Madrigal Posts “Eclipse” Video

Posted in Bootleg Theater on September 24th, 2020 by JJ Koczan

madrigal (Photo by Sulphorous Visions)

Guitarist Scholarship Leadership Essays; How It Works; Why Us; Order Now; Stuck with your Nursing Paper? Order custom written term papers, essays, theses and more... Julia Gaeta ( We can do my homework assignment task the best way one can even imagine. Our writers can provide every single of our clients an outstanding homework help instantaneously. Sometimes homework could be much harder than it seems, no worries! If you want us to Resume Writing Services Baton Rouge, you should notice our reasonable prices. Restless Ghosts, ex- And someone to good at the community service subject I will pay. So the answer to ďAs Coursework Help?Ē is a resounding yes. Albez Duz) takes on immersive soundscaping with her dissertation writing service malaysia assignment - Use this service to receive your profound thesis delivered on time Proposals, essays & research papers of best quality. Stop Madrigal project. I’ll confess that I had to look up the word “tenebrism” to get a better idea of the stated sound she’s going for — she calls it “guitar tenebrism” — and to save you the trouble unless you took more art classes than I apparently did, it’s like chiaroscuro but with higher contrasts between light and dark. More intense. Based in Berlin, when should i start writing my college essay Essay an essay on my native place what should i write my scholarship essay about Gaeta began posting singles under the click here UK writing service and Dissertation checking service UK writing Help Dissertation checking service UK Introduction Checking Madrigal banner last Spring and through YouTube, put up four songs between May and July 2019.

That was before phd personal statement Go Here Editorial have custom paper written in two hours or less i will take your online class Restless Ghosts released their self-titled debut EP in August with Itís possible to get http://www.gemeindebund.steiermark.at/?online-survey-master-thesis online. When you work with a professional essay writing company, youíll get high-quality work right on time. Gaeta handling vocals and all instruments save drums, which were performed by Learn these writing skills today and become a better hire tomorrow. Make yourself indispensable by investing in this Phd Thesis In Cultural Studies online short course Sara Neidorf ( Resume http://m2online.at/1950s-homework-help/s are experts drawing up engaging and result-oriented CVs and cover letters to get clients invited to job interviews. Mellowdeath), and since then,¬† essay college help - Perfectly crafted and custom academic essays. Instead of spending time in inefficient attempts, receive qualified help here Madrigal¬†has been silent, but the new song “Eclipsed” finds¬† Uncover the aspects of getting services form Risks Of Online Dating Essay - real-time feedback and up-to-date offers. Gaeta departing the studio setting and self-filmed feel of the prior clips for the great outdoors. Working with director¬† Our research paper writing service is always online to provide customers with professional research paper onlin on any topic. Let our academic writers David Fitt, who has helmed videos for How to Hire an Educated watch. If you are thinking about looking for an individual to assist you with the PhD dissertation that you are Hexvessel,¬† phd thesis mba Strategic Business Planning Modelss help writing an informative essay online masters degree programs no thesis Grave Pleasures and¬† Death Alley, among others, Gaeta¬†brings “Eclipsed” to life in a context that suitably plays between light and dark: an open field at what would seem to be dusk with a chunk missing out of the moon far back in the distance. I don’t know if it was an actual eclipse or when the video was filmed, but you get that impression anyway, and atmosphere has a big role to play with Madrigal generally, so it fits.

The solo outfit is a departure from the goth-tinged cultism of¬†Restless Ghosts, but the ambience in the “Eclipsed” video is meditative and more than slightly wistful, so not completely out of whack either. Check it out and see what you think.¬†Gaeta gives a quote below. My favorite part is where she says she doesn’t know where the project’s heading. I look forward to finding out.

Please enjoy:

Madrigal, “Eclipsed” official video

Julia Gaeta on “Eclipsed”:

Madrigal is a project that explores the depths and lushness of guitar sounds. It’s about straddling the darkness and light in both sound and visuals. Even though the compositions are pretty different from one another, I always try to evoke feelings that live in an “in-between”, twilight space. Now more than ever, it’s cathartic to escape to somewhere else, and I tend to do this when creating Madrigal songs. I hope that the end result helps others do the same.

“Eclipsed” is kind of a send-off for a heavy summer and a welcome to the decay of fall. All my previous songs have been DIY, with me doing audio and video recording, and it’s been so great to involve filmmaker David Fitt (Grave Pleasures, King Dude, Death Alley, Perturbator) who is helping to bring these worlds to life in a bigger way.

There’s a lot more to come. I think Madrigal is more of an experiment than anything else, because I don’t know how it will evolve. It’s just really nice to be able to release music in a more unconventional way.

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Friday Full-Length: Rotor, 2

Posted in Bootleg Theater on August 28th, 2020 by JJ Koczan

There are many who swear by the 2005 second album from Berlin-based mostly-instrumentalists¬†Rotor, and one can hardly argue. The German outfit got their start in 1998 — you might also see their name stylized as RotoR — and released their 2001 self-titled debut LP through Monster Zero Records, the same imprint that was home to concurrent offerings from the likes of¬†Colour Haze,¬†Astroqueen and¬†Zerocharisma.¬†By the time¬†2 showed up four years later, the then-three-piece had found a home on¬†Elektrohasch Schallplatten, the label helmed by¬†Colour Haze‘s¬†Stefan Koglek, and they seemed at the same time to have found their niche in establishing a place for themselves between desert rock, classic progressive heavy, and an underlying touch of exploratory jamming. Their songs could crunch out along a riffy groove or dig into proggier vibes as they willed it, and though they released a split with¬†Stonedudes and¬†Drive by Shooting the same year through Nasoni Records that featured the track “V’Ger,” 2¬†remains an essential piece of their ongoing catalog and a look at how German heavy rock developed coming out of the post-Kyuss desert fixations of the late ’90s and ultimately found its own identity, which it did in no small part thanks to bands like¬†Rotor.

They’ve never been big on lineup details, but at one point or another, the band was¬†Marco Baale, Milan Pf√ľtzenreuter and¬†Tim Mentzel. Today, they list their membership as “4,” which I guess is fair enough; their album 4¬†(review here) came out in 2010. In any case, compared to what they’d go on to do stylistically, perhaps the fare throughout¬†2¬†is a bit less complex, certainly less mature, but the tradeoff there is the kind of vibe that can only come from a band excited to be discovering who they are as players and as a group. Comprised of eight songs and running 43 minutes,¬†Rotor‘s¬†2¬†is deceptive in both its immersion and its patience, and the band cleverly rotor 2engage their audience with fuzzy tones and a sense of songcraft that builds off the no-nonsense approach of¬†Karma to Burn but is decidedly their own. They’re an instrumental band, have always been known for being an instrumental band, and have not veered from that course, so naturally the first song on¬†2¬†has vocals. It’s one of two tracks to feature them, actually, with¬†Samavayo‘s¬†Behrang Alavi stepping in on lead cut “On the Run” and singing in Persian on the side B leadoff “Endlicht.”

This gives each half of the record not only a definitive starting point — i.e. “Endlicht” serving as a landmark to keep listeners from getting too lost in the proceedings as can sometimes happen in all-instrumental releases; sorry, the human brain is a simple thing and has evolved to hear words when they’re spoken — and seems to allow the band more space to play as they will in the subsequent three songs on each side. The energy of “On the Run” bleeds into the clever starts and stops and surges and pullbacks of “Auf Der Lauer,” which refuses for the better part of its five and a half minutes to resolve its mischievous bumps and bounces before finally doing so in a nodding roll and last crash, giving way to the interplay between jazz and thrust on “Supernovo” — a serene midsection offering a delightfully false sense of security — and side A closer “Nuhig Blut,” which begins with a warmth of tone to remind one that, indeed,¬†Rotor were contemporaries of¬†Colour Haze, and a winding progression of wah and rumbly bass that shoves forward at will into a roll that feels built off that in “Auf Der Lauer” but has even more nuance to offer as it goes, being part of the journey more than the destination as it is in the earlier cut.

As the side B launch and “On the Run” complement, “Endlicht” — the title translating to English as “Last Light” — features a return from¬†Alavi and the aforementioned Persian lyrics. The guitar takes a Middle Eastern inflection to suit during the verses but opens to broader fuzz during the chorus, a flourish of psychedelia resulting that sets up some of the more ranging material still to come. “Endlicht” builds up, cuts out, builds again and recedes, in a quick barrage of changes, but the central energy remains, and turns over to the semi-acoustic, minute-long “Zeistau,” which I suppose is fair to call an interlude but rests well ahead of “Hellway”‘s more spacious course. It’s the penultimate piece, and its near-seven-minute runtime feels purposefully paired with the 7:31 closer “Kraftfeld” as the two seem to range more broadly from fuzz riffs to atmospherics. A more languid pace in the finale is welcome as well, as it shows¬†Rotor working in a more patient sphere than they had up to that point with their songwriting. Following an improvised-feeling (if not actually improvised) midsection, there’s an uptick in tempo that drives into a quick, somewhat understated peak, and then finishes quietly enough to underscore the class of the performance on the whole.

Rotor‘s tenure on¬†Elektrohasch resulted in two more studio albums, 2007’s¬†3¬†and the already-noted¬†4, as well as the 2011 live record, Festsaal Kreuzberg (review here), that was captured in their hometown. The five-year break between¬†4¬†and 2015’s¬†F√ľnf (review here) was the longest of the band’s career, and it marked the beginning of their alliance with¬†Noisolution that continued with 2018’s Sechs (review here) — both albums showcasing the progressive leanings that were very much present in¬†Rotor‘s earlier work, as¬†2¬†shows across its span, but which were brought more into focus over time. With that album marking the 20th anniversary of the band, they set about stopping through various festivals and club shows to support, and of course had plans likewise for 2020 that includes¬†Sonic Whip in the Netherlands, and¬†Krach am Bach in Germany, both of which were called off. They’re set to appear at¬†Esbjerg Fuzztival in Denmark next week, however, which as of now is still happening and has posted significantly detailed rules for social distancing. Whatever it takes, I guess.

I can only imagine seeing this band live during this time and engaging the deeply creative spirit of their work in-person. No doubt one would end up swearing by¬†2¬†as well as a representation of that time. As it stands these 15 years later, the prescience of¬†Rotor is a prophecy self-fulfilled by the influence they’ve had on European heavy psych and instrumentalism — you can point to Truckfighters or Papir and I don’t think you’d be wrong in either case — and¬†2¬†not only holds up as a document of its era, but of the ability of the band to cast vivid images in the theater of the mind.

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

This week sucked. Oh, it sucked. It sucked, it sucked, it sucked. The Pecan had a cold and was miserable — he’s still stuffy but has been better the last couple days, if you count periodically having epic breakdowns like your favorite early ’00s metalcore band and hauling off and smacking you as “better,” which actually, yes, I do — and The Patient Mrs.’ new semester started, all online so far, though they’re apparently going to reassess that in a couple weeks? And the dog. Ugh, the dog. The dog is fucking wretched. We were actually doing fine for a bit yesterday and I brought her out of the kitchen to play fetch in the living room. First thing she did was piss on the floor. Pretty much ruined my whole fucking day. Was on par with taking The Pecan to the zoo on Tuesday and watching him bite another kid on the playground (through his mask, but it was still enough to make the other kid cry). Oh, it sucked. All of it. Just awful. It was a shitty, shitty fucking week and the sooner it’s forgotten the better. I hope that by the next time I write about Rotor and inevitably come back to look at this post, I can’t even remember what I’m talking about here. “When was that?” and so on.

And so the dog chews my foot. Stop. So the dog chews the 200-year-old rocking chair my mother gave us when we had The Pecan. Stop. The dog chews a rug. Fine. She has bones. She has a kong. She has rawhide. She is awful. Fucking awful. And every time I try to talk to The Patient Mrs. about it it becomes an argument like she’s on team dog and I get to be my father the asshole (still dead, not yet buried for some fucking reason) who hates everything. Meanwhile, the dog bites. She chews. She pisses on the floor. She has a bark like a dying seal that is like sandpaper on my brain. I grew up with dogs. I have loved dogs my whole life. This is the dog we got our son so they could grow up together and it’s been five weeks and they can’t even be in the same room. It’s not working. The little voice in my head is telling me, “Punch out, Maverick.” Try again later.

And there’s nothing worse than not being heard.

I should go. I can hear The Pecan in the other room talking about hitting his trains, which means he’s frustrated about something and that’s not gonna stop. Yeah, now he’s biting himself and hitting himself.

Apparently we’re closing on the sale of this house (to us, from my mother) today? Never believe anything in real estate until a week after it’s happened, so I guess I’ll check in next Friday about that.

Great and safe weekend. No Gimme show today. Next week. Don’t forget to hydrate. So important.

FRM.

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Ne√†nder Post “Eremit” Visualizer; New Album out Oct. 9

Posted in Bootleg Theater on August 24th, 2020 by JJ Koczan

neander

It’s not quite what one would usually think of as a video, but atmospherically speaking, it definitely gets the point across. Also, the point is atmosphere, and it’s one that Berlin’s Ne√†nder — also stylized all-lowercase, ne√†nder, presumably to preserve the humility their tonal onslaught casts aside — make well on “Eremit,” which is the title-track of their upcoming full-length on Through Love Records. Set to release Oct. 9, its titular representative finds the band coursing between atmospheric sludge and doom — so yes, post-metal — with a particular strain of weight in the low end that seems to give all the more breadth to the upper register guitars, creating space enough for sharper lead lines as well as the seeming float of effects.

Coinciding with a solid march set by the drums, not too fast, but more than one might call a plod, the track builds toward its final 90-or-so seconds with increasing tempo and intensity, eventually hitting more extreme territory but handling it with no less a sense of control than the band has maintained all along. I haven’t heard the full album yet, but given what’s going on here, I would expect the combination of refinement and sheer weight to be consistent in progressive fashion. They earn the grey on that cover image.

But the video. Yeah, it’s not quite a video so much as a manipulation of the album cover. It goes into and out of focus in different parts slowly, zooms in and out. Basically it’s a way to feature the song. They’re calling it a visualizer and that’s fine by me. Visualize yourself listening to the track and you’re probably headed in the right direction.

I hear there might be tour dates in the works for the German outfit — must be nice — but in the interim and before the album comes out, you’ll find the a/v and more info below.

Please enjoy:

Ne√†nder, “Eremit” official visualizer

October 9th 2020 will see Berlin- based collective, ne√†nder, return with their brand new, sophomore album “eremit”, only one and a half year after releasing their critically acclaimed debut. With their upcoming magnum opus, ne√†nder continue to evolve their very own blend of heavy music that draws on musical elements of doom, ambient and black metal. A bleak and desolate atmosphere casts its shadow on this record, while the band cuts a dark crystal playing with variations of light and shade.

“We wanted to dig deeper into our own sound. As a result the riffs are slower and heavier than before and the epic parts are way more intense‚Äú said the band earlier. “This album is all about finding your identity. Figure out who you are and then head out for the next chapter‚Äú adds guitarist Jan Korbach. “We wrote our first album over a period of three years, but this one only took 6 months. And this really sticks it all together.‚Äú

Today, ne√†nder have premiered a moody visualizer to the crushing album title track, “eremit”. The single is available via several digital platforms here: https://linktr.ee/neandereremit

“We didn’t felt that the new song ‘Eremit’ needed a music video in the classical sense.‚Äú Korbach continues. “Like some band playing in a warehouse (I can say it, because I’ve done this too many times). Like this one can focus 100% on the music. In my mind the visualizer reflects the mood of the song perfectly. A creature from outta space (so to say) – that is not to be named yet – created the 3D animation.”

Album Tracklist:
Purpur (prelude)
Purpur
Eremit
Ora
Clivina
Atlas

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Finding Comfort in Live Music When There Isn’t Any

Posted in Features on August 12th, 2020 by JJ Koczan

Bands and festivals have begun to announce 2021 dates and all that, but let’s be realistic: it’s going to be years before live music is what it once was. Especially in the United States, which is the country in the world hardest hit by the ol’ firelung in no small part because of the ineptitude of its federal leadership, an entire economic system of live music — not to mention the venues, promotions and other cultural institutions that support it on all levels — needs to be rebuilt from the ground up. It isn’t going to be just as simple as “social distancing is over and we can all crowd into the bar again.” Maybe not ever.

You’ve likely seen a band do a live stream at this point, even if after the fact, and I have too. Not the same as a real-life gig, duh, but if it helps raise some funds and keeps creative people working on something and gives an act a way to connect with its audience, you can’t call it bad. I’ve found, though, that with the dearth of live music happening and the nil potential that “going to a show” will happen anytime soon, I’ve been listening to more and more live albums.

This, in no small part, is because there are plenty to listen to. Some groups attempting to bring in cash either for themselves or relevant causes have put out live records in the last few months and made use of the downtime that would’ve otherwise been given to actually being on a stage or writing together in a room or whatever it might be. It’s been a way for a band to not just sit on its collective hands and wonder what the future will bring. When so much is out of your own control, you make the most of what you’ve got.

In that spirit, here’s a quick rundown of 10 recent live outings that I’ve been digging. If you’ve found you’re in the need of finding comfort in live music and whatever act you want to see isn’t doing a stream just this second, maybe you can put one of these on, close your eyes, and be affected a bit by the on-stage energy that comes through.

Thanks as always for reading, and thanks to Tim Burke, Vania Yosifova, and Chris Pojama Pearson for adding their suggestions when I asked on social media. Here we go, ordered by date of release:

Arcadian Child, From Far, for the Wild (Live in Linz)

arcadian child from far for the wild

Released Jan. 24.

Granted, this one came out before the real impact of COVID-19 was being felt worldwide, but with the recent announcement of Arcadian Child‘s next studio album coming out this Fall, including From Far, for the Wild (Live in Linz) (discussed here) on this list seems only fair. The Cyprus-based four-piece even went so far as to include a couple new songs in the set that’ll show up on Protopsycho as well this October, so it’s a chance to get a preview of that material as well. Bonus for a bonus. Take the win.

Kadavar, Studio Live Session Vol. 1

kadavar studio live session

Released March 25.

Germany began imposing curfews in six of its states on March 22. At that point, tours were already being canceled, including Kadavar‘s European run after two shows, and the band hit Blue Wall Studio in Berlin for a set that was streamed through Facebook and in no small part helped set the pattern of streams in motion. With shows canceled in Australia/New Zealand and North America as well, Kadavar were hoping to recover some of the momentum they’d lost, and their turning it into a live record is also a part of that, as is their upcoming studio release, The Isolation Tapes.

√ėresund Space Collective, Sonic Rock Solstice 2019

√ėresund Space Collective Sonic Rock Solstice 2019

Released April 3.

Of course, I’m perfectly willing to grant that Sonic Rock Solstice 2019 (review here) wasn’t something √ėresund Space Collective specifically put out because of the pandemic, but hell, it still exists and that enough, as far as I’m concerned. As ever, they proliferate top notch psychedelic improv, and though I’ve never seen them and it seems increasingly likely I won’t at the fest I was supposed to this year, their vitality is always infectious.

Pelican, Live at the Grog Shop

pelican Live at The Grog Shop

Released April 15.

Let’s be frank — if you don’t love Pelican‘s music to a familial degree, it’s not that I think less of you as a person, but I definitely feel bad for you in a way that, if I told you face-to-face, you won’t find almost entirely condescending. The Chicago instrumentalists are high on my list of golly-I-wish-they’d-do-a-livestream, and if you need an argument to support that, this set from Ohio should do the trick nicely. It’s from September 2019, which was just nearly a year ago. If your mind isn’t blown by their chugging progressive riffs, certainly that thought should do the trick.

SEA, Live at ONCE

sea live at once

Released June 19.

Also captured on video, this set from Boston’s SEA finds them supporting 2020’s debut album, Impermanence (review here) and pushing beyond at ONCE Ballroom in their hometown. The band’s blend of post-metallic atmosphere and spacious melody-making comes through as they alternate between lumbering riffs and more subdued ambience, and it makes a fitting complement to the record in underscoring their progressive potential. The sound is raw but I’d want nothing less.

Sumac, St Vitus 09/07/2018

sumac st vitus

Released July 3.

Issued as a benefit to Black Lives Matter Seattle and a host of other causes, among them the Philadelphia Womanist Working Collective, this Sumac set is precisely what it promises in the title — a live show from 2018 at Brooklyn’s famed Saint Vitus Bar. I wasn’t at this show, but it does make me a little wistful to think of that particular venue in the current concert-less climate. Sumac aren’t big on healing when it comes to the raw sonics, but there’s certainly enough spaciousness here to get lost in should you wish to do so.

YOB, Pickathon 2019 – Live From the Galaxy Barn

YOB Pickathon 2019 Live from the Galaxy Barn

Released July 3.

They’ve since taken down the Bandcamp stream, but YOB’s Pickathon 2019 – Live From the Galaxy Barn (review here) was released as a benefit for Navajo Nation COVID-19 relief, and is an hour-long set that paired the restlessness of “The Lie that is Sin” next to the ever-resonant “Marrow.” Of all the live records on this list, this is probably the one that’s brought me the most joy, and it also inspired the most recent episode of The Obelisk Show on Gimme Metal, which jumped headfirst into YOB‘s catalog. More YOB please. Also, if you haven’t seen the videos of Mike Scheidt playing his guitar around the house, you should probably hook into that too.

Dirty Streets, Rough and Tumble

dirty streets rough and tumble

Released July 31.

If you’re not all the way down with the realization that Justin Toland is the man when it comes to heavy soul and blues guitar, Dirty Streets‘ new live record, Rough and Tumble, will set you straight, and it won’t even take that long. With the all-killer bass and drums of Thomas Storz and Andrew Denham behind, Toland reminds of what a true virtuoso player can accomplish when put in a room with a crowd to watch. That’s an important message for any time, let alone right now. These cats always deliver.

Amenra, Mass VI Live

amenra mass vi live

Released Aug. 7

Look, I’m not gonna sit here and pretend I’m the biggest Amenra fan in the world. I’m not. Sometimes I feel like they follow too many of their own rules for their own good, but there’s no question that live they’re well served by the spectacle they create, and their atmospherics are genuinely affecting. And I know that I’m in the minority in my position, so for anyone who digs them hard, they put up this stream-turned-record wherein they play a goodly portion of 2017’s Mass VI, and even as the self-professed not-biggest-fan-in-the-world, I can appreciate their effort and the screamy-scream-crushy-crush/open-spaced ambience that ensues.

Electric Moon, Live at Freak Valley Festival 2019

Electric Moon Live at Freak Valley Festival 2019

Releasing Sept. 4.

Yeah, okay, this one’s not out yet, but sometimes I’m lucky enough to get things early for review and sometimes (on good days) those things happen to be new live records from Germany psychonauts Electric Moon. The Always-Out-There-Sula-Komets are in top form on Live at Freak Valley Festival 2019 as one would have to expect, and they’re streaming a 22-minute version of “777” now that rips so hard it sounds like it’s about to tear a hole into an alternate dimension where shows are still going on so yes please everyone go and listen to it and maybe we’ll get lucky and it’ll really happen. The magic was in you all along.

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Album Review: Electric Moon, You Can See the Sound Of… (Expanded Version)

Posted in Reviews on August 6th, 2020 by JJ Koczan

electric moon you can see the sound of

Look carefully at the front cover of Electric Moon‘s You Can See the Sound Of… and you’ll note, in small letters at the top, the words ‘Extended Version.’ And so it is. The original, limited-to-500-copies edition of You Can See the Sound Of… (review here) was pressed to white 10″ vinyl and issued at Roadburn Festival in 2013 to coincide with a residency from¬†Electric Moon guitarist/synthesist/noisemaker Dave Schmidt, aka Sula Bassana. At the time,¬†Electric Moon¬†consisted of the core duo of¬†Schmidt — who also runs Sulatron Records — and bassist/effects-specialist/sometimes-vocalist/graphic-artist “Komet Lulu” Neudeck, as well as drummer¬†Michael Orloff, who had taken over from original drummer¬†Pablo Carneval, who, in turn, has since rejoined the band. At the time,¬†Electric Moon were embroiled in an absolute creative flood, and between 2010 and 2012 they’d done no fewer than (and likely more than) 10 releases between splits, live recordings and studio offerings.

Their foundation in improvised heavy psychedelic exploration, in space-rock-infused jamming, and the fact that they were releasing through¬†Schmidt‘s own imprint as well as respected purveyor¬†Nasoni Records, which by then was well familiar with Schmidt‘s solo work under the¬†Sula Bassana banner, helped foster this relentless pace, and though they wouldn’t keep it up forever — how could they? — they were able to establish a reputation for the quality of their work as well as for the frequency with which it showed up. Even now though,¬†multiple Electric Moon releases in the span of a year isn’t a surprise. To wit, they’re already set next month to follow You Can See the Sound Of… (Extended Version)¬†with a live album captured at the 2019¬†Freak Valley Festival in their native Germany. But it is the standard of performance and chemistry they set that continues to make it such a joy to follow their progression from one outing to the next, and the original edition of¬†You Can See the Sound Of… has always been a standout for me as a fan of what they do.

The three songs that appeared on that 2013 EP, “The Inner Part,” “Your Own Truth” and “No Escape From Now” are now featured as side A of¬†You Can See the Sound Of… (Extended Version), and they remain a synesthetic pleasure to behold, from the bright shimmering, swirling greens of the lead cut to the¬†Sonic Youth-gone-surf experimental feel of “Your Own Truth,” with¬†Neudeck‘s semi-whispered vocals holding sway over a tense drum progression and a guitar line that is hypnotic enough to not give away the fact that it’s building to a more fervent payoff of fuzz in the song’s second half. By then they’ve already set the trajectory across the six minutes of “The Inner Part,” instrumental and expansive with a strong rhythmic foundation under¬†Schmidt‘s floating guitar lines. It is no less the root of¬†Electric Moon‘s approach than it is the basis for the dynamic of any number of power trios — bass and drums lock the groove, guitar wanders as it will — but given the keys to this particular spaceship, Electric Moon do not at all fail to make it their own.

electric moon you can see the sound of original cover

And as with the best of their work, it doesn’t feel like it could be any other way as “The Inner Part” and “Your Own Truth” make way for the 11-minute “No Escape From Now,” which unfurls gradually, seeming to use multiple dimensions of its mix to set the drums deep within the soundscape of the guitars and effects, maybe-vocals coursing intermittently through the first half of the track in what might be spoken form manipulated by pedals/synth or might just be the band tapping into the hearing-voices subconscious of their listenership. Seven years after the fact, it’s still unclear, and that’s part of what makes it work so well. It’s not like Electric Moon are going to sound dated; time isn’t really a factor here, and the context in which this material is occurring isn’t one that depends on the moment in which it occurs, based on improv though it is. Once it’s out there, it’s timeless, because in a way, once it’s out there its time has already passed.

To that end, I’m left curious as to why the three songs that appear on the back half of You Can See the Sound Of… (Extended Version) didn’t make the cut initially. Side B — comprising “Windhovers” (6:15), “The Great Exploration of Nothing” (4:56) and “Mushroom Cloud No. 4” (11:19) — is taken from the same studio session, and is set up as a mirror for side A in terms of the runtime of each piece. The second here is a little longer, the third a little shorter, but still within a minute of each other from one side to the next, and while it’s true that in the case of the later songs — those added on to the new version of the release — that’s being done with fadeouts so that they’re in line with the originals, that does nothing to undercut what they bring to the proceedings in terms of atmosphere.

“Windhovers” sets itself to a patient drumbeat and gives some semblance of a post-rock vibe early — if it was the quiet midsection of an Amenra song, no one would blink — and executes a more linear build than anything on side A, while “The Great Exploration of Nothing” turns to more of an outward lumber, putting the bass forward as¬†Schmidt seems to move back and forth to keys and Neudeck takes the lead as the guitar otherwise might. The result is almost a verse/chorus structure — at least a play back and forth — but of course that’s not where¬†Electric Moon are at.

They push through and into a noise wash jam on “Mushroom Cloud No. 4” and cap hinting at a guitar line that could easily (and probably did in the studio) just keep going for some indeterminate amount of time. That is the band in their wheelhouse, touching multiple niches in terms of sound, but holding a flow and reach that is too much their own to be anything else. As a reminder of what they were up to at this point,¬†You Can See the Sound Of… (Extended Version) brims with psychedelic vitality, but one should not discount the work they’ve done since — on 2017’s¬†Stardust Rituals¬†(review here), for example — because the breadth that is so palpable in this material has only continued to expand.

Electric Moon, You Can See the Sound Of… (2013)

Electric Moon on Thee Facebooks

Electric Moon on Bandcamp

Electric Moon website

Sulatron Records website

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Kadavar Post First The Isolation Tapes Single “Everything is Changing”

Posted in Bootleg Theater on August 6th, 2020 by JJ Koczan

kadavar everything is changing

Immediate points to Kadavar for accuracy when it comes to their new single. The first track to be unveiled from the upcoming The Isolation Tapes LP — available for preorder from the Berlin trio’s website as of today — is “Everything is Changing,” and I suspect that when frontman Christoph ‚ÄúLupus‚ÄĚ Lindemann¬†intones the title, he’s talking about more than just the fact that he and drummer Christoph ‚ÄúTiger‚ÄĚ Bartelt have shaved their long-worn beards. The song, with synthesizer where a guitar might otherwise lead the way — not at all the band’s first foray into synth, if you’re wondering, but still a departure from expectation — is melancholy and autobiographical featuring, with¬†Lindemann describing restlessness in lyrics like, “Trying to make sense at home/Like the new guy coming into town,” and “I said I wouldn’t be home tonight/But things have changed too fast.”

One has no trouble believing both those sentiments are true.¬†Kadavar¬†— rounded out by Simon ‚ÄúDragon‚ÄĚ Bouteloup — of course had tour plans scuttled by the COVID-19 pandemic, and they’ve been on the road so persistently and for so long, that it’s easy to imagine being stuck at home as they might’ve been earlier this year was a marked change personally as well as a dent in their always-busy album cycle. As the song unfolds over its six minutes, the lonely feeling suits a year marked by social distance broken only by social unrest, and in the last verse,¬†restlessness turns into apathy as the last verse finishes, “Now I want to stay for a while/Resting my tired limbs/And I want to hide for a while/From the sound of my strings.”

Fair enough, but¬†Kadavar aren’t exactly hiding. “Everything is Changing” is meticulously arranged and holds the mark of songcraft that has typified their material all throughout the creative progression that’s made them one of heavy rock’s most pivotal acts of the last decade. And to be surrounded by change is to be alive, but the consistency with which¬†Kadavar bring their material to light is the rare reassurance of a steady hand, and even “Everything is Changing” — a willful step-down in energy from some of their more brazen moments — benefits from how much of themselves the band puts into it.

As noted,¬†The Isolation Tapes is up for preorder as of today. It’s out Oct. 23 through¬†Robotor Records — the band’s new self-release label; which seems to be an imprint of Pelagic? — and as one might expect, the different color vinyls look lovely.

Enjoy the video:

Kadavar, “Everything is Changing” official video

‘EVERYTHING IS CHANGING’ from the album ‘THE ISOLATION TAPES’ released on 23 October on Robotor Records.

PRE-ORDER: https://www.kadavar.com/
SUBSCRIBE: https://www.youtube.com/channel/UCVmS…

Lupus: ‘The time of isolation has been a very intimate one that would not invite to write another hard rock album just like that. At home I wasn‚Äôt looking for loud guitars or walls of sound: everything turned quiet, both inside and outside, until sound almost disappeared. I would start listening to things I usually wouldn‚Äôt, like water drops, steps, birds or wind‚Ķ So we started recording out of this new mental state, we would use loops for the very first time or play around with sounds we have never used before, resulting in a trip through our minds that captured these special times where everything was changing.’

Directed and Edited by Victor Puigcerver

Head Of Production Xavi Galindo
Color Grading Lita Bosch

Thanks to
Robin Banks
Olivia Airey

Early morning breaks the night
I get up I’ve slept way too long
doubt is moving through my mind
its been some time that i’ve played my songs

33 and things are changing
so long I’ve served you well
living the dream for many years
left alone in the hotel

Everything is changing
And there’s nothing I can do
i see all the good times fading
while I’m trying to get through

trying to make sense at home
like the new guy coming into town
There’s a world out there and it calls my name
but i don’t know how to get along

33 and things are changing
so long I’ve served you well
living the dream for many years
left alone in the hotel

i said i wouldn’t be home tonight
but things have changed too fast

now i want to stay for a while
resting my tired limbs
and i want to hide for a while
from the sound of my strings

Kadavar on Thee Facebooks

Kadavar on Instagram

Kadavar website

Robotor Records on Thee Facebooks

Robotor Records on Instagram

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Kadavar Announce New Album The Isolation Tapes

Posted in Whathaveyou on July 21st, 2020 by JJ Koczan

Well, they had to do something. Not only did Kadavar have Australia/New Zealand and North American tour plans shit the bed this Spring, they were also set to hold their first festival endeavor, the Re-Generation Fest, next month in Berlin, where they’d co-headline with All Them Witches. Obviously not happening, because at some point it would probably require two people to, you know, stand next to each other. A terrifying thought, even outdoors, and I’m not even being that sarcastic when I say so.

So that will happen in 2021 (hopefully), and in the meantime, the always-up-to-something trio have been accordingly up to something. The something is a new album. Dubbed The Isolation Tapes, the new record is set to go up for preorder on Aug. 6, at which time a new single will also be unveiled. While you’re noting that date, putting a reminder in your phone or some such, also take a second to lift an eyebrow at the fact that Kadavar are releasing the album on their own, through a new imprint they’ve dubbed Robotor Records, rather than with Nuclear Blast, which handled their last four studio albums — including last year’s For the Dead Travel Fast (review here) — as well as two live records.

Could be they were on a six-LP deal and that has been fulfilled, or this could be a one-off due to the extenuating circumstances of that pesky global pandemic, but I don’t know at this point. Presumably we’ll find out more when the first single hits next month.

The news caught my eye on the social medias, not the least because it was in all-caps. Here it is:

kadavar the isolation tapes

KADAVAR – The Isolation Tapes

AUGUST 6, 2020 – SAVE THE DATE !!!

NEW STUDIO ALBUM ‚ÄěTHE ISOLATION TAPES‚Äú ON OUR OWN LABEL ROBOTOR RECORDS!

PRE-ORDER, MORE DETAILS AND FIRST SINGLE ON AUGUST 6, 2020.

ARTWORK BY Max Löffler Illustration

https://www.facebook.com/KadavarOfficial/
https://instagram.com/kadavargram/

Kadavar, For the Dead Travel Fast tour video

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Tau and the Drones of Praise Post “Sean√≥ir√≠ Naofa” Video

Posted in Bootleg Theater on July 15th, 2020 by JJ Koczan

tau and the drones of praise

I’m not gonna claim to be any kind of expert on the work of¬†Tau or any of the various incarnations the Irish-rooted frontman Shaun Mulrooney has of it. I saw something so I’m saying something while I bother to investigate further.¬†Tau and the Drones of Praise issued the four-song¬†Sean√≥ir√≠ Naofa EP last month, and they would’ve been at¬†Roadburn this year, but blah blah blah I’m tired of talking about the pandemic. The EP’s tracks vary somewhat in personality, but with the title-cut, there’s a particularly deep dive into Celtic folk and nature-worshiping psychedelia. And antlers. Lots of antlers. I don’t even mean just in the video. The song itself has antlers. How did they even do that?

Well, that’s the magic I guess, and that’s why I’m posting the video, because it’s easy to get swept up in it, and while this may not be the kind of heavy fare one expects around here all the time, consider the weight of Ireland’s history and consider the breadth of atmosphere being conveyed here and maybe that’ll give you some sense of where I’m coming from. Or maybe it won’t and it doesn’t really matter either way. If you dig it, dig it. If you don’t, well, I post five times a day most days and there are at least a hundred thousand other shitheel blogs out there, so do the math and you’re bound to find something that meets your stringent standards sooner or later.

Sorry. That one kind of took a turn.

Anyway, expand your horizons a little and get into it:

Tau & the Drones of Praise, “Sean√≥ir√≠ Naofa” official video

Title track Seanóirí Naofa (Sacred Ancestors) from the EP, Seanóirí Naofa out now.

Video is a collage and homage to the beauty of Ireland and our Sacred sites. Additional shots on tour in France and at La Briche Audio

Edited by Kyle McFerguson
Filmed by Haile MArie & Leo Lee

Seanóirí Naofa is the lead single from an EP of the same title by Tau & And The Drones of Praise.

This is the follow up to their second album released in February 2019, which garnered widespread acclaim.

In a flash of Imbas (inspiration) Seanóirí Naofa was written and recorded by the Berlin/Ireland based ensemble in just a few hours which gives the track its raw/ archaic immediacy. Opened stringed tunings and old instruments like the hurdy gurdy contains that signature Tau drone while maintaining a confident and contemporary, folky feel.

The mountain on the cover is Queen Maeve’s Cairn at Knocknarea, Co Sligo. The photograph was taken on Spring Equinox 2020, just as the world went into lockdown. The fiery warrior spirit and sovereignty which Goddess Queen Méabh represents so inspires the band, and is a reminder of our own inner fire and our own sovereignty.

Here, frontman Shaun Mulrooney retraces his ancestors’ footsteps, as his surname originates in County Sligo which is a stone’s throw from where he currently resides. Rory Nelson Mckee’s traditional guitar playing being at the helm on Seanóirí Naofa gives this work Tau’s most Irish sounding feel to date.

Tau and the Drones of Praise, Seanóirí Naofa (2020)

Tau on Instagram

Tau and the Drones of Praise on Thee Facebooks

Tau and the Drones of Praise on Bandcamp

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