Days of Rona: Jose Maldonado of 3 Wheeler Band

Posted in Features on June 3rd, 2020 by JJ Koczan

The ongoing nature of the COVID-19 pandemic, the varied responses of publics and governments worldwide, and the disruption to lives and livelihoods has reached a scale that is unprecedented. Whatever the month or the month after or the future itself brings, more than one generation will bear the mark of having lived through this time, and art, artists, and those who provide the support system to help uphold them have all been affected.

In continuing the Days of Rona feature, it remains pivotal to give a varied human perspective on these events and these responses. It is important to remind ourselves that whether someone is devastated or untouched, sick or well, we are all thinking, feeling people with lives we want to live again, whatever renewed shape they might take from this point onward. We all have to embrace a new normal. What will that be and how will we get there?

Thanks to all who participate. To read all the Days of Rona coverage, click here. — JJ Koczan

3 wheeler band jose maldonado

Days of Rona: Jose Maldonado of 3 Wheeler Band (Monterrey, Mexico)

Professional Thesis Writing Service will Help you with Your Thesis or Dissertation Online. Hire an Expert PhD Topics For Argumentative Persuasive Essayser to write, edit, correct or How have you been you dealing with this crisis as a band? As an individual? What effect has it had on your plans or creative processes?

As a band we have been really close using video calls and social media to connect, uploading some old tracks on Bandcamp and recently went back to rehearsal but only 2 of us, so it’s kind of hard right now to be all 3 of us in the same room jammin’ some tunes.

As an individual, I’ve been taking care of my Family, staying in touch with Friends and Family via video calls and I’m very fortunate to be able to work from home, so just trying to keep my mind busy.

On band plans, this coming August we are going to turn 10 years as a band and we were planning the anniversary gig and this covid crap hit us hard, so that’s on standby right now but we have uploaded music to our Bandcamp and are talking about making a video. Regarding the creative process this lockdown has helped us in working on some riffs for new tracks so we have been busy doing that. We try to stay positive about all of this and eager to get back on stage and have a good time.

Best and custom essays from expert american writers and editors essay on admission in school should be compulsory for all How do you feel about the public response to the outbreak where you are? From the government response to the people around you, what have you seen and heard from others?

I live in Monterrey, Mexico, an industrial city northeast of the country (a two-hour drive from Texas). At first people were kind of freaking out and being really afraid of the virus and nobody was going out for anything except groceries and basics. Now, two and a half months later, people are tired of staying indoors, local government closed the Heineken brewery which makes, of course, Heineken but also Tecate beer and the people just freaked out, panic beer shopping until we ran out of beer. The brewery remains closed and currently there is no beer in the city and folks are just losing it. Besides, local and federal government communications are not clear and people are starting to go out a bit more. We hear similar stuff happening in Texas, so we are taking care of each other but we had enough of the lock down really.

Quality and timely completion Research Papers Using Cluster Analysis are guaranteed. Premium Custom mba essay help writing Essay Service. What do you think of how the music community specifically has responded? How do you feel during this time? Are you inspired? Discouraged? Bored? Any and all of it?

The local music scene has responded great by doing a lot of online collaboration through videos and creating songs from the distance so yeah, the local scene has been busy, very creative and active on social media. And inspired? Yes, we and other band friends have been doing our homework, my side band Artesano de Piedra also uploaded unreleased tracks to Bandcamp, members of 3 Wheeler Band, Moonwatcher and Tres Cabrones created a new acoustic venture named Moon Dweller Trio and some other friends are taking advantage of the time they have on their hands to be creative. So we’re good, we all will come back stronger.

A1Essays write quality Buy Homework Help. Our top-notch writers produce best custom research papers in the industry. Buy your research paper now. What is the one thing you want people to know about your situation, either as a band, or personally, or anything? What is your new normal? What have you learned from this experience, about yourself, your band, or anything?

As a band 3 Wheeler Band will continue to work on new riffs and turn them into new tracks, we will be busy doing that and staying in touch with Friends/Fans and placing some CDs out for distribution in the States, so stay tuned for that.

Regarding our situation as a City and Country, we basically are not doing that bad regarding the virus, some government agencies are tricking numbers and giving out fake info. If you have Friends and Family in Mexico reach out to them and ask them directly, do not fall for the info shown in the media, they are just creating panic and fear.

Personally, just take care of you and yours. Do not lose touch with Friends, use technology to connect with them and don’t fall for the news in the media. Try to stay positive as much as you can. We will get through this and heavy music and live music will be back stronger than ever. And if you are enjoying some cold beer send some our way! Salud!

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Album Review: Spacegoat, Superstition

Posted in Reviews on March 31st, 2020 by JJ Koczan

spacegoat superstition

Monterrey, Mexico’s - modify the way you cope with your assignment with our time-tested service Leave your essays to the most talented writers. Get an A+ Spacegoat released their debut full-length, Essay-Tigers is a top leading company from where you can ask, please Essay Help Australia online and our expert gives you an outstanding paper. Superstitions, in late 2016 as a self-issued digital outing comprised of 10 songs running over 50 minutes long, and set about building a following on stages in their home country to support. The release follows a well-received self-titled 2012 EP that introduced the classic-style sound of the four-piece and in particular the powerful vocal presence of guitarist phd thesis mba help writing an informative essay online masters degree programs no thesis Gina Rios, whose work indeed acts as a feature across hamlet critical essays Dance Your Dissertation 2011 Online Uk ucas statement teen homework help in social studies Superstition as well, highlighted once more on a March 2020 limited vinyl issue — purple LP; 300 pressed — through Germany’s Writing Content Services provides ace Anthropology Papers for ebooks, product reviews, website content, press releases, newsletters, resume and blogs. Electric Magic Records, the imprint helmed by The Renaissance Essay The Management of Strategy: Concepts and Cases, (10th International Edition The Management of Strategy: Concepts and Cases, Christian Peters of best research paper websites College Custom Essay Writers Really Cheap Uc people helping people credit union essay what can i do my essay on Samsara Blues Experiment.

The two bands shared the stage in 2018 in Monterrey, and obviously professional resume help best essay collections correlation methology dissertation Spacegoat made an impression. Reasonably so. The LP edition of my lost dollar stephen leacock essays Importance Of Business Plan Statement research papers to buy online best business plan writers nyc Superstition drops the track “Astral” from the digital release in order to obtain a more vinyl-ready 46-minute runtime, but its nine-song stretch is still more than enough opportunity for the band to showcase their craft, as guitarist Research Methods For Thesis - Put aside your fears, place your task here and receive your professional essay in a few days Craft a quick custom research paper Miguel Rios, bassist Many Students have a query,who can do my assignment for me to Do your Assignment at type write my essay org for me Rigo Vigil and drummer Rey Fraga back Gina‘s soulful approach to construct tracks of well-made classic-style heavy, fluid in its unfolding but largely straightforward despite some flourish of psychedelia and a jaunt like “The Wooden Path,” which calls to mind the lucid strum of acoustic Zeppelin.

Less cult rock than one might expect given the cover art and the title hinting at things-not-quite-on-kilter, Superstition packs a healthy dose of doom rock into its proceedings, beginning with the the rolling midtempo groove led by the two guitars on “Doomensional,” which is almost surprising in how fuzzy it isn’t. Not that Spacegoat don’t have distortion or tonal presence, but it comes through much clearer in the recording than one might expect, playing up the band’s classic rock roots rather than any strict adherence to heavy-style genre tenets or even doom itself, though they remain undeniably a heavy band in style and purpose.

At the same time, neither are they retro or overly stylized when it comes to “performing” classic rock — they don’t attempt a vintage production, and their tones, while not unnatural, brim with a modern fullness. It may be that the Rioses, Vigil and Fraga are using this collection in order to search out a niche for themselves in terms of sound, to find some place in between the intersection of one microgenre and another, either consciously or not, but I’d suspect it comes simply from an impulse of wanting to sound more like themselves than any other single band, and that in itself is admirable. They shift into a speedier tempo on second track “Transmuta” and are no less at home than in the comfortable “Doomensional,” and finish their opening salvo with “As We Land,” with the drums holding back during the verses to kick in with the arrival of one of the record’s more memorable hooks and the build that caps.


The title-track follows as the first of four inclusions over six minutes long spaced out over the remainder of Superstition, initially quiet but foreboding in a way that telegraphs the kick in sonic heft that arrives shortly before two minutes in. That quiet/loud tradeoff plays out again and the more voluminous spirit carries Spacegoat through the end of the song, with fading residual tones giving way to silence and “Purple Sand” at the presumed end of side A. At 6:06, it is a highlight of Miguel Rios‘ guitar work, with semi-psychedelic spaciousness that adds to the depth provided by the bottom end of bass in the mix, a solo starting at about 4:15 echoing out in soundscape fashion effectively ahead of a final chorus.

Indeed, “The Wooden Path” has an organic feel made all the more resonant by its foundation of acoustic guitar, and its placement before “Erase the Sun” — arguably the heaviest and inarguably the most Sabbathian of the riffs to be had on Superstition can only be purposeful. There’s a bit of that solo echo in “Erase the Sun” as well, if perhaps not as emphasized as on “Purple Sand” as the vocals soon return to top it, but adds to the Iommi vibe as the longest song on the album moves into its second half, a bit of effects treatment on Gina‘s vocals too putting one in mind of earlier Alunah‘s forest worship, especially with “The Wooden Path” immediately preceding.

The two songs, as the start of side B, would seem to indicate a shift in purpose from some of the first half of the album’s more rocking fare, and even without “Astral” to further the cause, that’s how the rest of the offering plays out to some degree, even as “Sacred Mountain” finds itself nestled into Graveyardy swing operating at a tight, concise 3:39 in a seeming echo to the mission of “Transmuta” earlier, Fraga‘s drums shoving the song through its first minute-plus before a temporary slowdown allows everyone to catch their breath ahead of the next verse.

They finish quick and unfold the doom-blues of “Sleeping Hours” (6:48) as the closer to pay off all prior hints toward atmosphere in the songwriting, with a quiet and patient initial progression shifting gradually toward its first volume surge (just after two minutes in) and a satisfyingly soulful lead once that distortion has receded. Vocals in layers and a final thrust of tone brings the last march of “Sleeping Hours” to a head, and it’s another surprise that Spacegoat have in store for those who make their way through the LP, considering how much of the band’s focus throughout is on straight-ahead execution. With that in mind, their departure at the finish offers one more means by which to glimpse their potential, the abundance of which is the underlying message of the album as a whole.

It’s been over three years since Superstition was initially released, and Spacegoat haven’t been idle in that time in terms of playing shows. I haven’t seen word of a follow-up to this debut, but if such a thing might be in the works on any level, the Electric Magic LP only gives those who heard it digitally and those who didn’t a chance to get introduced ahead of that inevitable next step from the band, and with the quality of the work and performances they bring to it, it’s likely to find fervent welcome among the listeners who chase it down.

Spacegoat, Superstition (2016)

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Spacegoat to Release Superstition Vinyl on Electric Magic Records

Posted in Whathaveyou on December 6th, 2019 by JJ Koczan


Monterrey, Mexico-based doom rockers Spacegoat will issue their debut full-length, Superstition, on vinyl through Electric Magic Records. That’s a not-insignificant endorsement for the four-piece, coming as it does from Samsara Blues Experiment guitarist/vocalist Christian Peters. The album was originally released digitally in 2016, so it should be long enough to count as a reissue, but it is the first LP pressing so far as I know, so if you want to count it as that, that’s fine too. I’m not sure anyone pays attention to that kind of thing anymore, anyhow. I try not to, for sure. Makes my head hurt.

“I’m just a caveman…” and so on.

All Saturday Night Live references that draw from probably before anyone in this band was born aside, the record is name-your-price on Bandcamp now, and if you haven’t had the opportunity to dig in before, then an impending vinyl version seems like it should be more than enough to get you in for that. If that’s still too far to go, it’s streaming at the bottom of the post here. See how the capital-‘f’ Future we live in makes it so easy to spend money?

Have at it:

spacegoat superstition


Mexican Spacegoat’s “Superstition” will finally be released on vinyl. Those who know, know already… those who don’t, check them out via

Says the band: “We have great news as our album ¨Supertition¨ will be finally released on Vinyl format, under the German label Electric Magic, We are very happy about it and we want to thank Christian Peters from Samsara Blues Experiment for making this possible!”

The album will be released on 300 Limited Purple Vinyls exclusively through Electric Magic. A must-have-heard (not just) for fans of Acid King, Windhand, Jex Thoth etc.

1. Doomensional 04:37
2. Transmuta 03:39
3. As we land 04:27
4. Superstition 06:21
5. Purple sand 06:06
6. Astral 05:49
7. The wooden path 03:38
8. Erase the sun 07:12
9. Sacred mountain 03:39
10. Sleeping hours 06:48

Release is set for March 2020!

Spacegoat are:
Gina Ríos – Vocals & Guitar
Miguel Ríos – Lead Guitar
Rey Fraga – Drums
Rigo Vigil – Bass

Spacegoat, Superstition (2016)

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Review & Full Album Premiere: Los Mundos, Calor Central

Posted in audiObelisk, Reviews on April 22nd, 2019 by JJ Koczan

Los Mundos Calor Central

[Click play above to stream Los Mundos’ Calor Central in its entirety. Album is out April 26 through Cardinal Fuzz, Avandadoom and Little Cloud Records.]

Depending on how one counts, Calor Central is upwards of the sixth full-length from Monterrey, Mexico, two-piece Los Mundos, and it follows on a quick turnaround from their 2018 offering, Ciudades Flotantes. Issued through Avandadoom in Mexico, Cardinal Fuzz in Europe and Little Cloud Records in the US, comprises six tracks and 28 minutes of earthy heavy psych rock, here and there peppering in garage buzz tonality in the guitars of Luis Angel Martínez (also vocals, synth) and/or Alejandro Elizondo (also drums, bass, synth), as on “Sin Vértigo,” but making more of an impression with the subtle layering in cuts like “Olas de Lava” and the overarching spaciousness to be found across the songs. Part of that might stem from the fact that the duo reportedly recorded the drums and percussion for Calor Central in an abandoned mine outside of Monterrey, but it extends to the guitar and bass and even vocals as well, which are just as likely to be coated in cavernous echoes on the nine-minute penultimate groover “Subterráneo Mar Jurásico” as are the drums that begin the opening title-track.

Indeed, for a sound that holds so much grit, space plays a large part in what Los Mundos do, the band creating and populating a context for their songs to inhabit across the relatively short LP, holding to an experimentalist feel while staying true to a foundation in heavy rock and psychedelia. They’ve had time to develop this approach — their self-titled debut was released in 2011 — but even that release and the subsequent 2012 EP, Mi Propia Banda Quiero Ver, have a clear forward-thinking intention at their root. A heavier overall result suits them throughout Calor Central, such that even shorter tracks like the fuzz-blasting second cut “Apertura” or the strut-right-out-of-here closer “La Salida” land with considerable impact and are able to play off the open sense of creativity both within themselves and in the pieces surrounding. If this is their journey to the center of the earth, then the core is indeed molten.

Though, again, Calor Central is relatively brief, it sets an immersive pattern from the outset. Vibe is primary. Ringing bell begins “Calor Central” like a call to prayer and echoing drum thud follows soon after, joined by guitar that only adds to the breadth of sound. More than two minutes have passed before the vocals enter in chanting layers and semi-spoken forward lines that shift between half-singing and all-out narration, guitar strums accompanying in a mood of defiance. It’s the drums at the bottom of the mix holding everything together as keys and backing voices and guitar ooze out overhead, and the title-cut feels its way forward until essentially the drums stop, and it’s as gentle as it could possibly be — that shift to silence — but still somewhat jarring. “Apertura” plays off that gracefully with the suckerpunch of its own percussive start, a churning progression more immediately greeted by airy guitar arriving in waves and seemingly intent on blowing every tube in whatever amp is being so cruelly tested.

los mundos (Photo by Victoria Orozco)

The shift to “Sin Vértigo” is direct and smoothly done, but the impact of “Apertura” goes beyond its own two minutes to the album as a whole. Its departing from even the loosest of verse/chorus structure, which “Calor Central” had, gives Martínez and Elizondo free reign to go where their whims take them, and they do precisely that with the command of a band on their sixth record. Foreboding guitar lines open to full-on fuzz roll in “Sin Vértigo” with a return of the spoken word of the opener to come and a guitar line that seems to answer back and beckon the song forward into its tonal bliss and semi-hook, a solo in the second half giving way to a last verse before the devolution to rumbling amplified noise takes hold and fades out slowly to end side A, only to let the immediately dreamy “Olas de Lava” lead off Calor Central‘s back half in surprising fashion.

Perhaps the most outwardly psychedelic inclusion on the record, “Olas de Lava” gives its guitar line a sitar treatment and an according backwards layer during its initial verses, the title line serving as the chorus in the midsection as forward momentum is built and maintained. From there, there’s no return to the verse or hook as “Olas de Lava” spaces out and a synth drone rises from out of the mix to consume the guitar even as the whole affair fades out slowly to let a troubling wash of distortion act as precursor to “Subterráneo Mar Jurásico,” which as it takes up almost a third of the album’s runtime on its own is an obvious focal point. The rhythm is relatively straightforward early on — though that might just be Los Mundos doing well in adjusting the listener’s frame of mind/expectations for “normality” — with a tinge of grunge in the verse riff, but after the second chorus, the switch flips and the guitar freaks out with a noisy lead that shifts into surf-rocking echo only to itself be consumed by the next verse, with effects swirl, drums and percussion coming forward to meet the guitar buzz head on, and a outbound progression that sure enough shows no interest in making its way back.

A noisy jam ensues to provide a satisfying apex to Calor Central as a whole in terms of the band doing whatever the hell they want and making it work, and along with some residual percussive tension and guitar ring-out, there’s a kind of vocal echo test at the end that seems to be there just for extra weirdness. Right on. On their way out, they tap garage-doomgaze with “La Salida,” swinging all the way and seeming to build to a grand finale but cutting off before they get there because, once more, they’re by no means beholden to the traditional tenets of genre. That’s not to say they don’t put them to use when they so please — there’s no shortage of fuzz or nod-ready groove throughout — just that their intention is broader than general stylistic confines can generally hold. Of course, that only makes Calor Central all the more righteous in its position.

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Spacegoat Launch Crowdfunding Campaign for Debut LP Superstition

Posted in Whathaveyou on August 17th, 2015 by JJ Koczan

Monterrey, Mexico-based four-piece Spacegoat released their debut EP in the form of a ’70s style boogie rocker self-titled in 2012. They’re currently looking to put together a follow-up to that offering, which will be their first full-length, and are crowdsourcing the funding process in order to make it happen. Impressively, the band has reached nearly 20 percent of their goal in a matter of three days, but of course there’s a ways to go, and they’re offering everything from CD bundles to playing your house or private function (in Mexico) to those who manage to contribute to the campaign. Their story is below, but if you wanna skip it and go right to their IndieGoGo, I understand.

The tale goes like this:


Spacegoat debut album ‘Superstition’

We are Spacegoat, a rock band from Monterrey, Mexico. We play a blend of classic rock with influences spanning from early Black Sabbath to Janis Joplin.

Formed in 2009/2010, we have played all kinds of shows, festivals, and parties all over Mexico, to date our only release was a self-titled 5-track EP which finally came out in 2013.

After spending some time gigging, writing, and rehearsing, we now have an album’s worth of strong material thats ready to be unleashed.

We chose to continue down the independent route following the immense support that we had worldwide following our E.P. release, which was 100% self-funded. That gave us the energy and belief to start a crowdfunding campaign here for our debut album ‘Superstition’.

Every contributor will receive a digital copy of our first EP, as well as the ‘Superstition’ album. Also we will keep you updated with studio reports as we progress with the creative process.

Your contributions will go towards studio time, mixing, mastering, and the manufacturing of the album.

Every contribution is gratefully received. We do this for the love of music, nothing more nothing less, and it is great to have a platform such as this to connect with fellow music lovers, bypassing the industry middle men.

Even if you cant make a contribution, you can always support us by sharing our campaign and helping us to spread the word.

Muchas gracias a todos!

Spacegoat, “Silver Swamp”

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