Posted in Whathaveyou on May 3rd, 2021 by JJ Koczan
A quarter-century later, The Heads are still too much vibe for the planet. Come back in another 25 years and maybe humanity will be caught up to the Bristol lords o’ space, but frankly, I don’t think we’re there yet as a species. Relaxing With… (discussed here) was indeed released before the turn of the century, and it continues to resound with past-as-future, out-of-time relevance, too weird for its day and so continually timeless. In any case, it’s more than earned the 25th anniversary release it’s being given on June 25 through Rooster Records, paired with the band’s of-the-era Peel Session — I walked by that studio in Maida Vale last time I was in London; it’s in a very posh neighborhood — as well as some other BBC odds and ends from ’95/’96. My freshman year of high school. I was nowhere near cool enough to be listening to The Heads. I’m still not, but one has aspirations.
The PR wire sent this along, doing the thing it does:
Announcing 25th Anniversary Silver Jubilee Vinyl Edition of THE HEADS Debut Album Relaxing With… on Rooster Records
IT’S 25 YEARS (THIS MONTH) Since the first Heads album was released.. .so.. for 2021..Rooster has decided to get the album back in print on vinyl.. but changing the artwork. With some silver foiling and bordering, the single sleeve has been boosted to a sweet gatefold, Rooster also got the Radio 1 sessions from the time remastered, and re-cut along with the huge b-side to their Television 7″ “Jellystoned Park”.
So there you have it, a double vinyl silver jubilee reissue of a fantastic debut album!
Tracklist
LP 1 Original Album: Silver Vinyl Pressing Side A: 1. Quad 2. Don’t Know Yet 3. Chipped 4. Slow Down 5. U33 Side B: 1. Television 2. Woke Up 3. Widowmaker 4. Taken Too Much 5. Coogan’s Bluff
LP 2 Radio Sessions & 7″ B-side Side C: First John Peel Sessions: 1. Chipped (Peel Session, Maida Vale 10/11/95) 2. Widowmaker (Peel Session, Maida Vale 10/11/95) 3. Theme (Peel Session, Maida Vale 10/11/95) 4. Woke Up (Peel Session, Maida Vale 10/11/95) 5. Spliff Riff (Peel Session, Maida Vale 10/11/95)
Side D: More Radio 1 Sessions / B-side: 1. Quad (Live BBC Radio 1 Rock Show, Glasgow 31/03/96) 2. U33 (Live Mark Radcliffe BBC Radio 1, Manchester 02/05/96) 3. Television (Live Mark Radcliffe BBC Radio 1, Manchester 02/05/96) 4. Jellystoned Park ( b-side of Television 7″)
From the original reissue sales notes: “The Heads had self-released a couple of 7″‘, and then Cargo Uk’s inhouse label Headhunter UK got to release a further 7″, and then the Debut album in 1996. Amidst a world suffocating in Britpop smarm, the Heads cut a timely swathe with their unkempt rock psychedelique. The album contained 10 tracks of guitar driven, amp destroying rock, with cues taken straight from the US underground, Stooges, MC5, Mudhoney, Pussy Galore, early Monster Magnet too but with a disitinctly British stamp, some of the drone and fuzz from Loop / Spacemen 3, some of the attitude of the Fall, Pink Fairies and Walking Seeds and overlaid with the spaced rock of early Hawkwind. It was obvious that the four members of the Heads were music obsessives. The debut album was recorded at Foel studios (owned by Dave Anderson from Hawkwind) and engineered by Corin Dingley, it was mastered by John Dent at LOUD.”
Posted in Features on April 13th, 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
Days of Rona: Gerardo Arias of Cegvera & Vinnum Sabbathi (Chapingo, Mexico)
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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?
Despite playing in the same band Vinnum Sabbathi (Juan, Roman and Sam) and Cegvera (Matt), we are all close friends. Though we cannot even practice as a band, we are always in close contact through social media. That is clearly helping everyone out. There is not much we could do as a band but to promote our recent releases again through social media (VS – Of Dimensions and Theories; CGV – The Sixth Glare). As a musician, I have also been writing new riffs (more laid back than I normally like playing them) and that is because I think that’s what I need right now, to remain positive in the middle of this havoc, ’cause it has already taken few things down. Also I have been working on some papers left from my degree, which I hope to finish and publish before this year.
Both bands already had big summer plans including some festivals as well as a tour of 30+ dates in EU and UK. All of it had to be postponed. In Mexico, Vinnum Sabbathi had scheduled a release party for the 4th of April in Mexico City. That one had to be postponed too. From afar, one might think it is easy task to set up a tour. But I have been working on this with my mate Juan for MONTHS. It ain’t easy. We were all looking forward to it so much, cause that would mean not only playing gigs, but also to visit all the friends that we have made along the way. It is really sad to see all of it vanishing so fast. We know that it will happen, we don’t know yet if later in the year or summer next year, but we know that it will definitely happen and that’s what keeps us up. Eternally grateful to all the people that have supported us during this crisis and full of joy to see that they are enjoying themselves with the music that we have recently released. At the same time, a little bit intrigued to see how the current global situation matches largely with the story that is narrated in both releases TSG and ODAT.
Feel really fortunate to say that everyone’s health is very good so far. Roman (VS) has already been sent home to do work from there, while Sam (VS) is still going to his job as the place where he works for hasn’t closed yet. Juan (VS) is crafting guitar cabs from home (The best guitar and bass cabs around – Tamayo amp). Jumping all the way to UK, Matt (CGV) has been sent back home as the place where he was working has already shut down. I was working in a vet clinic, but had to suspend activities already (the clinic is still working though). Luckily I have the support of my family and right now I am with them during the quarantine.
What are the quarantine/isolation rules where you are?
Although the situation in Mexico is not as bad as in some other countries, there has been a swift response in terms of isolation rules. For example, all academic activities at all levels have been suspended since the 20th of March till the 20th of April. Also, in drug stores you are not allowed to do bulk shopping. Some people have already been sent back to their homes from their jobs. Some others, not as lucky, have already lost their jobs. Where I live right now (Chapingo, Mexico) there is a truck driving through the streets with a megaphone saying: “Please stay at home, do not expose yourself. Please stay at home.” Feels like if we were living in a dystopian fiction. The truth is that, mostly in developing countries like Mexico, it is nearly impossible for some people to stay at home. Especially people that live from hand-to-mouth. Whenever there is a chance always try to offer them some help or even supplies.
Spoke to Matt (CGV) about the UK rules, and apparently up there they are only allowed to leave home, only for food shopping or pharmacies. Everything is closed and the streets are empty. It was meant to be only for a couple more weeks but probably gonna be a few months like this sadly.
How have you seen the virus affecting the community around you and in music?
I think this has already pretty much affected everyone in the scene and outside: Labels, musicians, venues, promoters, graphic artists and even the audience in general. Local shows cancelled, venues shutting down, cancelled or postponed tours and, sadly, I’ve seen people getting annoyed about all these imminent cancellations.
Not everything is gloom though. I’ve seen that artists haven’t surrendered and are striking back with incredible livestream performances. Take as an example Mike Scheidt (Yob), Kadavar or the good pals from Kurokuma. This is really inspiring and I think artists should try and cheer up the scene with ideas like this one, of course if there is the chance and the resource. I really hope we do one with Vinnum in a near future.
What is the one thing you want people to know about your situation, either as a band, or personally, or anything?
Don’t surrender to panic and/or depression, be patient, keep the spirits up. Everyone has been affected already. Always keep it positive. After I was away for four years from my family and bandmates to finish a degree, I am really close to them again. The only thing for me to do is to chin up, tell them how much I missed them and how happy I am to have them close when all this mess is happening. Keep in touch with your close friends/family. Personally, I always find myself with a giant smile on my face whenever a friend from abroad reaches out.
Support your artists, the best way to do it is buying them music and merch. You think buying a digital record does not make a difference, but trust me it does (BANDCAMP, please Bandcamp – Not Spotify!). At the same time think about the people around you. Today, actually, a guy emailed us asking if he could buy a record through Bandcamp, but kindly asked us to save it for him until the storm calms down, that way we reduce the exposure of the social workers. These ideas will definitely make a great difference. Encourage your favourite artists to do livestreams! A band always cheer up whenever we see people wanting to see us playing music even through a monitor. If you have a lot of spare time then it is the moment for your ears to give a chance to listen to that one local band that you never really wanted to check out. You might be surprised by it!
Protect the ones yourself and the ones you love, follow the sanitary indications. This is not a fake situation. It has been proved scientifically that the virus is not lab-made or genetically manipulated (type and search in your browser ‘Andersen 2020 nature medicine’ if you want to know more about it). Try to keep it as local as you can, specially providing support to small shops and producers in your area. And again, please don’t panic. ALWAYS verify the source of information! We are a society that is incredibly vulnerable to mediatic manipulation, specially with all this flood of fake news around us. Always double-check where the information is coming from.
Posted in Whathaveyou on March 11th, 2020 by JJ Koczan
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:
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
Posted in Whathaveyou on January 30th, 2020 by JJ Koczan
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’ (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)
[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.
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.
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:
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
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:
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
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 – 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
