Yo No Se Post “Touching the Stone” Video; Touring This Week

Posted in Whathaveyou on March 11th, 2020 by JJ Koczan

yo no se touching the stone video

It was the cover art for the single that hooked me into Yo No Se‘s new track, ‘Touching the Stone,’ and I’m only glad it did. I missed out on the Bristol-based trio’s 2017 debut, Soma, because I’m bad at life, and so the chance to dig into some of their heavy psychedelic vibes is welcome in a better-late-than-never kind of way. Plus the video is skeleton puppets rocking out and that’s fun as well. The single is out now through Stolen Body Records and Yo No Se are on the road starting tonight in France and Belgium, a quick run of three shows, but they’re apparently putting together a second record as well, so maybe like me you take the single as a chance ahead of that to get clued in, which I’m sure you were anyway, because you are much, much, much cooler and better at life than I am. These are assumptions I make based on past experience.

You can see the video/hear the track at the bottom of this post.

Enjoy:

Yo No Se Touching the Stone

Brand new song and video from Bristol grunge and heavy psych three piece Yo No Se. This is their first release since their debut album Soma and comes just before a short tour in France and Belgium. The song has been released with a new video showing the band playing as skeletons…

Yo No Se are signed to Stolen Body Records and released their debut album Soma in 2017. They have also released a 7” single on US label Greenway Records.

The band’s sound ranges from 70’s style hard rock to grunge, to psychedelia and even incorporates elements of progressive rock. Yo No Se formed in 2016 and quickly began practicing songs for what became their debut album Soma. The band have toured Europe several times playing festivals and headlining shows. They are currently working on their 2nd album.

Tour dates

MARCH
11th – Lille – Mars Red Sky, Yo No Se, Baron Crâne / Tourcoing, Le Grand Mix
12th – Nantes – Yo No Se ? This Will Destroy Your Ears ? Carver – Nantes (44)
14th – E.T. Explore Me + Yo No Se @ The Pit’s

UK shows
April 18th – SBR & BLG presents: Sunflowers w/ Yo No Se at The Lanes

Yo No Se are:
Al Studer
Jason Strickland
Sam Rowswell

https://www.facebook.com/yonoseband/
https://www.instagram.com/yonoseband/
https://yonoseband.bandcamp.com/
https://stolenbodyrecords.co.uk/
https://www.facebook.com/stolenbodyrecords/
https://www.instagram.com/stolenbodyrecords/

Yo No Se, “Touching the Stone” official video

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Cegvera Announce The Sixth Glare out March 6; New Video Posted

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

Cegvera (Photo by Guli)

It actually hasn’t been that long since I listened to one track off a forthcoming record from a band whose last work I dug a lot and immediately had to chase down the rest of the album because the tones hit me so hard. But if you discount that other instance, like on Tuesday, it’s been a good long while. Bristol, UK-based now-duo Cegvera bring expert-level thickness to the proceedings on their upcoming long-player, The Sixth Glare, and the video streaming below for “Red Swarm Beyond” is exactly what got me hooked, as it happens. I guess as far as the idea of a ‘teaser’ goes, whether it’s a whole track (as this is) or not, that’s basically the ideal.

Cegvera‘s last outing was 2019’s Live at Palíndromo (review here) on which some of this material also appeared. All the more reason to hit their Bandcamp.

The PR wire takes it from there:

Cegvera The Sixth Glare

Cegvera ‘The Sixth Glare’ (Stolen Body)

Dark psychedelia, mesmerising doomy soundscapes, obscured and enlightening riffs are just few components of what to expect from Cegvera’s new record ‘The Sixth Glare’. The album will be released on March 6th by Stolen Body Records (LP/CD/DL) and LSDR (CD).

Following on from their now sold out split release with Vinnum Sabbathi ‘The Good Earth Is Dying’ in 2018, Cegvera have become a two piece – Gerardo Arias (guitar) and Matt Neicho (drums). The bass duties have been taken on by Gerardo splitting the guitar between guitar and bass amps. A sound that needs to be seen to be believed. ‘The Sixth Glare’ represents the first full-length album that Cegvera has to offer as a duo. Recorded and mixed by Joe Clayton at No Studios (Manchester, UK) and mastered by KB at Testa studio (León, Gto. México).

‘The Sixth Glare’ is a reference to the environmental crisis that we are living through today and the anthropogenic extinction events that are referred by world-renowned scientists as ‘the Sixth Mass Extinction’.

The Sixth Glare stands as a conversation that needs to take place. The world is in danger of killing itself. You will find this subject embodied from the smallest scratch of the artwork (Hellbound Graphics, México) to the last second of the final track. The scene is actually set as precursor to Vinnum Sabbathi’s upcoming album ‘Of Dimensions and Theories’ (also to be released this year via SBR) which Gerardo plays drums on.

If it is well true that our planet is facing great biodiversity loss generated by human activity, this record tries to look at these phenomena in a broader context and offers a merely informative in-depth review of the factors that are mindlessly dragging our planet towards decay in modern times. This not only means that humans are depriving other species from their natural environments but they are also threatening their own existence by doing irreversible damage to the biosphere. Similarly, another factor of great importance, the overuse of antibiotics is inducing and facilitating the emergence of abnormal resistance traits in pathogenic microorganisms. At present, antibiotic-resistant diseases also represent and will remain a major threat to the human species.

It should also be said that Gerardo Arias has just become a doctor in Biology and had first hand knowledge on the subject matter.

Tracklist:
Side A (Antibiotic resistance – stages of a disease):
1. Infection (Entrance of the pathogen)
2. Incubation (period between infection and the first apparent symptoms)
3. Prodromal (period between first symptom and the full development of the disease)
4. Convalescence (period of recovery)

Side B (The Sixth Glare)
5. The Great Blackout (Environmental effects of nuclear war)
6. After the Thaw (Thawing of the permafrost)
7. The Sixth Glare (Climate change – Global Warming)
8. Red Swarm Beyond (Wildfires – Bushfires)

Cegvera is:
Gerardo Arias (guitar, bass)
Matt Neicho (drums)

https://www.facebook.com/cegueraUK
https://cegvera.bandcamp.com/
https://stolenbodyrecords.co.uk/
https://www.facebook.com/stolenbodyrecords/
https://www.instagram.com/stolenbodyrecords/

Cegvera, “Red Swarm Beyond” official video

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Review & Track Premiere: Kandodo3, K3

Posted in audiObelisk, Reviews on May 20th, 2019 by JJ Koczan

kandodo k3

[Click play above to stream ‘Everything – Green’s – Gone” from Kandodo3’s K3. Album is out June 21 on Rooster Rock Records.]

Headphones at the ready for the third/fourth-ish full-length from Kandodo, this time incarnated as Kandodo3 and expertly delivering a packed 79 minutes of mostly minimalist psychedelic brainmelt. It’s been dubbed K3, simple enough, and its lengthy run plays out across seven tracks whose far-out sprawl is mitigated only by the distance the imagination of the listener is willing to follow them. At the nexus of all things Kandodo is guitarist Simon Price, also of garage-psych-fuzz scorchers The Heads, but Kandodo is a different bird altogether — not a bird at all, really; a supermarket in Malawi — and even as Price brings aboard The Heads bandmates Hugh Owen Morgan on bass and Wayne Maskell on drums to manifest the ‘3’ in Kandodo3, the identity of the project remains distinctly separate. It’s just something else, even if it’s some of the same people.

But what the three-piece construct, or anti-construct, in these tracks ranges from the 83-second guitar noise experiment of “Lapwinger” through the 39-minute final track “High on Planes/Drifter” that consumes sides C and D of the double-vinyl and finds Price re-teaming on the latter “Drifter” part with John McBain, as last heard in 2016’s dual-speed Lost Chants/Last Chance (review here), a record that itself was an experiment, intended for play at 33 or 45RPM depending on the listener’s preference and also presented as a 2CD with each version on its own disc. K3 doesn’t work with the same kind of meta-conceptual foundation, but its spaciousness in cuts like “Holy Debut,” the straightforward-in-comparison-to-what-follows opener “King Vulture” and of course the its-own-album finale, the record nonetheless weaves its narrative through open creativity and exploratory sensation. Its drone is droning and its layers are layered, but even in the lysergic music-box “Lounge Core” that closes side B and is just one of the two inclusions under six minutes long at 3:39, K3 basks in the unexpected and a vibe of weirdoist bliss that goes beyond “for art’s sake” and is headfirst into passion in the making.

And maybe that’s not immediately apparent in the 13-minute soundscape of “Everything – Green’s – Gone” at the close of side A after “King Vulture” and “Lapwinger,” but there is a joy in the creative process even in that piece’s moodier early stretch, where Price‘s buzzsaw guitar lead seems to be reminding of the forests lost to building empty shopping malls. The underlying low end — presumably that’s Morgan, but one never really knows and that’s part of the fun — gives that track its extra brood, and the drone would be enough to make Earth jealous, but the quiet key-like guitar (or keys), echoes “King Vulture” while foreshadowing “Lounge Core” to come, so even there, there’s some manner of intertwining “Everything – Green’s – Gone” to K3 as a whole. Similarly, “Holy Debut” feeds into “The Gaping Maw,” which is perhaps titled in honor of its spaciousness, in a way that highlights the overarching flow of the material. Not all transitions are so direct, but that change does make the point of how easily K3 has moved from one vibe to the next all along, doing so via long fades into and out of silence and the general open spirit of the material.

kandodo

That is, it sets up the audience so that expectation mirrors breadth. That’s no small feat — putting the listener where you want them, without the aid of catchy hooks or other immediately accessible fare — but neither is this Price‘s first time at this particular dance, and though he seems in places to be willfully giving up command of the songs in the name of aural adventure, whether that’s improv or just putting consciousness to the side for a moment and feeling out where a piece like “Lapwinger” does and doesn’t want to go during its brief run. That in itself is a joyful act, embracing that task of helping a thing make itself, and Kandodo3, despite the obvious shifts in atmosphere throughout, seem to have a sense of when to let go and when to steer the direction more actively — though relativity applies in that regard as much as in everything else.

It’s hard not to think of “High on Planes/Drifter” as a highlight, focal point, whatever you want to call it, and maybe that’s fair enough. At 39 minutes, it’s about half the total runtime, and its droned-out ambience is an achievement apart even from a song like “Everything – Green’s – Gone” or “The Gaping Maw,” oozing out with a fluidity distinct enough to be placed on its own LP and making its way from minimal to minimal-est as it moves toward what one assumes is the near-midpoint transition between its two parts, drums gradually fading in after the arrival of the 23rd minute with a building tension of tom hits, eBow-sounding drone and a rhythmic line floating atop. That thud holds almost maddeningly steady over the next 10-plus minutes, with the arrival of McBain (ex-Monster Magnet, Wellwater Conspiracy, etc.) announced via a fuzzy solo that only adds to the immersion of the track as a whole and helps carry it toward its quieter finish.

With the title reference to High Plains Drifter, there is perhaps unsurprisingly some spaghetti west in the atmosphere, but however it might use a repeating figure, “High on Planes/Drifter” never really fully adopts that specific kind of presentation. Like the rest of the album before it, it almost can’t help but be its own thing. And that thing won’t be for everybody — what’s that you say? experimentalist drone isn’t universally approachable? tell me more! — but whether those who take it on do so for the almost-80-minute blissout or to sit and wade through each subtle turn of Price‘s guitar the various obscure elements as they wade in and out of the mix, K3 nonetheless makes a personal connection with the listener via the intimacy at play beneath its surface and the honest creative whim at its core. So maybe it’s not for everybody. Fine. Those willing to make the connection, however, will find it delivers on engagement to a degree worthy of its vast sonic reach.

Kandodo on Thee Facebooks

Kandodo on Bandcamp

Forte Music Distribution on Thee Facebooks

Forte Music Distribution on Bandcamp

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Kandodo3 to Release K3 June 21; New Video Posted

Posted in Whathaveyou on April 1st, 2019 by JJ Koczan

The last Kandodo-related release was Kandodo/McBain‘s might righteous late-2016 offering, Lost Chants/Last Chance (review here), and god damn it was awesome. New stuff from Simon Price, also of The Heads, is going to be welcome in whatever form it might take, but as Kandodo3 — otherwise known as Price and his The Heads bandmates Hugh Morgan and Wayne Maskell — get ready to issue their third full-length in the form of K3 this June and unveil the video for opening track “King Vulture,” the bliss seems particularly resonant. The only thing you really need to ask yourself is how much psychedelic mastery you can take before you need to quit. It’s okay, everyone has their lines.

Except this music. No lines. All go. Oh, and McBain sits in on “High on Planes/Drifter,” which is apparently enough on its own to consume a second LP. Just in case you needed good news to go with your good news.

Sign me up for wherever this trip is going:

kandodo k3

Kandodo3 – K3

Brand new studio full length from Bristol based sike-o-nauts, orbiting in the Heads’ realm and led by Heads’ Simon Price.

k3 continues the trajectory of outer space excursions found on previous kandodo releases.

Out of focus, relaxed and expansive vibes fuse together into serpentine rivers of minimalist rhythms and echoed tones, drawing the listener into tunnels of sound and scorched sonic landscapes.

It’s one for the headphones at 30,000 feet or late night deserted drives.

k3 finds three heads taking time out to dive into the dronal repetitions of deep space, 3 psychonauts killing time in the only way they know how; head-nodding drumfuzz layered with creamed strings. Guest guitar from fellow sike-head John McBain on the final half of the 40 minute trip which makes up sides 3 and 4.

k3 takes the autobahn, veering left past the sun and heading on till morning. There are no black holes ‘cos we’re in it: just do the half. The colours will come back with the dawn.

Settle in for the long haul and …..

Recorded over the past three years and aided by fellow Heads types H O Morgan and Wayne Maskell, this album was recorded in Bristol and on Price’s 4 track.. Mastered once again at Optimum by Shawn Joseph.

Releases June 21, 2019.

1. King Vulture
2. Lapwinger
3. Everything – Green’s – Gone
4. Holy Debut
5. The Gaping Maw
6. Loungecore
7. High on Planes / Drifter

kandodo3 is:
Hugh Owen Morgan – Bass
Wayne Maskell – Drums
Simon Price – Guitars, vocals

https://www.facebook.com/Kandodo-168305819900725/
https://kandodo.bandcamp.com/
http://www.facebook.com/ForteMusicDistribution
https://fortemusicdistribution.bandcamp.com/

Kandodo3, “King Vulture” official video

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Cegvera Premiere “Fractals (Corrupted)” Live Video; UK Shows Announced

Posted in Bootleg Theater on April 1st, 2019 by JJ Koczan

cegvera

In the time since Bristol, UK-based post-metallers Cegvera completed their tour dates in Mexico last summer, the band has signed a management deal, supported Elder and Mammoth Weed Wizard Bastard — among others — newly begun recording their second album, and most pivotally, made the transition from a trio to a two-piece, saying goodbye to bassist Aaron Scrupps in the process. As one might expect, there have been some changes in their dynamic as a result. The video premiering below for “Fractals (Corrupted)” is the first offering to come from the duo version of Cegvera and in addition to playing in the dark, as will happen, it finds guitarist Gerardo Arias covering more of the low-end in terms of tone where even on last year’s split with Vinnum Sabbathi (review here), he could be heard airing out a bit more post-rock-style drift. Drummer Matt Neicho, at least if the video is anything to go by, seems to relish in the change, and headbangs in time to his own cymbal crashes in a way that looks downright painful to my gentleman-of-a-certain-age self, adding even more force to the push of the rhythm as he goes.

“Fractals” is a song that would seem to have been around for a few years at least, with its roots in the band’s 2016 debut album that shared its name. “Fractals” from Fractals had a longer introduction from the guitar and a longer runtime as a result, but some of the crunch in the video below could also be heard on Cegvera‘s Live at Palíndromo, which was recorded in Guadalajara on the aforementioned Mexican tour and released this past January through LSDR Records, but the two-piece seem to strip it down even more, so that its progression is barely recognizable from the original “Fractals” and “Fractals (Corrupted)” becomes its own entity in this new form. Its post-metallic groove will be familiar to those who’ve been around the style long enough to understand what a “Stones from the Sky”-moment is, but it intrigues nonetheless thanks to the energy of its delivery and its blend of raw aggression and barebones atmosphere.

One has to wonder what might become of Cegvera going forward and how their sound might develop over the longer term with Arias and Neicho working on their own — if they even decide to continue on that route. “Fractals (Corrupted)” shows there’s potential for doing so — a way forward, in other words — and one suspects that after their next recording is done, the live dates below will help them further clarify the path they want to take. The rest of us will just have to wait to discover how it all shakes out, unless, you know, you can make it to a show or something like that.

Enjoy the premiere of “Fractals (Corrupted)” below, followed by more from the PR wire:

Cegvera, “Fractals (Corrupted)” official video

Recorded by Aleks Vezhdarov

Video by On Par http://onparproductions.co.uk/

It is the first time we record anything as a two piece (after aaron the bass player left the band). The session was recorded by Aleks Vezhdarov at University of West England (Bristol), and filmed by Toby Cameron (On Par Productions). It was recorded in a single take and filmed with a single camera.

Last release: the good earth is dying split w/ Vinnum Sabbathi, released by Stolen body records. Following dates:

With Weedruid (Germany):
23- May. Bristol, The cube
24 -May. Sheffield, Delicious Clam
25- May Coventry, The Arches

With Fumata (Mexico):
7- June London, The Dev.
8 – June Leeds, Bad Apples

Cegvera is:
Gerardo Arias – Guitar
Matt Neicho – Drums

Cegvera on Thee Facebooks

Cegvera on Bandcamp

Stolen Body Records webstore

Stolen Body Records on Instagram

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Cegvera Release Live Bootleg on LSDR Records

Posted in Whathaveyou on January 8th, 2019 by JJ Koczan

I’m a big fan of bands doing you-come-here-we-go-there tour trades. In 2017, Vinnum Sabbathi, whose members also stand at the helm of LSDR Records, hit the UK to tour with Cegvera. In 2018, it was Cegvera touring Mexico with Vinnum Sabbathi. They also released a split (review here) late last year through LSDR and would seem at some point to have begun to share Gerardo Arias between both bands, so clearly it’s an association that goes further than simply swapping shows. But all the better, really. The tighter the bands are, the more likely they are to get out together, and clearly it’s a productive partnership on all fronts.

To wit, LSDR Records has been hosting a series of live releases simply titled Live Bootleg, and Cegvera‘s Live Bootleg: Cegvera (Palíndromo) is the latest of them. Recorded while the band was on tour in Mexico this past June, it’s a solid set that showcases their heavy instrumentalism and penchant for atmospherics, captured at Palindromo in Guadalajara at what sounds like it was a pretty killer show. It’s a name-your-price download, so clearly the band and label are just trying to get the music heard by as many people as possible, and I can think of few missions more noble than that.

Info and audio follow:

cegvera palindromo

Cegvera – Live Bootleg: Cegvera (Palíndromo)

During the tour of Cegvera and Vinnum Sabbathi last June we had the opportunity to record the show that rifaron in Palíndromo, Guadalajara.

Like all the entries in the series, you can download this and other live sets of National Underground bands on our bandcamp: https://lsdr.bandcamp.com

Tracklisting:
1. The Great Blackout 06:19
2. Collapse // Aftermath 06:50
3. Natural Threats II 03:55
4. Depletion // Overshoot 07:38
5. Fractals 04:45
6. Rise 07:44

Cegvera (Bristol, UK) live at Palindromo, Guadalajara, June 8th 2018. Released January 6, 2019.

Recorded and edited by Juan Tamayo.
Cover photo by El Güerito Invita.

Cegvera is:
Gerardo Arias: Guitar
Aaron Scrupps: Bass
Matt Neicho: Drums

https://www.facebook.com/cegueraUK
https://cegvera.bandcamp.com/
https://www.facebook.com/lsdrrecords/
https://lsdr.bandcamp.com/
https://www.storenvy.com/stores/823500-lsdr-records-distro

Cegvera, Live Bootleg (2019)

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The Heads Announce UK Live Shows in Nov. & Dec.

Posted in Whathaveyou on July 27th, 2018 by JJ Koczan

Is it a full tour? Nope. Week of UK dates? Nope. One might in Manchester and one night in London? Yuppers. Still, it’s The Heads, so when they announce a weekender like the one below, Nov. 30 and Dec. 1, two nights only, it’s news as far as I’m concerned. Anytime The Heads do just about anything, it’s good for the universe in general, so while I won’t get to see them, I’m still glad they’re getting out. They’re touring in support of the 2CD/3LP compilation RKT! on their own Rooster Rock imprint and are promising more reissues to come, which is fine by me. I wouldn’t mind a new album either, but sometimes people have real lives and that’s a thing that happens instead of recording sessions. For anyone who hasn’t had the pleasure, The Heads are easily among the best live psychedelic acts I’ve ever seen, and should you happen to be in their path for either of these shows, consider yourself lucky.

Dates follow from the PR wire:

THE HEADS

THE HEADS announce two new UK shows!!

Bristol’s Heads set up a brace of UK shows at the end of the year… following on from well received appearances at this years Roadburn, Bristol Psych Fest and others already this year, its time to do a couple of club shows, a first time at the 100 Club and a welcome return to Manchester.

This year also saw the release of the 3LP/2CD set RKT!, which compiled the band’s late 90’s / early 2000 releases for the then fledgling label Rocket Recordings, many of which now fetch ridiculous amounts on various record trading sites.
The Heads are a mainstay of outsider psychedelic rock, they have been together since the early 90s, and constantly buck trends by ploughing their own path.. Britpop tried to thwart them, Stoner rock tried to adopt them.. they just kept turning up their amps and digging deep into a library of obscure kraut rock and early 70’s heavy rock to inspire their riffs and playing.

The four members, Paul Allen, Wayne Maskell, H O Morgan, Simon Price continue playing as the Heads alongside their day jobs, and other band commitments (Anthroprophh, Loop, Kandodo, Karen, etc ). They have taken back control of all of their catalogue and have been working to remaster it all and reissue it on their own label Rooster. In their 25th year together with this line up, it seems the Heads will keep rolling……

The Deaf Institute, Manchester. Friday, 30 Nov 2018
Doors Open: 7:00 PM
Starts: 7:30 PM
£16.50
Buylink: https://www.seetickets.com/event/the-heads/the-deaf-institute/1250899

100 Club, London. Saturday, 01 Dec 2018
Doors Open: 7:00 PM
Starts: 7:30 PM
£16.50
Buylink: https://www.seetickets.com/event/the-heads/100-club/1251017

https://www.facebook.com/The-Heads-282801075465/
https://theheads1.bandcamp.com/

The Heads, “Longest Gone”

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The Heads RKT! Reissue out This Week

Posted in Whathaveyou on May 23rd, 2018 by JJ Koczan

Some day, in some universe, some kind soul will put together a comprehensive discography for The Heads. It will feature all the UK heavy psychedelic pioneers’ releases — albums, splits, EPs, singles, live records, etc. — in the order of their original release, and note the labels, the different versions, the limited editions, the subsequent reissues, and so on, as well as some comment from the band itself on each offering. I expect this would be a book-length project for whatever kind soul took it on, and no doubt it would require a substantial government grant of some sort to happen. And perhaps a team of interns working in shifts.

Until we get to that magical day in that magical universe, we can enjoy The Heads‘ discography for the wonderfully confusing thing it is and perhaps even draw a parallel between their otherworldly and molten sounds and the impenetrable murk that is their catalog. They have a new reissue out this Friday. And the thing about The Heads? They’re amazing.

No, really. Amazing.

From the PR wire:

the heads rkt

THE HEADS latest reissue release “rkt!” on Rooster Records is out next Friday (25th May).

Latest volume in the long running Rooster reissue series, “rkt!” is a timely reissue of the first 3 releases The Heads put out on the ROCKET label.

OUT NEXT FRIDAY (May 25th) in the UK (June 1st in USA) on Limited 3LP format (2CD delayed..sorry..) The Heads – RKT! …(all the stuff they released on Rocket Recordings in the late 90s, in unedited form / one handy package!) And on the digital “sites” for the first time too… Remastered by Simon Price and Shawn Joseph (Optimum Mastering) for sonic dissonance of the highest order…this is bucketbonged sike at its rawest and most enrapturing…

To celebrate that, they have unleashed a “studio” version of live staple “KRT” in its glorious repeato-tripped out 46 minute plus glory…on all the digi places…check it out on the Spotify below…yes, a “Spotify” single from the Heads…tuck in…

Tracklist:
1. Spliff Riff (Conga’d Out)
2. Neu75!
3. Disappear Into Concrete And Meat
4. Filler
5. Jellystoned Loop
6. Planet Suite
7. Longest Gone
8. krt (all of it)

Latest in the long running Rooster (The Heads own label) reissue series, the latest volume is a timely reissue of the first 3 releases The Heads put out on the ROCKET label, from their first split 7” release (with Lilydamwhite) in 1998 to their much lauded SESSIONS 2 freakout 12” from 2002, all long sold out and highly collectable releases in their own rights.

Compiled here by Simon Price and remastered by Shawn Joseph…this release finds the band in fully relaxed glory; The Heads we quite prolific back in the late 90s / early 00’s, and in between the Everybody Knows We Got Nowhere album and Undersided album they released their jams and raw rehearsals via the burgeoning ROCKET Label.

Compiled here with extensive sleeve notes from Rocket founder Simon Healey, this limited 3LP (1000 copies) and 2CD (1000 copies) set captures the band at their most laconic and free…psychedelic sprawling morass of sound and aural distortion grooves akin drawing from their wide influences…also from simply plugging in and letting go…

Spotify KRT stream: https://open.spotify.com/album/0M4gtqM1PcGZ62T11mzgs7

iTunes full album pre-order (and stream for KRT): https://itunes.apple.com/gb/album/rkt/1383320753

https://www.facebook.com/The-Heads-282801075465/
https://theheads1.bandcamp.com/

The Heads, Burning up With… (2016)

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