I wanted to get a little weird. You know, the last episode of The Obelisk Show on Gimme Radio was some of the best tracks from 2018, but in addition to some new stuff, some 2019 stuff — cuts from Skraeckoedlan and Thunderbird Divine — I wanted to make sure I included some songs that people might’ve missed in 2018. In fact, with Melody Fields early on in the playlist, that was a record I missed completely until I put up one or the other of the year-end lists and someone pointed it out to me on Thee Facebooks. It’s an awesome record. On the show, I mistakenly said it was released through World in Sound. The LP was on Kommun 2 and the CD was on Sound Effect. Credit where it’s due, because that record rules.

Likewise, “it rules” was also a running theme. Black Helium was a standout from that 100-album Quarterly Review that I did in December, and being able to stand out among 99 other releases certainly seems worth highlighting to me. I was digging the Horehound record as I was getting ready to review it, and Skraeckoedlan I’m also getting ready to cover (maybe later this week?), while Faith in Jane I haven’t had the chance to review yet but those guys are great. Also from the Quarterly Review was Child, Space Coke and Carpet, while Goblinsmoker belong to the UK’s ever-growing swath of bands with silly names and a destructive bent. And then at the end I wanted to space out like I used to do with the podcasts — just have it hit a point and go far out and not come back. Jam into the reaches. Plus it gave me an excuse to talk about Øresund Space Collective’s AR/VR artwork for Kybalion, which it awesome in its own right.

The odd-track-out I suppose is Witchcraft, but I talk about that on the show. It’s kind of a new-classic in my mind and something I wanted to focus on this episode. We’re moving into a new year and Witchcraft’s self-titled came out 15 years ago. I think the only reason it’s not already considered classic heavy is because it’s still so relevant, it hasn’t even allowed for that kind of distance yet. But make no mistake, that’s a classic album.

Anyway, considering I had to record the voice breaks on my phone because my internet was so craptastic at the time that I couldn’t go directly into Gimme’s back end software like I’m supposed to, I thought the show came out pretty well. If you listened, I hope you agree. And if you missed it, I hope you can catch the replay.

Here’s the playlist:

The Obelisk Show Ep. 07 – 01.06.19

The Obelisk Show on Gimme Radio airs every other Sunday night at 7PM Eastern, with replays the following Tuesday at 9AM. Next show is Jan. 20. Thanks for listening if you do.

Gimme Radio website

The Obelisk on Thee Facebooks

Deep into the album comes the hook that says it all. “Abandon space and time/Freedom lose your mind.” It’s what Deep Space Destructors have been saying all along, but it’s not until the fourth of the five total tracks, on the aptly-titled “Floating,” which leads off side B ahead of closer “From the Void,” that they actually come out and say it. Their advocacy of that position, however, is writ large across Visions from the Void, which follows less than two years from early 2017’s Psychedelogy (review here) and pushes into new cosmic reaches for the band, expanding their sound and reach along an interstellar plane of surspace, dimensions intertwining as the core trio of bassist/vocalist Jani Pitkänen (also percussion), guitarist/backing vocalist Petri Lassila and drummer Markus Pitkänen welcome a host of guest performers. Perhaps chief among them is Scott “Dr. Space” Heller, who also helms Space Rock Productions, which is the label behind this and the last release.

Heller, who also captains the USS Øresund Space Collective, contributes analog synth to all five cuts on the 43-minute LP, but he’s hardly alone here, with Antti “Yskä” Ylijääskö adding sax to side A finale “Tyhjyyden Mantra,” Joonatan Elokuu donating synth, mellotron and vocals to the aforementioned “Floating,” and Tyhjä Pää giving further drone and ambience to “From the Void.” The latter two are return appearances, but even so, their coming back is emblematic of the growth Deep Space Destructors have undertaken since their 2012 debut, I (review here), and indeed, as their evolution has unfolded across 2013’s II (review here), 2014’s III (review here), 2015’s Spring Break from Space EP (review here) and Psychedelogy, they have only proceeded outward, and Visions from the Void is their most resonant work yet, unfurling with motorik beats and drifting atmospherics along a directed swirl that holds an underpinning of consciousness even as it seems to “lose its mind” along the lysergic meditation. From opener “Psyche Remade” onward, the band only affirms their maturity and their mastery of the spaced-out forms, calling to familiar genre tropes while putting their own stamp on them in craft and manifestation.

There’s little by way of fanfare at the outset. A quick introduction of a winding guitar line starts “Psyche Remade” and within the first 10 seconds of the album, Deep Space Destructors set themselves to the work of melting brains. Their style has never been to completely jam for jamming’s sake, and not that there’s anything wrong with that approach, but the trio’s process has only come to work more for them over time, resulting in hooks that act as beacons along their charted course into the titular void. They’ve done this in the past as well, but Visions from the Void finds Jani a more confident vocalist, higher in the mix and more of a presence even as his voice is coated in a range of effects. “Psyche Remade” has standout lines urging sonic enlightenment, and that frames much of the perspective from which the rest of the record draws, a kind of expand-your-mind-blow-your-mind advocacy the second cut “Astral Traveller” soon affirms in its last line, “Free your mind/Only love can remain,” after six minutes or so of primordial space rock groove and molten synth.

Tense, progressive and classic, its genre elements are nonetheless presented with a sonic heft that classic space rock could never have claimed as its own, pushing into a realm of heavy psychedelia in its low end that only seems to emphasize the throb at heart in the rhythm and the faroutification of what might otherwise be a straightforward structure. Heller has a marked effect on the atmosphere, but as “Tyhjyyden Mantra” crashes in its nine-minute grandeur to take hold and introduce not only the end of side A, but really the crux of what will follow in the final two tracks, there’s a darkening of mood that even the surrounding swirl can’t contradict. As the centerpiece, “Tyhjyyden Mantra” swaps out English lyrics for the band’s native Finnish, and along with the arrival of Ylijääskö‘s saxophone, it provides a pivotal turning point in the narrative of the record, marking the place where one is given over to the cosmos itself in that embrace of enlightenment, becoming one with dark matter as a necessary step in that. There’s a quiet moment that starts just before the five-minute mark and is soon topped by chants and leaves on a build that I wish was longer, but it accomplishes the purpose the band has for it as is, and soon departs for an effective sax-laced semi-wash that holds out to a graceful finish.

“Floating” starts with the lyrics noted earlier, and makes itself a standout not only through its lyrical quest for freedom of mind and spirit, but through its near-orchestral progressive arrangement. The additional synth and mellotron give further breadth to that which the band has already established — and among those elements, the midsection a stretch of gotta-hear bass and guitar interplay well worth noting — particularly the mellotron arriving shortly before seven minutes in to lend a dramatic feel to “Floating”‘s apex before the return of the vocals ultimately bring it full circle. As the only inclusion to pass the 10-minute mark, “From the Void” is immediately distinct as well, but it’s more the hypnotic initial rhythm that makes it so, and the sense of arrival is multi-tiered. As listeners, we’ve arrived at that moment of freedom so fervently championed throughout the four songs prior, and as a band, Deep Space Destructors have arrived at a new level of presentation and storytelling in their work, creating a thematic arc to convey their ideas across the album’s entirety. That’s an achievement not to be understated, but their execution of the semi-title-track is in no way bludgeoning listeners with what’s happening.

Rather, it rolls out fluidly atop a steady push of drums as bass, guitar and synth craft a nod that’s both psychedelic and a fitting bed for the lyrics, a kind of watery chant that keeps aligned with space rock traditionalism even as the music behind seems to tap into mantra-ism in a different and exciting way. They cap in motorik but still smooth fashion with a guitar solo leading the way out toward what comes after the void. And one supposes that’s really the question that remains. Deep Space Destructors have found this avenue of expression and made it their own. Over the past six years, a steady growth has led them to this point, where the aspects of genre they’ve absorbed have been remade at their will. So what happens now? It does not seem to me that they’re at any kind of end point in their progression. Nothing on Visions from the Void indicates a feeling of being staid. So what comes after sonic enlightenment? Where in the cosmos do we go next? It’s a story that ends and begs further elaboration, and I for one can’t wait to find out in the next chapter from Deep Space Destructors.

Deep Space Destructors, Visions from the Void (2018)

Deep Space Destructors, “Floating” official video

Deep Space Destructors on Thee Facebooks

Deep Space Destructors on Bandcamp

Deep Space Destructors website

Space Rock Productions website

The Dec. 10 issue date for Visions of the Void will put it less than two years since Deep Space Destructors‘ last album, Psychedelogy (review here), and that’s how it should be. Proper space rock doesn’t happen just sometimes. It happens all the time. The universe doesn’t just expand every now and again, does it? Neither should the sounds that seek to portray or at least evoke some semblance of those cosmic reaches. Deep Space Destructors are well schooled on those ways at this point, and they seem to be continuing to further their reach as well this time out with guests like Dr. Space himself — whose Space Rock Productions label is also once again standing behind the vinyl release; preorders are up — as well as others helping further the interstellar cause.

I’m on board for the trip as ever with an asterisk as regards the artwork, but so it goes. Dudes have a history of providing choice heavy psych and there’s little reason to expect anything else this time out.

From the PR wire:

Deep Space Destructors – “Visions From The Void”

Release date: 10th December 2018

Deep Space Destructors’ fifth album “Visions from the Void” is released on 10th of December 2018 on vinyl through Space Rock Productions, http://www.spacerockproductions.de , and digitally via universal digital platforms. The print will include 525 vinyls of black, blue and purple colours.

On “Visions from the Void” the psychedelic space rock trio travels even further to deep space within oneself while taking ample glances at the void. The album features five songs consisting of mantras, chants, psychedelic grooves, space rocking madness and progressive twists. Listener should be prepared to have one’s psyche remade while floating on a sonic astral travel through the void.

On “Visions from the Void” pieces of the DSD hivemind are aligned with Dr. Space, contributing analog synthesizers for the whole album, as well as Antti “Yskä” Ylijääskö playing saxophone on “Tyhjyyden Mantra”, Joonatan Elokuu Aaltonen devoting synthesizers, mellotron & guest vocals for “Floating”, and TYHJÄ PÄÄ (Void Head) providing analog space sounds & drones for “From the Void”.

“Visions from the Void” was recorded and mixed at Tonehaven Studios by Tom Brooke, while the guest artist were recorded in different locations. Mastering was done by Mojolab.

Yet again extremely talented Markus Räisänen provided the artwork and the gatefold images conjured by the artist will leave no spacehead cold.

Rise to the mountain, leave the Earth behind
Path to enlightenment, salvation of the mind

Side Space:
1. Psyche Remade (8:19)
2. Astral Traveller (6:15)
3. Tyhjyyden Mantra (9:17)

Side Void:
4. Floating (9:48)
5. From The Void (10:09?)

Band:
Jani Pitkänen – vocals, bass and percussions
Petri Lassila – guitar and backing vocals
Markus Pitkänen – drums

Guests:
Dr Space – analog synths (on all of the songs)
Antti “Yskä” Ylijääskö – saxophone (3)
Tyhjä Pää (Void Head) – analog space sounds and drones (5)
Joonatan Elokuu – synths, mellotron and vocals (4)

525 copies total on 180g vinyl
– 190x black
– 205x light blue
– 130x purple
Insert (30×30 cm, printed on both sides) / gatefold cover / hand numbered

Pre-order for this nice release starts Tuesday / 20th Nov.: https://www.sapphirerecords.de/epages/61252611.sf/en_GB/?ObjectPath=/Shops/61252611/Products/%2ALPDSD054

http://www.dsdband.space/
https://www.facebook.com/deepspacedestructors/
https://deepspacedestructors.bandcamp.com/
http://www.spacerockproductions.de
https://www.facebook.com/spacerockproductions.dk/

Deep Space Destructors, Psychedelogy (2017)

[Click play above to stream Deep Space Destructors’ Psychedelogy in full. Album is out Feb. 27 on Space Rock Productions.]

Goes without saying that time is a construct and that humans’ ability to understand it only relates to our very small, very remote position in a much vaster universe and that even the figures the construct presents are utterly beyond our conception — i.e., we cannot fathom 200 of our own years, and our years are meaningless to the surrounding cosmos. That’s a given. However, three years between full-lengths still feels like a long time for Finnish (nations: also a construct) trio Deep Space Destructors. Their fourth full-length, Psychedelogy, arrives via Space Rock Productions, which is the imprint helmed by synth wizard Scott “Dr. Space” Heller of Øresund Space Collective and known for releasing that band’s work as well as other projects and offshoots.

To my knowledge, Deep Space Destructors — bassist/vocalist Jani Pitkänen, guitarist/backing vocalist Petri Lassila and drummer Markus Pitkänen — have no relation to that collective (yet), so all the more it’s an endorsement that should ring in the ears among the cosmically converted. The Oulu natives earn it well in the four tracks of Psychedelogy, which follows the 2015 two-songer Spring Break from Space (review here) as well as their first three long-players, 2014’s III (review here), 2013’s II (review here) and 2012’s I (review here), and stay true to the Hawkwindian roots of the genre while exploring progressive textures of their own. At an easily-digested 38 minutes, Psychedelogy presents its two sides — side Space and side Void (the last EP did likewise) — with poise and without pretense. They’re going on this trip one way or the other. Whether or not you come along is going to be your call.

Each half of Psychedelogy pairs a shorter piece with a longer one. Opener “Journey to the Space Mountain” (7:55) will be familiar to anyone who caught wind of Spring Break from Space, since it launched that brief offering as well. It is particularly suited to the task here too, with a fervent thrust that kicks up interstellar dust almost immediately following a quick sample and enacts immersive swirl as it makes its way toward its fist-in-the-air-moment-of-galaxial-righteousness title-line hook. Both it and the 10-minute “Spacemind,” which follows, have an underlying sense of triumph, but the momentum that carries through them isn’t to be understated, Markus and Jani making for a rhythmic powerhouse beneath Petri‘s echoing solo as “Journey to the Space Mountain” pours through its midsection, eventually making its way, gloriously, back to the chorus as part of a build the apex of which strikes just before feedback caps off.

A quieter, more Floydian beginning sets the course for “Spacemind,” but there’s a tension in the bass and drums as well as the first verse takes hold, Jani‘s vocals coated in effects, keys adding to the melody of Petri‘s guitar. Before the two-minute mark, “Spacemind” hits into its chorus with even more of a feeling of arrival than “Journey to the Space Mountain,” but it’s still just the beginning, as Deep Space Destructors use that as the launchpad for an instrumental bridge of classic prog fits and turns before moving back into the soothing verse section like nothing ever happened. They’re not yet at the halfway point of the track, but the fluidity of what they’ve executed already makes “Spacemind” a particular highlight of Psychedelogy. The ensuing jam, calm but purposeful with periodic vocal overlay, seals that, and when the three-piece ignite thrusters and push toward the song’s conclusion, the payoff seems to last until the very final second, clearly making the most of its time — which, just as a reminder, is a construct and doesn’t exist. Brain goes pop.

I don’t know if there’s an intentional difference between side Space and side Void in terms of what Deep Space Destructors are looking to accomplish, but it’s easy enough to read the second half of Psychedelogy as pushing further out along the progressive path the band has thus far marched. Both “Return to the Black Star” (7:05) and closer “From the Ashes” (12:34) keep the flow molten, the overarching vibe spontaneous but subject to some command, and come fleshed out by effects and synth, creating the parameters of the alternate universe in which they dwell. With Jani and Petri together on vocals, “Return to the Black Star” echoes some of the Hawkwindiness of “Journey to the Space Mountain,” but is more patient in that exercise and more willing to bring an improvised-seeming lead to the foreground in its back end. Again, this doesn’t necessarily mark a radical departure from the album’s beginnings, but the continuation presents some subtle turns for those ready to take Psychedelogy on for multiple listens — a process through which it only grows more fulfilling.

Something else “Return to the Black Star” and “From the Ashes” have in common is being less immediately about their hooks, but the core guitar/bass figure in the finale is especially memorable nonetheless for its proggy intricacy — one can’t help but be reminded of peak-era Steven Wilson in some of the ensuing shimmer — and the additional flourish of sitar is yet another distinguishing factor. Ultimately though it’s the core guitar/bass/drums dynamic between the Pitkänens and Lassila that carries “From the Ashes” over so effectively, and beneath the swirl, the kosmiche thematics and the range, that turns out to be what most draws these songs together with the rest of Deep Space Destructors‘ body of work. Their time on “spring break” was not misspent, and whether they’ll resume the album-per-year pace of their first three outings, I wouldn’t speculate, but they’ve come into Psychedelogy with a clear sense of who they are and what they want to be as a group. If they follow through going forward on their own terms, then all the better, whatever those terms might be.

Deep Space Destructors, “Return to the Black Star” official video

Deep Space Destructors on Thee Facebooks

Deep Space Destructors on Bandcamp

Deep Space Destructors website

Space Rock Productions website

Psychedelogy order page at Sapphire Records

On Feb. 27, Finnish trio Deep Space Destructors will release their new LP, Psychedelogy, on Space Rock Productions. The Oulu-based outfit were last heard from on 2015’s Spring Break from Space EP (review here), and while to let a whole year pass without a release seems crazy from a space rock band, I’ve no doubt their time was well spent in prepping this full-length as they have. How can I be so sure without actually having heard it?

Well, over the weekend the band put up a special preview on their website with clips from the four included songs and an interactive look at the artwork by Markus Räisänen, and one can get a pretty solid sense of where they’re coming from with that. Besides, as anyone who heard their prior 2014 album, III (review here), can tell you, dudes know what they’re doing at this point.

If you need more, consider the endorsement of Space Rock Productions, the label helmed by none other than Scott “Dr. Space” Heller of Øresund Space Collective himself. You know he doesn’t want any part of it if it’s not spacey as hell. So yeah, keep an eye out. I’ll hope to have a review of Psychedelogy up before the end of the month.

In the interim, you can dig into the below info and links:

Take a trip to amazing gatefold album art made by Markus Räisänen, with sounds from “Psychedelogy” out on vinyl February 27th through Space Rock Productions!

Web design by Mikko “ruottis” Ruotsalainen. Preview: http://bit.ly/2kUUmC7

Psychedelogy tracklisting:

Side Space:
Journey to the Space Mountain
Spacemind

Side Void:
Return to the Black Star
From the Ashes

Deep Space Destructors plays psychedelic space rock from Earth.

DSD was founded in the beginning of the Earth year 2011 in Oulu, Finland, on band members’ mutual love for 60’s and 70’s kraut, prog and psychedelic rock.

DSD’s journey continues towards deeper space and sounds.

Deep Space Destructors is:
Jani Pitkänen – vocals, bass
Petri Lassila – guitars, backing vocals
Markus Pitkänen – drums

http://www.dsdband.space/
https://www.facebook.com/deepspacedestructors/
https://deepspacedestructors.bandcamp.com/

Deep Space Destructors, “Journey to the Space Mountain”

Doubt very much I’ll be giving away any state secrets when I say I ran the announcement below through a translation matrix. Usually with that kind of thing, I might try to approximate, or reach out to the band/label/whoever and ask them for a translation so my ignorant, only-speaks-English ass can get hip to the news, but this time around, I kind of love what came back from the thing. It fits Deep Space Destructors so well, it’s kind of otherworldly, a communiqué piped in from the Finnish band’s own Northern cosmos. The kind of thing one might expect from a group who releases songs like “Journey to the Space Mountain” or “An Ode to Indifferent Universe.”

The band’s most recent release, 2015’s Spring Break from Space (review here), was named for a tour they were going on last year, and it shares its title as well with Deep Space Destructors‘ upcoming run next month as well, though there’s a “2016” added too. The Oulu-based swirlers will be out with Boar starting April 8, though there’s also a hometown gig April 1 to lead off the whole affair. “As a base for!”

That announcement, in all its glory, can be found with the tour dates below. Enjoy it, because language is fricking awesome:

Deep Space Destructors & Boar, Spring Break from Space 2016

Oulu bad-ass Boar and Deep Space Destructors are leaving Europe to deceive the local population psychedelic kohkauksellaan. However, Hullusega cosmos karavan does not run without petrol, so a tour of the countdown starts from Oulu, as a base for! Come and support the bands tour and enjoy the audio-visual tykityksestä! It offers new songs, fresh merchiä and everything thingy on both bands!

1.4.2016 Tukikohta, Oulu
8.4.2016, Rock Bar, Örebro, Sweden
9.4.2016 KB18, Copenhagen, Denmark
10.4.2016 Weinstube Pizzini, Bamberg, Germany
11.4.2016 AKK, Karlsruhe, Germany
12.4.2016 Le Midlands, Lille, France
13.4.2016 Worm, Rotterdam, the Netherlands

Jani Pitkänen – vocals, bass
Petri Lassila – guitars, backing vocals
Markus Pitkänen – drums

https://www.facebook.com/deepspacedestructors
https://deepspacedestructors.bandcamp.com/
https://boar.bandcamp.com/

Deep Space Destructors, Spring Break from Space (2015)

If you listen to the tracks on the Bandcamp stream below and find yourself wondering why Oulu, Finland-based trio Deep Space Destructors might have gone with Spring Break from Space (review here) as the title of their latest two-track EP, I agree, it’s a little misleading. After all, if you listen to those songs, it becomes clear rather quickly that the three-piece are not at all on a break from space and that, rather, they’re way deep in it. “Spring Break from Space” was the name of the tour they went on this past Spring, so the idea is they’re normally in space, but they took a break to come to earth and do some shows. Make sense?

Now that I’ve done my good deed for the day in explaining that, I’ll turn it over to the announcement that Spring Break from Space is available now on vinyl through Sapphire Records and Space Rock Productions, pressed up in limited numbers. Behold:

Deep Space Destructors “Spring Break From Space”

The first vinyl release of the finnish Space Rock Trios …

Deep Space Destructors are a space rock trio fro Oulu, Finland. The band has previously released two excellent albums on CD.

This music was originally released as limited edition of 30 cassettes by Deep Space Destructors for Spring Break From Space Tour 2015.

With the release DSD dives towards innerspace, shamanistic rhythms and to the mystic realms of consciousness. What is the space mountain and will you discover it? Spring Break

From Space includes two songs recorded live at DSD’s Rehearsal Vortex, with vocals, percussions and analog synths added afterwards. — Space Rock Productions / Scott Heller

Limited Edition 270 copies total: 110x black – 160x yellow/red
This is the black 10″-vinyl edition – hand numbered

Side Space:
Journey To The Space Mountain (7:52)
Side Void:
Where Space Ends Time Begins (11:10)

Band:

Jani Pitkänen – vocals, bass
Petri Lassila – guitar, backing vocals
Markus Pitkänen – drums

Spring Break From Space EP now available as 10″ vinyl through Space Rock Productions and Sapphire Records!

Limited 100 copies on black vinyl:
www.sapphirerecords.de/Deep-Space-Destructors-Spring-Break-From-Space-black

Limited 150 copies on transparent yellow with red marble:
www.sapphirerecords.de/epages/61252611.sf/en_GB/?ObjectPath=/Shops/61252611/Products/%2ALP10DSDc

https://www.facebook.com/pages/Deep-Space-Destructors/137326709697944
http://deepspacedestructors.bandcamp.com/

Deep Space Destructors, Spring Break from Space (2015)

Next week, Finnish spacedudes Deep Space Destructors launch a quick tour they’re calling “Spring Break from Space,” and they’ll be bringing a limited-edition cassette EP — 30 copies only — with them to mark the occasion. Also called Spring Break from Space, the EP contains two rehearsal-room jams recorded live and then fleshed out with synth, vocals and percussion to extra spacey effect. Both cuts, “Journey to the Space Mountain” and “Where Space Ends Time” — yes, they’re working on a theme, and yes, that theme is “space” — offer marked swirl as a result, bassist/vocalist Jani Pitkänen, guitarist/backing vocalist Petri Lassila and drummer Markus Pitkänen pushing classically Hawkwindian jams past the thermosphere and into zero-grav floatation.

I’d say that’s nothing new for the Oulu three-piece, whose three full-lengths to date —  2012’s I (review here), 2013’s II (review here) and 2014’s III (review here) — have likewise thrust beyond the limits of convention, but where a song like the 15-minute “An Ode to Indifferent Universe” from III was certainly jam-based, it was more structured than either “Journey to the Space Mountain” or “Where Space Ends Time,” clearer and less awash in effects. “Journey to the Space Mountain” makes a hook of its title line, but still blasts pretty far out, a foundational bassline and drum progression setting a bed for a guitar-led freakout that persists over a long midsection jam before the track resumes its charted course with a stop and layered recitation of a couple lines about — wait for it — space.

It’s fun to kid around that a band with space in their name would release an EP with space both in its title and in the titles of each of its two tracks, but the jams hold up. “Where Space Ends Time” starts with a slower march, minimal in percussion but picking up speed as it approaches the end of its first minute. When the bass kicks in, Deep Space Destructors are underway. Various washes of effects make their way in and out of the jam’s early going, sampled, spoken vocals appear and disappear with a pervasive experimental feel that builds as the track progresses, hypnotic and saturated. There are vocals later, echoing in the second half over a sort of ambient melody given tension by that same bassline, and while it’s easy to forget, the band are actually leading the song somewhere. An apex of “Where Space Ends Time” is signaled by crashing drums, but it’s short, and the track cuts out soon, ending cold as though you’ve just been pushed out the airlock.

There are five shows on Deep Space Destructors‘ upcoming tour, and they’re only making 30 copies of the Spring Break from Space tape, so I’m not sure how available it will wind up being to the worldwide cosmos-faring public. All the more reason I’m glad to be able to stream it in full today. You’ll find the tracks on the player below, followed by tour info and some words about the making of the new release.

Please enjoy:

Psychedelic space rockers Deep Space Destructors made a limited cassette release of 30 copies for the upcoming Spring Break From Space 2015 tour.

With the new material DSD dives towards innerspace, shamanistic rhythms and to the mystic realms of consciousness. What is the space mountain and will you discover it?

The cassette includes two songs recorded live at Rehearsal Vortex, with vocals, percussions and analog synths added afterwards. The cassette contains:

Space (A-side): 01. Journey To The Space Mountain (8:16)
Void (B-side): 02: Where Space Ends Time Begins (11:33)

The tour starts on April 1st from Oulu which is also the release date for the cassette. The songs will also be available for pay what you want digital download through bandcamp:
http://deepspacedestructors.bandcamp.com/

Spring Break From Space 2015 tour with
Boar (https://boar.bandcamp.com/) and Tuliterä (https://soundcloud.com/tulitera):

April 1st Tukikohta, Oulu, Finland
April 2nd Varjobaari, Tampere, Finland
April 3rd Lepakkomies, Helsinki, Finland
April 4th Depo, Riga, Latvia
April 5th Rockstars, Tallinn, Estonia

Deep Space Destructors on Thee Facebooks

Deep Space Destructors on Bandcamp