La Orquesta de Animales Release Archivos Inéditos Redux: 2007

Posted in Whathaveyou on November 9th, 2020 by JJ Koczan

Even if you don’t know the story, you know the story. Band is around for a little bit, maybe a few years ahead of their time, don’t get the love they maybe deserved, are either too ignored, too unstable, or too drunk to keep going anyhow, and dissolve or disband or just kind of fade out. Later on, someone who appreciates what they were doing does the unearth-a-lost-classic thing and everybody gets a second chance to check it out. Nobody loses, everybody wins. Good jams are had and a band like Article Writing Service blog link. There are few good reasons to delegate your assignment to our company: Completely original La Orquesta de Animales maybe get some after-the-fact vindication.

I told you that you knew the story. After last month releasing the band’s Gave a thought to asking someone else to do my homework for me. It is at that your answer for I If You Do Your Homework Madonna for me, always gets En Rock album, An http://bursabakaracicek.com/?writing-effective-essays is the heartbeat of the television newsroom. Here is a career profile and a job description. LSDR Records has now gone further and stood behind aide dissertation philosophie read this article buying an apa research paper nursing research critique papers Archivos Inéditos Redux: 2007, another collection of primo psych jams done back in the day (as much as 2007 is back in the day) and shelved until now. And knowing the story or not, if you’re not willing to give this stuff the time of day, well, that’s your business and your loss, but having of course whiffed on it the first go ’round, I’m glad now to have the chance to hear something I missed.

Info and whatnot follows, audio’s at the bottom:

LA ORQUESTA DE ANIMALES archivos ineditos redux 2007

LA ORQUESTA DE ANIMALES (México) – Archivos Inéditos Redux: 2007 (2020)

La Orquesta de Animales (LODA) was an instrumental, 70’s-infuenced psych and hardprog band form Mexico City, Mexico. A power trio formed by Carlos Bolivar (ex Orfeo) on guitar, Adolfo Sarabia (ex Bailarinas, THC) on bass and occasional keys and Fernando Benítez (ex El Diablo, Sweet Leaf, THC) on drums, they were very active from 2004 up until 2008.

After 13 year, we found the lost album of the band and we rel’ed under the name ‘Archivos Inéditos Redux: 2007’. It’s the whole album, recorded back then by Adolfo and re-mixed with a few overdubs by Carlos, just a couple years ago. Please grab yer bong, drop a little acid, drink a couple of shots and come take a trip to a time when stoner rock was not even a dirty word in Mexico. You’ll make it back, my friend… or will ya?

La Orquesta de Animales (LODA) are:
Bass: Adolfo Sarabia
Guitar: Carlos Bolívar
Drums: Fernando Benítez

https://soundcloud.com/la-orquesta-de-animales
https://www.facebook.com/lsdrrecords/
https://lsdr.bandcamp.com/
https://www.storenvy.com/stores/823500-lsdr-records-distro

La Orquesta de Animales, Archivos Inéditos Redux: 2007 (2020)

La Orquesta de Animales, En Rock (2020)

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Quarterly Review: Ocean Chief, Barnabus, Helen Money, Elder Druid, Mindcrawler, Temple of Void, Lunar Swamp, Huge Molasses Tank Explodes, Emile, Saturno Grooves

Posted in Reviews on March 27th, 2020 by JJ Koczan

quarterly review

I’m not saying I backloaded the Quarterly Review or anything — because I didn’t — but maybe subconsciously I wanted to throw in a few releases here I had a pretty good idea I was gonna dig beforehand. Pretty much all of them, as it turned out. Not a thing I regret happening, though, again, neither was it something I did purposefully. Anyone see A Serious Man? In this instance, I’m happy to “accept the mystery” and move on.

Before we dive into the last day, of course I want to say thank you for reading if you have been. If you’ve followed along all week or this is the only post you’ve seen or you’re just here because I tagged your band in the post on Thee Facebooks, whatever it is, it is appreciated. Thank you. Especially given the global pandemic, your time and attention is highly valued.

Quarterly Review #41-50:

Ocean Chief, Den Tredje Dagen

ocean chief den tredje dagen

The first Write My Home Work Now. 21 likes. Coursework is defined as a work assigned and done by a student during a course of study. Usually, it is evaluated as a part... Ocean Chief record in six years is nothing if not weighted enough to make up for anything like lost time. Also the long-running Swedish outfit’s debut on Components Of A Good Research Study. College essay writing service picks up only qualified employees in order for you to have the best experience of dealing Argonauta Records, qualities of an informal essay School Uniforms Argumentative Essay 2014 masters in medical education thesis research papers for sale Den Tredje Dagen on CD/DL runs five songs and 59 minutes, and though it’s not without a sense of melody either instrumentally or vocally — certainly its guitars have plenty enough to evoke a sense of mournfulness at least — its primary impact still stems from the sheer heft of its tonality, and its tracks are of the sort that a given reviewer might be tempted to call “slabs.” They land accordingly, the longest of them positioned as the centerpiece “Dömd” seething with slower- Essay Help Agencies. Since 1989 our certified professional essay writers have assisted tens of thousands of clients to land great jobs and Celtic Frost anxiety and the utter nastiness of its intent spread across 15-plus minutes of let-me-just-go-ahead-and-crush-that-for-you where “that” is everything and “no” isn’t taken for an answer. There’s respite in closer “Den Sista Resan” and the CD-bonus “Dimension 5,” but even these maintain an atmospheric severity consistent with what precedes them. One way or another, it is all fucking destroyed.

Ocean Chief on Thee Facebooks

Argonauta Records store

 

Barnabus, Beginning to Unwind

barnabus beginning to unwind

Come ye historians and classic heavy rockers. Come, reap what Are you looking for the Argumentative Essay Online Dating or stressing over how to find a ghostwriter or maybe you are having a thought that how to hire a ghostwriter? Rise Above Relics has sown. Though it’s hard sometimes not to think of the To Get What Are Some Good Topics For A Research Paper Service fill out the contact form here or email us at hi@geeksprogramming.com You can get in touch for any with programming assignments or projects in any of the modern programming languages. Rise Above Records imprint as label-honcho Tired of your pen? Have totally no ideas on the topic? Choose our Source service. We write your essay or reaserch paper. Contact us right now. Lee Dorrian (ex- college essays funnys from EssayRoo, a trusted source of custom assignment writing service in Australia and abroad. Order now with a 15% discount! Cathedral, current Need to buy essay online for cheap? Professional US Writers; 24/7 Support; High-Quality; Guaranteed Confidentiality; check here at professional With the Dead) picking out highlights from his own record collection — which is the stuff of legend — neither is that in any way a problem. I provide business plan barber shop advising at every step in the writing process to make your essays vivid, thoughtful, and original. Barnabus, who hailed and apparently on occasion still hail from the West Midlands in the UK, issued the written persuasive essays List Of Research Essay On Media And Their Works research paper documentation essay basics Beginning to Unwind in 1972 as part of an original run that ended the next year. So it goes. Past its 10-minute jammy opener/longest track (immediate points) “America,” the new issue of Beginning to Unwind includes the LP, demos, live tracks, and no doubt assorted other odds and ends as well from Barnabus‘ brief time together. Songs like “The War Drags On” and “Resolute” are the stuff of ’70s-riff daydreams, while “Don’t Cry for Me My Lady” digs into proto-prog without losing its psych-folk inflection. I’m told the CD comes with a 44-page booklet, which only furthers the true archival standard of the release.

Barnabus on Thee Facebooks

Rise Above Relics store

 

Helen Money, Atomic

helen money atomic

To those for whom Helen Money is a familiar entity, the arrival of a new full-length release will no doubt only be greeted with joy. The ongoing project of experimental cellist Alison Chesley, though the work itself — issued through Thrill Jockey as a welcome follow-up to 2016’s Become Zero (review here) — is hardly joyful. Coping with the universality of grief and notions of grieving-together with family, Chesley brings forth minimalism and electronics-inclusive stylstic reach in kind across the pulsating “Nemesis,” the periodic distortion of her core instrument jarring when it hits. She takes on a harp for “Coppe” and the effect is cinematic in a way that seems to find answer on the later “One Year One Ring,” after which follows the has-drums “Marrow,” but wherever Chesley goes on Atomic‘s 47 minutes, the overlay of mourning is never far off.

Helen Money on Thee Facebooks

Thrill Jockey Records store

 

Elder Druid, Golgotha

elder druid golgotha

Belfast dual-guitar sludge five-piece Elder Druid return with seven tracks/39 minutes of ready punishment on their second album, Golgotha, answering the anger of 2017’s Carmina Satanae with densely-packed tones and grooves topped with near-universal harsh vocals (closer “Archmage” is the exception). What they’re playing doesn’t require an overdose of invention, with their focus is so much on hammering their riffs home, and certainly the interwoven leads of the title-track present some vision of intricacy for those who might demand it while also being punched in the face, and the transitional “Sentinel,” which follows,” brings some more doomly vibes ahead of “Vincere Vel Mori,” which revives the nod, “Dreadnought” has keys as well as a drum solo, and the penultimate “Paegan Dawn of Anubis” brings in an arrangement of backing vocals, so neither are they void of variety. At the feedback-soaked end of “Archmage,” Golgotha comes across genuine in its aggression and more sure of their approach than they were even just a couple years ago.

Elder Druid on Thee Facebooks

Elder Druid on Bandcamp

 

Mindcrawler, Lost Orbiter

mindcrawler lost orbiter

I know the whole world seems like it’s in chaos right now — mostly because it is — but go ahead and quote me on this: a band does not come along in 2020 and put out a record like Lost Orbiter and not get picked up by some label if they choose to be. Among 2020’s most promising debuts, it is progressive without pretense, tonally rich and melodically engaging, marked out by a poise of songcraft that speaks to forward potential whether it’s in the coursing leads of “Drake’s Equation” or the final slowdown/speedup of “Trappist-1” that smoothly shifts into the sample at the start of closer “Dead Space.” Mindcrawler‘s first album — self-recorded, no less — is modern cosmic-heavy brought to bear in a way that strikes such a balance between the grounded and the psychedelic that it should not be ignored, even in the massively crowded international underground from which they’re emerging. And the key point there is they are emerging, and that as thoughtfully composed as the six tracks/29 minutes of Lost Orbiter are, they only represent the beginning stages of what Mindcrawler might accomplish. If there is justice left, someone will release it on vinyl.

Mindcrawler on Thee Facebook

Mindcrawler on Bandcamp

 

Temple of Void, The World That Was

Temple of Void The World that Was

Michigan doom-death five-piece Temple of Void have pushed steadily toward the latter end of that equation over their now-three full-lengths, and though The World That Was (their second offering through Shadow Kingdom) is still prone to its slower tempos and is includes the classical-guitar interlude “A Single Obulus,” that stands right before “Leave the Light Behind,” which is most certainly death metal. Not arguing with it, as to do so would surely only invite punishment. The extremity only adds to the character of Temple of Void‘s work overall, and as “Casket of Shame” seems to be at war with itself, so too is it seemingly at war with whatever manner of flesh its working so diligently to separate from the bone. Across a still-brief 37 minutes, The World That Was — which caps with its most-excellently-decayed nine-minute title-track — harnesses and realizes this grim vision, and Temple of Void declare in no uncertain terms that no matter how they might choose to tip the scale on the balance of their sound, they are its master.

Temple of Void on Thee Facebooks

Shadow Kingdom Records store

 

Lunar Swamp, Shamanic Owl

Lunar Swamp Shamanic Owl

Lunar Swamp have spawned as a blusier-directed offshoot of Italian doomers Bretus of which vocalist Mark Wolf, guitarist/bassist Machen and drummer S.M. Ghoul are members, and sure enough, their debut single “Shamanic Owl,” fosters this approach. As the band aren’t strangers to each other, it isn’t such a surprise that they’d be able to decide on a sound and make it happen their first time out but the seven-minute roller — also the leadoff their first EP, UnderMudBlues, which is due on CD in June — also finds time to work in a nod to the central riff of Sleep‘s “Dragonaut” along with its pointed worship of Black Sabbath, so neither do they seems strictly adherent to a blues foundation, despite the slide guitar that works its way in at the finish. How the rest of the EP might play out need not be a mystery — it’s out digitally now — but as far as an introduction goes, “Shamanic Owl” will find welcome among those seeking comfort in the genre-familiar.

Lunar Swamp on Thee Facebooks

Lunar Swamp on Bandcamp

 

Huge Molasses Tank Explodes, II

Huge Molasses Tank Explodes II

The nine-track/42-minute second LP, II, from Milano post-this-or-that five-piece Huge Molasses Tank Explodes certainly finds the band earning bonus points based on their moniker alone, but more than that, it is a work of reach and intricacy alike, finding the moment where New Wave emerged from out of krautrock’s fascination with synthesizer music and bring to that a psychedelic shimmer that is too vintage-feeling to be anything other than modern. It is laid back enough in its overarching affect that “The Run” feels dreamy, most especially in its guitar lines, but never is it entirely at rest, and both the centerpiece “No One” and the later “So Much to Lose” help continue the momentum that “The Run” manages so fluidly to build in a manner one might liken to space rock were the implication of strict adherence to stylistic guidelines so implicit in that categorization. They present this nuance with a natural-seeming sense of craft and in “High or Low,” a fuzzy tone that feels like only a welcome windfall. Those who can get their head around it should seek to do so, and kudos to Huge Molasses Tank Explodes for being more than just a clever name.

Huge Molasses Tank Explodes on Thee Facebooks

Retro Vox Records on Bandcamp

 

Emile, The Black Spider/Det Kollektive Selvmord

Emile The Black Spider Det Kollektive Selvmord

Set to release through Heavy Psych Sounds on the same day as the new album from his main outfit The Sonic Dawn, The Black Spider/Det Kollective Selvmord is the debut solo album from Copenhagen-based singer-songwriter and guitarist Emile Bureau, who has adopted his first name as his moniker of choice. Fair enough for the naturalism and intended intimacy of the 11-track/39-minute outing, which indeed splits itself between portions in English and in Danish, sounding likewise able to bring together sweet melodies in both. Edges of distortion in “Bundlos” and some percussion in the second half’s title-track give a semblance of arrangement to the LP, but at the core is Emile himself, his vocals and guitar, and that’s clearly the purpose behind it. Where The Sonic Dawn often boast a celebratory feel, The Black Spider/Det Kollective Selvmord is almost entirely subdued, and its expressive sensibility comes through regardless of language.

Emile on Thee Facebooks

Heavy Psych Sounds store

 

Saturno Grooves, Cosmic Echoes

saturno grooves cosmic echoes

Sonic restlessness! “Fire Dome” begins with a riffy rush, “Forever Zero” vibes out on low end and classic swing, the title-track feels like an Endless Boogie jam got lost in the solar system, “Celestial Tunnel” is all-thrust until it isn’t at all, “Blind Faith” is an acoustic interlude, and “Dark Matter” is a punk song. Because god damn, of course it is. It is little short of a miracle Saturno Grooves make their second album, Cosmic Echoes as remarkably cohesive as it is, yet through it all they hold fast to class and purpose alike, and from its spacious outset to its bursting finish, there isn’t a minute of Cosmic Echoes that feels like happenstance, even though they’re obviously following one impulse after the next in terms of style. Heavy (mostly) instrumentalism that works actively not to be contained. Out among the echoes, Saturno Grooves might just be finding their own wavelength.

Saturno Groove on Thee Facebooks

LSDR Records store

 

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Saturno Grooves Release New Album Cosmic Echoes

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

It’s one thing to say your record is inspired by making a cosmic connection, being one with the universe, higher plane of existence and all that kind of stuff. It’s another thing to do that and put your record up as a name-your-price download. I know everybody’s gotta make a buck, but it gives all that universal spiritualism a little more edge when you’re saying, “here I made a thing, take it.” Just a tip.

Saturno Grooves from Durango, Mexico, released their new full-length Cosmic Echoes yesterday as a choice bit of name-your-price riffery in affiliation with LSDR Records. It’s their second long-player behind 2018’s Solar Hawk, and after a bit of driving, forward-directed groove in “Fire Dome,” it dives into a bit of fuzz bliss in “Forever Zero” before going post-Elder prog in “Cosmic Echoes” and the extra-shimmery “Celestial Tunnel,” then drones and acoustics through “Blind Faith” in order to blindside with the crunch of “Dark Matter.” All told, you’ve got six tracks/31 dynamic, pretense-free minutes of spacious heavy to soak your head. Plus it’s a bargain.

Here’s hoping they do a CD at some point:

saturno grooves cosmic echoes

Saturno Grooves – Cosmic Echoes

Cosmic Echoes is inspired by the human connection with the cosmos, its attempt to know and understand its nature, the use of psychedelics as a bridge of communication, all reflected in six compositions based on improvisation exploring different styles and addressing different themes, which in turn they intertwine the close relationship between the higher self and the universe.

Saturno Grooves is a Mexican band formed in Durango in early 2013 by Oscar Cisneros on bass, José Peyro on guitar and Adolfo Solís on drums. The band was born thanks to the common interest of its members to explore psychedelic sounds and develop them within instrumental rock.

In May 2018 comes to light Solar Hawk through LSDR Records composed of six themes inspired by discourses and nature-related events translated into ancient mythologies and urban legends, which in turn are reflected in the continuous exploration of sounds under the influence of psychoactives. This material has been the work of compositions that through 2016 and 2017 were restructured and modified giving this result, is music in order to be enjoyed with high volume and away from distractions.

Tracklisting
1. Fire Dome 05:04
2. Forever Zero 07:15
3. Cosmic Echoes 08:10
4. Celestial Tunnel 07:25
5. Blind Faith 01:45
6. Dark Matter 02:06

All music by Saturno Grooves.
Lyrics: José Peyro, Oscar Cisneros.
Recorded, mixed and mastered by KB in Testa Estudio
León, Gto. México. Jan. 19-20 2020.

Saturno Grooves are:
Adolfo Solis – Drums, Vocals and Acoustic Guitar in “Blind Faith”
José Peyro – Guitars, Vocals
Oscar Cisneros – Bass

https://www.facebook.com/saturno.grooves
https://www.instagram.com/saturnogrooves/
https://saturnogrooves.bandcamp.com/
https://www.facebook.com/lsdrrecords/
https://lsdr.bandcamp.com/
https://www.storenvy.com/stores/823500-lsdr-records-distro

Saturno Grooves, Cosmic Echoes (2020)

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Cegvera Release Live Bootleg on LSDR Records

Posted in Whathaveyou on January 8th, 2019 by JJ Koczan

I’m a big fan of bands doing you-come-here-we-go-there tour trades. In 2017, Vinnum Sabbathi, whose members also stand at the helm of LSDR Records, hit the UK to tour with Cegvera. In 2018, it was Cegvera touring Mexico with Vinnum Sabbathi. They also released a split (review here) late last year through LSDR and would seem at some point to have begun to share Gerardo Arias between both bands, so clearly it’s an association that goes further than simply swapping shows. But all the better, really. The tighter the bands are, the more likely they are to get out together, and clearly it’s a productive partnership on all fronts.

To wit, LSDR Records has been hosting a series of live releases simply titled Live Bootleg, and Cegvera‘s Live Bootleg: Cegvera (Palíndromo) is the latest of them. Recorded while the band was on tour in Mexico this past June, it’s a solid set that showcases their heavy instrumentalism and penchant for atmospherics, captured at Palindromo in Guadalajara at what sounds like it was a pretty killer show. It’s a name-your-price download, so clearly the band and label are just trying to get the music heard by as many people as possible, and I can think of few missions more noble than that.

Info and audio follow:

cegvera palindromo

Cegvera – Live Bootleg: Cegvera (Palíndromo)

During the tour of Cegvera and Vinnum Sabbathi last June we had the opportunity to record the show that rifaron in Palíndromo, Guadalajara.

Like all the entries in the series, you can download this and other live sets of National Underground bands on our bandcamp: https://lsdr.bandcamp.com

Tracklisting:
1. The Great Blackout 06:19
2. Collapse // Aftermath 06:50
3. Natural Threats II 03:55
4. Depletion // Overshoot 07:38
5. Fractals 04:45
6. Rise 07:44

Cegvera (Bristol, UK) live at Palindromo, Guadalajara, June 8th 2018. Released January 6, 2019.

Recorded and edited by Juan Tamayo.
Cover photo by El Güerito Invita.

Cegvera is:
Gerardo Arias: Guitar
Aaron Scrupps: Bass
Matt Neicho: Drums

https://www.facebook.com/cegueraUK
https://cegvera.bandcamp.com/
https://www.facebook.com/lsdrrecords/
https://lsdr.bandcamp.com/
https://www.storenvy.com/stores/823500-lsdr-records-distro

Cegvera, Live Bootleg (2019)

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Terror Cósmico Premiere “Salió del Pantano”; III out Sept. 3

Posted in audiObelisk on August 29th, 2018 by JJ Koczan

terror cosmico

Mexico City-based duo Terror Cósmico have a Sept. 3 digital release date for their aptly-titled third album, III. With impending CD issue via Concreto Records to follow and vinyl sometime in 2019 — presumably before they embark on a European tour in May — the two-piece of guitarist Javier Alejandre and drummer Nicolás Detta make an impression in crunch tones, hard-hit drums and a variety of atmospheres from the Earth-meets-near-traditional doom of opener “Nocturno” through the ambient-vocalized “La Cabalgata de Asmodeo” and the foreboding tension in the dirge “Hypnos.” The screams in “La Cabalgata de Asmodeo” and the growls/throatrippers later in the penultimate “Salió de Pantano” are standout moments, to be sure, but ultimately they become part of the atmosphere created by the guitar and drums, surely influenced in its most raging moments by bands like Black Cobra but having more in common in Alejandre‘s tone on “Kronosauris” with the defunct Beast in the Field, though even that comparison is a stretch as Terror Cósmico set off on the 10-minute journey that is closer “La Montaña,” a patient build that disintegrates in its second half only to ebb and flow again before its sudden cold-stop finish. There’s even some melody late in the guitar, just in case you think you might have Terror Cósmico at all figured out.

And from the rumble and spaciousness of “Nocturno” onward, the seven-track/43-minute offering never quite gives its audience a chance to be fully hypnotized. “Nocturno” has underlying movement and a subtle angularity that’s just enough to stave off trance-inducement, and just when it might begin to dull the consciousness, “Tlatecuhtli” picks up directly with a more active thrust and popping, forcefulterror cosmico iii snare work and an ultimate noise assault that’s as precise as it is tonally and rhythmically dense. It probably doesn’t need to be noted that for all their lacking a bassist there’s no shortage of low end in Alejandre‘s guitar, and as he loops through layers and tops a steady rhythm line with a scouring lead on “Kronosaurus,” the sound is indeed full and deep-running. They’re three albums in, and have several other singles and shorter-releases besides, so Detta and Alejandre have a clear sense of what they want their sound to do and the impact they want it to make, and III manifests that in both an aggressive pummel and steady-handed shifts in mood. “La Cabalgata de Asmodeo” is the centerpiece and particularly extreme in both its faster and slower stretches — and Detta does excellently in leading the way through both — but even there, Terror Cósmico remain coherent and able to slip into a second half of relatively-minimalist guitar, the residual noise fading en route to “Hypnos.”

Following behind 2015’s Devorador de Sueños and 2013’s Muerte y Transfiguración, III is a record for which genre is a thing to be manipulated to suit its own ends, not the other way around. As Terror Cósmico roll and nod through “Salió del Pantano,” which is the shortest inclusion at 4:11, the full-album flow of which that song is part becomes all the more apparent, and with “La Montaña” still to climb, there’s no loss either of the presence of the band’s delivery or the deceptive breadth they conjure in the material. Though it would seem to be a contradiction to have a two-piece that’s as expansive as it is crushing, Alejandre and Detta break the glass of expectation and use the shards to expose the raw flesh of their creation. It is a powerful and consuming release.

Below, you can stream the premiere of “Salió del Pantano,” which you’ll find on the YouTube embed followed by some more info off the PR wire. More on the European tour when I hear it, but in the meantime, please enjoy:

Terror Cósmico, “Salió del Pantano” official track premiere

An instrumental duo born in 2012 in Mexico City, Terror Cósmico is made up of guitar and drums. Even with only two instruments, the dynamics of their music lead you from mystic and harmonic passages to dark and violent cuts.

On September 2013 they released their first full-length album, “Muerte y Transiguración”, with the Mexican label Concreto Records. With this material they toured México, the U.S. and Argentina. On August 2015 they released their second album, “Devorador De Sueños” (Concreto Records), this time touring Mexico, the west coast of the US and finally Europe alongside mexican stoner metal band “Weedsnake” through 2017´s summer. In 2018 the band will release their 3rd full length album.

Third LP from the Mexico City duo, having as title the number of release “III”. The band shows 7 tracks redefining the sound they’ve had since the beginning. Recorded at Testa Studio in Leon, Guanajuato in May 2018. The tracks travel through different sonic sceneries, going through introspective ambient moods to raw and aggressive songs that mutate with each other. An album that maintains the sound of the band but has new elements, more loops and vocals without lyrics in 2 tracks. The artwork is done by Karmazid and the album will be released on September 3 in all digital platforms. Cd will be released by Mexican label Concreto Records before the end of the year and vinyl will be coedited by different labels for next year.

Terror Cósmico on Thee Facebooks

Terror Cósmico on Bandcamp

Terror Cósmico on Tumblr

Concreto Records on Thee Facebooks

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Review & Full Album Premiere: Saturno Grooves, Solar Hawk

Posted in audiObelisk, Reviews on May 21st, 2018 by JJ Koczan

saturno grooves solar hawk

[Click play above for the premiere of Saturno Grooves’ Solar Hawk, out in June via L.S.D.R. Records]

Some albums work better on vinyl or tape, with that split down the (roughly) middle, and some work better on CD or digital, where you can listen straight through in one sitting with no interruption to the process. Saturno Grooves‘ debut full-length, Solar Hawk, arrives via L.S.D.R. Records as a record that feels designed to go either way and still not lose its grasp on the listener. With a split between its first three and second three tracks, it allows one to pause for a second and catch their breath before immersing in the broader explorations to come that the six-minute-on-the-dot “Cherna Bong” sets up at the end of side A.

In a linear format, with no break in the six-track/34-minute run, Solar Hawk unfolds gracefully and sets up its flow early on the shorter opening duo “Beaumont” (3:24) and “Seven Hills” (4:20) before “Cherna Bong,” the title-track (6:22), “White Sand” (7:42) and closer “Red Sun Arising” (6:56) push further outward into a heavy desert psychedelia that seems as much about the Durango, Mexico-based trio’s enjoyment of the trip as the audience’s experience of the results. Guitarist José Peyro, bassist Oscar Cisneros and drummer Adolfo Solís make no claim that I’ve seen of their debut being a concept album — they seem to cite a variety of cultural and thematic influences — but the fluidity with which they loose their material speaks to a certain wholeness just the same.

That turns out to be a strength particularly when taking the album in one single dose: by the time the rolling apex of “White Sand” seems to provide the album’s culmination, the rest of Solar Hawk — apart from “Red Sun Arising,” obviously — has hit the bloodstream and already had its engaging effect, whether it’s the feedback drenched largesse that initiates the post-Kyuss semi-prog thrust of “Seven Hills” or the drawn out and echoing lead that Peyro layers atop the title-track as it oozes toward its midsection, which drops momentarily to a quiet space of guitar-only desert tonality that, frankly, I wish there was more of throughout. With an EP and a single behind them in their five years together, Saturno Grooves clearly constructed this debut out of jams — note that the “construction” is very much a factor; this isn’t just jams put to tape — but it’s in the flashes of patience like that of the title-track or the start of “White Sand” that offer flashes of the dynamic developing within their sound.

saturno grooves

I’m not saying they need to start doing loud/quiet tradeoffs or straight-up quiet-to-loud builds exclusively or anything, simply that in the tones of Peyro and Cisneros, there’s enough presence to hold up those subdued moments perhaps more than the band are willing to give themselves credit for. Hell, in “White Sand,” even Solís gets to take the fore briefly to lay down a shuffling foundation for the push to come. There’s a lot of all-three-together here, and it works very, very well. Where Saturno Grooves have room to grow is in toying with the balance between all-three-together and highlighting each individual’s contributions and presence as well as the balance between louder and softer, faster and slower parts, which they already do exceedingly well, blending shades of the aforementioned Kyuss with some of Earthless‘ cyclical virtuosity and Sleep‘s penchant for nod, which again, makes “White Sand” seem like the peak of Solar Hawk when it hits into its moment of arrival.

And I’ve used “seem” twice now as regards that track only because when the subsequent “Red Sun Arising” begins to land its bombastic, plodding crashes, the effect of that stomp is nearly resonant enough to leave footprints. Saturno Grooves thud and riff their brains out on the finale, and by the time it’s about 2:45 into its nearly seven minutes and they seem to draw back for a second, one has to wonder where they’ll head next, but the answer is into a speedier, solo-topped middle third that soon enough gives way to a far, far gone section of molten roll, again showcasing Peyro‘s impressive lead work as it sort of flowingly dances — because it’s not marching, and it’s not lumbering anymore, and it’s still too cohesive just to be melting away — to its finish, which upon its arrival feels somewhat sudden, as “Red Sun Arising” sound both like it could just keep going and like it’s destined for a gentle fadeout rather than the cold snap ending it receives.

Maybe that’s Saturno Grooves‘ way of subverting expectation, but either way, when one goes back and revisits “Beaumont” at the outset, its galloping progression and straightforward riffing underscore the point of the distance the three-piece travel from one end of the LP to the other. However one chooses to connect with it, the most important factor is that Saturno Grooves make that connection while sounding natural and utterly in their element as they progress throughout. Again, I don’t think it’s a concept album from their end, but even in its instrumental form, it’s easy to read a narrative progression into the songs themselves, let alone any other tale they might actually be telling. While this is technically their first album, Saturno Grooves sound like a group who’ve played together for a while, who have developed a sense of musical conversation between themselves and the common language for that to take place. One only hopes that dialogue will be ongoing.

Saturno Grooves on Thee Facebooks

Saturno Grooves on Bandcamp

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Owain to Release Acrid EP this Month via LSDR Records

Posted in Whathaveyou on September 6th, 2017 by JJ Koczan

owain

Actually, if you’re feeling fancy, you can pop on over to Owain‘s Bandcamp — dutifully linked below — and check out a name-your-price download of their second EP, Acrid, but you know I’m a sucker for physical media, so here I am posting about the forthcoming LSDR Records-backed CD version of the release either way. Tape is also out via Colectivo Lxs Grises for the Tijuana duo’s six-song/24-minute offering, which hits on High on Fire-style thrash in “Thieving Swine” as easily as it rolls out noisy sludge lumber on the suitably titled “Sledgehammers.” They shout out Brainoil as an influence, which should be automatic points in just about anybody’s book for specificity alone, and set an admirably noisy target that cuts like rolling, barking opener and longest track (immediate points) “Sculptors” and the later “Backfire” attempt to meet head-on.

Raw stuff, and mean, but all the more so because it knows exactly what it’s doing. LSDR sent the following down the PR wire, including the David Paul Seymour cover art:

owain acrid

LSDR RECORDS: OWAIN – Acrid (2017)

Owain is a sludge doom metal duo from Tijuana Mexico. They are presenting a new EP called “Acrid” recorded and mixed by Arturo Leon at La Cacho Estudio in the city of Tijuana, Mexico and mastered by Bill Henderson at Azimuth Mastering in New Jersey, USA. The art was the work of David Paul Seymour known for is extensive work with other bands in the genre such as Mothership, 16 and many others.

The band formed in 2015 by Anibal Flores (guitar and vocals) and Luis Astorga (drums and vocals) and release their first Self-titled EP in 2016. The genres in which they can be catalogued are somewhere between stoner metal and sludge, with the sound having heavy southern rock accents on guitar and metal styled percussion. One of the bands targets is trying to sound as huge as any other band in the genre regardless of being only a two piece ensemble.

Their main influences would be the bands Brainoil and Down, since these are the ones that sparked the idea of making a band of this sort, although earlier influences have been present beforehand like Sleep and Orange Goblin. Dopefight, Bongzilla, Bongripper and Weedeater have also been great influences regarding the southern sound, and on the more metal oriented side, Eyehategod, High on Fire, Mastodon and Crowbar are of great regard in what tailored their sound.

The lyrics are based in human cynic, questioning authority in all its forms, repulsion to religion, general addiction, drawbacks in social consciousness and protest to social paradoxes.

The EP will be released in September 2017 in the following formats:
– Digital release through the band’s Bandcamp
– CD release through LSDR Records
– Cassette Tape through Colectivo Lxs Grises

https://www.facebook.com/Owainband/
https://twitter.com/Owainmusic
https://www.instagram.com/owainband/
https://owain.bandcamp.com/releases
https://www.facebook.com/lsdrrecords/

Owain, Acrid (2017)

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Cegvera Release Creations EP; Touring with Vinnum Sabbathi

Posted in Whathaveyou on July 12th, 2017 by JJ Koczan

cegvera

It wouldn’t be quite right to call the impact of Cegvera‘s Creations EP immediate. Indeed, it’s three full seconds before opener ‘Centralia’ kicks into the full tonal assault that the Bristol, UK, three-piece will continue to unfold in “Iguala” and touch on throughout the subsequent five tracks, balancing it against a post-rocking meditative feel on “Aral Sea” and foreboding atmospherics on “Mosul” while closer “Latrun” takes a more all-out approach in terms of tempo. The band has aligned with LSDR Records for the release, which you can stream now in its rumbling entirety at the bottom of this post, and will hit the road in the UK this month with fellow instrumentalists Vinnum Sabbathi. I think once you dig into the tracks you’ll agree that’s a solid pairing.

They also get bonus points for shouting out José Saramago. Read Blindness. The EP, as well as Cegvera‘s first one, late 2016’s Fractals, is name-your-price now. Info follows below, courtesy of the PR wire:

cegvera creations

LSDR RECORDS: Cegvera – Creations (2017)

Cegvera is an instrumental band that was born in Bristol, inspired by José Saramago. The band tries to wake up hidden or forgotten feelings. Songs are stories, however it’s up to the audience to create them. Melodic ambience, atmosphere and drone are as important as the riffs. Saying that, if you are into heavy psych, doom, sludge or post-rock you should give this band a try. Cegvera are: Gerardo Arias: Guitar (Vinnum Sabbathi, Ex- Bar de Monjas, 4 ciénegas) / Aaron Scrupps: Bass /Matt Neicho: Drums

Creation Ep is the second work of this band from Bristol U.K. (the first was Fractals), was recorded by Josh Gallop at Stage2 Studios in Bath, U.K. in April of 2017. The Mix and Master were made it by Miguel Fraino at Vesubio 34 Studio in México City. The Artwork was designed by Hellbound Graphics in México City.

Tracklisting:
1. Centralia 03:02
2. Iguala 05:03
3. Aral Sea 05:31
4. Mosul 05:50
5. Latrun 05:10

Cegvera will make a tour with Vinnum Sabbathi this July:
20.07.17 – Coventry (The Arches Venue)
21.07.17 – London (The Dev)
22.07.17 – Bath (St James Vaults)
28.07.17 – Manchester (Retro Bar)
29.07.17 – Scunthorpe (Café Independent)

Cegvera is:
Gerardo Arias: Guitar
Aaron Scrupps: Bass
Matt Neicho: Drums

https://www.facebook.com/cegueraUK
https://cegvera.bandcamp.com/
https://www.facebook.com/lsdrrecords/
https://lsdr.bandcamp.com/
https://www.storenvy.com/stores/823500-lsdr-records-distro

Cegvera, Creations (2017)

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