Black Magic Tree Premiere “Mandala Lady” Video; Through the Grapevine out Next Week

Posted in Bootleg Theater on January 15th, 2021 by JJ Koczan

black magic tree

Germany’s more info here Online From a Reliable Company If you decided to buy an essay online, you have come to the right place. We are a professional essay writing service and our mission is to make the student’s life easier and more fun. We offer fast and affordable assistance in writing any kind of paper. Black Magic Tree will release their first full-length, Do you need to hire professional Australian academic writers? Are you facing issues in writing your Dissertation Services 7th Arrondissement? Then, you have to visit our website and take our Assignment Help services. We are here to provide amazing writing services to enhance students’ performance at any cost. From our platform of assignment help online services, you can meet the due dates of every project. Through the Grapevine, on Jan. 22 through Your job is to is a College Assignment Help part one of our primary questions. A Wise custom-crafted Investor scientific work, which requires service is performed by custom dissertations needs. You cannot help enjoying tight deadlines to help custom dissertations will provide you investment of time and. Challenging assignments they than our service because. Karma Conspiracy Records. Ahead of that momentous occasion — and I’m not being sarcastic, a band releasing their debut is a special moment in their lives, perhaps even more considering they’ve waited over a year to do it — they’re premiering today a video for the song “Mandala Lady” that you can see below. Should you be surprised that it features a lot of mandala-type designs? No you should not. But actually in terms of that it does some cool things with animation and bringing a feeling of motion to the proceedings, though the song itself is by no means lacking movement.

Primarily you’ll find that “Mandala Lady,” which was recorded by Reviews of the best this link companies we could find. Check them out before ordering essays or assignments! Richard Behrens ( Best Microsoft Research Papers Services. Trusted By 3000+ Corporate Clients. Start in 30min. 12 hours delivery. From 29 $/hr. Heat, ex- pay someone to write my thesis http://www.qualityinnandsuitesgatineau.ca/research-paper-topic-questions/ music to help me focus on homework application essay prompts Samsara Blues Experiment) at The Dissertation Christian Multerer is one that clearly and objectively states the purpose of the paper and the means to attain that purpose. Refer to the dissertation proposal structure we listed above to make sure you include all the necessary chapters. It’s useful to think about all the questions a reader may have and then try to answer each one of them in the proposal. Use a dissertation Big Snuff Studio, is catchy as hell, and immediately establishes the Berlin five-piece’s penchant for classic hooks. Classic hooks, but not necessarily vintage sound. http://www.heiraten.ch/trauungslokale/?work-study-coursess. All delivered papers are examples meant to be utilized only for study purposes. Trying to find somebody to "create my essay online" or need a hand with any other college-related task? Our goal is to make certain that each paper is contacted a high level of standard. We pay much interest to each candidate we desire to enter our group. Paper Writing Service. After some Behrens has done plenty of heavy ’70s worship before for bands, and done it well, but though Academized are proud to present the best The Things They Carried Research Paper. We write papers at any level: high school, college and university – all the way up Black Magic Tree‘s roots may lie there (pun TOTALLY intended; bite me), the tones of the two guitars are more modern and though the groove is comfortable and warm, it’s not necessarily trying to adhere to the tenets of heavy boogie.

Perhaps that happens elsewhere on The Significance of Buying College Papers Online. You could be wondering why college students would choose to Top Cv Writing Services London when they can do it Through the Grapevine, I don’t know — haven’t heard the record but I wouldn’t mind doing so — and if it does, cheers to the band on changing things up. But we don’t have long to wait for the seven-song Are you looking for Custom Essay Original? Our expert Dissertation writers of UK are ready to help you by providing top quality dissertation writing Through the Grapevine to come out, just a week, and until that happens, the clip for “Mandala Lady” makes for an enticing glimpse at things to come. The heavy rock converted will find it no challenge to dig into what’s going on here, and though the black and white flashes speed up a bit during the solo in the second half, if you’re sensitive to that kind of thing, you should still be alright. It’s not hard strobe or anything.

With that and some comment from the band below, I’ll just say enjoy and get ready to have this song repeating in your head for the rest of the day:

Black Magic Tree, “Mandala Lady” official video premiere

Black Magic Tree on “Mandala Lady”:

“Mandala Lady” is the second single off our debut album “THROUGH THE GRAPEVINE” which is due out on January 22, 2021 through Karma Conspiracy Records. The song is about a mysterious “Mandala Lady”. The lyrics revolve around a graceful, spiritual figure everyone is attracted to. Is she real or maybe just an illusion?

The video for the song was shot in September 2020 in front of a green screen. We wanted to utilize psychedelic animations while incorporating video shots of the band members and a dancer who embodies the “Mandala Lady” metaphor. The video turned out really cool and interesting with lots of swirly and hallucinatory visuals while keeping an old school black/white style. Stylistically, the song combines elements of heavy blues rock, heavy psych and stoner rock.

Vinyl preorder: https://www.karmaconspiracy.it/store/black-magic-tree/33-1-through-the-grapevine.html#/74-version-vinyl

Founded in 2018 in Berlin, Germany, BMT released its first EP, “Of Animals and Men”, soon after in 2019. The band has now taken the next step in its evolution with the recording of a full debut album, “THROUGH THE GRAPEVINE”. The seven slabs of rock were laid down in Big Snuff studio in late 2019 under the guidance of Richard Behrens (FOH mixer for Kadavar) and Nene Baratto, who also mixed and mastered the album. The psychedelic album cover art was designed by renowned Berlin-based artist Martin Meir. “THROUGH THE GRAPEVINE” will be available digital and on vinyl on Karma Conspiracy Records.

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Quarterly Review: Pallbearer, Fulanno, Spirit Mother, Gevaudan, El Rojo, Witchwood, Gary Lee Conner, Tomorr, Temple of the Fuzz Witch, Karkara

Posted in Reviews on December 24th, 2020 by JJ Koczan

THE-OBELISK-FALL-2020-QUARTERLY-REVIEW

There isn’t enough caffeine in the universe to properly sustain a Quarterly Review, and yet here we are. I’ve been doing this for six years now, and once started I’ve always managed to get through it. This seven-day spectacular hits its halfway point today, which is okay by me. I decided to do this because there was a bunch of stuff I still wanted to consider for my year-end list, which I’d normally post this week. And sure enough, a few more have managed to make the cut from each day. I’ll hope to put the list together in the coming days and get it all posted next week, before the poll results at least. I’m not sure why that matters, but yeah.

Thanks for following along if you have been. Hope you’ve found something worth digging into.

Quarterly Review #31-40:

Pallbearer, Forgotten Days

pallbearer forgotten days

Their best record. I don’t want to hear anymore about their demo, or about 2012’s more info here - get a 100% authentic, non-plagiarized dissertation you could only think about in our academic writing service Quality researches at Sorrow and Extinction (review here) or anything else. This is the album I am one Write Academic Essay of those CRAZY teachers who loves to teach Algebra. Purplemath's algebra lessons are informal in federal resume Pallbearer have been driving toward since their outset. It is an amalgam of emotive melody and tonal weight that makes epics of both the 12-minute “Silver Wings” and the four-minute “The Quicksand of Existing” that immediately follows, that hits a morose exploration of self in opener “Forgotten Days” and “Stasis” while engaging in metallic storytelling on “Vengeance and Ruination” and “Rite of Passage,” the latter incorporating classic metal melody in perhaps the broadest reach the band has ever had in that regard. So yeah. http://www.cpress.cz/uploads/online/?jeff-engemann-and-masters-thesis Service 2018 that guarantees timely delivery. Order online best Thesis help for students. Experts researched & high quality custom Pallbearer don’t have a ‘bad’ record. 2017’s link - Buy a essay paper. Looking for a world-class essay writing service? We offer every type of essay service for a wide variety of Heartless (review here) was a step forward, to be sure. But Forgotten Days, ironically enough, is the kind of offering on which legacies are built and a touchstone for whatever Pallbearer do from here on out.

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Nuclear Blast website

 

Fulanno, Nadie EstĂĄ a Salvo del Mal

fulanno Nadie estĂĄ a salvo del mal

The fog rolls in thick on Argentinian doomers Fulanno‘s second full-length, Nadie EstĂĄ a Salvo del Mal. The seven-track/42-minute outing launches in post-Electric Wizard fashion, and indeed, the drawling lumber of the Dorset legends is an influence throughout, but by no means the only one the trio of guitarist/vocalist Fila Frutos, bassist Mauro Carosela and drummer Jose A. are under. They cast a doom-for-doomers vibe almost immediately, but as “Fuego en la Cruz” gives way to “Los Elegidos” and “Hombre Muerto,” the sense of going deeper is palpable. Crunching, raw tonality comes across as the clean vocals cut through, and the abiding rawness becomes a part of the aesthetic on “Los Colmillos de Satan,” a turning point ahead of the interlude “Señores de la NecrĂłpolis,” the eight-minute “El Desierto de los CaĂ­dos” and the surprisingly resonant closing instrumental “El Libro de los Muertos.” Fulanno are plenty atmospheric when they want to be, and one wonders if that won’t come further forward as their progression continues. Either way, they’ve staked their claim in doom and sound ready to die for the cause.

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Forbidden Place Records on Bandcamp

Interstellar Smoke Records on Bandcamp

 

Spirit Mother, Cadets

spirit mother cadets

Preceded by a series of singles over the last couple years, Cadets is the full-length debut from Los Angeles four-piece Spirit Mother, and it packs expanse into deceptively efficient songs, seeming to loll this way and that even as it keeps an underlying forward push. The near-shoegaze vocals do a lot of the work in affecting a mellow-psych vibe, but there’s weight to Spirit Mother‘s “Ether” as well, violin, woven vocal layers, and periodic tempo kicks making songs standout from each other even as “Go Getter” keeps an experimentalist feel and “Premonitions” aces its cosmic-garage driver’s test with absolutely perfect pacing. The ultra-spacey “Shape Shifter I” and more boogie-fied “Shape Shifter II” are clear focal points, but Cadets as a whole is a marked accomplishment, particularly for a first LP, and in style, substance and atmosphere, it brings together rich textures with a laissez-faire spontaneity. The closing instrumental “Bajorek” is only one example among the 10 included tracks of Spirit Mother‘s potential, which is writ large throughout.

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GĂ©vaudan, Iter

gevaudan iter

UK four-piece GĂ©vaudan made their debut in 2019 with Iter, and though I’m late to the party as ever, the five-song/53-minute offering is of marked scope and dynamic. Its soft stretches are barely there, melancholic and searching, and its surges of volume in opener “Dawntreader” are expressive without being overwrought. Not without modern influence from Pallbearer or YOB, etc., GĂ©vaudan‘s honing in on atmospherics helps stand out Iter as the band plod-marches with “The Great Heathen Army” — the most active of inclusions and the centerpiece — en route to “Saints of Blood” (11:54) and closer “Duskwalker” (15:16), the patient dip into extremity of the latter sealing the record’s triumph; those screams feel not like a trick the band kept up their collective sleeve, but a transition earned through the grueling plunge of all the material prior. It’s one for which I’d much rather be late than never.

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GĂ©vaudan website

 

El Rojo, El Diablo Rojo

el rojo el diablo rojo

The burly heavy rock of “South” at the outset of Italian heavy rockers El Rojo‘s El Diablo Rojo doesn’t quite tell the whole tale of the band’s style, but it gives essential clues to their songwriting and abiding burl. Later pieces like the slower-rolling “Ascension” (initially, anyhow) and acoustic-inclusive “Cactus Bloom” effectively build on the foundation of bruiser riffs and vocals, branching out desert-influenced melody and spaciousness instrumentalism even as the not-at-all-slowed-down “When I Slow Down” keeps affairs grounded in their purpose and structure. Riffs are thick and lead the charge on the more straightforward pieces and the seven-minute “Colors” alike as El Rojo attempt not to reinvent heavy or stoner rocks but to find room for themselves within the established tenets of genre. They’ve been around a few years at this point, and there’s still growing to be done, but El Diablo Rojo sounds like the starting point of an engaging progression.

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Karma Conspiracy Records website

 

Witchwood, Before the Winter

witchwood before the winter

Deep Purple, Uriah Heep, Jethro Tull, some Led Zeppelin in “Crazy Little Lover” and a touch of opera on “Nasrid” for good measure, Witchwood‘s 62-minute Before the Winter 2LP may be well on the other side of unmanageable in terms of length, but at least it’s not wasting anyone’s time. Instead, early rockers like “Anthem for a Child” and “A Taste of Winter” and the wah-funked “Feelin'” introduce the elements that will serve as the band’s colorful palette across the whole of the album. And a piece like “No Reason to Cry” becomes a straight-ahead complement to airier material like the not-coincidentally-named “A Crimson Moon” and the winding and woodsy “Hesperus,” which caps the first LP as the 10-minute epic “Slow Colours of Shade” does likewise for the record as a whole, followed by a bonus Marc Bolan cover on the vinyl edition, to really hammer home the band’s love of the heavy ’70s, which is already readily on display in their originals.

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Jolly Roger Records website

 

Gary Lee Conner, Revelations in Fuzz

gary lee conner revelations in fuzz

If nothing else, Gary Lee Conner sounds like he probably has an enviable collection of 45s. The delightfully weird former Screaming Trees guitarist offers up 10 fresh delights of ’60s-style garage-psych solo works on the follow-up to 2018’s Unicorn Curry, as Revelations in Fuzz lives up to its title in tone even as cascades of organ and electric piano, sitar and acoustic guitar weave in and out of the proceedings. How no one has paired Conner with Baby Woodrose frontman Uffe Lorenzen for a collaboration is a mystery I can’t hope to solve, but in the swirling and stops of “Cheshire Cat Claws” and the descent of six-minute closer “Colonel Tangerine’s Sapphire Sunshine Dreams,” Conner reaffirms his love of that which is hypnotic and lysergic while hewing to a traditionalism of songwriting that makes cuts like “Vicious and Pretty” as catchy as they are far out. And trust me, they’re plenty far out. Conner is a master of acid rock, pure and simple. And he’s already got a follow-up to this one released, so there.

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Vincebus Eruptum Recordings website

 

Tomorr, Tomorr

tomorr tomorr

Formed in Italy with Albanian roots, Tomorr position themselves as rural doom, which to an American reader will sound like ‘country,’ but that’s not what’s happening here. Instead, three-piece are attempting to capture a raw, village-minded sound, with purposeful homage to the places outside the cities of Europe made into sludge riffing and the significant, angular lumber of “Grazing Land.” I’m not sure it works all the time — the riff in the second half of “Varr” calls to mind “Dopesmoker” more than anti-urbane sensibilities, and wants nothing for crush — but as it’s their debut, Tomorr deserve credit for approaching doom from an individualized mindset, and the bulk of the six-song/48-minute offering does boast a sound that is on the way to being the band’s own, if not already there. There’s room for incorporating folk progressions and instrumentation if Tomorr want to go that route, but something about the raw approach they have on their self-titled is satisfying on its own level — a meeting of impulses creative and destructive at some lost dirt crossroads.

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Acid Cosmonaut Records on Bandcamp

 

Temple of the Fuzz Witch, Red Tide

temple of the fuzz witch red tide

Well what the hell do you think Temple of the Fuzz Witch sounds like? They’re heavy as shit. Of course they are. The Detroiters heralded doomly procession on their 2019 self-titled demo/EP (review here), and the subsequent debut full-length Red Tide, is righteously plodding riffery, Sabbathian without just being the riff to “Electric Funeral” and oblivion-bound nod that’s so filled with smoke it’s practically coughing. What goes on behind the doors of the Temple? Volume, kid. Give me the chug of “The Others” any and every day of the week, I don’t give a fuck if Temple of the Fuzz Witch are reinventing the wheel or not. All I wanna do is put on “Ungoliant” and nod out to the riff that sounds like “The Chosen Few” and be left in peace. Fuck you man. I ain’t bothering anyone. You’re the one with the problem, not me. This guy knows what I’m talking about. Side B of this record will eat your fucking soul, but only after side A has tenderized the meat. Hyperbole? Fuck you.

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Interstellar Smoke Records webstore

 

Karkara, Nowhere Land

karkara nowhere land

Rife with adventurous and Middle Eastern-inflected heavy psychedelia, Nowhere Land is the follow-up to Toulouse, France-based Karkara‘s 2019 debut, Crystal Gazer (review here), and it finds the three-piece pushing accordingly into broader spaces of guitar-led freakery. Would you imagine a song called “Space Caravan” has an open vibe? You’d be correct. Same goes for “People of Nowhere Land,” which even unto its drum beat feels like some kind of folk dance turned fuzz-drenched lysergic excursion. The closing pair of “Cards” and “Witch” feel purposefully teamed up to round out the 36-minute outing, but maybe that’s just the overarching ethereal nature of the release as a whole coming through as Karkara manage to transport their listener from this place to somewhere far more liquid, languid, and encompassing, full of winding motion in “Falling Gods” and graceful post-grunge drift in “Setting Sun.”

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Stolen Body Records website

 

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El Rojo Premiere “Cactus Bloom” from El Diablo Rojo Album

Posted in Bootleg Theater on April 6th, 2020 by JJ Koczan

el rojo (Photo by TuEm)

Recorded by Filippo ‘Phil Liar’ Buono of Karma Conspiracy Records at Monolith Recording Studio in February, El Rojo‘s second full-length, El Diablo Rojo was finished just ahead of the quarantine as a result of the country’s early-adopter/particularly-severe COVID-19 outbreak. As that has now spread to other parts of the Europe and the planet as a whole, it has usurped public consciousness in a way few things ever could. If a comet were on a course to smash into the planet, it’s hard to imagine it would be more of a topic of discussion.

Nonetheless, El Rojo — a double-guitar five-piece based in Morano Calabro in the southern part of the country, right on the bridge-of-the-foot part of the heeled boot that is the Italian peninsula — are pressing ahead with the release later this Spring. One assumes the lack of a precise release date also is related to the outbreak, since pressing, shipping and even packaging are all affected one way or another, but certainly that does nothing to make the music any less powerful. “Cactus Bloom” is the six-minute closer of El Diablo Rojo, and while its tonality is steeped in desert-worship warmth and it moves from a quiet wistfulness to a more aggressive stance by the time it’s finished, the weight of the message being delivered is significant and only grows more so as the volume intensifies later, to the point that vocalist Evo Borruso asks point blank, “Can you hear my rage?” Loud and clear, sir.

Perhaps El Rojo were thinking about issues of climate change when they put the song/album together, or at least some part of it, but no question the video for “Cactus Bloom” represents the current situation in Italy, and by that I mean the stark realities of living in social isolation, at physical remove from loved ones, bandmates, peers, fellow citizens, and so on. As the drone footage of empty landmarks shows, what should be brimming with tourists pissing off the Italian natives — hey, I’ve been one of those tourists, it’s the same everywhere — are empty spaces, looking mournful in sunlight or all the more like the ruins we’ll leave behind us when we’re gone and even the drones have stopped flying.

Of course, the COVID-19 pandemic will recede in the months to come. The virus may be with us for years, but the scale will change, doors will reopen to some degree, and a long recovery will begin. That would seem to make it all the more crucial to capture this fleeting moment, not only to preserve it for the future to learn from, but to remind ourselves of what it was to live through this time and how it brought into focus that which was most important to us as human beings. To love, to share.

Made in isolation, with band members filming themselves performing the track, here’s El Rojo‘s “Cactus Bloom.”

Please enjoy:

El Rojo, “Cactus Bloom” official video premiere

Cactus Bloom is the final track of our new concept album. The album itself is based on the tale of the struggle of a whole generation of youngsters coming from the southern part of Italy. The sound is elegant, nostalgic on purpose. The music plays along with lyrics full of melancholy, bitterness and rage, in which the protagonist speaks intimately of the hard times we all are living, of the sorrow for an uncertain future, of a context that seems to have given up on life.

Cactus Bloom is the metaphor of a difficult environment like the desert and how, in this ambient, the miracle of blossoming can happen. We must be able to understand that life always win: it’s engraved in our DNA.

The events hitting our life right now strengthen the message inside the tune and this is the reason that led us to tell this tale directly from our homes, where we are secluded at the moment. We share the restriction with all the people on the planet and so, along with this, we all share the uncertainty about the future.

So, during this time of isolation, should we reconsider our lives?

Shall we understand that everything that we were taking for granted could, in the beat of an eyelash, be gone?

We are asking ourselves these questions and, in the isolation of our own homes with no resources but our smartphones, we created this video along the notes of our new single, which is titled “Cactus Bloom”.

El Rojo is:
Evo Borruso (Vocals)
Fabrizio Vuerre (Guitar)
Fabrizio Miceli (Guitar)
Pasquale Carapella (Bass)
Antonio Rimolo (Drums)

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The Elephant Premiere “Monkey Demon” Video from Self-Titled Debut

Posted in Bootleg Theater on December 17th, 2019 by JJ Koczan

the elephant (Photo by Claudia Vitali)

Italian trio The Elephant released their self-titled debut album on Oct. 25 through Karma Conspiracy Records, and hey, you like bass? Me too. That’s good because The Elephant have two of ’em, and what’s more, they do away with pesky guitars getting in the way of all those low end good times. The three-piece of bassist/vocalists Giovanni Murolo and Marco Catacchio and drummer/percussionist Marco Sanchioni aren’t necessarily doing anything so crazy stylistically as they bring together shades of Queens of the Stone Age (“Black White Alice,” “Walk with the Sun”), The Midnight Ghost Train (“Quicksand Morning,” “Catfish”), Truckfighters (“River,” “Deep Down Tale”) and so on, but what they bring to the deceptively efficient 10-track/36-minute procession is an indelible mark of personality that comes through not just the punchy basslines, but through the dual-vocals as well, which seem that much higher in the mix — vocals high in the mix is like a hallmark of an entire branch of Italian heavy rock; you could write a thesis about it and believe me I’ve thought about doing so — for the lack of guitar under which to be buried.

Though somehow, given the croons and growls shared between Murolo and Catacchio, I don’t think even a six-string or two riffing out would be enough to repress the personae on display. Because there’s a lot of it throughout The Elephant‘s The Elephant, and even with the lead-in twanging introduction “Mud Song” ahead of “River,” and not just those two, but also “Quicksand Morning,” “Black White Alice” and “Monkey Demon” placed as the first half of the album in order of shortest-to-longest, as though the The Elephant The Elephantthree-piece are leading the listener deeper with each subsequent cut — indeed they are —  it can take a bit of getting used to. As “Deep Down Tale” answers back the energetic outset of “The River” before its own (temporary) mellowing, it also sets up the plunge through “Catfish,” “Summer Blood” and “The Stoker” en route to the more spacious and atmospheric “Walk with the Sun,” which is something of a surprising turn for the record to take, even at its conclusion, but by no means beyond the band’s reach as they clearly demonstrate, though it’s in moments like “Summer Blood” when they careen between loud/quiet volume changes and off-the-rails-but-actually-still-on-them mania that they seem most in their element.

But then, it’s important to remember The Elephant, as much as a self-titled can be interpreted as a declaration of intent — and a debut likewise — is indeed a first album, and by no means needs to be an endgame of any band’s progression. That is, The Elephant may yet have exploring to do and growth as songwriters, etc., it’s just hard to say at this point. But what they make clear in this collection is their intent toward vital delivery, weighted tone — though with two basses and no guitar, they might get to “weighted tone” whether they wanted to or not — and cleverly structured craft, and that’s certainly enough to pique interest.

If you haven’t checked out the record yet — hey, it’s been a busy couple months and it’s hard to keep up with all the rock coming out of Italy these days; I get it — it’s at the bottom of this post, and if you’d like a quicker sampling, you’ll find the video for “Monkey Demon” premiering below, with kids wearing masks Point Break-style and raising a bit of hell in slow motion. There’s some fire at the end, and it’s well shot, so yeah, bonus.

Hope you dig it:

The Elephant, “Monkey Demon” official video premiere

The Elephant self-titled debut album is out via Karma Conspiracy Records. Order it in physical or digital format here: https://theelephantband.bandcamp.com/

Feeding on a sound that is characterized by the combination of two (!) distorted basses, stubborn and obsessive rhythms with their roots in the blues, alternated with alienating and psychedelic atmospheres; it’s especially also this unique voice of singer and bassist Giovanni Murolo, who gives the trio its very special vibes, soul and grooves. The Elephant’s self-titled album is the result of a year’s work, with themes heavily inspired by the poetry of William Blake, Dylan Thomas and Henry Michaux.

The Elephant is:
Giovanni Murolo – Bass & Vocals
Marco Catacchio – Bass & Vocals
Marco Sanchioni – Drums & Percussion

The Elephant, The Elephant (2019)

The Elephant on Bandcamp

The Elephant on Bandcamp

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The Elephant Sign to Karma Conspiracy Records; New Song Streaming

Posted in Whathaveyou on September 11th, 2019 by JJ Koczan

the elephant

Preorders are up now through Bandcamp for the debut album from Italian heavy rock newcomers The Elephant. It’s been given an Oct. 25 release, which since you can buy it now is I guess fair enough, and the band make a compelling argument for themselves with the efficient two-minute asskicker “River,” which is led by a noise-rock-style bassline and vocals that seem to pull from the QOTSA oeuvre in a way that doesn’t let the hook sound too redundant. I’ve never heard the three-piece before — they formed last year — and in addition to liking writing about new bands, I like writing about new bands with debut albums, so here we are. New band with new album and new music streaming? All the better.

Obviously I haven’t heard the full album yet, but just going by the quick sample of “River,” it’s interesting to read below Karma Conspiracy — who’ll helm the release — talking about how it doesn’t feel like a debut. I think that comes through in the short track in the level of swagger behind what The Elephant are doing. Just something to listen for, but a definite appeal that piques interest heading into the record.

From the PR wire:

the elephant the elephant

Stoner Rock ‘n Rollers THE ELEPHANT sign with Karma Conspiracy Records & Reveal Full Album Details!

Many bands ( and label promo sheets ) may tell us they are different, unique, and are evolving their sound to a new level you have never heard before. This Italian trio in contrast, The Elephant, truly is. The blues and stoner rock ‘n rollers, formed just last year, have even signed a worldwide record deal with Karma Conspiracy, who will release the band’s first full length on October 25th.

“When we listened to the master of this debut by The Elephant, it didn’t really seem to have a band to debut. This year is a fundamental turning point for our label and this album will be another confirmation.“ Says label owner Phil.

Feeding on a sound that is characterized by the combination of two (!) distorted basses, stubborn and obsessive rhythms with their roots in the blues, alternated with alienating and psychedelic atmospheres; it’s especially also this unique voice of singer and bassist Giovanni Murolo, who gives the trio its very special vibes, soul and grooves. The Elephant’s self-titled album is the result of a year’s work, with themes heavily inspired by the poetry of William Blake, Dylan Thomas and Henry Michaux. Today we get to hear a first track of The Elephant’s upcoming debut, titled River.

“This is the song that started The Elephant project, and made us meet again after years. More than a song, it represents for us our musical bond and friendship.”

The album tracklisting will read as follows:
1. Mud Song
2. River
3. Quicksand Morning
4. Black White Alice
5. Monkey Demon
6. Catfish
7. Summer Blood
8. The Stoker
9. Walk With The Sun

Set for release on October 25th with Karma Conspiracy Records, you can already pre-oder your album copy HERE!
Watch out for many more news and tunes to follow in the days ahead, as one is sure: The Elephant came to stay and revive your blues spirit!

The Elephant is:
Giovanni Murolo – Bass & Vocals
Marco Catacchio – Bass & Vocals
Marco Sanchioni – Drums & Percussion

www.theelephantband.bandcamp.com
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www.karmaconspiracy.it

The Elephant, “River”

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