Having offered their willfully double-slashed debut EP, Dogma//Clairvoyance (discussed here), in 2020 and signed to Copper Feast Records at the beginning of this year, Melbourne instrumentalist heavy psych trio Fuzz Meadows have set a May 6 release date for their first full-length, Orange Sunshine. If the title sounds familiar, you may be thinking of the underrated Dutch rockers of the same name, or indeed that it was the original moniker of Blue Cheer, taken for the name of another kind of LSD. Whatever the particular source, I think you get the idea. The title-track “Orange Sunshine” is streaming now, and hell’s bells if it doesn’t apply itself to that standard. In representing the three-piece of guitarist Domenic Evans, bassist Louis Smith and drummer Prince Jayasundera, it doesn’t quite speak to the full dynamic brought to bear across the entire album, but it certainly makes an impression, and that’s pretty clearly the idea.

Fuzz Meadows come across as schooled in the ways of sans-vocals heavy psychedelia, and where at the outset with “You Are the Void,” they seem to specifically exude a pastoral serenity born of Yawning Man-style jamming, by the time they get to “Benji” at the finish, it’s not a surprise to find them diving into the more weighted end of heavy post-rock, casting a spaciousness with guitar that feels all the more launched for the low end residing beneath. Shades of Russian Circles, Pelican, even Monolord show up in that 14-minute last cut by the time it’s halfway through, but even that doesn’t cover the sweeter drift in the back end of the song; an experiment that calls to mind what might’ve been had Sungrazer kept going but in context is still just a part of what Fuzz Meadows do, echoing the manipulated howls early in “Reach” and the build that ensues, willing to push into harder-hitting terrain than a lot of acts in the style — ready, in other words, to crush as well as space out.

And more, the shifts from one moment to the next are dizzying in light of the hypnosis the band cast. Orange Sunshine is not just a question of volume trades back and forth, but of graceful transitions that capture the listener’s attention on their own and then turn into something else, sometimes sweeping, sometimes gently letting go. As the title-track crashes in — one of the album’s most largesse-minded moments — the expanse that’s been set up through the first two pieces is brought to a new stage for the centerpiece, and they make it move. Again, some of the lead guitar rings out à la Yawning Man, but the rhythm that accompanies is more strictly progressive, like Colour Haze with more shimmer. Goes without saying this is all excellent stylistic company to keep for an act making heavy psychedelia, and just to emphasize the point, Fuzz Meadows never seem to fail to bring these influences and others into the breadth of their craft. “Orange Sunshine” becomes a head-all-the-way-under wash before setting itself to a final minute-plus of effects drone, and feels intended to complement the more straight-ahead riffing that emerges from the foreboding open of the subsequent “Death Echo.”

Even here, Fuzz Meadows find another level of heft, and in the case of “Death Echo,” pace, as the song hits into a thrust of groove that could be cast as a brief homage to Karma to Burn, but it’s just one more movement consumed by the overarching flow of Orange Sunshine in its entirety. And that’s seemingly how the album was intended to be heard — in full, its five songs and 41 minutes running one into the next, feeding and building off each other such that the momentum established by “Death Echo” en route to “Benji” is a payoff not only for itself or the title-track before it, but everything prior. True, on vinyl the last two tracks answer back as a side B unto themselves, but they remain in conversation with the first three, and “Orange Sunshine” resounds gracefully in letting its minimalism give way to the silence of a side split, something not quite echoed but not quite not by “Benji” at the culmination of side B. The closer is less patient in its final-final-final measures, but still adds plenty of scope to the procession of the record and its feeling of outward growth still to come.

Under the player below, you’ll find the release announcement, relatively fresh off the PR wire, as well as the all-important preorder link. The stream of the title-track is also available at the bottom of the post.

As always, I hope you enjoy:

Fuzz Meadows, “You Are the Void” track premiere

FUZZ MEADOWS /// Oz Rock’s Rising Psych Instrumentalists to Release Debut Album this May

Orange Sunshine, the debut album by Fuzz Meadows is released May 6th on Copper Feast Records

Preorder: https://www.copperfeastrecords.com/product-page/fuzz-meadows-orange-sunshine

Primed and ready to breach the Northern Hemisphere, and to take on the world full tilt, Fuzz Meadows are a commanding psychedelic rock trio, and an act that has already made sizeable waves across the underground in recent years.

Hailing from Melbourne and featuring members of other local favourites The Black Heart Death Cult, Silurian and Ninety Ninety Hate, the band will release Orange Sunshine – their long-awaited debut album – on Sydney/London-based label Copper Feast Records, this May.

Having spent several years touring and honing their sound, the band put out a limited run of tapes for their debut Dogma//Clairvoyance EP in 2020, a release which quickly caught the attention of psych collectors across the US and Europe.

Drawing from a unique well of inspiration, Fuzz Meadow’s instrumental sound is one that’s embedded in the imposing and cinematic scope of post rock, the gorgeously crafted vistas of psychedelia and shoegaze, and the earth-shaking magnitude of metal. Heavy, beautiful, buzzing with energy; it’s the kind of devastating symphony that only truly comes alive, when played by three close friends exchanging riffs and ideas into the early hours.

Orange Sunshine by Fuzz Meadows will be released on 6th May via Copper Feast Records. In the meantime, you can stream and share the album’s title track here and pre-order here: https://www.copperfeastrecords.com/product-page/fuzz-meadows-orange-sunshine

TRACK LISTING:
1. You Are The Void
2. Reach
3. Orange Sunshine
4. Death Echo
5. Benji

Recorded at Vagabond Studios, June 2021
Produced by Fuzz Meadows, Engineered, mixed and mastered by Josh Bills
Artwork by Louis Smith with waterfall photo taken by Niyanta Sharma in Kere Kere, New Zealand

FUZZ MEADOWS:
Domenic Evans – Guitar
Prince Jayasundera – Drums
Louis Smith – Bass

Fuzz Meadows, “Orange Sunshine”

Fuzz Meadows on Facebook

Fuzz Meadows on Instagram

Fuzz Meadows on Bandcamp

Copper Feast Records on Facebook

Copper Feast Records on Instagram

Copper Feast Records on Twitter

Copper Feast Records on Bandcamp

Copper Feast Records website

You don’t need to go all that far into Fuzz Meadows‘ 2020 debut EP, Dogma // Clairvoyance, to understand the appeal, but it’s still fun to do so. Born of Melbourne’s vital heavy underground, the three-piece will reportedly issue their first long-player sometime in 2022 through Copper Feast Records, and though I hadn’t heard the two-songer before, yeah, I get it. There are pieces of “Dogma” that seem to bask in heavy post-rock ideology, and some of “Clairvoyance” as well, I suppose, but there’s an underlying component of threat that at any second things are going to get very, very heavy, and yes, they actually do, so all the better. Couple that with natural psychedelic tones in the guitar and bass, fluid, situation-ready drums, and hell’s bells, I’d want to put a record from these guys out too.

I’m not starting a record label (again), but you know what I mean.

I mean look out for more news on this one because I’m digging what I hear in these tracks and will do my best to cover the follow-up full-length when the time comes, whatever time that might be. I honestly don’t know where pressing delays are at and all that stuff, but the album’s “ready” according to the PR wire and that’s definitely a sooner-than-later sign.

Details are scant, but Copper Feast announced it picked up the band as follows:

Please join me in welcoming our best buds Fuzz Meadows to Copper Feast Records!

This Melbourne heavy psych trio have been laying down some serious riff wizardry in the studio during 2021 and now have a debut full length album ready to transport you to their dimension later this year.

We’ll be bringing you more on the record in the coming weeks and months, though for now, familiarise yourself with them and their previous work on their ‘Dogma/Clairvoyance’ EP.

Fuzz Meadows:
guitar – dom
bass – louis
drums – prince

https://www.facebook.com/fuzzmeadowsband/
https://fuzzmeadows.bandcamp.com/
http://facebook.com/copperfeastrecords
http://instagram.com/copperfeastrecords
http://twitter.com/copperfeast
https://copperfeastrecords.bandcamp.com/
http://www.copperfeastrecords.com/

Fuzz Meadows, Dogma//Clairvoyance (2020)

Sydney heavy psychedelic rockers Comacozer reportedly have a new album in the works and, hey, that’s cool news. Put in that category as well the word from hometown-sharing imprint Copper Feast Records (see also KVLL, Khan, Pseudo Mind Hive, Jack Harlon, etc.) that it’s picked up the three-piece for a round of deluxe-style reissues and a split to come. I’m not sure if whatever Comacozer do next will be on the label as well, but I can’t think of a reason why neither side would be on board, pending some kind of exclusivity elsewhere, blah blah blah it’s cool news and let’s take a breath and not ask too many questions and get all worked up on a train of thought to meandering that we have to cut it off in the middle and just go to the PR wire, right?

Right. We is me, by the way.

Like I said, cool news. Here’s what Copper Feast has on the subject:

Please join me in welcoming the unparalleled Sydney-based heavy psych gods Comacozer to Copper Feast as we prepare to reissue much of their back-catalogue in the form of some of the most deluxe editions you’ll see in a long time!

We’ve put heaps of work in and really gone to town on these to make sure you guys have the chance to buy some real collectors pieces, which marry perfectly the stunning audio and visual landscapes which these guys reside in.

Before too long, you’ll finally be able to get hold of albums ‘Astra Planeta’, ‘Kalos Eidos Skopeo’ and a split LP of tracks ‘Binbeal’ and ‘Sun of Hyperion’ which were previously released on other split releases with peers Blown Out and Vinnum Sabbathi.

We’ll be releasing more information over the coming weeks, so stay tuned to find out what we’re planning, when they’ll be available and where you can buy yours!

And if somehow their incredible body of work has passed you by, make sure to head over to https://comacozer.bandcamp.com/music to get acquainted before it’s too late.

https://www.facebook.com/comacozerband
https://www.instagram.com/comacozer/
https://twitter.com/comacozer_psych
https://comacozer.bandcamp.com/
http://facebook.com/copperfeastrecords
http://instagram.com/copperfeastrecords
http://twitter.com/copperfeast
https://copperfeastrecords.bandcamp.com/
http://www.copperfeastrecords.com/

Comacozer, Kalos Eidos Skopeo (2017)

Not so far removed as yet from issuing their second album, The Magnetic Ridge (review here), through Psychedelic Salad and Forbidden Place Records, Melbourne heavy blues purveyors Jack Harlon and the Dead Crows have signed on with Copper Feast Records — perhaps going forward? — and will reissue their 2018 debut, Hymns through that label as well as Tuff Cuff Records sometime in the coming months. One assumes as soon as they’re back from the pressing plant.

This is good news for folks such as myself — though I admit, I rarely think of myself as “folks” — who missed out on the album the first time and had to play catchup with the sophomore long-player. Not a hardship given the quality of the work, but as Mr. Alwayslatetotheparty — way more how I think of myself — at least now I’ll have a chance to get a copy in probably the five-minute span before it sells out on preorders.

Speaking of, I don’t know when those start, but Copper Feast Records posted the following on the social medias, and you might keep an eye out for word from them as well as Tuff Cuff on dates and other particulars:

Time for the first of our two HUGE band announcements this month!

We’re delighted to welcome Melbourne blues/stoner/heavy psych outlaws Jack Harlon & The Dead Crows to Copper Feast Records as we prepare to reissue their killer debut album ‘Hymns’ alongside Tuff Cuff Records.

We’ll be preparing some killer variants for all you folks in the UK and Europe while the fast of finger can get stuck into the stock that ends up heading to The Cosmic Peddler in North America!

Australians that missed out the first time around, make sure to give Tuff Cuff a follow to grab one domestically.

Listen now at https://jackharlon-dawsonthedeadcrows.bandcamp.com/album/hymns

More news on presale dates soon!

https://www.facebook.com/jackharlondoom/
https://jackharlon-dawsonthedeadcrows.bandcamp.com/
https://www.facebook.com/CopperFeastRecords/
https://www.instagram.com/copperfeastrecords/
https://twitter.com/CopperFeast
https://copperfeastrecords.bandcamp.com/
https://www.facebook.com/tuffcuffrecords/
https://www.instagram.com/tuffcuffrecords/
https://twitter.com/tuffcuffrecords
https://www.tuffcuffrecords.com/

Jack Harlon and the Dead Crows, Hymns (2018)

Cheers to Australian trio Khan on being the latest pickup from Copper Feast Records. The Sydney-based label, which has stood behind releases from Foot, Sleeping Giant, Hidden Noise, King Gizzard and the Lizard Wizard and Paul Holden, among others, will oversee vinyl editions of the band’s late-2020 sophomore full-length, Monsoons (review here). That record was previously and will again also be issued through Salty Dog Records, which signed the band in 2019, following their 2018 debut, Vale. As it happens, Vale is also being repressed through Copper Feast, and in addition to inking the deal with the label, Khan have also signed with PacketUp for European fulfillment, which of course speaks to wider distribution and is a possible indication of where Khan might be looking to head on tour once, you know, borders open.

They made the announcement through social media, and you’ll find that below along with the stream of Monsoons just for the hell of it:

We’ve been keeping this quiet for a while now so are super excited to finally announce that we’re signing with Copper Feast Records (UK)!! Together we’ll be releasing ‘Monsoons’ on vinyl across two very special variants and also re-pressing our debut album ‘Vale’. We’ve also partnered with PacketUp fulfillment in Europe to look after all our friends in the northern hemisphere with cheaper and faster shipping.

Fear not all of our Salty Dog enthusiasts, as we’ll also be releasing ‘Monsoons’ on vinyl through our good boi Salty Dog Records (Aus) who’s cooked up some wax wizardry once again!

Pre-orders for all variants across both labels will be going live on April 2nd (Bandcamp Friday) so make sure to put it in the calendar!

https://khanofficial.bandcamp.com/
https://copperfeastrecords.bandcamp.com/
http://www.saltydogrecords.com.au/
https://packet-up.com/

Khan, Monsoons (2020)

Fuzz-drenched Australian trio Sleeping Giant will release their new single, Fortress, on Oct. 30 through Copper Feast Records. It’s the quick-turnaround answer to the Bendigo/Melbourne outfit’s 2019 self-titled debut (review here) and intended as a bridge between that release and their next full-length, and indeed it presents a shift in approach. “Fortress,” the song itself, runs just under five minutes long, but that’s plenty of time for guitarist/vocalist Steven Hammer, bassist James Wright and drummer Pali Emond to established a thickened, full sound that runs denser and murkier than anything the LP had on offer. Certainly the elements that comprise it are there: dudes have riffs, tone, fuzz, groove, hook, some harsher shouts for good measure — all that we-wrote-a-song stuff. But what’s really intriguing about “Fortress” is the atmosphere it creates.

Emond did the cover art for the Fortress single — and for sure that’s a video game I want to play — but notice that beneath the stalactites of the cavern in the image is a smoky, humid swamp and of course the lingering sense of doom as the broken-horn, open-mouthed monster skull welcomes you to the titular fortress. It doesn’t look like a place in which you’d want to hang around for side-quests. However, it does expertly convey the spirit of what “Fortress” brings to Sleeping Giant‘s sound, which is precisely that doomed aspect. Where Sleeping Giant integrated influences from the likes of Lowrider and Kyuss, the clearest line one might draw from “Fortress” is to the rolling lurch of Windhand. This can be heard in Hammer‘s vocal melody as well as the immersion he conjures in doubling — or tripling, since he’s also playing guitar — as recording engineer, handling mixing and mastering too.

He did some amount of recording on the self-titled as well, but as that record was pieced together over a longer period of time and multiple sessions, “Fortress” not only feels like a progression in aesthetic, but one of cohesion. Hammer‘s guitar, Wright‘s bass and Emond‘s drums flow together with an in-the-same-room feel — mind you, whether they were actually in the same room or not, I have no idea; probably not given quarantine and so on — and the song pulls you deeper into its swirling, possibly toxic haze because of that. Like the shouts that emerge later on, these were things hinted at on the LP, especially in the later reaches of the “Visions” trilogy that capped, but come through more focused, more complete, and even more intentional on the single. For something that sounds so foreboding, it bodes awfully well.

“Fortress” will see issue as part of a split 7″ single with labelmates Foot sometime soon via Copper Feast, and it’s my pleasure to host the premiere today. Find it below, accompanied by more details from the PR wire.

And enjoy:

https://soundcloud.com/copper-feast-records/fortress/s-aqCFvKXwH7u

Sleeping Giant are back – and they’re back heavier and harder than we’ve seen them before with this absolute behemoth of a track crawling out of the abyss and into your earholes on October 30th.

Following the successful release of their eponymous debut in 2019, rehearsals and progress on the anticipated follow-up record was halted as a result of the worldwide coronavirus pandemic. Undeterred, the band have been able to write and record a brand new track from lockdown to give fans a glimpse of what’s to come next year.

Having been inspired to move in a heavier direction after recording the epic fan favourite ‘Visions’ trilogy, new single ‘Fortress’ has been a feature of their live set ever since the debut record came out and lyrically represents how cancerous cells can debilitate and make you a shadow of your former healthy self. Though the lyrics were written well before COVID, they still bear a strong relevance to the current climate.

This standalone single intended as a bridge between albums was written, recorded, mixed and mastered by frontman/guitarist Steve Hammer and is Sleeping Giant’s first foray into the world of home recording.

Drummer Pali Emond has meticulously slaved away to perfectly depict the visual aesthetic of ‘Fortress’ on the cover art, as well as producing a brand new t-shirt design which will be available for pre-order alongside the track, ahead of its 30th October release date.

What’s more, Copper Feast Records will be releasing ‘Fortress’ as a 7″ split single before the end of the year alongside label mates Foot on limited edition coloured vinyl which also features a brand new track from Paul Holden & co.

Sleeping Giant is:
Steve Hammer – Guitar/Vocals
James Wright – Bass
Pali Emond – Drums

Sleeping Giant on Thee Facebooks

Sleeping Giant on Instagram

Sleeping Giant on Bandcamp

Copper Feast Records on Thee Facebooks

Copper Feast Records on Instagram

Copper Feast Records on Bandcamp

Copper Feast Records BigCartel store

In case you’ve forgotten how the world works, reality isn’t polite enough to wait for one global crisis to end before the next one begins, and though the media cycle spotlight worldwide may have moved on to brighter, shinier travesties, the fallout from Australia’s wildfires earlier this year is still being felt and will be for many years to come. Ecosystem damage like that doesn’t disappear in a day. Particularly when humans are involved. We suck at that stuff. Good destroyers, bad rebuilders.

Anyhoo, there are those who do what they can, and among them stand organizations like WIRES and the Australian Red Cross, who are the beneficiaries of Copper Feast Records‘ new compilation out March 27, titled Hidden Noise. Australia’s one-of-a-kind environment and wildlife can’t be replaced, or cloned by futures usses, and the planet needs that ecosystem and those animals now. And not to mention the cost to humanity too in lost homes, livelihoods and lives. If a comp with killer tracks by killer bands gets any dollars — Australian or otherwise — to those causes, then that’s only a good thing.

So here’s the info:

Copper Feast Records – ‘Hidden Noise’ Charity Compilation

The world is on fire. Australia is on fire. Things will not get better until things change.

In late 2019 and early 2020, Australia was ravaged by bushfires which have destroyed vast expanses of its unique natural environment, pushing some species to the verge of extinction and causing the loss of many lives, livelihoods and homes. As our way of giving back, 100% of the profits from ‘Hidden Noise’ will be going to charity.

50% will be going to WIRES (www.wires.org.au)
50% will be going to The Australian Red Cross (www.redcross.org.au)

‘Hidden Noise’, a compilation from Copper Feast Records, showcases unreleased tracks from some of the best ‘hidden’ psych rock and stoner rock bands that Australia has to offer. In addition, a small number of previously released tracks from even more amazing bands completes the compilation.

Some of the artists that have contributed brand new songs include Planet of the 8s, Turtle Skull and The Black Heart Death Cult. We also have new mixes of existing tracks from the likes of Sleeping Giant and Narla.

The compilation title ‘Hidden Noise’ takes on a variety of different meanings in relation to this project. These are all Australian bands that are massively deserving of a greater following than they currently receive. Their music may be somewhat hidden for now, but I urge you to explore them all further. Albums, singles and even demos can be found on each band’s own Bandcamp page with links provided below.

‘Hidden Noise’ also references how at-risk persons and families have found their voice lost when requiring assistance before and after the bushfire crisis affecting the country. This is in addition to the vast number of wildlife voices that go unheard at this time as humans exploit their habitats causing their destruction.

Last but not least, the compilation title is in reference to the media obstruction and government inaction all over the world regarding climate change and the crisis affecting not only Australia, but every country in the world as a result of this.

We need change. Please enjoy the music and be a part of it.

narlamusic.bandcamp.com
theroyalartillery.bandcamp.com
planetofthe8s.bandcamp.com
turtleskullmusic.bandcamp.com
sonsofzoku.bandcamp.com
theblackheartdeathcult.bandcamp.com
cosmosmelbourne.bandcamp.com
numidia.bandcamp.com/releases
motemelbourne.bandcamp.com
theivoryelephant.bandcamp.com
footmelb.bandcamp.com
droiddoom.bandcamp.com
paulholden.bandcamp.com
sleepinggiantband.bandcamp.com

Thank you to all the artists above for their contribution and support to this project. Thank you to Carl Saff for ensuring such a broad-ranging sound compiled into one record sounds cohesive. Thank you to you, the listener, for your support.

https://copperfeastrecords.bigcartel.com/
https://www.facebook.com/CopperFeastRecords/
https://copperfeastrecords.bandcamp.com/

Foot, The Balance of Nature Shifted (2020)

Sleeping Giant, Sleeping Giant (2019)

Foot release their third album, The Balance of Nature Shifted, on May 1 through Copper Feast Records. The follow-up to the Melbourne-based progressive heavy rocking four-piece’s 2018 LP, Buffalo, it comprises a nine-track and 46-minute run conjured seemingly at the songwriting behest of guitarist/frontman Paul Holden, whose resonant vocal harmonies are an essential characteristic of the band’s approach that have never sounded so full or lush as they do here. Whether it is in the pastoralism of later “Manic Progression” or the full-on riff-fueled push of “Despair on Hope Street” and “E-Sports” at the outset, it’s an Alice in Chains comparison well earned as Holden singly brings together both sides of the Staley/Cantrell dynamic that once set an entire generation of rockers singing from the bottom of their mouth, while somehow retaining an identity of his own throughout.

The wall of fuzz surrounding his voice, from his own guitar as well as that of Dave Pemberton and the thickened tonality of bassist Shaun Stolk, is satisfyingly rich and remains so across The Balance of Nature Shifted, but with drummer Jack Eddie punctuating their undulations and the next chorus never too far off, the listener doesn’t at all get lost in the wash. Foot find a rare balance between aesthetic and craft so as to build on the identity they began to forge on their 2016 self-titled and hold to a largely similar purpose while realizing their form to a new degree of effectiveness and scope. Even the high-low guitar chug interplay on “Break the Altar (Light Shade)” and the solo that caps the three-and-a-half-minute “Ride it Out” tie into this sense of who Foot are and the complexity of the sonic mission they’ve undertaken to best serve their own material.

They succeed in that outright, and it’s difficult to imagine a form of The Balance of Nature Shifted that is more realized than that which the band present. As “Green Embers” shifts from its moody beginning into the sheer largesse of riff that takes hold, lurching in a way that seems to immediately contradict the first two tracks before it, there’s nonetheless a sense of continuity and unfolding that takes place on the LP as a whole, a flow that continues in “Ride it Out” and the (I-wish-)pop(-was-this)-tinged centerpiece “Investment,” as Foot find room for added dynamic in volume trades for what’s their longest cut at 6:28. The only other piece that touches six minutes is closer “High,” which sets its foundation in the blend of melogrunge and fuzzgaze — or was that melogaze and fuzzgrunge? — that has been at the core of the proceedings all along, but patiently digs in its heels and offers one final look at the world the band have created throughout, melodic and encompassing, but hardly serene or still.

Movement can be found underneath “High,” as in even the comparatively minimal “Neighbours,” and as there to some degree is across the entire span, but Foot provide a sure guiding hand — pun absolutely intended — and let the structures of their songs do the work they’re supposed to do in terms of carrying the audience from one end to the other, front to back. Vinyl release will be later in the year, but in linear, digital form, The Balance of Nature Shifted casts an immersive totality of an impression, its melodies and harmonic accomplishment working as a distinguishing factor that’s only bolstered by the thoughtful perspective and rhythmic push surrounding, and even as its title and cover art hint at nature rising to undo the various efforts (which isn’t to say horrors) wrought by humanity, it reminds that there is still beauty to be found in a world of seemingly endless violence and decay.

There is more than an edge of psychedelia to Foot‘s songwriting, but that doesn’t come at the expense of craft, and isn’t necessarily primary to the band’s purpose. Rather, it feeds into the atmosphere of the songs themselves even as it emerges from the attention to detail that’s given to tone, to the methodical execution of pace, and the vibrant melodicism showcased in Holden‘s echoing layers of voice. Thus it becomes another element of the progressiveness of their take overall, rather than simply exploration for its own sake — though of course nothing against that either, and certainly in listening to Buffalo and Foot, the band are nothing if not willful in their forward creative evolution. The Balance of Nature Shifted bears the fruit of that mindful engagement.

It’s my pleasure to host the premiere of “Green Embers.” Please find it on the player below, followed by some comment from Holden on the track and more release info from the PR wire.

And please enjoy:

Paul Holden on “Green Embers”:

In relation to the musical side of “Green Embers,” I think around that point I had been listening to a lot of My Sleeping Karma for inspiration on different sonic textures and in particular, the world music characteristics contained in their songs. I approached the intro of the song with these concepts in mind.

The remainder of the song is a pretty straightforward fuzz rock song. I recorded the heavy riff through an Earthquaker Devices Hoof V2 Fuzz Pedal straight into a Sovtek head. I have always dug the contrast of a heavy riff combined with a clean harmonised vocal sound. You don’t always have to go hard with your vocal even if the band are going hard.

Lyrically, I wrote the tune after reading about the findings of a royal commission into the misconduct of the four biggest banks in Australia. It confirmed what we pretty much already knew which is multinational banks are completely fucking corrupt. It’s that unbridled greed thing, which remains a pretty obvious message throughout the rest of the record too.

‘The Balance of Nature Shifted’ is the follow-up to Foot’s acclaimed second album ‘Buffalo’ and is due for release digitally May 1 2020 with a vinyl release slated for August.

Foot take their well-honed desert rock sound one step further on ‘The Balance of Nature Shifted’, with songs going harder than they ever have before on a Foot record. Fans that were on board for their self-titled debut and follow-up ‘Buffalo’ are sure to be satisfied while newer audiences will love this classic blend of Queens of the Stone Age meets Alice in Chains.’

NOTE: Copper Feast Records will be releasing The Balance of Nature Shifted as a double vinyl later in mid-2020, featuring vinyl exclusive bonus tracks and demos from the recording process.

Foot are:
Paul Holden (Vox, Guitar)
Dave Pemberton (Guitar)
Shaun Stolk (Bass)
Jack Eddie (Drums)

Foot on Thee Facebooks

Foot on Bandcamp

Copper Feast Records on Thee Facebooks

Copper Feast Records on Instagram

Copper Feast Records on Bandcamp

Copper Feast Records BigCartel store