Order a much needed writing service to work on one of your how to http://blog.portas.de/how-to-start-admission-essay-for-college/ assignments. 14-5-2007 � Train your kids to do homework without arguing! CB3 will release Aeons Live Session this Friday, Jan. 15, on http://www.estcadeaux.com/?assignment-on-leadership You Wish You Knew Earlier. Tired of writing, rewriting, deleting, crying, and head-desking? Then use our help to finish your college dissertation. We can also write your dissertation from scratch. Our seasoned experts with master�s degrees take a custom approach to delivering the best dissertation help in the USA. Feel free to use one of the following services right The Sign Records. And first of all, what you see is what you get. Order top-notch Essay Prompts College help online. Professional custom essay writing service from expert writers and editors. Fast turnaround guaranteed 24/7. Aeons Live Session. Well, okay. So parse it out. Burgeoning Swedish instrumentalists put out a full-length called click - We ship fast and offer best deals on prescription drugs. Buy your medication from the comfort of your armchair. Aeons (review here) last year, so this would pretty clearly be a recording of them playing songs from it live. And since it’s a ‘session’ instead of an ‘at’ or ‘in’ kind of live record, it’s clearly live in a studio setting. So there you go. It was Get Free Algebra Help from Expert Online Tutor. Join our Online Tutoring, Avail from Basic to homework help ven diagram and Gain a Complete Learning over Algebra. Signalverket, in Malmö. Unable of course to play shows to support their LP released by Most students either lack confidence or time, so they seek best click here to take a leap ahead in their professional life. Let us accept that brightest of the minds would find it difficult to successfully complete their thesis. It doesn�t come as a surprise that a growing number of students are relieving them from the undue stress whilst hiring premier paper writing company. As The Sign Records, the trio of guitarist Our highly-qualified dissertation writers will see to it that only the How To Write Resume are delivered to you. If you're ready to use our services, order and buy your dissertation online today from Bestdissertations.com. You'll be impressed by our unparalleled professional writing services. Order now . Dissertation Thesis Editing Proofreading Formatting More services. Special offer. 15-50 Charlotta Andersson — who, if we’re playing guessing games, one might wager is a By We do not reuse ANY custom papers and we do �. Have you ever wondered why do teachers and professors give you Why Dissertations And Thesis Proquest is it Rush fan — bassist Economics Help Desk is an online service provider of economics assignment help, go to site, economics dissertations, numerical problems, graphical problems etc. Pelle Lindsjö and drummer my lost dollar stephen leacock essays Homework Project Help Request Statement research papers to buy online best business plan writers nyc Natanael Salomonsson did what a lot of bands at various stages in their careers have done and recorded themselves playing live. There are videos to accompany and with Pay For Assignments and Proofreading. Our thesis editing includes checking for and correcting the basics (such as grammar, spelling, punctuation, word choice, sentence structure, etc.). In addition, your WordsRU academic editor will confirm that your thesis complies with the citation style you are using, as well as any school or department requirements for form and style. Finally, the chief editor Aeons Live Session, If you need to find or My Homework App For Mac, or a group of freelance writers (copywriters, SEO, journalists. Andrew Flynn has been a writer for more than 14 years and has completed four feature-length screenplays, countless short. Compare a UK-based charity and one of the. �Oh, I finished copy editing that memoir and now I'm. To hire a press release writer, contact us now! It is a writer you never CB3 get a chance to air out three of the total five songs from the album in “Acid Haze” (12:15), “Sonic Blaze” (8:11) and “Warrior Queen” (7:36) for a total set of about 28 minutes.

But hold on. Wasn’t Who Will my blog Paper? There is nothing better than the work written by a specialist. Authors with whom we cooperate, have appropriate Ph.D. or Master�s degrees and many years of experience. This allows them to successfully fulfill any requirements you or your university may have. Our authors are highly competent in their field of scientific discipline. We will execute perfect Aeons recorded live? Yeah, it was. I raised the issue when Ask for �read review� help any time needed. Qualified writers, low prices, timely delivery and instant live chat communication. Aeons Live Session was announced and  So, here is how custom see it here works with us: You give us details about your paper: to do this, you can simply fill in our order form. Pay attention to all the required fields and feel free to include any additional information in the comments box. Or, simply get in touch with our support � they will gladly help you out! We find the best writer for your assignment: once we have all the Salomonsson was kind enough to offer a bit of an explanation: “Regarding the recording live-part, you are correct that both were recorded live. A more apt description for this might have been ‘concert-form’ rather then live album, but it is what it is. The music and songs keep evolving as we play them and we like to consider each recording more of as a timestamp on where we are at the moment.”

He’s not wrong and he’s not exaggerating. I wouldn’t know, never having been so fortunate as to see the band — who are based in Malmö — live, but the songs are reshaped as they’re played here compared to what they were less than a year ago. “Acid Haze,” which is both opener and longest track (immediate points) becomes a side-A-consuming jam, its midsection stretched with an Andersson-led effects freakout that morphs from a likewise exploratory solo section. Listening to the ensuing shred, one is put in mind of Earthless, but there’s a progressive undercurrent as well in the use of effects from Andersson and Lindsjö, and that comes across as well in “Sonic Blaze” as the various melodic flourishes hint toward what vocals might do in those places, not quite forming words but setting the listener’s brain to the task of hearing them nonetheless.

And with a solid weight of distortion behind them, “Acid Haze” and “Sonic Blaze” — there’s something satisfying about that rhyme; put them together and you actually have a pretty apt description of CB3‘s sound and style; indeed they’re all about acid haze in terms of their heavy psychedelic and sonic blaze in terms of their ability to scorch with various effects and Andersson‘s lead work — offer no shortage of depth for listener immersion. But parts are also maintained to make the songs recognizable, such as the emergent chug in the second half of “Sonic Blaze” or the monolithic plod as “Acid Haze” returns from its jammier stretch.

Of the three inclusions, “Warrior Queen” is the closest to how it appeared on Aeons proper, but the organ-style melodic effects still manage to shimmer through its earlier heavier parts and the kind of manic rush as it moves toward its midpoint — a proggy freneticism that “Sonic Blaze” also tapped, suitably enough — and there are still spaces being explored that the original dared not tread, the band seemingly bolder in this live show-esque context, though it could also be a case of the rougher sound generally adding edge to their style. One way or the other, it works in the songs’ favor.

Each of CB3‘s to-date three studio offerings — Aeons, 2018’s From Nothing to Eternity (discussed here) and 2015’s CB3 — has had a companion live release. So in a way, Aeons Live Session is right on form, but it still manages to reveal a different side of the band, and more importantly, it demonstrates their ongoing evolution as players and as a unit. I would not be at all surprised if their next full-length pushed even further into prog-psych adventures, since what CB3 show most of all with Aeons Live Session is that it isn’t just the songs themselves that grow and change, but the chemistry of the band as well.

More PR wire/pressing info follows the stream of Aeons Live Session below.

Please enjoy:

CB3 released their second studio album Aeons in February 2020, right before the pandemic hit. The essence of the band is the live concert experience; every song becomes different and new, solos are improvised, and the intensity is ever-shifting. With limited opportunities for gigs, the band decided to capture the live experience on record, so that fans can experience the music the way it’s meant to be heard.

Aeons Live Sessions will be available on Youtube, streaming platforms, and as a limited edition 12” vinyl. Recorded live at Signalverket in Malmö, the tracks “Sonic Blaze,”, “Acid Haze,” and “Warrior Queen” add up to almost half an hour of intoxicating, instrumental jamming. Close your eyes, set your mind free, and drift away into the musical universe of CB3!

Aeons Live sessions will be released January 15 on The Sign Records on digital and 12? vinyl format. The physical release is limited to 300 copies.

CB3 are:
Charlotta Andersson – Electric Guitar
Pelle Lindsjö – Electric Bass
Natanael Salomonsson – Drums

CB3, “Sonic Blaze” from Aeons Live Session

CB3, Aeons (2020)

CB3 website

CB3 on Thee Facebooks

CB3 on Instagram

CB3 on Bandcamp

The Sign Records on Thee Facebooks

The Sign Records website

New week, same Quarterly Review. Today is the next-to-last round for this time, though once again, I look at the folders of albums on my desktop and the CDs and LPs that have come in and I realize it could easily go longer. I never really caught up from the last QR. I guess it’s been that kind of year. In any case, more good stuff today, so sit tight and enjoy. If you didn’t find anything last week that stuck out to you, maybe today’s your day.

Quarterly Review #51-60:

Emma Ruth Rundle & Thou, May Our Chambers Be Full

Sure, there’s poise and plunder amid torrents of emotion and weighted tonality, but what’s really astonishing about May Our Chambers Be Full, the first collaboration between Louisville’s Emma Ruth Rundle (Red Sparowes‘ third LP, the Nocturnes, Marriages, etc.) and New Orleans’ sludgers Thou is that it feels so much more substantial than its 36 minutes. That’s not to say it drags, though it does when it wants to in terms of tempo, but just that its impact both in songs where Rundle and Thou‘s Bryan Funck trade off like “Ancestral Recall” or when they come together as on opener “Killing Floor” is such that it feels longer. Atmosphere is certainly a factor, but May Our Chambers Be Full is so striking because of its blend of extremity and melody, emotion and sheer catharsis, and the breadth that seems to accompany its consuming crush. In a couple years, there are going to be an awful lot of bands putting out debut albums that sound very much like this. Follow-up EP out soon.

Emma Ruth Rundle on Thee Facebooks

Thou on Instagram

Sacred Bones Records website

—

 

Spaceslug, Leftovers

Produced by the band and Piotr Grzegorowski — who also guests on synth and guitar — during the plague-addled Spring of 2020, Spaceslug‘s Leftovers EP represents a branching out in terms of style to incorporate a sense of melancholy alongside their established sprawling psychedelics. The 21-minute five-tracker is less a follow-up to 2019’s Reign of the Orion (review here) than a standalone sidestep, but in the acoustic/synth rollout of “From Behind the Glass” and in the especially-stripped-down-feeling centerpiece “The Birds are Loudest in May” it lives up to the challenge of blending an organic atmosphere with the otherworldly sensibilities Spaceslug have honed so well throughout their tenure. Having started with its longest and synthiest track in “Wasted Illusion,” Leftovers caps with the shorter and more active “Place to Turn” and its title-track, which adds a spindly layer of electric guitar (or something that sounds like it) for an experimentalist vibe. Very 2020, but no less welcome for that. The question is whether these impulses show up in Spaceslug‘s work from here on out, and if so, how.

Spaceslug on Thee Facebooks

Spaceslug on Bandcamp

—

 

Malsten, The Haunting of Silvåkra Mill

Malmö-based four-piece Malsten make their full-length debut on Interstellar Smoke Records with the four-song/44-minute The Haunting of Silvåkra Mill, and in so doing show an immediate command of post-Pallbearer spaciousness and melodic-doom traditionalism. Their lumber is prevalent and engrossing tonally on opener “Torsion” (10:36), uses silence effectively on “Immolation” (10:24), and seems to find a place between Warning and Lord Vicar on “Grinder” (9:02) ahead of the epic-on-top-of-epics summary in closer “Compunction” (13:54), which finds Malsten having reserved another level of heavy to keep as their final statement. So be it. Very heavy and worthy of as much volume as you can give it, The Haunting of Silvåkra Mill is an accomplished beginning and heralds significant potential on the part of what’s to come from Malsten. I’d watch this band do a live stream playing this record front-to-back. Just saying.

Malsten on Thee Facebooks

Interstellar Smoke Records webstore

—

 

Sun Crow, Quest for Oblivion

A significant undertaking of progressive heavy and noise rock, Sun Crow‘s Quest for Oblivion is among the most ambitious debut albums I’ve heard in 2020, but there’s nothing it sets for itself in terms of goals that it doesn’t accomplish, as vocalist Charles Wilson flips between clean melodies and effective screams atop the riffs of guitarist Ben Nechanicky, the bass of Brian Steel and Keith Hastreiter‘s drums. Somebody’s gonna sign these guys. Even at 70 minutes, Quest for Oblivion, from its post-apocalyptic standpoint, aesthetic cohesion, fluid songcraft and accomplished performance, is simply too good to leave without a proper 2LP release. Individualized in atmosphere though working with familiar-enough elements, it is an album that makes it joyously difficult to pick apart influences, unleashing an initial burst of four longer tracks before giving way (albeit momentarily) to “Fear” and the outlying, brazenly Motörheady “Nothing Behind” before returning to cosmic heavy in “Hypersonic” and the 11-minute “Titans,” which uses its time just as well as everything else that surrounds. Ironic that a record that seems to be about a wasteland should bring so much hope for the future.

Sun Crow on Thee Facebooks

Sun Crow on Bandcamp

—

 

Honeybadger, Pleasure Delayer

It doesn’t take Honeybadger long to land their first effective punch on their debut LP, Pleasure Delayer, as the hook of opener/longest track (immediate points) “The Wolf” hits square on the jaw and precedes an atmospheric guitar outro that leads into the rest of the album as a closer might otherwise lead the way out. A product of Athens’ heavy rock boom, the four-piece distinguish themselves in fuzzy tones and an approach that comes right to the edge of burl and doesn’t quite tip over, thankfully and gracefully staving off chestbeating in favor of quality songcraft on “The Well” and the engagingly bass-led “Crazy Ride,” from which the initially slower, bluesier “Good for Nothing” picks up with some Truckfighters, some 1000mods and a whole lot of fun. Side B’s hooks are no less satisfyingly straightforward. “That Feel” feels born for the stage, while “Laura Palmer” makes a memorable chorus out of that Twin Peaks character’s slaying, the penultimate “Holler” feels indeed like the work of a band trying to stand themselves out from a crowded pack and “Truth in the Lie” caps mirroring the energy of “Good for Nothing” but resounding in a cold finish. Efficient, hooky, smoothly executed. There’s nothing one might reasonably ask of Pleasure Delayer that it doesn’t deliver.

Honeybadger on Thee Facebooks

Honeybadger on Bandcamp

—

 

Monte Luna, Mind Control Broadcast

Released name-your-price as a benefit for the venue The Lost Well in Monte Luna‘s hometown of Austin and derived from a CvltNation-sponsored livestream, the three-song Mind Control Broadcast follows 2019’s Drowners’ Wives (review here) and is intended as a glimpse at their impending third LP, likely due in 2021. That record will be one to look forward to, but it’ll be hard to trade out the raw bludgeon of “Blackstar” — the leadoff here — for another, maybe-not-live-recorded version. True, the setting doesn’t necessarily allow for the band to bring in guests like they did last time around or to flesh out melodies in the same way, but the sound is brash and thrilling and lets “Rust Goliath” live up to its name in largesse, while saving its nastiest for last in “Fear the Sun,” the glorious bassline of which it feels like a spoiler even mentioning for someone who hasn’t heard it yet. 22 of the sludgiest minutes you’re likely to spend today.

Monte Luna on Thee Facebooks

Monte Luna BigCartel store

—

 

Hombrehumano, Crepuscular

As satisfying as the laid-back-heavy desert rock flow of “Rolito” is, and as well done as what surrounds on Hombrehumano‘s 2019 debut album, Crepuscular, turns out to be in its 53-minute run, it’s in the longer pieces like the Western “Puerto Gris” or the post-Brant Bjork “Metamorfosis” that they really shine. That’s not to take away from the opening instrumental “Nomada” that establishes the tones and sets the atmosphere in which the rest of the record takes place, or the nod of “Primaveras de Olvido,” and certainly the fuzz-boogie and percussion of “Ouroboro” shine in a manner worthy of being depicted on the cover, but the Argentinian four-piece do well with the extra time to flesh out their material. But, either way you go, you go. Hombrehumano craft sweet fuzz and spaciousness on “Puerto Gris” and answer it back later in “Zombakice” and add twists of percussion and acoustics and vocal effects — never mind the birdsong — on closer “Del Ensueño.” Es un ejemplo más de lo que le falta a la cultura gringo al no adorar fuertemente a los sudamericanos.

Hombrehumano on Thee Facebooks

Hombrehumano on Bandcamp

—

 

Veljet, Viva El Diablo

Even my non-Spanish-speaking ass can translate Viva el Diablo, the title of Mexican instrumentalist three-piece Veljet‘s debut album. Initially released by the band in March 2020, it was subsequently reissued for physical pressing with a seventh track, “Leviatan,” added, bringing the runtime to a vinyl-ready 37 minutes. The apparently-devil-worshiping title-cut is still the longest at a doomly eight minutes, but though the production is fairly raw, Veljet‘s material taps into a few different impulses within the heavy rock sphere, offsetting willfully repetitive riffing in “El Día de las Manos” with scorching solo work while “Jay Adams” — presumably named in homage to the Dogtown skater — pulls some trad-metal riffing into its second half. “Cutlass” is short at 2:36, but makes the record as a whole feel less predictable for that, and the add-on “Leviatan” embodies its great sea beast with a nod up front that opens to later cacophony. The vibe throughout is you’re-in-the-room live jams, and Veljet have well enough chemistry to carry the songs across in that setting.

Veljet on Thee Facebooks

The Swamp Records website

—

 

Witchrider, Electrical Storm

Smoothly produced and executed, not lacking energy but produced for a very studio-style fullness, Witchrider‘s second LP arrives via Fuzzorama Records in answer to 2014’s Unmountable Stairs with a pro-shop feel for its 50-minute duration. Songs are sharply hooked and energetic, beefing up Queens of the Stone Age-style desert rock early on “Shadows” and “You Lied” before the guitars introduce a broader palette with the title-track. The chorus of “Mess Creator” and the big finish in closer “The Weatherman” are highlights, but songs like “Keep Me out of It” and “Come Back” feel built for a commercial infrastructure that — at least in radio-free America — doesn’t exist anymore. I’m not sure what it takes to attract the attention of picky algorithms, but if it’s grounded songwriting, varied material and crisp performance like it was when there was a cable channel playing music videos, then Witchrider are ready to roll. As it stands, the Austrian outfit seem underserved by the inability to even get on a festival stage and play this material live to win converts in that manner. They’re hardly alone in that, but with material that seems so poised specifically toward audience engagement, it comes through all the more, which of course is a testament to the quality of the work itself.

Witchrider on Thee Facebooks

Fuzzorama Records website

—

 

Devil Worshipper, 3

Opening with its longest track (immediate points) in the 10-minute “Silver Dagger” and presented with the burning red eyes of Christopher Lee’s Dracula on the front, the 33-minute 3 tape from Seattle’s Devil Worshipper maintains the weirdo-experimental spirit of the outfit’s 2015 self-titled debut (review here), finding a kind of Butthole Surfers-into-a-cassette-recorder, anything-goes-until-it-sucks, dark ’90s psychedelia they call “garage metal.” Fair enough. Apparently more efficient than anything I can come up with for it, though what doesn’t necessarily account for is the way the 3 challenges the listener, the remastered versions of “Into Radiation Wave” and “Chem Rails” from the first album, or the horror atmospherics of “Drinking Blood.” It’s like it’s too weird for this planet so it finally made one for itself. Well earned.

Devil Worshipper on Thee Facebooks

Puppy Mill Recordings on Bandcamp

—

 

Let’s go ahead and make the rash assumption that CB3 are in their element on the upcoming Aeons Live Session. My first thought when I saw the news about the release: ‘Wait a second, Aeons (review here) wasn’t recorded live?’ Either way, the band’s work is based around improvisational conversation between the guitar, bass and drums, and it seems only natural that at a time when they can’t get on stage and offer that to an in-person audience, they might seek to at least do what they can to support the record that came out earlier this year. You might’ve noticed, they’re not the only ones taking such a course.

They’re underknown as yet, but I dig the vibe CB3 bring, and if you want to do the same, the video below for “Sonic Blaze” makes a compelling case toward doing so. You could do way, way, way worse with your time.

PR wire info follows, along with this badass cover art:

CB3 release first single from upcoming live album

CB3 (Charlottas Burning Trio) are set to release a live session album on The Sign Records early 2021. The album contains three tracks from the band‘s latest release “Aeons”, clocking in at 28 minutes of mind-bending and psychedelic cosmic jams. All three tracks are accompanied by live videos. The first single leading up to the live-album is called “Sonic Blaze (Live)” and is out now on all streaming platforms.

CB3 released their second studio album “Aeons” in February 2020, right before the pandemic hit. The essence of the band is the live concert experience – every song becomes different and new, solos are improvised and the intensity is ever-shifting. With limited opportunities for gigs, the band decided to capture the live experience on record, so that fans can experience the music the way it’s meant to.

Aeons Live Session is a video and music release, to be available on Youtube, streaming platforms and as a limited edition 12″ vinyl. It was recorded live recording at Signalverket in Malmö, Sweden, with three of the band‘s favorite songs from their latest full-length “Aeons”. The tracks, “Sonic Blaze”, “Acid Haze” and “Warrior Queen” ad up to almost half an hour of intoxicating, instrumental jamming. Close your eyes, set your mind free, and drift away into the musical universe of CB3!

Aeons Live sessions will be released January 15 on The Sign Records on digital and 12″ vinyl format. The physical release is limited to 300 copies.

CB3 are:
Charlotta Andersson – Electric Guitar
Pelle Lindsjö – Electric Bass
Natanael Salomonsson – Drums

www.charlottasburningtrio.com
https://www.facebook.com/charlottasburningtrio/
https://www.instagram.com/charlottasburningtrio/
https://cb3band.bandcamp.com/
https://www.facebook.com/thesignrecords/
http://www.thesignrecords.com

CB3, “Sonic Blaze” from Aeons Live Session

Yeah, that’ll do nicely, thanks. Checking out the new track from Sweden’s Huanastone, it’s little mystery why a label like Argonauta Records would want to pick them up, with their modern, open feeling tones reminiscent of some of Lowrider‘s original purposes, but set to more psychedelic reaching, an edge of post-rock coming through in the patience and jammier aspects enough to make “Bad Blood” suitably fluid. It’s the only thing I’ve heard from the upcoming Third Stone From the Sun album that Huanastone will issue through Argonauta this Spring, but it bodes well. I know Swedish heavy bands aren’t exactly a rarity these days — Huanastone hometown of Malmö makes me think immediately of Deville, with whom they’re playing this weekend as it happens — but pound for pound I don’t know if there’s another single nation on earth that delivers so much quality heavy rock and roll per capita. Germany? Argentina? I’d have to look at respective proportions of population vs. kickassery. I’ll get back to you once I’ve properly analyzed census data.

Point is the track is cool, so before you play the cynical, “Oh hey another band from Sweden bet they sound like Graveyard,” thing — they don’t, at all — take a couple minutes and listen to the track. You might dig it.

I hope you do, anyhow. That’s kind of the point.

From the PR wire:

Swedish Stoner Rockers HUANASTONE Sign With Argonauta Records And Reveal First Album Details + Brand New Song!

Malmö, Sweden, based stoner and fuzz rock unit, HUANASTONE, has announced their worldwide signing with Argonauta Records – joining the label’s eclectic artist roster for an album release in the Spring of 2020!

Each of HUANASTONE’s records tells a new story and opens up new opportunities for exploration, while the band is creating an authentic, heartfelt and ominous sound backed up by steady riffs, big fuzz and heavy grooves. Following their critically acclaimed debut EP and first full-length album, HUANASTONE emphasize the importance of live studio recordings, and so it goes for their upcoming, sophomore album titled Third Stone from the Sun.

Says the band: “After years of hard work, Huanastone finally achieved something not many bands gets to experience. We’ve landed a record-deal! We are excited to inform you that we will be working with the one and only, Argonauta Records. Housing some mad bands like Suma, Wasted Theory and Kal-El, we know that we’re in good hands.

Before the full release of the album, we will release 2 singles that will be on all your usual streaming platforms.”

Recorded at Studio Möllan in their hometown of Malmö, today HUANASTONE are already sharing with us a first album appetizer to the heavy stoner juggernaut Bad Blood, listen to the track right HERE!

With many more details and tunes from their upcoming Spring release to follow in the weeks ahead, HUANASTONE will be playing a show in support of DEVILLE on January 18th at Kulturbolaget in their hometown Malmö, a heavy touring schedule with many more dates will be revealed soon.

HUANASTONE is:
Filip Larsson – Bass
Tobias Gonzalez – Vocals/Guitar
Carl Lambertus Olofsson – Guitar
Victor Hansson – Drums

www.facebook.com/Huanastone
https://www.instagram.com/huanastone/
www.huanastone.bandcamp.com
www.argonautarecords.com
www.facebook.com/argonautarecords

Huanastone, “Bad Blood”

A 15th anniversary only happens once, and Swedish heavy rockers Deville will celebrate theirs in style with their first-ever run of Australian tour dates. Presented by Beats Cartel, the run will find them supporting their 2018 outing, Pigs with Gods (review here) — though I wouldn’t be surprised either if they had something new in the works or at least a few new songs to play at the shows — and paired up with Sydney duo Astrodeath, who this winter will release their debut album through Black Farm Records. Deville‘s last offering came out through Fuzzorama, and they also toured Europe in 2019 to back it. Whether or not they have new material to offer up is somewhat beside the point, considering the anniversary noted above. Think about dedicating 15 years of your life to a creative project. It’s not easy. It’s worth a trip to Australia, as far as I’m concerned.

They’ll play Mojo Burning and Germanium Daze festivals while they’re there, and do two nights in Melbourne to lead off, with a couple days off after the first fest that I’m just going to assume will be dedicated to the requisite sightseeing and having-your-picture-taken-with-a-koala-or-kangaroos, etc. How my heart longs have a picture taken with a koala or a kangaroo. I can’t begin to tell you. I’d spend 20-odd hours on a plane for that.

From the PR wire:

SWEDISH RIFF LORDS DEVILLE MAKE FIRST TRIP TO AUSTRALIA

Swedish riff lords Deville make their first trip to Australia next year having today announced plans for an extensive national tour on the back of multiple festival appearances.

Born in 2004, Deville have developed through a haze of Rock, Stoner and Metal sounds, creating something unique which has seen them support the likes of Red Fang, Torche, Fu Manchu, Truckfighters and tour the US, UK and Europe many times over, playing a host of the world’s best venues and festivals.

With albums signed to Heavy Psych Sounds, Buzzville Records, Small Stone Records and Sweden’s Fuzzorama Records, the band have given 15 years of service to Rock’n’Roll, a feat rarely realised in today’s music business. This tour will celebrate the milestone.

March/April 2020 sees the Swedes travel to Australia for their first ever tour of the country. Presented by Beats Cartel, the tour racks up eight dates in four states/territories and will see the band play with the likes of Germany’s Kadavar and appear at annual boutique guitar fest Mojo Burning in Brisbane along with new offering Germanium Daze in Perth.

Lead singer Andreas Bengtsson says of the upcoming tour “Touring Australia for the first time is of course a huge thing for us and doing it when the band is turning 15 years old makes it even better. We’re thrilled to share the stage during this run with bands such as Kadavar, Nebula and Temples and not to forget our touring partners Astrodeath. This will be a good one, hope to see you all at a show.”

In support of the tour nationally are high energy Sydney heavy duo Astrodeath, who have themselves had an amazing drop into the scene having supported the likes of 1000mods, Nick Oliveri and Batpiss along with also landing festival slots at Mojo Burning (QLD) and Germanium Daze (WA) in what is a very short time at the fray.

Catch Deville this Autumn, making their way across the country coast to coast for what will be a fun and energetic display of European hard Rock. Tickets are onsale now through www.beatscartel.com.

Beats Cartel Presents: DEVILLE 2020 AUSTRALIAN TOUR – “15 Years of Rock’n’Roll”
Touring with ASTRODEATH
Thursday March 26 MELBOURNE The Tote
Friday March 27 MELBOURNE Cherry Bar
Saturday March 28 BRISBANE MOJO BURNING FESTIVAL Feat. Temples (UK), Kadavar (GER), Steve Smyth and many more
Wednesday April 01 CANBERRA The Basement
Thursday April 02 SYDNEY Frankies Pizza
Friday April 03 NEWCASTLE Stag and Hunter
Saturday April 04 SCARBOROUGH GERMANIUM DAZE *Feat Kadavar (GER), Nebula (USA), The Floors and many more
Sunday April 05 PERTH Lucy’s Love Shack

https://www.facebook.com/tours/541947679989599/

Deville lineup:
Andreas Bengtsson: guitar/vocals
Andreas Wulkan: guitar
Martin Nobel: bass
Martin Fässberg: drums

http://deville.nu/
https://www.facebook.com/devilleband
http://www.fuzzoramarecords.com/
https://www.facebook.com/Fuzzorama

Deville, Sunnanå Studios live session

[Click play above to stream the premiere of ‘Warrior Queen’ from CB3’s Aeons. Album is out Feb. 28 on The Sign Records.]

They never approach what-you-see-is-what-you-get level simplicity in terms of sound, but at least some of what you need to know about CB3 is there in the name. The acronym, which they seem to prefer to go by, stands for Charlotta’s Burnin’ Trio. Sure enough, there are three of them. They’re led by guitarist Charlotta Andersson. And the burn. Their style is rooted in heavy rock as some of Andersson‘s riffing and certainly her tone demonstrate, but there is a willful-sounding embrace of the progressive as well on their The Sign Records label debut and third album overall, Aeons. Andersson and fellow-founding member Natanael Salomonsson started out in jazzier territory on their 2015 self-titled debut, and across a 2016 live offering, the 2017 short release Adventures, early 2018’s sophomore LP, From Nothing to Eternity (discussed here), and the subsequent live EP, Cult of the Crystals, the Malmö, Sweden, outfit have continually ventured into broader and more psychedelic and weighted ground.

Aeons, which runs an utterly manageable 32 minutes across five tracks, continues this push into the uncharted cosmos perhaps most of all on its nine-minute centerpiece “Acid Haze” — an obvious focal point for the record — but also more generally throughout, as Andersson, Salomonsson and bassist Pelle Lindsjö enact organic-sounding instrumentalist fluidity and give their listeners a range of depths/reaches to explore in kind with the band. Songs are arranged for a journey, parabolically or like a mountain being climbed — though, again, at such a gracefully flowing 32 minutes, it’s not exactly a strenuous uphill — with opener “Zodiac” (3:51) and “Sonic Blaze” (6:50) which follows, building in runtime up to the already-noted longer stretch of “Acid Haze” (9:08), and “Warrior Queen” (7:26) and “Apocalypse” (5:00) paring back down from there in length if not in style or breadth.

Indeed, if anything, “Warrior Queen” answers the sprawl of “Acid Haze” with its own outbound push, particularly over the course of its first five minutes moving further and further from the ground as Andersson‘s guitar soars and shimmers above the solidified but still jammy groove beneath. From there, CB3 come together around a sequence of riffs, one into the next, and resolve the track’s final moments with a straightforward thrust that’s a standout moment even amid the sax and mellotron psychedelic wash of “Apocalypse” that follows — turns out the end of the world is kind of pretty; certainly much prettier than it feels living through it. The point, however, is that the second half of Aeons‘ unfurls itself no less gracefully than does the first. Listening to “Zodiac” at the record’s outset, the groove seems more grounded, toying around with a winding blues riff that wouldn’t seem out of place on a Clutch record even as CB3 manipulate it in various ways via shifts of tempo and effects wash, synth (or synth sounds), and so on, eventually finding their way into a slower nod that only pulls itself further down as it proceeds toward its own end and the more active start of “Sonic Blaze.”

One would hardly call these tracks grounded, even in relation to “Acid Haze” or the first half of “Warrior Queen,” and yet, the temptation to put a first/then narrative — as in, first they’re on the ground, then they’re not — to the progression of Aeons is hard to resist, especially with the sax and mellotron so clearly purposeful in their positioning in the final track. But the truth is more complicated, and, honestly, richer in terms of scope. “Sonic Blaze” flirts with some ambient drone before finding footing in a crash-laden YOB-style triplet gallop, which Andersson then moves up the fretboard before finally releasing into the ether, and eventually returns to the central riff of the track before capping with a winding conclusion on the way into the patient start of “Acid Haze” itself.

And yes, “Acid Haze” go-go-go-goes to new degrees of galaxial spaciousness in a way that CB3 didn’t do even a year ago, the guitar in eyes-closed-Hendrixian-style echo-shred leading the hypnotic wash that ensues on what is a genuinely gorgeous and singular moment on the album, running as far out as it can before Salomonsson‘s popping snare returns to bring momentum and set the stage for the more sweeping second half of the song, though that too has its due portion of noise before the last live-style crashout and the triumphant guitar intro of “Warrior Queen” commences.

Flow becomes central to the penultimate inclusion on Aeons, and in that regard CB3 are right at home, with some joyful headspinning solo fare after the three-minute mark and a generally languid vibe earlier on before, as noted, the more grounded, chugging end takes hold and builds up to the last charge, leaving just “Apocalypse” to round out, its strumming intro and quiet rim-tap snare serving as the initial foundation on which the fuller tonal impact is made. The aforementioned mellotron arrives earlier than the sax, which doesn’t come until just after the halfway mark and seems to show up in layers when it does, but both are central to the song’s statement and the album’s conclusion, bringing together CB3‘s jazz roots with their intent toward classic progressive rock in a way that, thanks to its atmospheric stylization, avoids the self-indulgence one might commonly associate with fusion or such jazzy impulses.

That is a line that CB3 walk well throughout Aeons, grounding themselves at the beginning and periodically afterward even as they venture into new, more cosmic and psychedelic places. Particularly as an instrumental unit, they’re able to bring an imaginative sense to what they do, but they don’t ever seem to lose focus on their central purpose either, and Aeons is a stronger record on the whole for it. I’m left wondering if there isn’t a storyline taking place between the songs as “Sonic Blaze” and “Acid Haze” and “Warrior Queen” flow in succession toward, well, the end of all things, but perhaps that’s a concern best left for the inevitable sequel. For now, Aeons clearly demonstrates CB3‘s ongoing commitment to evolving their sound, and their ability to meld progressive and psychedelic impulses with a rare and well-harnessed vitality. Would seem that’s plenty to ask of a record that’s just over a half-hour long, no?

CB3, Aeons (2020)

CB3 website

CB3 on Thee Facebooks

CB3 on Instagram

CB3 on Bandcamp

The Sign Records on Thee Facebooks

The Sign Records website

Cool band. Swedish trio CB3 have been picked up by The Sign Records — wasn’t it just yesterday I was talking about the label’s reliable taste? well here’s another example of it — to release their second long-player, Aeons, on Feb. 28 as the follow-up to 2018’s From Nothing to Eternity (discussed here) and the subsequent live EP, Cult of the Crystals. The progressive psychedelic instrumental outfit are led by and named for guitarist Charlotta Andersson — they’re Charlotta’s Burning Trio when go long-form — and though February 2020 feels like a great and unknown future somewhere off in the distance, actually it’s only a couple months and the band will unveil the new single “Sonic Blaze” from the five-track offering next week, so you don’t actually have to wait all that long to get at least a quick fix.

Until then, here’s info courtesy of The Sign via the PR wire:

CB3 – Aeons – The Sign Records

We welcome CB3 (Charlottas Burning Trio) to The Sign Records! CB3 will release their new album “Aeons” the 28th of February 2020, and next Friday – the 25th of October, you’ll be able to enjoy the first cosmic frequencies of the album as the single “Sonic Blaze” reaches earth after a long journey through outer space.

CB3 is here to bring you on a journey with their explosive rock jams and mind-bending cosmic soundscapes. CB3 brings the spirit of psychedelic music to the 21th century; with a style that ranges from heavy psych rock jams like Jimi Hendrix to delicate atmospheric passages like Pink Floyd and progressive rhythms like King Crimson and Mahavishnu Orchestra. Close your eyes, set your mind free and drift away into the musical universe of CB3.

The autumn of 2018, CB3 celebrated a five year anniversary as a band in their hometown of Malmö, Sweden. Half a decade of constant exploration of the unconventional way of playing, fusing rock with jazz tonality and experimenting with rhythms, sounds and structures. After two self-released and self-produced albums, multiple collaborative projects and touring, CB3 signed with Lazy Octopus Records and Drone Rock Records for a cassette and vinyl release of their debut album “From Nothing to Eternity” in 2018. It was sold out immediately and received flourishing reviews.

In spring of 2020 they will release their new album “Aeons” on The Sign Records. Charlotta said of the process “It’s been an exciting journey. Me, Pelle and Nate has almost been living, eating and sleeping music, but above all experimenting with the idea of making the most exciting and kickass instrumental album ever.”. Since the beginning the trio has valued and nourished their thriving lust of exploring new ways in composing music and playing live shows.

The album is recorded by Björn Lindberg at Rabbit Holes Studios in Malmö and mixed and mastered by Joona Hassinen at Studio Underjord in Norrköping, Sweden. Björn is a sound engineer that worked with Hey Elbow. Joona is the sought after engineer in the underground scene in Sweden and has worked with bands like MaidaVale and Vokonis. The last track “Apocalypse” features Martin Wirén on saxophones and Charlotta on mellotrones. Artwork by Robin Gnista (Brant Björk, Radio Moscow, Imperial State Electric). Press Photos by Gianluca La Bruna. Video animations by Matteo Nobis Sandén (3D-artist, illustrator).

CB3 are:
Charlotta Andersson – Electric Guitar
Pelle Lindsjö – Electric Bass
Natanael Salomonsson – Drums

www.charlottasburningtrio.com
https://www.facebook.com/charlottasburningtrio/
https://www.instagram.com/charlottasburningtrio/
https://cb3band.bandcamp.com/
https://www.facebook.com/thesignrecords/
http://www.thesignrecords.com

CB3, “From Nothing to Eternity” (Live 2018)

One usually thinks of Sweden’s Deville as having a pretty pro-shop kind of sound. That is, when there’s a new Deville record coming out, I expect that it’s going to sound clear and full in a kind of accessible way that, in an alternate universe, would be radio-friendly. Listening to the recordings they made April 19, 2019, at Sunnanå Studios in Arlöv, I think they might need to track their next album live. Like, entirely live. The four-piece of guitarists Andreas Bengtsson (also vocals) and Andreas Wulkan, bassist Martin Nobel and drummer Martin Fässberg released their Pigs with Gods (review here) full-length last year through Fuzzorama, and it wasn’t lacking for either vitality or presence, but listening to Bengtsson and Wulkan come together on vocals in the hook of “Hell in the Water,” which opens this four-song set in the sub-15-minute video, they nail it in such a way as to make me wonder why they’d ever do anything else. Likewise the gruffer approach and rumble of “Lost Grounds,” the aggro crash of “Wrecked” (which has a confetti drop at the end of it; keep an eye out) and the ultra-righteous apex of “Chief” that rounds out. If you can do that live, do it. Not everyone can.

For those of us who’ve never seen this incarnation of Deville live — when they toured the US a few years back, it was with a different rhythm section — it’s also an opportunity to catch a glimpse of the dynamic they bring to the stage. It’s not going to be the same, of course, as they’re arranged facing each other in a circle and in a studio setting, but you can still see Nobel‘s metallic roots in how he headbangs to the songs, and the care Fässberg puts into propelling the grooves that are laced throughout. Deville are a band about songwriting more than technical flash, but they bring a spirit of performance here that gives another dimension to their work. In tone and in the basic energy, the Sunnanå session speaks to the essential drive behind what they do. It’s not necessarily that it’s rougher than their regular studio output — if it is at all, it’s not much; they still come across clear and professional — but the directness of their craft, its unabashed hooks, benefits from the immediacy of the circumstance. They sound killer, is the bottom line. I think these guys are kind of underrated as songwriters in part because their style is so straightforward, but they’re exceptional in their delivery, and that’s what’s emphasized so fervently in this footage.

So yeah, I’m not trying to tell anyone their business, or how to live their life, or how to make their next album, but the side they show of themselves here is definitely one worth revisiting, be it through a live record at some point or however they might go about it.

I’m happy to host the premiere, and Bengtsson has some comment on offer afterward.

Please enjoy:

Deville, Sunnanå Studios live session video premiere

Andreas Bengtsson on Sunnanå Studios session:

Chose songs that haven’t been played that much and some that have. Three from our latest album “Pigs with Gods” and one older. This is our first real live recording in a studio that has been filmed. Imagine it took so long to make one. We have been told many times that we are better live than on the record so let’s see what people think.

Tracklisting:
1. Hell in the Water
2. Lost Grounds
3. Wrecked
4. Chief

Recorded 2019-04-19 at Sunnanå Studios, Arlöv, Sweden.

Director of photography : Henrik Christoffersson

Sound engineering : Markus Nilsson

Deville lineup:
Andreas Bengtsson: guitar/vocals
Andreas Wulkan: guitar
Martin Nobel: bass
Martin Fässberg: drums

Deville on Thee Facebooks

Deville website

Fuzzorama Records

Fuzzorama on Bandcamp