Review & Full Album Premiere: The Kings of Frog Island, VI

Posted in audiObelisk, Reviews on September 3rd, 2020 by JJ Koczan

the kings of frog island vi

[Slick play above to stream The Kings of Frog Island’s VI in full. Vinyl is out Nov. 9 on Kozmik Artifactz.]

It’s not as if  High School Essay Scholarships Printable Version Company Name Wells Ford Location Stirling, ON Date Posted April 17, 2018 Category Automotive / Transportation Job Type The Kings of Frog Island have been absent. Granted, it’s been six years since the band released their fifth numerically-titled full-length,  write my essay without plagiarism. 655 likes. Services include: proofreading & editing, CVs, cover letters, business plans, copywriting, letters written to... V (review here), in 2014, which brought the “Sunburn/Every turn” hook and a host of jammed-out, vinyl-flowing psychedelic delights, but still. In 2016, the band oversaw a vinyl issue for 2013’s  Im Nancy Peske. Ive been working in the book business since 1987. I am a top check over here. Ive ghostwritten bestsellers. As a IV (review here) as a first step in their alliance with  BBB's Business Review for Dzooles professional letter service, Business Reviews and Ratings for Dzooles Dissertation Consulting in Sugar Hill, GA. Kozmik Artifactz, and in 2019, they completed a new single and video for every month of the year (posted here) — plus one to grow on — and in March, they re-recorded “The Watcher” from 2008’s Argosy enter site, dissertation editing, dissertation formatting & correctors II (discussed here) and posted another video to coincide. With the advent of  http://www.wlpet.com.hk/?write-my-essay-write-my-essay cheap is one of the most often question we hear at our paper writing service! CollegePaperServices.com can fully satisfy your demands in VI, however, the longest LP drought of their career comes to an end, and a perhaps-overdue proper album arrives to find them with a somewhat shifted focus.

Comprised of 10 songs split evenly onto two vinyl sides and released again through Write A Reflective Essay - professional scholars working in the service will write your paper within the deadline Discover basic steps how to receive a Kozmik Artifactz Rewrite my Essay! Order Affordable Can I Pay Someone To Write My Thesiss from Professional Paper Rewriters & Editors at WritingSharks.net & Get 15% Off Today! VI completes a second trilogy of offerings for  College Assignment Planner - Allow the professionals to do your essays for you. Use this company to receive your valid custom writing delivered on time Stop The Kings of Frog Island, with founding members Hire the best read here in Canada by EssayServiceWriter.com! High-quality. No plagiarism. Stricly Confidential. Prices start at just 15C$ per page. Mark Buteaux (vocals/guitar) and  Want to Patchogue Medford Library Homework Help cheap from professional writers? Welcome to Buy Essays Cheap, your ultimate source of academic assistance. Roger “Doj” Watson (drums) as well as  Creative Writing Courses Online Uk UK Offering Cheap Dissertation Writing Services. Get Cheap Dissertation Writing Services To Ensure Distinction Grades Guaranteed. Gavin Searle CV Master Careers - We Bought It To Help With Your Homework and consultancy services delivered by CV Consultants with almost 14 years of CV writing and recruitment Lee Madel-Toner and Our Excuses Not To Do My Homework service is working twenty-four hours per day, AUPaperWriting.com is a great place to find a reliable person to write your paper. Tony Heslop working at their own  http://representationco.com/professional-writing-bls/ - Change the way you cope with your assignment with our approved service Start working on your coursework right away with Amphibia Sound Studios IV in the groups native Leicester, UK, over a period from 2017-2020 to construct the material, bringing together the mellow psych explorations in which they’ve basked since  IV with the more structured songwriting of the earlier work of what one might call their Elektrohasch era — their 2005 self-titled debut, the aforementioned II, and 2010’s III (review here). That third album would force an adjustment with the departure of guitarist/vocalist Mat Bethancourt (also of Josiah) to focus on the garage-y leanings of Cherry Choke, but The Kings of Frog Island flourished in cosmic drift and made a space for themselves both in terms of sound and the studio where they captured it. In short, they dug in. Across its 42-minute span, VI carries the feel of an emergence.

Or maybe a re-emergence would be more like it, but one way or the other, VI brings The Kings of Frog Island into alignment with all sides of their sound. The shimmering guitar in “Toxic Heart” seems to hint toward earlier days, while the immediately-prior “Bad Trip” is pure psychedelic in-studio experimentation, and the beginning that VI receives with the 1:37 ambient “Monotron” sets an atmospheric foundation that even the more straightforward chorus-making of the subsequent fuzz rocker “Ever and Forever” builds upon. Not only that, but the first two cuts also set up the back-and-forth sensibility that plays out on much of VI, with grounded riffs and progressions meeting head-on with spacier keyboard work sometimes even within a single track itself, as on “Pigs in Space,” perhaps named for the yawning sort of oink later in its proceedings.

the kings of frog island liner

And even as “Toxic Heart” picks up after “Bad Trip” — the two are presented as one song in the digital version of the album I have, but there’s a clear divide around five and a half minutes in — intertwining vocal lines, the already-noted airy guitar and even the generally languid pacing continue to harness the tripped-out feel, even if in less directly experimental fashion than on the song before. The Kings of Frog Island, then, are headed far out. They’re going. One way or the other, their goal is to get there, and they do precisely that with these songs. But it’s the level of interplay between structure and fluidity that makes VI a standout in their catalog and feel like a summation of their work not just over the three years they put into the record’s making, but the 15 years of their career to this point. That would be a lot to ask of a band whose approach and lineup has varied to the degree that The Kings of Frog Island‘s has over their time, but perhaps the patience that seems to come through in “Toxic Heart” or the side B opener “Sicario” is emblematic of the patience that went into making the record in the first place, and maybe that’s the ‘secret weapon’ here, such as it is. They took their time and made the album they wanted to make.

Easily said, harder done. “Sicario” has a moodier feel in its fuzzed lumber, slow, touching on doom but still maintaining enough lysergic tonality as it moves toward its final wash and shifts into “Brainless,” which is the shortest cut on VI apart from “Monotron.” In its 3:09, it builds up from a humming drone and ambient (amphibient?) noise to a quiet guitar line joined at 1:41 by a solo and soon thereafter by drums that continue the instrumental push by uncovering a funk that was there all along and had just gone unseen. Bell-ish sounds, forward and backward, consume the march at about 2:45 and there’s only ultra-soft resonance left over until Madel-Toner‘s vocals enter to begin “Murderer,” which seems to herald the arrival of a final movement of VI that stands apart from its two-sided configuration.

That is, the last three songs — “Murderer,” “I Am the Hurricane” and “Fine” — flow together particularly well, leaving an impression on the listener that underscores the ease of motion across the album as a whole. “Murderer” brings Monster Magnet-style riffing together with synthesizer breadth and multiple layers of vocals, while “I Am the Hurricane” shifts from its blown-out verses into repetitions of its title line over a jam that is about as much of a signature as The Kings of Frog Island‘s approach could ever ask for, and “Fine” closes with a fuzzgrunge shrug and playful tambourine bounce and a winding guitar line like the ’90s alt rock of some other, inevitably cooler, dimension. Even unto its elaborate cover art and we-have-a-logo-now logo, The Kings of Frog Island‘s VI speaks to a sense of creative purpose on the part of the band that, again, hasn’t necessarily been lost — they did put out 13 singles in 2019 — but that manifests here in a way that is engaging and only leaves one with the feeling that they have more to say. It might be another six years before they get to a seventh full-length and it might not, but a decade and a half on from their first release, The Kings of Frog Island keep exploring, keep experimenting and keep crafting a sound that is theirs alone.

The Kings of Frog Island on Thee Facebooks

The Kings of Frog Island on YouTube

The Kings of Frog Island on CDBaby

Kozmik Artifactz website

Kozmik Artifactz on Thee Facebooks

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The Electric Mud Premiere “A Greater Evil” Lyric Video from Burn the Ships LP

Posted in Bootleg Theater on September 1st, 2020 by JJ Koczan

the electric mud

Floridian heavy rock four-piece The Electric Mud will issue their second album, Burn the Ships, on Sept. 25 via the multinational consortium of Small Stone Records and Kozmik Artifactz. The unit, who of course take their moniker from Muddy Waters‘ 1968 “rock” album, Electric Mud (discussed here), offered their debut, Bull Gator, in 2018 and found themselves dug into a bayou of heavy blues rock, a classic-style inflection in their tone and presentation that one imagine perked up the ears of Small Stone perhaps like a next-generation Five Horse Johnson, and after posting a video for “First Murder on Mars” with the announcement of the release, they have a new lyric video for “A Greater Evil” premiering now.

Usually when it comes to Small Stone stuff, the opening track is posted first, then another one or two down the line ahead of the release. Why all the videos for The Electric Mud? Well, when the band has already put the album out,the electric mud burn the ships you kind of have to take a different approach. It was last August that the The Electric Mud had Burn the Ships set to go, but frankly, when you hook up with two ultra-established, brand-name heavy imprints to give your record a proper release across two continents and multiple physical formats, it seems like maybe that’s worth pulling said record down from your Bandcamp — for a little while, at least. Cheers to The Electric Mud on that one, by the way.

As for the magic formula that got them there, look no further than the not-so-mysterious alchemy that is songwriting, performance and production. The recording is modern but organic, the pace is uptempo but not harried, and though the lyrics of “A Greater Evil” take a social stance — from 2019! ah, simpler times! — they seem to purposefully do so through storytelling rather than soapbox-style opining. Comprised of guitarists Constantine Grim and Peter Kolter (the latter also vocals), bassist Tommy Scott and drummer Pierson Whicker, the band tap into a heavy rock vibe that feels natural and maybe even straightforward, but is still remarkably difficult to pull off without falling flat. If the endorsements behind them — i.e., the label logos on Burn the Ships — don’t speak of their not-fallen-flat three-dimensional status, then surely “A Greater Evil” itself will.

Thus, have at it, and enjoy:

The Electric Mud, “A Greater Evil” lyric video premiere

The Electric Mud on “A Greater Evil”:

‘A Greater Evil’ represents a bit of a progression in our sound. Between the four of us we listen to just about everything, and you can really hear some of those unexpected influences coming out the more we write together.

Crawling from the humid, mangrove-choked banks of the Caloosahatche River, THE ELECTRIC MUD drifted from late night jam sessions, backyard keggers, and a revolving cast of members until one night, in the taproom of a closed up brewery, Peter Kolter, Pierson Whicker, Tommy Scott, and Constantine Grim found themselves in an old fashioned Morricone-style standoff. THE ELECTRIC MUD released its debut album, Bull Gator, in 2018, and hit the road.

With hard work came opportunity that found the band opening not just for Southern rock legends such as Molly Hatchet, Blackfoot, The Devon Allman Band, Brother Hawk, and others but also winning a tri-state battle of the bands competition that drew the eye of Matt Washburn owner/operator of Ledbelly Sound Studio (Mastodon, Elder, Royal Thunder) in north Georgia. Washburn and the band hit it off immediately, and the band decamped to The Peach State in 2019 to write and record its follow up album, falling in along the way with the legendary Small Stone Records.

Following an independent unveiling by the band, Burn The Ships will see official release on CD and digital formats via Small Stone as well as limited edition vinyl via Kozmik Artifactz. For preorders, visit the Small Stone Bandcamp page at THIS LOCATION.

THE ELECTRIC MUD:
Constantine Grim – guitar
Pierson Whicker – drums, percussion
Peter Kolter – vocals, guitar
Tommy Scott – bass

The Electric Mud, “First Murder on Mars” official video

The Electric Mud website

The Electric Mud on Thee Facebooks

The Electric Mud on Instagram

Small Stone Records website

Small Stone Records on Thee Facebooks

Small Stone Records on Bandcamp

Kozmik Artifactz website

Kozmik Artifactz on Thee Facebooks

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Natskygge Self-Titled Out This Month on Kozmik Artifactz

Posted in Whathaveyou on August 7th, 2020 by JJ Koczan

Maybe you didn’t think you even had a quote for Danish progressive heavy psychedelia, but really, who are you fooling? Of course you do, and to that end, Natskygge have aligned with Kozmik Artifactz to present their self-titled debut later this month, and the record should allay any and all concerns about meeting said quota. Presented across a crisp eight tracks running a manageable 35-minutes, the offering picks up for 2018’s three-songer Lidt Efter Lidt and will see its official issue on Aug. 21. It may be that the album was out before from the band — to be honest I don’t know — so if I’m late to the party here and this is a post-self-release snag on the part of the label, then fine. I’ll be late to the party. Not the first time. Either way, the album sounds cool and its mellow-but-heavy spirit is suiting my sunny afternoon pretty damn well at the moment. Not sure what else I’d ask of it. Cool to see a generation that must’ve grown up on Baby Woodrose bring their own stuff to fruition.

Check it out:

natskygge natskygge

Natskygge release their Kozmik debut 21st August

Introducing Natskygge, who combine classic elements of space rock, with the rawness of a well seasoned garage band. Heavy melancholy mix with dreamy otherworldly universes, which – not least emphasized by the lyrical content – makes it clear that Natskygge have a deep interest in expanding the human consciousness. Combining crisp fuzzy guitars, psychedelia, space rock and heavy doom, gives Natskygge a distinctive sound that is sure to suck the listener into their black hole.

Natskygge’s self-titled debut will be released on limited edition heavyweight vinyl on the 21st of August on Kozmik Artifactz.

VINYL FACTZ
– Plated & pressed on high performance vinyl at Pallas/Germany
– limited & coloured vinyl
– 300gsm gatefold cover
– special vinyl mastering

TRACKS
1. Filmmer
2. Kaptajnen
3. Dromme Falder
4. Silhuetter af Liv
5. Pa Hjornet af Galaksen
6. Oceaner
7. Rogslor
8. Livets Kulor

Natskygge are:
Thomas Iversen on vocals & guitar
Martin Lykkegaard on guitar
Dan Kunstmann on bass
Thomas Sørensen on drums

https://www.facebook.com/natskygge.band/
https://natskygge.bandcamp.com/
http://kozmik-artifactz.com/
https://www.facebook.com/kozmikartifactz

Natskygge, Lidt Efter Lidt (2018)

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Arcadian Child to Release Protopsycho Oct. 9; Streaming “Bitter Tea”

Posted in Whathaveyou on August 3rd, 2020 by JJ Koczan

Arcadian Child

Am I the only one hearing a strong current of All Them Witches in the kind of sparse guitar line of Arcadian Child‘s new single? The track in question, “Bitter Tea,” is the first audio to come from the band’s third album Protopsycho, and its moody feel suits that progression it puts to good use. They put out the song this past weekend as a heads up, and the LP will be the four-piece’s second release in 2020 following the live album From Far, For the Wild (review here) that came out in January.

I usually try to be reasonably comprehensive in posting links to bands and labels — Thee Facebooks, Instagrams, Bandcamps, etc. — but if this post feels like it has a mega-barrage, you’re right. It does. Protopsycho is being released by Ripple Music in the US, Kozmik Artifactz in Europe and what I’d guess is the band’s own Bitter Tea Records imprint on tape. So yeah, all that makes for a lot of links.

Those, as well as the song stream, follow the album art and announcement below:

Arcadian Child Protopsycho

Arcadian Child announce new album – “Protopsycho” will be set for release on 9 October via Ripple Music and Kozmik Artifactz and share new track “Bitter Tea”. Arriving on July 31, frontman Panagiotis Georgiou describes Bitter Tea as “an honest track fighting self-doubt, pushing back our anxieties and fears. We experimented with new sounds in this one and wanted the song to progress and evolve throughout its journey. We did it and we’re happy.” Bitter Tea arrives with an accompanying artwork by Nun Other.

Arcadian Child are a mercurial psychedelic rock quartet based out of Limassol, Cyprus. Psyched, potent and intoxicating, they deliver their diverse rock melded with tripped-out ambience, hallucinogenic patterns, and cathartic outbursts. With sounds rivaling the squealing sirens of the Mediterranean up to the dark bellows of the West, Arcadian Child convey their psychedelic ritual in their jam-filled live shows where they spread their hypnotic vibrations. Boasting a heady swagger, sophisticated riffs, and purposeful lyrics their music echoes far and wide.

Their 2017 debut album “Afterglow” was widely acclaimed and received compelling support from the growing international neo-psych scene and the Limassol psych rockers signed with California-based Ripple Music in January 2018 to reissue it worldwide on vinyl. Their highly anticipated sophomore studio set was released on 23 November 2018 through Ripple Music and Rogue Wave Records and received multiple raving reviews. In October 2019, they paired up with leading underground label “Kozmik Artifactz” for a vinyl release of their third album which is to be released October 9, 2020.

Tracklisting:
1. Snakecharm
2. Wave High
3. Sour Grapes
4. The Well
5. Bitter Tea
6. Bodies of Men
7. Raising Fire
8. Protopsycho

Arcadian Child are:
Panagiotis I.G – Vocals, Guitars
Stathis Hadjicharalambous– Guitars
Andreas Kerveros – Bass, Backing Vocals
Constantinos Pavlides – Drums

https://www.facebook.com/arcadianchildband/
https://www.instagram.com/arcadianchild/
https://arcadianchildband.bandcamp.com/
https://www.facebook.com/bittertearecords/
http://www.instagram.com/bittertearecords_/
https://bittertearecords.bandcamp.com/
https://www.facebook.com/theripplemusic/
https://ripplemusic.bandcamp.com/
http://www.ripple-music.com/
http://kozmik-artifactz.com/
https://www.facebook.com/kozmikartifactz

Arcadian Child, Protopsycho (2020)

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The Electric Mud to Release Burn the Ships Sept. 25 on Small Stone/Kozmik Artifactz

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

the electric mud

This one was released independently by the band last year, but has since been picked up by Small Stone and Kozmik Artifactz. To the best of my admittedly faulty recollection, that’s the first time Small Stone has picked up a release from this generation of Bandcamp records and handled the physical pressing in this manner. Of course it’s done reissues before but this would seem to be more in line with the “first official” rather than a reissue coinciding with another, corresponding new release.

Does that distinction matter? Maybe, if Small Stone makes a habit of it or if you’re the sort to be particularly interested in the evolution of indie label business models. Either way, The Electric Mud’s Burn the Ships has a Sept. 25 release date and there’s a new video out to mark the occasion.

You’ll find that and PR wire info below:

the electric mud burn the ships

THE ELECTRIC MUD: Florida Stoner Rock Unit To Release Burn The Ships Full-Length Via Small Stone September 25th; New Video Now Playing + Preorders Available

Florida-based stoner/retro rock unit THE ELECTRIC MUD will release their Burn The Ships full-length September 25th via Small Stone Records.

Crawling from the humid, mangrove-choked banks of the Caloosahatche River, THE ELECTRIC MUD drifted from late night jam sessions, backyard keggers, and a revolving cast of members until one night, in the taproom of a closed up brewery, Peter Kolter, Pierson Whicker, Tommy Scott, and Constantine Grim found themselves in an old fashioned Morricone-style standoff. Each had reputations around their Florida town as serious musicians and hard workers, and after throwing lightning bolts around the room for a few hours it became clear that they had found not just a band, but a sound. Alongside their love for The Allman Brothers and Lynyrd Skynyrd and their shared Florida roots, came also a deep appreciation for the proto metal of Black Sabbath and the prog metal of Mastodon, and the band aimed to slow cook it and serve it to the masses. After countless hours of grueling rehearsals and gigging in the dives and biker bars of their hometown, THE ELECTRIC MUD released its debut album, Bull Gator, in 2018, and hit the road.

With hard work came opportunity that found the band opening not just for Southern rock legends such as Molly Hatchet, Blackfoot, The Devon Allman Band, Brother Hawk, and others but also winning a tri-state battle of the bands competition that drew the eye of Matt Washburn owner/operator of Ledbelly Sound Studio (Mastodon, Elder, Royal Thunder) in north Georgia. Washburn and the band hit it off immediately, and the band decamped to The Peach State in 2019 to write and record its follow up album, falling in along the way with the legendary Small Stone Records. THE ELECTRIC MUD calls upon a punishing rhythm section and dizzying twin guitars alongside gritty, soulful vocals to remind audiences that rock and roll is a timeless, cosmic giant that never truly dies.

In advance of the record’s release, the band is pleased to debut a video for opening track, “The First Murder On Mars” shot at Sonic Studios in Fort Myers, Florida by Matt Anastasi.

Following an independent unveiling by the band, Burn The Ships will see official release on CD and digital formats via Small Stone as well as limited edition vinyl via Kozmik Artifactz. For preorders, visit the Small Stone Bandcamp page at THIS LOCATION. Fans of The Sword, Radio Moscow, Clutch, Captain Beyond, The Allman Brothers, and the like, pay heed.

Burn The Ships Track Listing:
1. The First Murder On Mars
2. Stone Hands
3. Reptile
4. A Greater Evil
5. Call The Judge
6. Priestess
7. Good Monster
8. Led Belly
9. Terrestrial Birds

THE ELECTRIC MUD:
Constantine Grim – guitar
Pierson Whicker – drums, percussion
Peter Kolter – vocals, guitar
Tommy Scott – bass

http://www.theelectricmud.com
http://www.facebook.com/TheElectricMud
http://www.instagram.com/theelectricmud
http://www.smallstone.com
http://www.facebook.com/smallstonerecords
http://www.smallstone.bandcamp.com

The Electric Mud, “First Murder on Mars” official video

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Turtle Skull Set Aug. 28 Release for Monoliths

Posted in Whathaveyou on July 24th, 2020 by JJ Koczan

turtle skull

Kind of a note to myself here. This record came in this morning and I was curious, so checked it out and I think it might be awesome. It’s the Sydney-based band’s second full-length behind a 2018 self-titled and it’s coming out through Art as Catharsis and Kozmik Artifactz, so that’s good backing either way, but it was the actual sound of the thing that might’ve sold me. Folky, bright, but still heavy underpinnings to the psychedelic flow to what I’ve heard. I guess everything coming out of Oz at this point is represented as being influenced by King Gizzard but I can’t really speak to that one way or the other, but if you know that Khruangbin record and Kikagaku Moyo, you know that’s good territory to be in.

So why the post? Well, my time’s pretty bare these days so it’s a reminder to myself to put on the record tomorrow and listen through the entire thing when this post goes live. It’ll be Thursday so I’ll have a couple extra minutes. If I told you what was going on on my right-hand side right now — first, it would be a longer explanation than the press release below, but second, it still wouldn’t make any sense. It’s been quite a week. I’m looking forward to checking Monoliths out.

Dig:

Turtle Skull Monoliths

TURTLE SKULL – Monoliths 28.08.2020, Art As Catharsis / Kozmik Artifactz

Art As Catharsis are proud to announce the release of Turtle Skull’s second album, Monoliths – a texture-rich record that dances between bone-crushing lows and ethereal highs.

Taking inspiration from Black Sabbath, Pink Floyd and Crosby Stills Nash & Young, Turtle Skull’s blend of warped psychedelia, shattering doom and indie-rock sensibility merges into their own brand of music dubbed ‘flower doom’.

While the final product contains a faint similarity to the sounds of King Gizzard & The Lizzard Wizard, Khruangbin, or Kikagku Moyo, Monoliths is distinctively its own beast. It’s a record that heaves and soars, taking joyous compositions and steering them headfirst into a realm of fuzz and fury.

“For me this album and this band was an opportunity to take everything back to the simplest form,” says vocalist/guitarist Dean McLeod. “I’d been listening to lot of drone, heavy psych, stoner doom, ambient stuff, and one of the things that often unite these somewhat disparate genres is the extensive use of drones and ambient synths.

“This record is about the intimate connection we share with the Earth on which we stand. It’s about the world and your place in it. It’s about looking deep inside yourself and seeing what you find. It’s about life and death and everything in between… and most of all it’s about the pure joy of creation. We are very happy to share it with you.”

At the end of its runtime, Monoliths undeniably displays a much more fleshed-out realisation of the doom, psych rock and indie fusion that launched the five-piece into the public eye following their self-titled release. Tipping between heavy and catchy is the strength of Monoliths – the roar of the fuzzed-out amps is counterbalanced by feather-light vocals, creating a contrast as clear and harmonious as sun and sky. For fans old and new, this is fusion at it’s finest – a record with something to offer every listener.

1. Leaves
2. Rabbit
3. Heartless Machine
4. Why Do You Ask?
5. Who Cares What You Think?
6. Halcyon
7. Apple Of Your Eye
8. The Clock Strikes Forever

This record is about the intimate connection we share with the Earth on which we stand. It’s about the world and your place in it. It’s about looking deep inside yourself and seeing what you find. It’s about life and death and everything in between. It’s about greed, racism, colonialism and technological destruction. It’s about hopelessness and despair. It’s about self love and introspection. It’s about friendship and the power of shared experience. It’s about life-changing psychedelic journeys. It’s about connecting with the source. And most of all it’s about the pure joy of creation. We are very happy to share it with you.

Tobia Blefari – Percussion (congas, rain stick, shaker, tambourine)
Julian Frese – Bass, piano, vocals
Dan Frizza – Synths
Charlie Gradon – Drums, vocals
Dean McLeod – Guitars, vocals

https://www.facebook.com/turtleskullmusic/
https://www.instagram.com/turtleskullmusic/
https://turtleskullmusic.bandcamp.com/
http://www.facebook.com/artascatharsis
https://instagram.com/artascatharsis
http://artascatharsis.bandcamp.com/
http://kozmik-artifactz.com/
https://www.facebook.com/kozmikartifactz

Turtle Skull, Monoliths (2020)

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Review & Track Premiere: Black Elephant, Seven Swords

Posted in audiObelisk, Reviews on July 23rd, 2020 by JJ Koczan

Black Elephant Seven Swords

[Click play above to stream ‘Yayoi Kusama’ from Black Elephant’s Seven Swords. Album is out Aug. 21 on Small Stone Records and Kozmik Artifactz.]

The priority is set quickly on Black Elephant‘s Seven Swords, and it’s the vibe. With zero pretense about their intention, the Savona, Italy, four-piece unfurl their fourth long-player and second for Small Stone with the patient, gradual build-up of opening cut “Berta’s Flame,” clearly in no rush to get anywhere, quiet but definitely in motion, and subtly establishing both the tonal weight and the spacious atmospheres in which the rest of what follows will inhabit. There’s a theme to Seven Swords, which indeed boasts seven tracks over a wholly manageable 33 minutes — something about samurai; they could well be following the plot of the 2005 movie of the same name starring Donnie Yen for all I know — but the album as a whole is less about a narrative arc than an instrumental one. Led by the warm-toned fuzz of guitarists Alessio Caravelli and Massimiliano Giacosa, with Marcello Destefanis on bass and Simone Brunzu drumming, Black Elephant are not shy about playing to genre.

But if they’re preaching to the converted, they’re doing so because they themselves are the converted and they’re doing so with character and a sense of dynamic that, like the breadth of the mix as a whole, is established early. Hypnosis would seem to be the name of the game as “Berta’s Flame” rolls through its instrumental 6:48, but it’s not entirely ambient, and in its louder sections, it gives a glimpse of some of Seven Swords‘ more rocking moments to come, whether that’s the straightforward fuzzblast of “Yayoi Kusama” or the nothing-if-not-self-aware “Red Sun and Blues Sun” later on. Still, the wash of guitar that takes hold in “The Last March of Yokozuna,” fleshed out with effects and far-back drumming, makes clear Black Elephant‘s intention to showcase tone as a major factor in the album’s overarching personality. Fortunately, their tones, and the varied uses to which they’re put, live up to that task.

As noted, Seven Swords is Black Elephant‘s second full-length through Small Stone, and it follows 2018’s Cosmic Blues (review here) not without some sense of departure but a consistency of overarching purpose. That is, it’s mostly the theme that’s changed, but there is growth demonstrated over the course of the record as well. On the whole, Seven Swords feels more exploratory than its predecessor. It’s jammier, has a broader reach, and when it coheres around a verse/chorus riff, as on “Yayoi Kusama” — which in addition to being the third track is the first to feature vocals — the effect is striking. After “Berta’s Flame” and “The Last March of Yokozuna,” that first verse is almost a surprise the first time through the record, and that works much to Black Elephant‘s benefit, as their ability to adjust the balance of their approach continues to serve them throughout the rest of what follows. From such classic riff-rockery, they move into the centerpiece “Mihara,” which closes out the vinyl edition’s side A and boasts a reverb-soaked forward guitar lick at the outset that gracefully rolls into a steady groove of the sort in which “Berta’s Flame” traffics before it unveils its largesse.

BLACK ELEPHANT

A sense of threat of the same thing happening looms somewhat over “Mihara,” but it’s hardly a negative, and before they get there, a whispered verse and a stretch of dreamy lead guitar cap the first two minutes of the track. When the fuzz hits, it lands heavy, but the lead guitar continues to float overhead, lending atmospherics to the underlying weight, and reminding of breadth as a factor in what Black Elephant are doing throughout the songs, which flow together with deceptive ease, loud parts moving into quiet, jams solidifying, liquefying; backs and forths that sound easier than they are because they’re executed so smoothly. Drums end “Mihara” on tom roundabouts and finish cold, but the sense of side A as a united work remains prevalent, and the band’s firmness of purpose in that regard would seem to be emblematic of their experience over the decade they’ve spent together.

Side B is the shorter of the two halves by about three minutes, but there’s still plenty of work to be done, as “Red Sun and Blues Sun” indicates. It’s the shortest inclusion at just 2:41 — the longest is closer “Govinda” at 8:48 — but the title’s nod to Kyuss isn’t happenstance, but rather further evidence of the band’s self-awareness since, indeed, it’s a Kyuss-style riff that follows the guitar count-in at the beginning of the track. With tambourine adding to the rhythm and the two guitars intertwining, though, Black Elephant make their mark on the brief instrumental, branching out in the midsection before resuming the push and finishing together in time to reference “Faeries Wear Boots” at the start of “Seppuku.” That dogwhistle, bound to perk up the ears of much of the band’s listenership, is likewise put to more individualized use, as the basis for a bluesy riff accompanied by distorted vocals early but soon giving way to mid-paced fuzzy roll that builds through one of Seven Swords‘ stronger hooks.

It serves as something of a landmark for side B, pulling back from the desert idolatry of “Red Sun and Blues Sun” and preceding the immediate psychedelic impression made by the opening guitar on “Govinda.” The finale is a stretch and meant to be one, but it does not pick sides, rather summarizing the course the rest of the album has followed, almost condensing its shifts into its own run between more serene and more driven progressions. It is ultimately the jammy side that wins out over the bulk of the song — almost inevitably — though as Black Elephant hit into the final moments of “Govinda,” they embrace a last fuzzy measure on the way to a return of the open-feeling guitar that launched. That’s a pointed conclusion just the same, highlighting the consciousness at work behind Black Elephant‘s craft and the tricky nature of a record that’s so likely to put its audience in a trance without losing itself in the process. Whatever theme they’re working under, that would seem to be Black Elephant‘s greatest strength, and it makes the manner in which their work unfolds all the more engrossing.

Black Elephant on Thee Facebooks

Black Elephant on Bandcamp

Small Stone Records website

Small Stone Records on Thee Facebooks

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Son of a Witch: Commanded by Cosmic Forces Vinyl Due July 31

Posted in Whathaveyou on July 20th, 2020 by JJ Koczan

More like being commanded by Kozmik forces, amirite? Huh? Anyone? Alright fine.

Brazilian five-piece Son of a Witch are set to release their 2019 album, Commanded by Cosmic Forces — see? get it? — through respected purveyor Kozmik Artifactz at the end of this month. As to why, it’s pretty easy to understand once you dig into the tectonic tonality and post-grunge melodies of the 13-minute “Breathe Dust” — like Jerry Cantrell fronting Conan, that one. That is one of several extended, cosmically dense plods on the record, and if you can manage to play it on your turntable without the speakers vibrating the needle out of its groove, I sincerely doubt you’ll regret it. At least I know I’m not.

It’s the band’s second record behind 2016’s Thrones in the Sky, which Kozmik Artifactz/Bilocation Records also put out on CD and LP. The vinyl of that one would appear to be long gone.

As for this, stream’s at the bottom, preorders are up. What more do you need?

son of a witch commanded by cosmic forces

Son of a Witch Get Kozmik Vinyl Treatment!

Brazilian purveyors of stoner-doom, Son of a Witch, delighted fans with their 2019 sophomore LP “Commanded By Cosmic Forces”. Now, we are proud to bring this glorious slab of chunk to vinyl. Available in a stunning choice of Gold & Black Dust or Clear 180g vinyl, presented, as always, in a high quality gatefold cover.

Commanded By Cosmic Forces will be released on limited edition heavyweight vinyl on the 31st of July on Kozmik Artifactz.

Preorders: http://shop.bilocationrecords.com/navi.php?suchausdruck=son+of+a+witch

VINYL FACTZ
– Plated & pressed on high
performance vinyl at
Pallas/Germany
– limited & coloured vinyl
– 300gsm gatefold cover
– special vinyl mastering

TRACKS
1. Intro
2. Black Clouds Of Lies
3. Breathe Dust
4. Idol Of Marble (Commanded By Cosmic Forces)
5. Dry Leaves
6. Melting Ocean

Son of a Witch are:
King Lizzard – Vocals
Psychedelic Monk – Guitar
Gila Monster – Guitar
Old Goat – Bass
Asteroid Mammoth – Drums

https://www.facebook.com/sonofawitch666/
https://sonofawitch666.bandcamp.com/
http://kozmik-artifactz.com/
https://www.facebook.com/kozmikartifactz

Son of a Witch, Commanded by Cosmic Forces (2019)

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