Days of Rona: “Comet Lulu” Neudeck of Electric Moon & Worst Bassist Records

Posted in Features on April 6th, 2020 by JJ Koczan

The statistics of COVID-19 change with every news cycle, and with growing numbers, stay-at-home isolation and a near-universal disruption to society on a global scale, it is ever more important to consider the human aspect of this coronavirus. Amid the sad surrealism of living through social distancing, quarantines and bans on gatherings of groups of any size, creative professionals — artists, musicians, promoters, club owners, techs, producers, and more — are seeing an effect like nothing witnessed in the last century, and as humanity as a whole deals with this calamity, some perspective on who, what, where, when and how we’re all getting through is a needed reminder of why we’re doing so in the first place.

Thus, Days of Rona, in some attempt to help document the state of things as they are now, both so help can be asked for and given where needed, and so that when this is over it can be remembered.

Thanks to all who participate. To read all the Days of Rona coverage, click here. — JJ Koczan

electric moon lulu neudeck

Days of Rona: Lulu Neudeck of Electric Moon & Worst Bassist Records (Germany)

How are you dealing with this crisis as a band? Have you had to rework plans at all? How is everyone’s health so far?

At the moment, we are separated from each other, as our drummer is living in Vienna, Austria. We really miss each other and also are sad about the so far canceled shows.

Dave [“Sula Bassana” Schmidt] and me are also at the edge at the moment, cause this situation really affects our labels Sulatron Records and Worst Bassist Records. Means, distribution does not sell so much anymore due to closed record stores, it’s not possible to ship records worldwide at the moment ’cause of the shutdown of flights and restrictions, and of course playing no shows also affects, so there is not much income at the moment, which brings us struggles quickly.

Health is okay, no one infected with covid-19 (yet). The only thing is my cronical disease which puts me on the risk-list in getting critical with covid-19. So, fingers crossed, won’t get that shit.

So we’re doing music everyone on his own at the moment. Which brings also many new ideas. But we all can’t wait to meet again, playing together. We also have plans for a fourth bandmember and can’t wait to rehearse with him, so Corona really crossed some plans…

But, most important thing is we all stay healthy!

At the moment, the days are somehow running quick and slow at the same time.

What are the quarantine/isolation rules where you are?

At the moment, we have the restrictions to meet up with people, only family members are allowed. Also, it is allowed to walk outdoors but you may not rest anywhere. Building groups is forbidden, not more than two people are allowed walking together.

You have to keep a distance of two meters of each other, also in supermarkets, and they only let a certain amount of people in to make sure it’s possible to keep that distance.

Shops which are not really necessary for the system to go on, are all closed down, like record shops, book shops, tattoo and so on, only supermarkets, pharmacies and banks are opened. Now they are talking about the obligation of wearing masks in public, people get the advice to make their own ones and not buying medical supplies as there is a lack of it.

How have you seen the virus affecting the community around you and in music?

It is weird, outside, somehow all looks normal but everything is different than before. Streets are empty. People are stressed in supermarkets, or are totally making fun of the situation, but go for tons of toilet paper. It’s a surreal feeling, I try to go into a supermarket as rarely as possible.

But nature seems to feel happy right now, the air smells better, it feels surreal to be outdoors, surreal beautiful, birds sing louder than usually –- this maybe seems as if because of the silence in the streets. Like a silence before a storm…

In music I feel a big shift within the connection between each other. I’m totally impressed of the support by all the people to the bands and small labels. It feels huge in my heart to get such a response.

What is the one thing you want people to know about your situation, either as a band, or personally, or anything?

We’re in this together, take care of those who might need your help! And: Don’t lose the humour…

www.electricmoon.de
https://electric-moon.bandcamp.com/
www.facebook.com/ElectricMoonOfficial
www.sulatron.com
https://fb.com/worstbassistrecords
https://worstbassistrecords.bandcamp.com/

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Days of Rona: Christian Peters of Samsara Blues Experiment

Posted in Features on April 3rd, 2020 by JJ Koczan

The statistics of COVID-19 change with every news cycle, and with growing numbers, stay-at-home isolation and a near-universal disruption to society on a global scale, it is ever more important to consider the human aspect of this coronavirus. Amid the sad surrealism of living through social distancing, quarantines and bans on gatherings of groups of any size, creative professionals — artists, musicians, promoters, club owners, techs, producers, and more — are seeing an effect like nothing witnessed in the last century, and as humanity as a whole deals with this calamity, some perspective on who, what, where, when and how we’re all getting through is a needed reminder of why we’re doing so in the first place.

Thus, Days of Rona, in some attempt to help document the state of things as they are now, both so help can be asked for and given where needed, and so that when this is over it can be remembered.

Thanks to all who participate. — JJ Koczan

christian peters samsara blues experiment (Photo by Srta Castro)

Days of Rona: Christian Peters of Samsara Blues Experiment (Berlin, Germany)

How are you dealing with this crisis as a band? Have you had to rework plans at all? How is everyone’s health so far?

Well of course everyone has his own way of dealing with this individually. It’s a very unique and weird situation in recent history and there’s a lot one may worry about these days, especially when you’re with kids and may get into job troubles and such. Of course, like most other bands we have to work in other jobs besides, more or less… So as a band we have agreed on not rehearsing anymore, already before it became a rule to not meet more than one person at once here in Germany.

It appears we seem to be more cautious than others there… but it seemed wise to step back a while, and also get informed. Which is still the main problem, I don’t know if everybody really is informed enough. There’s seems to be a lot of panicking… But back to the band, we are in preparation of the fifth album, have studio time booked, tours planned, etc., and all is very uncertain now.

Even tours scheduled for this coming Summer may be affected, because no one can tell anything right now, which is a very unpleasant situation, speaking in plain terms… But the health thing in general, let’s put it like this; just I for myself probably have been in much worse situations throughout the last two years… all this is mostly about protecting elder folks, I get that…

What are the quarantine/isolation rules where you are?

Well like I mentioned before, it’s not allowed to meet more than one other person when you’re outside. Some people still don’t get it, while others exaggerate in other forms which leads to quite a few bizarre situations in daily life. Since I am kind of a loner naturally for me all that’s not such a big deal, but I see that some people may have a complete new experience there.

Also, most of the stores are closed, which again seems a bit “funny” because just as one example there’s a lot of small groceries or convenience stores here where you hardly see more than two or three customers at once even on a regular day and all these small stores have had to close (and face serious financial trouble) while a lot of anxious peeps crowd that one supermarket in your neighborhood in quest of the holy toilet paper roll (exaggerated, but really… what’s the thing about that?).

Ahm, what can I say, it’s just a bit strange outside… you’re allowed to take walks, alone or with very close family members, and then you see all these “ninjas.” Dude… it’s weird.

How have you seen the virus affecting the community around you and in music?

Of course, it’s inevitable right? Not many people know that besides being a musician, having my own label and working for other labels, occasionally I also work in other parts of the music biz (yeah, the media) where you saw bands cancelling tours very early on, when it still seemed just a bit hyper-cautious,… and then this turned into a kind of snowball… To this day, I still haven’t seen or heard of anyone’s health being that roughly affected by the virus itself, but many are facing severe financial damage!

And that is a bit crazy to me. Well yes, you need to have a back-up, always. That may be something a lot of people may learn from this, and it’s probably easy to say for myself because I’m kinda modest and never had a lot of money to spend nor saw the bigger use in hoarding stuff etc, but… you know, also a lot of the live venues in Berlin seem to face bankruptcy (!!), after only a few weeks of being shut down (!!), and that’s sheer madness somehow…

I don’t know man, I really don’t know what to think. The whole world is freaking out because of this virus… btw, I saw a nice video of that Sadhguru-dude playing a new version of Simon & Garfunkel’s “Sound Of Silence,” maybe you can add that below, just so that some people may have a laugh…

What is the one thing you want people to know about your situation, either as a band, or personally, or anything?

First of all, relax. Personally I’m hoping for a few good side effects that may, or may not, evolve from this. Our commonly known types of capitalism have to end sooner or later (yeah peace out bruh eh).

Maybe some peoples are becoming more conscious, more self-centered and balanced, yet prepared for things like that… coming out of the blue and throwing everybody’s lives upside-down. Personally I have just overcome a whole bunch of “situations” and crises that all seemed worse than all that still. So maybe that’s why I can sit here and still be relaxed.

Well, I don’t know if I really am in any position to give advice but… relax, and also try go inside yourselves (it’s really a good time for introspection, I think) and think about what is life, what is important, how important is love, self-love and self-affirmation in the first place, and how small is a fuckin’ virus and how small-minded are those people hoarding toilet paper… laugh a lot, that’s also a good medicine.

Well, I hope you have someone who makes you laugh, but then there’s a lot of good old movies to watch too… ah, I don’t know.

https://www.facebook.com/suryakrispeters/
https://suryakrispeters.bandcamp.com/
https://www.facebook.com/samsarabluesexperiment/
http://sbe-official.tumblr.com/
http://instagram.com/samsarabluesexperiment”
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Desertfest Berlin 2020 Canceled

Posted in Whathaveyou on March 30th, 2020 by JJ Koczan

And so it goes. My sincere respect and condolences to the crew behind Desertfest Berlin 2020 who had assembled and enviable lineup for this year’s festival before the outbreak of COVID-19 began to spread across Europe. The stakes are of course higher than canceling tours and the like — lives are being lost, remember — the fact is these people are deeply creative professionals and this is not only their livelihood, but their passion. Much respect to them for making 2020 tickets valid for 2021, which will be the 10th anniversary of the Desertfest brand and no doubt a celebration to remember. I’d love to be there to see it, regardless of who’s playing.

We all know the deal here. Nobody wanted this to happen, but it had to happen. Look forward and hope for brighter, riffier days to come.

Here’s their statement:

desertfest berlin 2020 off

Dear Desert Rockers,

sad news today from our Desertfest headquarters.

It is with such a heavy heart that we have to announce the cancellation of Desertfest Berlin 2020 due to the ongoing COVID-19 pandemic.

The current dramatic and worldwide situation leads us to the point, where we are unable to continue with the event in any capacity.

We have been working with all our powers on a possible postponement of this edition but it seems like there’s no other way, so we will come back in 2021 even stronger, with the 10TH ANNIVERSARY EDITION of Desertfest Berlin! We hope this gives you as much hope about the future as it does to us! We will inform you about the exact dates for our 2021 edition as soon as possible!

Ticket holders can keep their tickets. They will remain VALID for the 10th anniversary of Desertfest, and not only that but we also plan to provide a little surprise to all of you that showed us your trust and supported us by buying a ticket for 2020 already.

Of course you can also return them and get your money back if you can not make it to the 2021 edition but now, more than ever, we would need your solidarity and would be thankful for your support by keeping your tickets.

The whole DF Berlin team would like to thank you all, dear fans and friends, for being so patient and positive in the last couple of weeks.

Health comes first and our hearts and hopes are with all of you, dear friends, fans, musicians and crews all over the world.

Stay safe and healthy, better times will come and we will all rock again.

Much Love from Berlin,
Your Desertfest Team

https://www.facebook.com/events/520164272080736/
www.desertfest.de
www.facebook.com/DesertfestBerlin
www.instagram.com/desertfest_berlin

Desertfest Berlin 2019 official aftermovie

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Quarterly Review: Slift, IIVII, Coogans Bluff, Rough Spells, Goblinsmoker, Homecoming, Lemurian Folk Songs, Ritual King, Sunflowers, Maya Mountains

Posted in Reviews on March 26th, 2020 by JJ Koczan

quarterly review

Thursday. Everyone doing well? Healthy? Kicking ass? Working from home? There seems to be a lot of that going around, at least among the lucky. New Jersey, where I live, is on lockdown with non-essential businesses shuttered, roads largely empty and all that. It can be grim and apocalyptic feeling, but I’m finding this Quarterly Review to be pretty therapeutic or at least helpfully distracting at a moment when I very much need something to be that. I hope that if you’re reading this, whether you’ve been following along or not, it’s done or can do the same for you if that’s what you need. I’ll leave it at that.

Quarterly Review #31-40:

Slift, Ummon

slift ummon

The second album from French space/psych trio Slift is a 72-minute blowout echoshred epic — too aware not to be prog but too cosmic not to be space rock. Delivered through Stolen Body Records and Vicious Circle, Ummon is not only long, it speaks to a longer term. It’s not an album for this year, or for this decade, or for any other decade, for that matter. It’s for the ongoing fluid now. You want to lose yourself in the depths of buzz and dreamy synth? Yeah, you can do that. You want to dig into the underlying punk and maybe a bit of Elder influence in the vocal bark and lead guitar shimmer of “Thousand Helmets of Gold?” Well hell’s bells, do that. The mega-sprawling 2LP is a gorgeous blast of distortion, backed by jazzy, organic drum wud-dum-tap and the bass, oh, the bass; the stuff of low end sensory displacement. Amid swirls and casts of melodic light in “Dark Was Space, Cold Were the Stars,” Slift dilate universal energy and push beyond the noise wash reaches of “Son Dong’s Cavern” and through the final build, liftoff and roll of 13-minute closer “Lions, Tigers and Bears” with the deft touch of those dancing on prior conceptions. We’d be lucky to have Ummon as the shape of space rock to come.

Slift on Thee Facebooks

Stolen Body Records store

Vicious Circle Records store

 

IIVII, Grinding Teeth/Zero Sleep

Two LPs telling two different stories released at the same time, Grinding Teeth/Zero Sleep (on Consouling Sounds) brings Josh Graham‘s aural storytelling to new cinematic reaches. The composer, guitarist, synthesist, programmer, visual artist, etc., is joined along the way by the likes of Jo Quail, Ben Weinman (ex-The Dillinger Escape Plan), Dana Schecter (Insect Ark), Sarah Pendleton (ex-SubRosa) and Kim Thayil (Soundgarden) — among others — but across about 90 minutes of fluidity, Graham/IIVII soundtracks two narratives through alternatingly vast and crushing drone. The latter work is actually an adaptation from a short sci-fi film about, yes, humanity losing its ability to sleep — I feel you on that one — but the former, which tells a kind of meth-fueled story of love and death, brings due chaos and heft to go with its massive synthesized scope. Josh Graham wants to score your movie. You should let him. And you should pay him well. And you should let him design the poster. And you should pay him well for that too. End of story.

IIVII on Thee Facebooks

Consouling Sounds store

 

Coogans Bluff, Metronopolis

coogans bluff metronopolis

Following the initial sax-laden prog-rock burst and chase that is opener “Gadfly,” Berlin’s Coogans Bluff bring a ’70s pastoralia to “Sincerely Yours,” and that atmosphere ends up staying with Metronopolis — their fifth album — for the duration, no matter where else they might steer the sound. And they do steer the sound. Sax returns (as it will) in the jabbing “Zephyr,” a manic shred taking hold in the second half accompanied by no-less-manic bass, and “Creature of the Light” reimagines pop rock of the original vinyl era in the image of its own weirdness, undeniably rock but also something more. Organ-inclusive highlight “Soft Focus” doesn’t so much touch on psychedelics as dunk its head under their warm waters, and “The Turn I” brings an almost Beatlesian horn arrangement to fruition ahead of the closer “The Turn II.” But in that finale, and in “Hit and Run,” and way back in “Sincerely Yours,” Coogans Bluff hold that Southern-style in their back pocket as one of several of Metronopolis‘ recurring themes, and it becomes one more element among the many at their disposal.

Coogans Bluff on Thee Facebooks

Noisolution store

 

Rough Spells, Ruins at Midday

rough spells ruins at midday

An underlying current of social commentary comes coated in Rough Spells‘ mysticism on Ruins at Midday, the Toronto unit’s second LP. Recorded by Ian Blurton and presented by Fuzzed and Buzzed and DHU Records, the eight-track LP has, as the lyrics of “Chance Magic” say, “No bad intentions.” Indeed, it seems geared only toward eliciting your participation in its ceremony of classic groove, hooks and melodies, even the mellow “Die Before You Die” presenting an atmosphere that’s heavy but still melodic and accessible. “Grise Fiord” addresses Canada’s history of mistreating its native population, while “Pay Your Dues” pits guitar and vocal harmonics against each other in a shove of proto-metallic energy to rush momentum through side B and into the closing pair of the swaggering “Nothing Left” and the title-track, which is the longest single cut at five minutes, but still keeps its songwriting taut with no time to spare for indulgences. In this, and on several fronts, Ruins at Midday basks in multifaceted righteousness.

Rough Spells on Thee Facebooks

Fuzzed and Buzzed store

DHU Records store

 

Goblinsmoker, A Throne in Haze, A World Ablaze

goblinsmoker a throne in haze a world ablaze

Upside the head extreme sludgeoning! UK trio Goblinsmoker take on the more vicious and brutal end of sludge with the stench of death on A Throne in Haze, A World Ablaze (on Sludgelord Records), calling to mind the weedian punishment of Belzebong and others of their decrepit ilk. Offered as part two of a trilogy, A Throne in Haze, A World Ablaze is comprised of three tracks running a caustic 26 minutes thick enough such that even its faster parts feel slow, a churning volatility coming to the crash of “Smoked in Darkness” at the outset only to grow more menacing in the lurch of centerpiece “Let Them Rot” — which of course shifts into blastbeats later on — and falling apart into noise and echoing residual feedback after the last crashes of “The Forest Mourns” recede. Beautifully disgusting, the release reportedly furthers the story of the Toad King depicted on its cover and for which the band’s prior 2018 EP was named, and so be it. The lyrics, largely indecipherable in screams, are vague enough that if you’re not caught up, you’ll be fine. Except you won’t be fine. You’ll be dead. But it’ll be awesome.

Goblinsmoker on Thee Facebooks

Sludgelord Records on Bandcamp

 

Homecoming, LP01

homecoming lp01

Progressive metal underpins French trio Homecoming‘s aptly-titled first record, LP01, with the guitars of second cut “Rivers of Crystal” leading the way through a meandering quiet part and subsequent rhythmic figure that reminds of later Opeth, though there’s still a strong heavy rock presence in their tones and grooves generally. It’s an interesting combination, and all the more so because I think part of what’s giving off such a metal vibe is the snare sound. You don’t normally think of a snare drum determining that kind of thing, but here we are. Certainly the vocal arrangements between gruff melodies, backing screams and growls, etc., the odd bit of blastbeating here and there, bring it all into line as well — LP01 is very much the kind of album that would title its six-minute instrumental centerpiece “Interlude” — but the intricacy in how the nine-minute “Return” develops and the harmonies that emerge early in closer “Five” tell the tale clearly of Homecoming‘s ambitions as they move forward from this already-ambitious debut.

Homecoming on Thee Facebooks

Homecoming on Bandcamp

 

Lemurian Folk Songs, Logos

lemurian folk songs logos

Tracked in the same sessions as the Budapest outfit’s 2019 album, Ima (review here), it should not come as a major surprise that the six-track/49-minute Logos from Lemurian Folk Songs follows a not entirely dissimilar course, bringing together dream-drift of tones and melodies with subtle but coherent rhythmic motion in a fashion not necessarily revolutionary for heavy psych, but certainly well done and engaging across its tracks. The tones of guitar and bass offer a warmth rivaled only by the echoing vocals on opener/longest cut (immediate points) “Logos,” and the shimmering “Sierra Tejada” and progressively building “Calcination” follow that pattern while adding a drift that is both of heavy psych and outside of it in terms of the character of how it’s played. None of the last three tracks is less than eight minutes long — closer “Firelake” tops nine in a mirror to “Logos” at the outset, but if that’s the band pushing further out I hear, then yes, I want to go along for that trip.

Lemurian Folk Songs on Thee Facebooks

Para Hobo Records on Bandcamp

 

Ritual King, Ritual King

ritual king ritual king

Progressive heavy rockers Ritual King display a striking amount of grace and patience across their Ripple Music-issued self-titled long-player. Tapping modern influences like Elder and bringing their own sense of melodic nuance to the proceedings across a tightly-constructed seven songs and 42 minutes, the three-piece of vocalist/guitarist Jordan Leppitt, bassist Dan Godwin — whose tone is every bit worthy of gotta-hear-it classification — and drummer/backing vocalist Gareth Hodges string together linear movements in “Headspace” and “Dead Roads” that flow one into the next, return at unexpected moments or don’t, and follow a direction not so much to the next chorus but to the next statement the band want to make, whatever that might be. “Restrain” begins with a sweet proggy soundscape and unfolds two verses over a swaying riff, then is gone, where at the outset, “Valleys” offers grandeur the likes of which few bands would dare to embody on their third or fourth records, let alone their first. Easily one of 2020’s best debuts.

Ritual King on Thee Facebooks

Ripple Music on Bandcamp

 

Sunflowers, Endless Voyage

sunflowers endless voyage

You know what? Never mind. You ain’t weird enough for this shit. Nobody’s weird enough for this shit. I have a hard time believing the two souls from Portugal who made it are weird enough for this shit. Think I’m wrong? Think you’re up for it and you’re gonna put on SunflowersEndless Voyage and be like, “oh yeah, turns out mega-extreme krautrock blasted into outer space was my wavelength all along?” Cool. Bandcamp player’s right there. Have at it. I dare you.

Sunflowers on Thee Facebooks

Stolen Body Records store

 

Maya Mountains, Era

maya mountains era

Italian heavy rockers Maya Mountains formed in 2005 and issued their debut album, Hash and Pornography, through Go Down Records in 2008. Era, which follows a narrative about the title-character whose name is given in lead cut “Enrique Dominguez,” who apparently travels through space after being lost in the desert — as one does — and on that basis alone is clearly a more complex offering than its predecessor. As to where Maya Mountains have been all the time in between records — here and there, in other bands, etc. But Era, at 10 tracks and 44 minutes, is the summation of five years of work on their part and its blend of scope and straight-ahead heavy riffing is welcome in its more heads-down moments like “Vibromatic” or in the purposefully weirder finale “El Toro” later on. Something like a second debut for the band after being away for so long, Era at very least marks the beginning of a new one for them, and one hopes it continues in perhaps more productive fashion than the last.

Maya Mountains on Thee Facebooks

Go Down Records store

 

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Desertfest Berlin 2020 Adds Motorpsycho, Black Rainbows, Somali Yacht Club, Los Bitchos and Love Machine

Posted in Whathaveyou on February 19th, 2020 by JJ Koczan

desertfest berlin 2020 banner

It is increasingly bittersweet, as it has been in the past, to see the lineup for Desertfest Berlin 2020 taking shape, with bands like LowriderMotorpsychoBlack RainbowsMasters of RealityCorrosion of ConformityBrant BjorkPuta Volcano1000mods and Orange Goblin on the bill knowing that, unless that Nigerian prince who emailed me comes through with a life-changing amount of money, that’s a lineup I won’t see. Black RainbowsMotorpsychoSomali Yacht ClubLos Bitchos and Love Machine are fresh adds to the bill, and you can see for yourself the list of groups they join — I didn’t even mention SÂVER or Temple Fang or Somali Yacht Club in the list above, mostly in an effort not to make myself sad — in the poster below. Nothing less than amazing to see what Desertfest Berlin and the festival brand as a whole have become. I look forward to the New York edition in September.

Here’s word from the PR wire:

desertfest berlin 2020 poster

MOTORPSYCHO + SOMALI YACHT CLUB + BLACK RAINBOWS + LOS BITCHOS + LOVE MACHINE to join the Line-Up of Desertfest Berlin!

Desertfest Berlin, the leading cult and underground festival of all heavy psych sounds, has announced 5 new and incredible names for their 9th edition, taking place May 1st – 3rd at the Arena Berlin. Progressive psych rock masters, MOTORPSYCHO, Ukrainian stoner rock trio SOMALI YACHT CLUB and Italy’s finest, heavy psych rock unit BLACK RAINBOWS are joining the eclectic Line-Up of Desertfest Berlin 2020! And if that’s not all of today’s great news, Desertfest Berlin has also just added up&coming underground funkers, LOS BITCHOS, and superb garage psych rockers, LOVE MACHINE!

Music writers have never had it easy with Motorpsycho, perhaps less now than ever. Much has been made of the ‘prog rock’ tag in regards to the band’s more recent output, yet they still manage to fall in between the cracks of any definable genres: “too musically unwieldly for the punks, too gnarly for the prog nerds,” as the band puts it. ‘The Crucible’, Motorpsycho’s latest record, is an even further step forward, showing no signs of timidity in songwriting nor performances. Self-contra-dictory as the band is, who has its origins way back in the mid-1980s, it’s somehow more focused, compositionally more ambitious, and undoubtly 100% Motorpsycho. The band, who is known for their outstanding live performances, will play an exclusive show at DF Berlin this year!

Somali Yacht Club is a stoner rock trio from Lviv, Ukraine. The band mixes elements of stoner rock, psychedelic rock, shoegazing and post-metal in their music. The trio has released an EP and two highly acclaimed full-length records to date, followed by countless shows on tour with bands alike Elder, Red Fang, Mars Red Sky and Stoned Jesus. They have already turned the European Festival scene at such as Keep It Low, Void or Swamp Fest into some heavy psychedelic rock wonderlands, Desertfest Berlin will be next!

Black Rainbows have established themselves among the best Heavy Psych Stoner Space bands coming from Europe, spreading the word of Fuzz since 2007! Their sound has oozed between classic ‘90s-style stoner fuzz and deep-cosmos psychedelia, drawing on the best of hard-driving space rock to conjure a vibe totally tripped-out. Two years after their last record, Black Rainbows enter 2020 refreshed and with well-earned veteran status resulting from countless tours, festival appearances, and their track record of absolutely unstoppable energy. Perfect in time for Desertfest Berlin, the band will release their 8th album on May 1st: Get ready for the “Cosmic Ritual Supertrip”!

Los Bitchos are fronted by multi-instrumentalist Serra Petale on lead guitar. She’s flanked by Carolina Faruolo (guitar), Agustina Ruiz (keytar), Josefine Jonnson (bass), and Nic Crawshaw (drums / percussion). Currently the gang reside in London but the members hail from as far and as wide as Perth (Australia), Montevideo, Stockholm, and Croydon. In a short space of time they have already toured with Mac De Marco, Ty Segall, The Black Lips or Kikagaku Moyo to name just a few. These ladies have also smashed out sun-tinged sets at numerous festivals, and will be finally taking over Desertfest Berlin!

Love Machine are back with a new release, a new cast and a fresh breeze on garage and psychedelic rock! On ‘Mirrors & Money’, the five-piece from Düsseldorf, Germany, is more versatile and daring than ever. While its predecessor, ‘Times To Come’, is still all about Westcoast Psychedelia, their new record has a much more complex and modern influence. The band’s proven herb and psychedelic rock is now joined by garage, slacker and soul. The impossible mix, LOVE MACHINE embrace themselves, without any claim to remain in a field for too long and meet the expectations there in the least. Of genre boundaries and conventions, the five would like to know nothing here.

Desertfest Berlin, known for the best band Line- Ups of the entire heavy psych underground as well as its unique atmosphere and surroundings visited by desert rock fans from all over the globe, is directly located at the riverside in the heart of Berlin, the Arena. After last year’s changes of a new sound system, the ‘Black Box’, that got high praise from both guests and critics alike finding themselves back at an intimate, high-energy underground club show, the festival will provide many more specials, space, and again a chill- party – AND live area on the popular “Hoppetosse” boat! Trip into the ultimate riff & heavy psych party of the year this Spring in Berlin, and grab your ticket now! Day and weekend passes, as well as tickets for the infamous DF WARM-UP Party, are now available at THIS LOCATION: https://www.desertfest-tickets.de/produkte

https://www.facebook.com/events/520164272080736/
www.desertfest.de
www.facebook.com/DesertfestBerlin
www.instagram.com/desertfest_berlin

Motorpsycho, “The Crucible”

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Kadavar Post For the Dead Travel Fast Tour Video; More Dates Announced

Posted in Whathaveyou on February 4th, 2020 by JJ Koczan

This week they’re in Russia. Next week they’re in Israel. Then Germany, then France, then Australia and New Zealand (on an Obelisk-presented tour, no less), then back in the US after the whopping span of, what, four months? Kadavar just keep going. It’s kind of astounding. Don’t get me wrong, last Fall’s For the Dead Travel Fast (review here) is nothing if not a worthy cause to support, but they’ve taken to the album cycle in a big way. One worries more about burnout than anything else, but they seem as yet immune to such things. As noted, they just keep going.

A kind of tour wrap-up/promo video has been posted and that’s cool and makes you want to go see Kadavar, which you probably should want to do anyhow, and that’s cool, but really the thing for me here is the list of dates. You know, when Kadavar first came along there were people who ragged on them for being stylish, having good hair, whatever the hell. You don’t hear much of that these days. I guess working your ass off for a decade will have that kind of effect.

From the PR wire:

kadavar tour

KADAVAR LAUNCH TOUR VIDEO AND NEW TOUR DATES!

After a successful tour through Europe and the following US shows, KADAVAR get ready for the second part of “For The Dead Travel Fast” tournee these days. This tour leads the band to Russia, Israel, New Zealand, to the US and to Australia. In Germany, KADAVAR will hit the stage at the 30th anniversary of VISIONS magazine in Dortmund.

The Spanish photographer Victor Puigcerver captured impressions of their tour and banned them on pictures (http://victorpuigcerver.com/forthedeadtravelfast/) and videos. He created an impressive picture series as well as a tour video that KADAVAR present to their fans.

Fronter Lupus Lindemann about the video:
“We are happy and proud that our new album has reached so many new listeners all around the globe and that we can keep on traveling, meeting new people and making music in 2020 as well. We’re looking forward to and we hope to see you all on the road!”

08.02. RUS St. Petersburg – Mod Club
09.02. RUS Moscow – Glastonbury
15.02. IL Tel Aviv – Levontin7
27.02. D Dortmund – VISIONS: 30th Anniversary Festival

»For The Dead Travel Fast« – European Tour 2020
11.03. LUX Esch-sur-Alzette – Kulturfabrik
12.03. F Tourcoing – Le Grand Mix
13.03. F Rouen – Le 106
14.03. F Massy – Paul B
15.03. F Angoulême – La Nef
17.03. F La Rochele – La Sirène
18.03. F Orléans – L‘Astrolabe
19.03. F Besançon – La Rodia
20.03. F Chelles – Les Cuizines

»For The Dead Travel Fast« – Australian & New Zealand Tour 2020
26.03. AUS Sydney – Frankie’s Pizza By The Slice
27.03. AUS Newcastle – The Stag & Hunter Hotel
28.03. AUS Brisbane – Mojo Burning
29.03. NZ Christchurch – The Club Tavern
30.03. NZ Wellington – Valhalla
31.03. NZ Auckland – Whammy Bar
01.04. AUS Canberra – The Basement
02.04. AUS Adelaide – Crown and Anchor
03.04. AUS Melbourne – Stay Gold
04.04. AUS Scarborough – Germanium Daze Fest
05.04. AUS Perth – Lucy’s Love Shack

08.04. USA Los Angeles – The Fonda
09.04. USA San Francisco – The Chapel
10.04. USA Portland – The Hawthorne Theatre
11.04. USA Seattle – El Corazon
12.04. USA Vancouver – The Rickshaw
14.04. USA Salt Lake City – Metro Bar
15.04. USA Denver – Larimer Lounge
17.04. USA Dallas – Gas Monkey Bar N’Grill
18.04. USA Austin – Barracuda
19.04. USA Houston – White Oak Music Hall

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

Kadavar, For the Dead Travel Fast tour video

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Desertfest Berlin 2020: Lowrider, Puta Volcano, Big Business & Temple Fang Added

Posted in Whathaveyou on January 20th, 2020 by JJ Koczan

desertfest berlin 2020 banner

Five new names out of the Desertfest Berlin 2020 camp, and they’re good ‘uns at that. Seeing Lowrider get tapped for a return to the Desertfest stage makes sense, since it’s kind of where the reunion really kicked off, and Big Business always seem to make themselves welcome wherever they end up, so right on there too.

Those two and MaidaVale will be shared with Berlin’s sister festival in London, which nine years later remains an amazing cooperation between the two events, but I’m also stoked to see Greek rockers Puta Volcano getting the nod here, as their new album most definitely earns it. And likewise, having been fortunate enough to catch Temple Fang live in addition to appreciating their lineage through Mühr and Death Alley, it’s only good news as far as I’m concerned they’re starting to get out of their home turf. I’m dying for that band to put out a record.

So not that you or anyone asked, but it’s a thumbs up from me on this one, I guess. Again, no one asked. I know this.

From the PR wire:

desertfest berlin 2020 poster

DESERTFEST BERLIN CONFIRMS BIG BUSINESS, LOWRIDER, MAIDAVALE, TEMPLE FANG & PUTA VOLCANO FOR 2020!

Kicking off into the new year in glorious style, DESERTFEST BERLIN has announced 5 new names for their 2020- edition, taking place between May 1st – 3rd at the Arena Berlin. The leading cult, fuzz and all that is heavy sounds festival will be celebrating their 9th year with high class acts such as the already announced WITCHCRAFT, MASTERS OF REALITY, BRANT BJORK, AMENRA, 1000MODS, ORANGE GOBLIN, CORROSION OF CONFORMITY, THE VINTAGE CARAVAN aside many more, and has just confirmed to welcome BIG BUSINESS, LOWRIDER, MAIDAVALE, TEMPLE FANG as well as PUTA VOLCANO to their eclectic line-up in May 2020.

There’s plenty of volume and feelings for party screaming, solo screaming, or just getting through what you’re going through. Desertfest means business, so they will bring you Big Business! The two-piece rock band from Los Angeles, CA, is known for their bombastic and frantic low end attack, marked by a signature vocal delivery. The creative duo, longtime friends and touring mates of The Melvins, began in Seattle, WA in 2003, and released 6 full length albums to date. Their latest output, The Beast You Are, was released in the Spring of 2019, and what a beast of a record it is! Big Business are currently writing new music, touring the world, and will be coming for YOU at Desertfest Berlin 2020!

This year will also see the long awaited return of Sweden’s Lowrider! Blues Funeral Recordings releases the searing new album “Refractions” in February 2020 – the band’s first in 20 years!

Lowrider’s debut EP and seminal album “Ode to Io” were foundational slabs at the dawn of stoner rock, which grew into a worldwide phenomenon with Lowrider clearly established as one of its trailblazers. Their new record will explode with all the churning fuzz and expansive riff-heaviness for which the band is known and loved for, shot through with a re-energized purpose and maturity. The grooves swing, the bottom end rumbles, and the melodies growl and soar, delivering at long last on Lowrider’s longing-to-be-fulfilled promise. Finally, the undisputed kings of the Swedish fuzz rock scene are back to deliver on their undeniably deserve mythic status, live at Desertfest Berlin 2020!

As one of the most prominent acts in the new generation of psych music, Swedish four piece MaidaVale create a reckless and experimental rock that keeps diverging from what’s expected. After first emerging on the live rock scene in 2014, followed by two highly acclaimed albums, MaidaVale currently belong to one of the most promising new bands of the scene. The band is exstensively touring Europe, and known for their musicality and the electric connection between both musicians and audience, their reputation has grown with each show. MaidaVale are showcasing their experimental and dynamic sound in a very special way, that confirmed their place in the psych rock scene. Aside mesmerizing festival appearances at such as Freak Valley or Duna Jam, Desertfest Berlin is psyched to welcome them again!

Rising from the ashes of Death Alley, bassist Dennis Duijnhouwer and guitarist Jevin de Groot put together their new band, Temple Fang, with guitarist Ivy van der Veer and drummer Jasper van den Broeke, combining the wild rock-abandon of their former outfit but with deeper, more cosmic leanings. Rock n’ Roll as a means to attaining spiritual freedom, but one is sure, this will be a wild ride!

Amidst the continuous and enjoyable struggle the survivor of an indie rock n’ roll band has become, Puta Volcano are building up their legacy and fanbase, one gig, one album, one song at the time. Being a significant cog in the acknowledged machine that Greek heavy rock is, they keep pushing forward what was set in motion back in 2012, when their debut EP was released.

2017 was the year that Puta Volcano planted their feet firmly to the ground and today, the band has a new album titled ‘Amma’ ready, a ton of confident excitement for it and a series of plans to back it up among which a 25-dates European tour mapped out, which will include Desertfest Berlin in May 2020!

DESERTFEST BERLIN is known for the best band line- ups of the entire heavy psych underground as well as its unique atmosphere and surroundings visited by desert rock fans from all over the globe, directly located at the riverside in the heart of Berlin, the Arena. After last year’s changes of a new sound system, the ‘Black Box’, that got high praise from both guests and critics alike finding themselves back at an intimate, high-energy underground club show, the festival will provide many more specials, space, and again a chill- party – AND live zone on the popular Hoppetosse boat! Don’t miss the fuzz and haze rock party of the year, at the capitol of the almighty riffs: The 9th edition of DESERTFEST BERLIN 2020, presented by Greyzone Concerts and cult live institution Sound of Liberation, who will be celebrating their 15th anniversary at the same year, is ready to take over Berlin this May!

https://www.facebook.com/events/520164272080736/
www.desertfest.de
www.facebook.com/DesertfestBerlin
www.instagram.com/desertfest_berlin

Puta Volcano, “Primitive Data”

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Quarterly Review: Mos Generator, Psychic Lemon, Planet of Zeus, Brass Hearse, Mother Turtle, The Legendary Flower Punk, Slow, OKO, Vug, Ultracombo

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

quarterly review

I’d like to hope y’all know the drill by now. It’s the Quarterly Review. We do it (roughly) every quarter. The idea is 10 reviews per day for a Monday to Friday span, running 50 total. I sometimes do more. Sometimes not. Kind of depends on the barrage and how poorly I’ve been doing in general with keeping up on stuff. This time is ‘just’ 50, so there you go. You’ll see some bigger names this week and some stuff that’s come my way of late that I’ve been digging and wanting to check out. It’s a lot of rock, which I like, and a few things I’m writing about basically as a favor to myself because, you know, self-care and all that.

But staring down the barrel of 50 reviews over the next few days has me as apprehensive and how-the-hell-is-this-gonna-happen as ever, so I think I’ll just get to it and jump in. No time to waste.

Quarterly Review #1-10:

Mos Generator, Exiles

mos generator exiles

Worth it just for the Sabbath cover? Most definitely. As Mos Generator take on “Air Dance” from Never Say Die as part of the Glory or Death Records LP compilation release, Exiles, they blend the proggy swagger of later-’70s Iommi leads with the baseline acoustic guitar fluidity that makes those final Ozzy-era records so appealing in hindsight. It’s just one of the six reasons to take on Exiles however. The A side comprises three outtakes from 2018’s Shadowlands (review here), and guitarist/vocalist Tony Reed‘s Big Scenic Nowhere bandmate Bob Balch sits in on “Battah,” while a duly manic reworking of Van Halen‘s “Light up the Sky,” the Black Sabbath track and a live version of Rush‘s “Anthem” from 2016 make up side B. It’s a quick listen and it’s Mos Generator. It may be a stopgap on the way to whatever they’re doing next, but if you think about it, so is everything, and that’s no reason not to jump in either for the covers or the originals, both of which are up to the band’s own high standard of output.

Mos Generator on Thee Facebooks

Glory or Death Records on Bandcamp

 

Psychic Lemon, Freak Mammal

psychic lemon freak mammal

The distorted wails of Andy Briston‘s guitar echo out of Freak Mammal — the five-track/46-minute third LP from London’s Psychic Lemon — like a clarion to the lysergic converted. A call to prayer for those worshiping the nebulous void, not so much kept to earth by Andy Hibberd‘s bass and Martin Law‘s drums as given a solidified course toward the infinite far out. Of course centerpiece “Afrotropic Bomb” digs into some Ethiopian groove — that particular shuffling mania — and I won’t take away from the lower buzz of “Free Electron Collective” or the tense hi-hat cutting through all that tonal wash or the ultra-spaced blowout that caps six-minute finale “White Light,” but give me the self-aware mellower jaunt that is the 13-minute second track “Seeds of Tranquility” any day, following opener “Dark Matter” as it does with what would be a blissful drift but for the exciting rhythmic work taking place beneath the peaceful guitar, and the later synthesized voices providing a choral melody that seems all the more playfully grandiose, befitting the notion of Freak Mammal as a ceremony or at very least some kind of lost ritual. Someday they’ll dig up the right pyramid and call the aliens back. Until then, Psychic Lemon let us imagine what might happen after they return.

Psychic Lemon on Thee Facebooks

Drone Rock Records website

 

Planet of Zeus, Faith in Physics

PLANET OF ZEUS FAITH IN PHYSICS

There’s a context of social commentary to Planet of ZeusFaith in Physics that makes one wonder if perhaps the title doesn’t refer to gravity in terms of what-goes-up-must-come-down as it might apply to class hierarchy. The mighty, ready to fall, and so on. Songs like the post-Clutch fuzz roller “Man vs. God” and “Revolution Cookbook” (video premiere here) would seem to support that idea, but one way or the other, as the later “Let Them Burn” digs into a hook that reminds of Killing Joke and the dense bass of eight-minute closer “King of the Circus” provides due atmospheric madness for our times, there’s a sense of grander statement happening across the album. The Athens-based outfit make a centerpiece of the starts and stops in “All These Happy People” and remind that whatever the message, the medium remains top quality heavy rock and roll songcraft, which is something they’ve become all the more reliable to deliver. The more pointed perspective than they showed on 2016’s Loyal to the Pack suits them, but it’s the nuance of electronics and arrangements of vocals and guitar on cuts like “The Great Liar” that carry them through here. If you believe in gravity, Planet of Zeus have plenty on offer.

Planet of Zeus on Thee Facebooks

Heavy Psych Sounds website

 

Brass Hearse, Oneiric Afterlife

brass hearse oneiric afterlife

Experimentalist keyboard-laced psychedelic goth your thing? Well, of course it is. You’re in luck then as Brass Hearse — an offshoot of once madly prolific Boston outfit Ice Dragon — unveil three new songs (plus an intro) with the Oneiric Afterlife and in 10 minutes work to unravel about 30 years of genre convention while still tying their material to memorable hooks. “Bleed Neon,” “Indigo Dust” and “Only Forever” seem simple on the surface, and none of them touch four minutes long, let alone “A Gesture to Make a Stop,” the 26-second introduction, but their refusal of stylistic constraint is as palpable as it is admirable, with a blend of folk guitar and dark-dance-party keys and percussive insistence on “Bleed Neon” and a ’60s Halloweeny rock organ line in “Only Forever” that’s complemented by low-end fuzz and a chorus that would rightly embarrass Ghost if they heard it. In comparison, “Indigo Dust” is serene in its presentation, but even there is a depth of arrangement of keys, guitar, bass and drums, and the skill tying it all together as a cohesive sound is not to be understated. A quick listen with a lot to unpack, it’s not going to be everyone’s thing, but those who get it will be hit hard and rightly so.

Brass Hearse on Thee Facebooks

Brass Hearse on Bandcamp

 

Mother Turtle, Three Sides to Every Story

mother turtle three sides to every story

The first of three tracks on Greek progwinders Mother Turtle‘s fourth LP, Three Sides to Every Story, “Zigu Zigu,” would seem to cap with a message of congratulations: “You’ve listened to three musicians indulging themselves with some kind of weird instrumental music.” It then goes on to question its own instrumentalism, because it has the words presently being spoken, continuing in this manner until a long fadeout of guitar leads to the funky start of the 15-minute-long “Notwatch.” Good fun, in other words. Mother Turtle maybe aren’t so weird as they think they are, but they are duly adventurous and obviously joyful in their undertaking, bringing chants in over drifting guitar and synth swirl in “Notwatch” before building to a crescendo of rock guitar and organ, ultimately dominated by a solo as it would almost have to be, before intertwining piano lines in 16:46 closer “A Christmas Postcard from Kim” lead to further shenanigans, vocal experimentation, plays on metal, holiday shimmer, and a fade into the close. At 38 minutes, Three Sides to Every Story doesn’t at all overstay its welcome, but neither is it an exercise looking for audience engagement in the traditional sense. Rather, it resonates its glee through its offbeat sensibility and thus works on its own level to craft a hook. One can’t help but smile while listening to the fun being had.

Mother Turtle on Thee Facebooks

Sound Effect Records website

 

The Legendary Flower Punk, Wabi Wu

The Legendary Flower Punk Wabi Wu

It is something to consider, perhaps as you dive into the nine-minute “Prince Mojito” on The Legendary Flower Punk‘s Wabi Wu, that the band started as a psych-folk solo-project. Currently working as a core trio plus a range of guests, the Russian troupe make their debut on Tonzonen with the brazenly prog seven-tracker, totaling just a 44-minute run but with a range that would seem to be much broader. Alternately jazzy and synth-laden, technically intricate but never overly showy, pieces like the bass-led “Azulejo” and the penultimate “Trance Fusion På Ryska” present a meeting of the minds with founding guitarist Kamille Sharapodinov at the center of most compositions, he and bassist Mike Lopakov and drummer Nick Kunavin digging into nothing’s-off-limits textures from fusion onward through New Wave and dub. The abiding rule followed seems to be whatever moves the band about a given track is what they roll with, and though The Legendary Flower Punk has evolved well beyond its origins, there’s still a bit of flower and still a bit of punk amid all the legends being made. Good luck keeping up with it.

The Legendary Flower Punk on Bandcamp

Tonzonen Records website

 

Slow, VI – Dantalion

Slow VI Dantalion

With the follow-up to 2018’s V – Oceans (review here), Belgian duo Slow rattle off another 78 minutes of utterly consuming, crushing, atmospheric and melancholic funeral doom like it’s absolutely nothing. Well, not like it’s nothing — more like it’s a weight on their very soul — but even so. Issued through Aural Music, VI – Dantlion brings the two-piece of guitarist/vocalist/drummer Déhà and bassist/lyricist Lore B. once again into the grueling, megalithic churn of self-inflicted riff-punishment that’s so encompassing, so dark, so deep and so dramatic it almost can’t help but also be beautiful. To wit, second track “Lueur” is a 17-minute downward journey into ambient brutalism, yet as it moves toward the midsection one can still hear melodic elements of keyboard and orchestral sounds peaking through. There is letup in the lush finale “Elégie,” but to get there, you have to make your way through “Incendiaire,” which is possibly the most extreme movement of the seven inclusions. Though frankly, after a while, you’re buried so far down by Slow‘s glorious miseries that it’s hard to tell. The world needs this band. They are what humanity would sound like if it was ever honest with itself.

Slow on Thee Facebooks

Aural Music on Bandcamp

 

OKO, Haze

oko haze

Adelaide, Australia, newcomers OKO present their debut EP in the form of Haze, a 14:44 single-song outing that sees the instrumental three-piece of guitarist Nick Nancarrow, bassist Tyson Ruch and drummer Ash Matthews tap into organic heavy psych vibes while working cross-planet with Justin Pizzoferrato (known for his work with Elder, among others) on the mix and master. The resulting one-tracker has a clarity in its drum sound and clean feel that one suspects might speak of more progressive intentions on the part of OKO in the longer term, but as they are here they have a sense of tonal warmth that serves them well across the unpretentious span of “Haze” itself, the winding riff inevitably bringing to mind some of Colour Haze‘s jammier work but still managing to find its own direction. I hear no reason OKO can’t do the same, regardless of the influences they’re working under in terms of sound. Further, the longform modus suits them, and while future work will inherently develop some variety in general approach, the natural exploration they undertake on this first outing easily holds attention for its span and is fluid enough that, had they wanted, they could have pushed it further.

OKO on Thee Facebooks

OKO website

 

Vug, Onyx

vug onyx

Vug are not the first European heavy rock band to blend vintage methods with modern production. They’re not the first band to take classic swagger and drum urgency and meld it with a pervasive sense of vocal soul. I’m not sure I’d tell them that though, because frankly, they’re doing pretty well with it. At its strongest, their Tonzonen-released sophomore outing, Onyx, recalls Thin Lizzy via, yes, Graveyard, but there’s enough clarity of intention behind the work to make it plain they know where they’re coming from. Such was the case as well with their 2018 self-titled debut (review here), and though they’ve had some lineup turnover since that first offering, the self-produced four-piece bring a character to their material on songs like “Tired Of” and the penultimate boogier “Inferno” before closing with the acoustic “Todbringer” — a mirror of side A’s “On My Own” — that they carry the classic-style 39-minute long-player off without a hitch, seeming to prep the heavy ’10s for a journey into a new decade.

Vug on Thee Facebooks

Noisolution webstore

 

Ultracombo, Season 1

Ultracombo Season 1

As the title hints, the Season 1 EP is the debut from Italy’s Ultracombo, and with it, the five-piece of vocalist Alessio Guarda, guitarists Alberto Biasin and Giordano Tasson, bassist Giordano Pajarin and drummer Flavio Gola work quickly to build the forward momentum that brings them front-to-back through the 23-minute five-track release. “Flusso” and opener “The King” feel particularly drawn from an earlier Truckfighters influence, but Guarda‘s vocals are a distinguishing factor amidst all that ensuing fuzz and straight-ahead drive, and in “Sparatutto” and the closer “Il Momento in Cui Non Penso,” they seem to strip their approach to its most basic aspects and bring together the tonal thickness and melodicism that’s been at root in their sound overall. The subtlety, such as it is, is to be found in their songwriting, which results in tracks that transcend language barriers through sheer catchiness. That bodes better for them on subsequent outings better than a wall o’ fuzz ever could, though of course that doesn’t hurt them either, especially their first time out.

Ultracombo on Thee Facebooks

Ultracombo on Bandcamp

 

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