November 2022.
Heavy Psych Sounds just announced the vinyl reissue of 1782’s previous albums “1782” and “From the Graveyard”, with preorders also available at this location:https://www.heavypsychsounds.com/shop.htm#HPS106v2
New album “Clamor Luciferi” Out April 14th on Heavy Psych Sounds –PREORDER
TRACKLIST: 1. A Merciful Suffering 2. Succubus 3. Demons 4. Black Rites 5. Tumultus XIII 6. River Of Sins 7. Devil’s Blood 8. Death Ceremony
In 1782, Anna Göldi was condemned, she was tortured and killed, this was the last witchcraft trial in Europe. In 2018, Marco Nieddu and Gabriele Fancellu formed a doom band called 1782 in honor of all the “witches” murdered by bigoted minds of many generations. Soon after, the band entered the studio to record the single “She She Was A Witch”, which was released through Electric Valley Records. Within a few days, the single turned out to arouse interest on social networks and among fans of the genre. In February 2019, 1782, they entered the studio to record their self-titled debut album, released through Roma-based label Heavy Psych Sounds Records.
After Francesco Pintore joined the band on bass, they recorded three new songs, which were released on the split album with Acid Mammoth “Doom Sessions Vol.2”. In 2021, the band released their sophomore album “From The Graveyard” through Heavy Psych Sounds. After playing at Heavy Psych Sounds Fest Berlin & Dresden and Desertfest Belgium 2021, the band went on an extensive European tour with Acid Mammoth in April 2022, including an appearance at Desertfest London.
1782 is: Marco Nieddu – Vocals, Guitar Gabriele Fancellu – Drums Francesco Pintore – Bass
Posted in Whathaveyou on December 7th, 2022 by JJ Koczan
I know what you’re thinking, and before you start, just indulge me. Yes, it’s another post with another festival lineup. And yeah, I’m about to tell that with Gnod and Mars Red Sky and Slomatics, Ecstatic Vision, 1782, Vinnum Sabbathi and all the rest on Astral Festival VIII, it’s a pretty killer assemblage. I know you’ve heard it a lot lately. I get it.
Here’s the thing. Human memory is fickle, but I recall vividly a couple years ago when you, me, nobody, had any fucking clue if this kind of thing would ever be able to happen again. So you know what? I actually feel pretty god damned good about being so onslaughted with festival lineup announcements that I’ve run out of shit to say about them other than, “Hey cool fest bruh, would go if I could,” which is pretty much where I’m at here. A bunch of bands getting together for a two-dayer in a place? Great. There’s about zero chance I’ll be there to see it, but I would much, much rather live in a world where it’s happening than the one where it wasn’t.
That’s my two cents. Here’s the lineup set for April 29-30 in Bristol, UK:
We still have a few more surprises lined up. Grab weekend or day ticket now!!
As always huge thank you for your support. It goes without saying there is no festival without you. Tickets are very limited so act fast!
Saturday April 29 Th Gnod Vinnum Sabbathi Phoenician Drive Slomatics Terror Cosmico Ivan the Tolerable and His Elastic Band Black Ends El Universo Dan Johnson
Sunday April 30 Th Mars Red Sky 1782 Wyatt E. Ecstatic Vision Chew Dusty Mush Sum of R Bonnacons of Doom Margarita Witch Cult Solar Corona
I hadn’t necessarily planned on doing a tribute to Desertfest London 2022. Not that it doesn’t deserve it, just that it didn’t occur to me until last week’s lineup announcement happened to hit at the right moment for my brain to connect the two things: the show and the fest. Sometimes you get these impulses and it’s a good idea to follow.
In the voice tracks here I mumble a couple times about doing a second installment because this is so packed and there’s still so much more that got left out because the show is only two hours long. I may get around to doing a second one, or I might do a Berlin one, a New York one, or a Freak Valley one, Krach am Bach, Stoned From the Underground, etc. There are many, many options, and that’s not to mention Roadburn, which is also happening in two weeks.
But god damn the lineup for Desertfest London 2022 is sick, and I’m happy to report that the playlist below follows suit accordingly.
Thanks if you listen, thanks if you’re reading. Thanks in general.
The Obelisk Show airs 5PM Eastern today on the Gimme app or at: http://gimmemetal.com.
Full playlist:
The Obelisk Show – 04.01.22
Witchcraft
No Angel or Demon
Witchcraft
Electric Wizard
The Chosen Few
Witchcult Today
Greenleaf
On Wings of Gold
Echoes From a Mass
Josiah
Malpaso
Josiah
VT
Elephant Tree
Sails
Habits
Steak
Papas Special Custard
Acute Mania
YOB
Quantum Mystic
The Unreal Never Lived
Conan
Eye to Eye to Eye
Existential Void Guardian
King Witch
Under the Mountain
Under the Mountain
VT
Earthless
Gifted by the Wind
Black Heaven
Green Lung
Reaper’s Scythe
Black Harvest
MaidaVale
Another Dimension
Madness is Too Pure
Bongzilla
Free the Weed
Weedsconsin
VT
Old Horn Tooth
True Death
True Death
1782
Bloodline
From the Graveyard
Lowrider
Sernanders Krog
Refractions
The Obelisk Show on Gimme Metal airs every Friday 5PM Eastern, with replays Sunday at 7PM Eastern. Next new episode is April 15 (subject to change). Thanks for listening if you do.
