Album Review: Moonseeds, Moonseeds

Posted in Reviews on August 12th, 2024 by JJ Koczan

moonseeds self titled

A field recording of insects begins 21-minute opener and longest track (immediate points) “Earth” on the self-titled debut from Moonseeds, but it isn’t long before the resonant, duly pastoral wandering guitar of Lex Waterreus begins to unfurl a sunrise of tone. Waterreus, known for his work in Australian heavy psych rockers Seedy Jeezus, as well as for his retro-styled graphic design, is soon joined by cymbal washes and gentle toms from Dave “Sula Bassana” Schmidt and, gradually, the exploratory bass of “Komet Lulu” Neudeck. When MoonseedsMoonseeds was first recorded, reportedly in 2018 after Seedy Jeezus finished a European tour, both Schmidt and Neudeck were still members of Electric Moon — the former currently has a Sula Bassana live band going and is always doing numerous other projects and collaborations, while the latter has founded Worst Bassist Records and just released an album with a new band, The Barren Room; it’s unknown just how forever-done Electric Moon are –and with additional effects from all as well as organ and Mellotron, a recording and mix from Schmidt and vocals from Wattereus, the three-song/41-minute long-player might be a one-off, but if so, it’s one with noteworthy persona.

Comprising all of side A, “Earth” (21:10) gives way to “Sun” (7:12) and “Moon” (12:58) for the vinyl’s second side, and between the three of them, the expanse seems a little broader in scale than the 93 million miles of one astronomical unit can really account for, but is still less about space than the cosmic soul residing therein as manifest in Waterreus‘ soloing. He is a classic lead guitarist, and given the opportunity by the mellow rhythmic backdrop of “Earth,” he does not miss the opportunity to go, go, go where the fretboard seems to want to go, setting a hypnotic and winding but distinctly his own course as the chirps continue even amid the slow-mo scorch around 11 minutes in, bluesy shred and crash cymbal hitting a crescendo that carries forward in a build of swirl and effects filling out the mix with slow undulations and a thudding beat beneath that find their own evolutionary path across the next few minutes so that the change when Schmidt moves off the cymbals at around the 17-minute mark is striking and the howls of guitar stand out in a different, lonelier way headed into the comedown.

The bugs have been at it the whole time, and as “Earth” quiets down, that becomes even more apparent — visions of post-apocalyptic sci-fi in the six-legged insectoid post-human inheritors of the planet — and gentle repetitions of the guitar line lead the way out with some subtle flourish layered in, then are gone. Of course, as it makes up half the record — which was mastered by Eroc (Grobschnitt; he’s billed as “krautrock legend Eroc,” and fair enough) — “Earth” is an inevitable focal point of Moonseeds, but side B has its own statement to make in pairing “Sun” and “Moon.” If you want to think of it as a question of perspective, perhaps we’re on “Earth” with a clear view of the “Moon” and the “Sun,” which is millions of times larger than either of the others and hot enough to fuse hydrogen into helium, but the shortest piece here, at further remove as the others orbit around it. It is distinguished by a sense of melancholy even before Waterreus dares to add a human voice to the proceedings. The open reaches in the mix are complemented by a line of organ that threads through quietly, while the drums and the effects-laced voice both seem farther back.

moonseeds moonseeds

There were recordings done in 2023 — Seedy Jeezus were back in Europe — in addition to what had been put to tape in 2018, and I don’t know if that’s part of what has allowed “Sun” to become more of a song than a jam, but its resonance extends to the emotional even before it heads to the midsection, somewhere between Led Zeppelin at their least-coked and King Crimson at their most fluid, but not really either of them. Mellow space rock, maybe, if you need a genre tag, but in the hearing it’s more about the presence of the keys and the wistfulness of the guitar. They’re not melodramatic or over-the-top, but in a third of the runtime, they manage to foster an impression apart from “Earth” — the vocals help the distinction, but aren’t the only source of it — and put the aforementioned soul of Waterreus‘ guitar to a particularly expressive use; not quite shooting for “Maggot Brain” territory, but definitely “Maggot Brain”-aware. The finish is a little janglier, but that it’s preserved rather than faded out adds to the organic feel of the entirety, making it believable that the entire proceedings were made up on the spot.

And with these players, they may have been. “Moon” begins around the guitar and unfolds quickly with an uptempo-by-comparison groove while maintaining the peacefulness that has been overarching throughout. Neudeck‘s fuzzed bass holds together cyclical low end as the drums turn back through measures and the guitar leads the build — it’s the stuff of power-trio traditionalism, wrought with individualized purpose. Right after four minutes in, Waterreus seems to propose a more active stretch, and Schmidt and Neudeck are immediately on board, which makes for a quick, easily-missed example of the conversation happening between players throughout Moonseeds, the way the material moves, allowing everybody space in a mix that’s wide enough to hold all of them and keyboards besides.

The finale, instrumental in its first half, finds itself in willful repetitions through the midsection before the drums and bass drop out and the vague swirls of vocals, maybe synthesizer, and such are established. The guitar comes back bright and joined by organ (at least I’m hearing one) for a worthy apex and subsequent noisy ending, after which they’re gone like they were never there in the first place. It’s hard to know with a project like this if it’s something that will or would ever happen again — Neudeck and Schmidt aren’t in a band together anymore and Waterreus lives halfway around the world; it’s clearly not conducive to weekly rehearsals — but as a listening experience, it’s understandable how these recordings might have held on in the back of the mind for six years before coming out. They capture a special moment in the studio and build around that central, maybe-improv foundation and hold a character that is their own. I wouldn’t hazard to predict whether or not there’s more in reserve for future release or whether or not these three will ever be in the same space again, but even if not, that does nothing to detract from the immersion and the light they offer here.

Moonseeds, Moonseeds (2024)

Sulatron Records on Facebook

Sulatron Records on Instagram

Sulatron Records website

Echodelick Records on Facebook

Echodelick Records on Instagram

Echodelick Records on Bandcamp

Echodelick Records website

Blown Music on Facebook

Tags: , , , , , , , , ,

The Obelisk Questionnaire: Lex ‘Frumpy’ Waterreus of Seedy Jeezus

Posted in Questionnaire on August 31st, 2021 by JJ Koczan

Seedy Jeezus (Photo by Stephen Boxshall)

The Obelisk Questionnaire is a series of open questions intended to give the answerer an opportunity to explore these ideas and stories from their life as deeply as they choose. Answers can be short or long, and that reveals something in itself, but the most important factor is honesty.

Based on the Proust Questionnaire, the goal over time is to show a diverse range of perspectives as those who take part bring their own points of view to answering the same questions. To see all The Obelisk Questionnaire posts, click here.

Thank you for reading and thanks to all who participate.

The Obelisk Questionnaire: Lex ‘Frumpy’ Waterreus of Seedy Jeezus

How do you define what you do and how did you come to do it?

I play guitar and sing in Seedy Jeezus… I’d always wanted to play guitar since a kid. My father played guitar and every other string instrument, banjo, ukulele, etc. Oddly enough he never once had any interest in my playing, but my mum saw music as a healthy interest. She supported it, and well… after A LOT of gigs, jams rehearsals… then developing hand problems and stopping for many years, I auditioned for a band playing 60s Mod stuff… I clicked with the bassist, that eventuated into the first incarnation of Seedy Jeezus, and the first time I’d ever played in a three-piece band.

Describe your first musical memory.

I was kid, maybe five… My sister had been given the Shangri-las greatest hits record, and played it over n over. It was the equivalent of the Wiggles in the house. My mum threatened to smash it many times. That was the first time I took notice of a band or record. To this day I love the Shangri-las.

Describe your best musical memory to date.

Playing Freak Valley Festival. There’s plenty of them, touring jamming and hanging with Isaiah Mitchell, just being onstage with your band and playing music with one mind… but Freak Valley was like finding family you didn’t know you had. The people we met that day have become very good friends. I think any friendship made through music is special.

When was a time when a firmly held belief was tested?

You know, Covid has tested many beliefs, and also revealed many disappointments.

Where do you feel artistic progression leads?

I think artistic progression is reflected on life growth and experiences. It’s like those times when life kicks you down, then one day you realize you’re back up and walking. You look back and are happy you survived, you feel stronger and you’ve grown… That growth flows into art, music and outlook on life and expression.

How do you define success?

When you write a song and someone loves it and they connect to it. When your music has moved someone, they’ve responded to it on an emotional level… that to me is success. There are many bands I have loved and supported since a kid that were to me successful, they may have only played local gigs and released a demo tape or CD… but I still listen to them today. To me they’re successful. They wrote something I connected to…

What is something you have seen that you wish you hadn’t?

It’s funny JJ, what came to mind first off was watching my mother take her last breath while she looked directly into my eyes. I didn’t sleep for days after. Every time I closed my eyes I relived it. Then I saw the cycle of life in that moment, she saw me take my first breath and I saw her take her last. That somehow made the trauma seem like a natural part of life. I wrote about it on “Treading Water” from Polaris. The line “breath in and set me free” that last breath and the silence after held me at a spot which seemed like forever, but it was moments… Then my world fell apart. We don’t play it live cause it’s a headspace I don’t want to visit on stage.

Describe something you haven’t created yet that you’d like to create.

For the last couple of years I have tried to raise money for an organization back in New Zealand, in my hometown, that helps the homeless with food. I have done this through producing artwork, etc., that are based from the town’s history. I have an idea of how I can set up a business model that would be a perpetual income for the organization that looks after the homeless, and would need little effort to maintain and run. I have already tested waters to raise $$ and they’ve been successful, with support from local businesses back home… Once Covid passes, I hope to get things a bit deeper and more solid. Homelessness in NZ is a problem, I have had friends I grew up with end up homeless and sadly a couple have died on the streets. It took a childhood friend who went down the drugs, gangs and homelessness and prison, to getting out and turning most perceptions people may have had of him, on their head. And showing up all these people with real action, real love and real support for the homeless who have been where he was. Inspiring stuff.

What do you believe is the most essential function of art?

Art for me is a place of healing and perspective. When you’re lost. Music can be your hiding place. Like most of us we all go through stuff, when I had hand problems and stopped playing guitar for many years, I took up art and painting. I’d prepare all day for it and sit up all night listening to music and painting portraits etc. Very happy memories right there.

Something non-musical that you’re looking forward to?

Buying some fish and chips and sitting by the ocean listening to the waves and feeling the sun’s warmth. That right there is something that goes back to when I was a kid… so even though I’m here in Australia, I feel I am at home by the water.

[Photo above by Stephen Boxshall.]

https://www.facebook.com/seedyjeezuspage/
https://www.instagram.com/seedyjeezus/
https://seedyjeezus.bandcamp.com/
http://www.seedyjeezus.com/

Seedy Jeezus, Polaris Oblique (2018)

Tags: , , ,

Review & Track Premiere: Seedy Jeezus with Tony Reed, Live in Liège

Posted in audiObelisk, Reviews on July 12th, 2019 by JJ Koczan

Seedy Jeezus with tony reed live in liege

[Click play above to stream ‘Polaris Oblique’ from Seedy Jeezus with Tony Reed’s limited Live in Liege LP. Album will be available on the band’s upcoming European tour (dates here).]

The front cover of the LP is emblazoned with the heading ‘The Broken String Incident,’ and indeed, Seedy Jeezus guitarist/vocalist Lex “Mr. Frumpy” Waterreus does break a string as the Australian outfit make their stop in Liège, Belgium, on July 18, 2018. “Incident” might be stretching it — so far as I know no ambassadors were recalled — but you gotta call it something, and it underscores the intention of the limited-to-150-copies, only-available-on-tour LP, which is to capture a bootleg-style feel. The artwork for Live in Liège is taken from Waterreus‘ own tour poster for their 2018 European run, which was their first — the tour they’ll sell the LP on is their second — with Mos Generator‘s Tony Reed filling in on bass for Paul Crick, who couldn’t make the trip from Australia with Waterreus and drummer Mark Sibson.

And if Reed seems like an out-of-the-blue choice, the relationship there runs deeper than just the live shows, with Reed having traveled from his home in Washington to record Seedy Jeezus in their native Melbourne for their 2015 self-titled debut and again for last year’s Polaris Oblique (review here) — he’ll reportedly produce their next album as well whenever that happens. Bottom line, then, is Tony Reed is about as close as one could get to being in Seedy Jeezus, and sometimes he is kind of in the band. He plays like it, taking on a backing vocalist role in the 10-minute side B launcher “Dripping from the Eye of the Sun,” stepping in to introduce Waterreus during the second round of band introductions before they finish the set with “Oh Lord Pt. 2” from the sophomore LP. That the two parties would fit well together isn’t a huge surprise, since both play a style of largely straight-ahead heavy rock with a strong foundation in the classics of the form, an emphasis on songwriting as well as the tightness of the presentation. In the rhythm section with Sibson, Reed‘s right at home throughout “Polaris Oblique”  and the subsequent “Everything’ll Be Alright” — billed as “Everything’s Alright” on the back cover; a notable change in tense — and all throughout the 40-minute set that unfolds.

By the time they got to Péniche la Légia in Liège, Seedy Jeezus had already been on the road for somewhere in the neighborhood of 11 days, and they sound like it. The actual audio on Live in Liège is fairly raw. If we’re going on the scale of bootlegs, it’s definitely a soundboard, and it’s gorgeous compared to some recorded-in-a-jacket-pocket DAT shows I’ve heard in my time, but neither is it a polished live record even as much as was Seedy Jeezus‘ 2016 offering, Live in Netphen: Freak Valley 2015 (discussed here). Again, it’s not supposed to be. The whole idea behind this release is that it’s something special that documents this special moment of their European tour supporting their second album. As Waterreus rips into the solo at the furious outset of “Sun in My Car” at the end of side A — stopping amid that triumphal boogie between measures to give the crowd a well-earned moment to holler, whistle, etc. — before, indeed, that string breaks and he does the first round of band introductions presumably in the midst of changing it out. If it didn’t say so on the cover, they’d have gotten away with it no problem. No one would know.

Seedy Jeezus with tony reed live in liege back cover

Still, if that’s something to stand the show out from the others on the tour, they handle it smoothly enough, which is the kind of thing a band can do without being derailed when they’ve already been on the road for a week-plus. “Sun in My Car” picks up in all the more energized fashion when it returns and blasts off en route to the interstellar drift of “Dripping from the Eye of the Sun” after the side flip, recalling the initial punch of “Polaris Oblique” and “Everything’ll Be Alright” at the start of the set — those two also lead off the Polaris Oblique album in succession — and prefacing “Barefoot Travellin’ Man” and “Oh Lord Pt. 2” still to come. Seedy Jeezus excel at this kind of madcap shuffle, and Live in Liège brings that out well, but their range has never been limited to just one thing, as “Dripping from the Eye of the Sun” demonstrates that with its slower roll and more spacious feel, which isn’t something that one would necessarily expect to come across on a live record, since it’s doubly hard to set the mood for someone listening when that person isn’t at the gig, but Seedy Jeezus deliver the set as it happened and the rest takes care of itself.

I imagine there are some who would hear Live in Liège and not understand the “warts and all”-style vibe it hones or why a band would even put out a recording of a set where the guitarist breaks a string in the middle of a song. But isn’t it obvious? It’s cinéma vérité — the most stripped down manner in which they could showcase the reality of what the tour was like. The only way it could be more real is if they recorded the 23 hours that day they spent driving, sleeping, no doubt, waiting for the time when they could get on stage and kick ass as they do here. By the time they get to the end of “Barefoot Travellin’ Man,” the scorch in Waterreus‘ soloing is so encompassing that whatever concerns might exist about fidelity simply dissipate. You just get into it and that’s all there is. This is the bootleg ideal, of course. Seedy Jeezus put you where the show is happening just as they put the audience who was there where they wanted them.

This may only be a limited LP, offered up in plain style through the band’s own Blown Music imprint with no super-deluxe special edition or anything like that, but it represents something special about their approach just the same, where it’s not just the fact that they boogie down or riff out or get spacey or whatever it might be, but that they do so with such obvious, resonant joy. I can’t imagine a more compelling argument to go see a band than that.

Seedy Jeezus website

Seedy Jeezus on Thee Facebooks

Seedy Jeezus on Instagram

Seedy Jeezus on Bandcamp

Tags: , , , , , ,

Seedy Jeezus to Tour Europe in Aug./Sept. with Tony Reed on Bass

Posted in Whathaveyou on June 6th, 2019 by JJ Koczan

Hey, if it works, go with it. Last year, as they were getting ready to release their second album, Polaris Oblique (review here), Melbourne heavy psych rockers Seedy Jeezus announced they’d tour Europe with Tony Reed sitting in on bass. Reed, best known for his variety of musical projects including Mos Generator and his near-constant appearances in phrases like “mixed and mastered by…,” hails from Port Orchard, Washington, and had recorded with Seedy Jeezus in the past.

Clearly everybody got along pretty well, because here we are in 2019 and Seedy Jeezus will make a return to Europe toward the tail end of this summer with Reed once again handling the low end. They’ll also have Davide Straccione in tow, and my immediate response to the news was, “Live album please,” which was not greeted with an outright “no,” so I’ll take that to mean that at very least the thought isn’t abhorrent to them. That’ll do for today.

Specific dates for the run haven’t been announced yet, but here’s word from the band that it’s happening, as per the social medias:

seedy jeezus

Well folks …. it’s on !! We have snagged together enough shows to make it viable.

Seedy Jeezus ( with Tony Reed ) will be hitting the road again. Late August to Mid September.

We have shows in Germany , Poland, Belgium, Netherlands, Switzerland and France booked.

Many thanks to the folks who have helped us to put this together and to those who have offered to help us …. unfortunately we can’t travel everywhere, but we have notes for the next tour… we will be in touch.

Paul is unable to tour at this time… so Tony Reed ( the mastermind behind Mos Generator) has generously agreed to join us again along with Davide Straccione. He’s one of us now !! We love Davide

So expect venue and dates announced soon…. and please come out and say hi to us while we’re nearby.

Keep it Seedy !!

Seedy Jeezus is usually:
Mark Sibson – Drums
Lex Waterreus – Guitar/Vocals
Paul Crick – Bass/Noises

http://www.seedyjeezus.com
https://www.facebook.com/seedyjeezuspage/
https://laybarerecordings.com/
Ripple Music website
Blown Music website

Seedy Jeezus, Polaris Oblique (2018)

Tags: , , , , , , ,

Seedy Jeezus, Polaris Oblique: Light in the Sun’s Eye

Posted in Reviews on July 4th, 2018 by JJ Koczan

SEEDY JEEZUS POLARIS OBLIQUE

Theirs is a sound built on headphone-worthy psychedelia and 8-track-ready classic heavy rock groove, and when Seedy Jeezus made their self-titled debut in 2015, they seemed to know it. Based in Melbourne, the Aussie three-piece would go on later that year to release a standalone single titled Echoes in the Sky (discussed here), and would follow it with the 2016 live album, Live in Netphen: Freak Valley 2015 (discussed here), a 2016 collaboration with guitarist Isaiah Mitchell of Earthless and Golden Void called Tranquonauts (review here) and a 2017 single covering Led Zeppelin‘s “Communication Breakdown” (video premiered here). All of this has come alongside a healthy amount of touring, and word early on of a second LP in progress. With support in Europe from Lay Bare Recordings for the domestic Blown Music release, Polaris Oblique arrives as that sophomore full-length, with nine tracks and 41 minutes of classic-gone-modern heavy rock that brings all the bluesy thrust of Lucifer’s Friend and Black Sabbath and brings it into a now-style context; not at all retro, but strongly influenced.

The songs themselves — the longest of which is is 6:41 mellow groover “3 Million Light Years” — are rife with the chemistry between guitarist/vocalist Lex “Mr. Frumpy” Waterreus, bassist Paul Crick and drummer Mark Sibson and show a dynamic range that reaches from the unmitigated scorch of “Oh Lord (Part One)” to the subdued balladry of “My Gods are Stone,” which boasts a guest guitar appearance from the aforementioned Isaiah Mitchell, to the Floydian weaving of acoustics and electrics on the methodically-paced “Dripping from the Eye of the Sun.” Waterreus as a singer is capable of carrying across the variety of moods these tracks and the rest, and I won’t take away from the contributions of Crick and Sibson in terms of rhythm and enhancing the changes and deepening the execution overall, but at its heart, Polaris Oblique is very much a guitar album. Its foundation is in the riffs, and the recording — by Mos Generator‘s Tony Reed, who also adds lead guitar to “Oh Lord (Part Two)” — highlights lead work as a crucial element even as side B moves into its farthest-out in the penultimate nodder “Treading Water.”

Seedy Jeezus wouldn’t be the first heavy rock act to put the emphasis on guitar by any means, but the character in Waterreus‘ playing is a defining element here as well — so it’s both what he plays and how he plays it, whether it’s the swaggering rip and shuffle of opener “Intro – Polaris Oblique” or the laid back riding of the bassline he does in “3 Million Lives” following the post-Stooges shove of “Everything Will be Alright.” Add to this a remarkable sense of flow across the entire release, and Polaris Oblique almost feels like a song unto itself. Not that it was written that way — it’s definitely a collection of individual pieces, just that the way it moves between them almost follows a similar pattern of a classic structure. There are the initial rockers in “Intro – Polaris Oblique” and “Everything Will Be Alright,” a wistful departure in “3 Million Lives” and a dug in mellow groove on “My Gods Are Stone” before “Oh Lord (Part One)” kicks everything in the ass and the trilogy of “Oh Lord (Part Two),” “Dripping from the Eye of the Sun” and “Treading Water” dive deeper into psych-prog nuance and “Barefoot Travelin’ Man” closes out by returning to the earthbound vibrancy of the opening segment.

seedy jeezus photo barry c douglas

The whole album reads as a well-structured piece, with individual parts of what whole making their own impressions along the way, tied together by their focus around the guitar even as they express varying ideas and sensibilities. And it’s an added bit of intrigue that Waterreus would bring in Mitchell and Reed to play guitar. Sure, Seedy Jeezus has collaborated with both before — Reed also recorded the debut, and there was the already-noted Tranquonauts with Mitchell — but it’s clearly more of a personal choice. The band wanted those guys to be a part of their album. Listening to Waterreus shred to pieces on “Oh Lord (Part One)” and match wits with Reed on the subsequent “Part Two” it’s not like he can’t hold his own when it comes to tearing into a solo. It’s not like they’re covering for his not being up to the task by bringing in these players. One suspects it was as much about wanting to hang out in the studio with MitchellReed was obviously already there — as it was anything else. The results are striking either way.

One might say the same of the album in general. It’s not overly showy in terms of technical hijinks, but it does have a precise aspect to its personality, and it makes abundantly clear that Seedy Jeezus know what they want to get out of each track included, up to and including the raucous finish they provide with “Barefoot Travelin’ Man,” which smoothly brings Polaris Oblique to its finish by delving one more time into heavier blues pulsations and a fervent heavy ’70s groove, propelled by Sibson‘s drums, which are worthy in sound and delivery of a comparison to Sabbath Bloody Sabbath. In fact, as much as Polaris Oblique puts the guitar at the center, it’s Crick and Sibson both who actively allow that to be the case. One gets the sense that either would be comfortable leading the charge, but that they’re well at home in the pocket as it is, swinging away and offering moments of flourish like that which Crick brings to the midsection of “3 Million Lives,” matching step with Waterreus‘ guitar ahead of a turn to speedy shuffle that nearly hits The Atomic Bitchwax levels of head-spin before resuming the song’s core slower tempo.

This dynamic too is emblematic of a classic power trio, and it works well in accordance with Seedy Jeezus‘ methods overall. In their aesthetic, craft and performance, they bring a traditionalist feel, and yet Reed‘s production is nothing if not shimmering with a modern clarity. Ultimately, this interaction is less of a push-pull than it is a rare alignment, and taken in consideration with the fluidity in and between the songs the whole way through, Polaris Oblique is a marked achievement when it comes to further establishing Seedy Jeezus as a presence of note in the international underground sphere. Whether you listen on headphones, on blaring speakers, on vinyl, CD or digital, there’s much to dig into and much to dig across the record’s thoroughly unpretentious, welcoming span.

Seedy Jeezus, Polaris Oblique (2018)

Seedy Jeezus website

Seedy Jeezus on Thee Facebooks

Lay Bare Recordings website

Ripple Music website

Blown Music website

Tags: , , , , , , ,

Seedy Jeezus: Polaris Oblique Preorders Available

Posted in Whathaveyou on May 22nd, 2018 by JJ Koczan

seedy jeezus photo barry c douglas

There’s no exact release date listed below for Seedy Jeezus‘ impending second album, Polaris Oblique, but I’d imagine it’ll be out before or around the time the Melbourne three-piece hit the road in Europe — with Mos Generator‘s Tony Reed on bass no less — this coming July, and since “June” was the original timeframe floated for it, yeah, that makes sense. Either way, it’s coming and you can preorder it as of now from Lay Bare Reccordings which will handle the European release. It’ll also be out through Ripple Music distribution in the US and Blown Music in the band’s native Australia.

Of course, the vinyl’s limited and all that. Details follow, courtesy of the PR wire:

SEEDY JEEZUS POLARIS OBLIQUE

Seedy Jeezus – Polaris Oblique

In 2015 Seedy Jeezus released their 1st record on Lay Bare Recordings; in 2018 the 2nd record is ready to shatter your music spine. Called Polaris Oblique and on presale Monday 21st of May, 7am CET.

The band has evolved from the first album, but has retained their bite and bark. There are crazy jams and heavy riffs with a dose of 70’s influences that has always bubbled under in the bands sound since its formation. Many who followed the band since the first album will know where the band is at musically. There is a maturity in the band’s sound and songs. When they get mellow is an almost Floydian world you’re looking into and when they hit the heavy, you know it’s on. Strap yourself in and just wait….it’s coming

‘Polaris Oblique’ comes in a release of 500 pcs, of which 100 pcs are a DELUXE Version.
Each 100 pcs have a different color.

The European edition is LIMITED to 90 pcs. only and has its own unique color.
Exclusively available in Europe via Lay Bare Recordings.
– Gatefold
– Metallic Foil Artwork
– 150gr. vinyl
– Colored version

Click here for the pre-order:
?https://laybarerecordings.com/release/polaris-oblique-by-seedy-jeezus-lbr019

US & Canadian orders for the STANDARD version are advised to go here to save on shipping: http://heavyripples.bigcartel.com

Seedy Jeezus is:
Mark Sibson – Drums
Lex Waterreus – Guitar/Vocals
Paul Crick – Bass/Noises

http://www.seedyjeezus.com
https://www.facebook.com/seedyjeezuspage/
https://laybarerecordings.com/
Ripple Music website
Blown Music website

Seedy Jeezus, Polaris Oblique album teaser

Tags: , , , , , , ,

Seedy Jeezus to Tour Europe in July with Tony Reed on Bass; Polaris Oblique Due in June

Posted in Whathaveyou on March 12th, 2018 by JJ Koczan

Looking like a busy summer ahead for Aussie heavy psych rockers Seedy Jeezus. Their second album, titled Polaris Oblique, is due out in June via Blown Music in Australia, Lay Bare Recordings in Europe and Ripple Music‘s distribution in the US — what? no Abraxas to cover South America? — and the following month, they’ll take off on a European tour for which they’ll be joined by none other than Mos Generator‘s Tony Reed, taking on the bassist role in place of Paul Crick, who’s unable to make the trip.

Reed is as natural a fit for the position as anyone could possibly be. He’s recorded both of Seedy Jeezus‘ full-lengths, and he guests on the new album as well — so too does Isaiah Mitchell of Earthless, with whom Seedy Jeezus previously collaborated as Tranquonauts (review here) in 2016 — so Reed is about as close as anyone can get to the band without actually being a member, which I suppose he will be now, at least for a time.

The dates are still coming together for that run — if you want Seedy Jeezus to play by you, hit them up and make it happen — but there’s plenty of time between now and June/July, so keep an eye out for updates. In the meantime, there’s a teaser video for Polaris Oblique that the band put up recently that gives a little sampling of some new music, and the sounds bode well. Either way, more to come.

Dig it:

seedy jeezus europe 2018

Tony Reed is playing bass on the tour for us as Paul can’t tour due to commitments. SO Tony who has recorded and produced both of our albums has offered to jump in and play bass for Paul on the tour. Tony Reed is like the 4th member of the band. We trust his instincts and ears when working with him, and he knows the music better than anyone outside the band…so his offer was an easy one to accept.

We are still looking to fill some dates on the tour, so if you have a hookup and wanna get Seedy Jeezus to your town, hit us up… we wanna gig, and share the love.

The teaser for the new Seedy Jeezus album ‘Polaris Oblique’. The album will be out in June, available via Lay Bare Recordings in Europe, and Ripple Distribution in the USA, as well as Blown Music here in Australia.!!

Video footage by Barry C Douglas.

Seedy Jeezus is:
Mark Sibson – Drums
Lex Waterreus – Guitar/Vocals
Paul Crick – Bass/Noises

http://www.seedyjeezus.com
https://www.facebook.com/seedyjeezuspage/
https://laybarerecordings.com/
Ripple Music website
Blown Music website

Seedy Jeezus, Polaris Oblique album teaser

Tags: , , , , , , ,

Seedy Jeezus Premiere “Communication Breakdown” Video; New 7″ Available Now

Posted in Bootleg Theater on December 13th, 2017 by JJ Koczan

seedy jeezus photo barry c douglas

In what will reportedly be a series of seven-inch offerings, Melbourne heavy psych rock trio Seedy Jeezus today issue a new single featuring a cover of Led Zeppelin‘s ‘Communication Breakdown.’ Born out of a languid jam between guitarist/vocalist Lex “Mr. Frumpy” Waterreus, bassist Paul Crick and drummer Mark Sibson, the new recording comes paired with “Bad Girl,” which was originally tracked for the band’s first record and never released. So basically it’s something brand new and something older and they’re both still new. Best of all worlds.

To mark the occasion — did I mention this was happening today? like, right now? okay, good — they’ve got a video together for the languid four-and-a-half-minute “Communication Breakdown” that pairs live shots of the band with manipulated footage from the 1967 Roger Corman movie The Trip, in seedy jeezus communication breakdown vinylwhich we see a drugged-out Peter Fonda running around basically looking for what in a clever twist turns out to be a Seedy Jeezus show. Very nice, gentlemen. I see what you did there. That’s a good bit of fun, but the highlight of course is the track itself, and as one awaits news of the next Seedy Jeezus long-player — which will hopefully arrive in 2018 amid however many 7″s the trio end up putting out — their take on the classic from Zeppelin‘s 1969 self-titled debut still manages to emphasize the personality of the Aussie outfit itself and how easily they make their way between straight-ahead aspects of heavy rock and trippier fare.

The numbers on the single are super-limited for those who’d chase down a physical version — the one with the obi strip, for example, is an edition of 50 — so if you’re hemming and hawing about picking one up, that would seem to be the wrong way to go. That’s not me trying to tell anybody how to live their life; I just don’t want to see you miss out if you don’t want to miss out. That’s all.

I’m thrilled to host the premiere of the “Communication Breakdown” video, which you can watch below, followed by more info on the 7″, how to get it, and of course the links to do so if you so choose.

Please enjoy:

Seedy Jeezus, “Communication Breakdown” official video

We are dropping a 7″ this Thursday. A cover of “Communication Breakdown.” The recording evolved from a spontaneous jam at Studio One B in Melbourne, and was recorded by Dave Warner. Lex went home and recorded some vocals on the jam and then it was handed to Tony Reed (Mos Generator) to mix and master at Heavyhead in Port Orchard. So we thought wed drop it to vinyl and threw “Bad Girl” (a track left from the debut album) on the other side. Tony engineered “Bad Girl” as well.

There will be only 50 Deluxe 7″ with an exclusive colour of vinyl, tarot style insert, Obi, insert poster and Stickers, and a Standard version of 7″ record, and insert.

Thursday midday these will be available for sale. Official Launch will be Friday Week at the B.East with Grasshole. So keep Dec. 22 free.

You can buy the 7″ and select the pick up at gig option to save postage.

Released on Blown Music in Australia and available from www.seedyjeezus.com until sold out.

Seedy Jeezus on Thee Facebooks

Seedy Jeezus on Twitter

Seedy Jeezus on Instagram

Seedy Jeezus website

Blown Music on Thee Facebooks

Blown Music website

Tags: , , , , , ,