Posted in Whathaveyou on June 26th, 2025 by JJ Koczan
Italian heavy psychedelic rockers MR.BISON toured a bit on the US West Coast in January, which feels like at least six lifetimes ago. It wasn’t. They’ve been continuing to support last year’s for-sure-support-worthy long-player, Echoes From the Universe (review here), and have a run of shows lined up for next month to keep the thread going. On July 12, they’re at StonerKras and they’ve got other dates that pick up a few days later in Verona, playing Bums on Wheels in Germany, two acoustic sets in France, and more shows besides.
Not the most extensive tour, but a band who can see through their own ether on stage and give a sense of presence as well as wash. I had a good time watching them at Planet Desert Rock Weekend. You may as well. They’ll also be at Desertfest Belgium and Into the Void Leeuwarden this Fall.
Word on the tour came down the PR wire:
We are really happy and Excited to start our third European tour after the release of the new album “Echoes from the Universe” in February 2024 via Heavy Psych Sounds records!!
In just over a year we have toured our new album for about 80 shows, an amazing US WEST COAST Tour in the beginning of 2025, the UK tour in May 2025 and a lot off gigs around Europe, playing at magic festivals like “Planet Desert Rock” in Las Vegas, “Desert Fest” in London, “Heavy Psych Sounds” Fest in Switzerland, Berlin, Dresden,
sharing the stage several times with incredible bands like Fu Manchu, Orange Goblin, Unida, Dozer and many others.
We are really happy to start again another wonderful European tour and play in great festivals like “Stoner Kras” in Prosek(IT), Neverending Festival Elba Island (IT), Flanders Chopper Bash (BE), Bums On wheels (DE)
and return again to France playing for the first time at the wonderful Supersonic in Paris and in our favorite breweries 1001 Bieres in acoustic set!!
We are also really excited to have been included in the line up of the wonderful festivals “INTO THE VOID” Leeuwarden (NL) and DESERT FEST Antwerp (BE) this autumn.
Meanwhile, we’re writing new music for our next album, We are experimenting and doing a lot of research in many musical cultures, a lot of really interesting things are coming up!!!
We are confident that we can release the new album by spring 2026, fingers crossed :-)
*** MR. BISON – European Summer Tour 2025 *** 28 June/ Neverending Music Fest – Portoferraio – Elba IT 12 July/ Stoner Kras Fest – Prosek IT 18 July/ Asteroid Secret Show – Verona IT 19 July/ Bums on Wheels Festival – Wasserburg Am Inn DE 22 July/ 1001Bieres Reims -FR (Acoustic Set) 23 July/ 1001Bieres Amiens -FR(Acoustic Set) 24 July/ Supersonic Paris -FR 25 July/ Flanders Chopper Bash Fest – Assenede BE 26 July/ Sunset Bar – Martigny CH 27 July/ OPEN SLOT
Huge thanks to Blotch Heavy Rock Psych Prog Movement, Heavy Psych Sounds Records, all promoters, Club and Festivals Crew for the support and for making this amazing tour happen.
Posted in Whathaveyou on December 4th, 2024 by JJ Koczan
Along with recent tours announced for Samavayo and Omega Sun, these 10 shows to be undertaken by Italy’s MR.BISON are built out around the band’s appearance at the upcoming fifth edition of Planet Desert Rock Weekend in Las Vegas. In the case of the Tuscany four-piece — whose latest album, Echoes From the Universe (review here), was released this past February through respected purveyor Heavy Psych Sounds — they’ll begin the run at the fest and head for California from there, where they’ll do the majority of the shows, though dates in Arizona assure they’ll see desert as well as coastline. Fair enough. If you’re gonna make the trip, do it right.
MR.BISON have already done two European tours to support Echoes From the Universe, which is their third and farthest-reaching LP yet, and this trip across the Atlantic assures momentum will stay on their side as we move into the first part of 2025. A first hint of what might come after has already been dropped as they’ve been confirmed in the latest round of additions for Desertfest London in May. “Big things coming,” and all that.
Safe travels to MR.BISON, and I look forward to catching the set in Vegas for sure. Here’s the info from the PR wire:
After a year since the release of our new album “Echoes from The Universe” via Heavy Psych Sounds, two amazing tours and dozens of great festivals all around Europe, we are so proud and excited to announce the “Echoes From The Universe” US West Coast Tour!
• Jan 30th – Count’s Vamp’d – Las Vegas, NV • Jan 31st – Ivy Room – Albany CA • Feb 01st – The Rodeo Bar – Paso Robles CA • Feb 02nd – The Cove – Murrieta CA • Feb 03rd – RedWood Bar – Los Angeles CA • Feb 04th – Che’s Lounge – Tucson AZ • Feb 05th – The Quarry – Bisbee AZ • Feb 06th – Yucca Tap Room – Phoenix AZ • Feb 07th – Transplants – Palmdale CA • Feb 08th – Pour House – Oceanside CA
Thanks to Buddy Donner from Glory or Death Records, John Gist from Vegas Rock Revolution and all club owners and promoters for inviting us. See you at the shows!
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MR.BISON masters the art of melding heavy psychedelia with progressive elements and evocative soundscapes. Formed in a small coastal town in Tuscany (Italy) in 2009, the band has reinvented their sound through four albums from stoner psych to heavy progressive rock, firmly establishing themselves in 2018 with the acclaimed “Holy Oak” and their 2020 concept album “Seaward”. The band has toured Europe and North America several times and played various festivals such as Desertfest Berlin, London and Antwerp, Krach am Back, Duna Jam.
Their new album “Echoes From The Universe” invites the listener to a prismatic voyage that explores the notion of freedom and destiny through Norse mythology and weaves together a vivid and majestic sonic tapestry that brims with liquid riffs, graceful psychedelia, progressive grandeur and vibrant vocals. “Echoes From The Universe” is available now on Heavy Psych Sounds.
Posted in Whathaveyou on August 12th, 2024 by JJ Koczan
Following up on their Spring European run in support of their 2024 album, Echoes From the Universe (review here), Tuscany’s MR.BISON are set to head out on a corresponding Fall stint that includes stops at Cerberus Festival, Psyka Fest and Heavy Psych Sounds Fests in Germany and the UK. It’s spread over a couple weeks as October heads toward November, but a pretty efficient stretch for the band as they make ready to come to the US for (I believe) the first time in order to appear at Planet Desert Rock Weekend this January in Las Vegas (info here). I don’t know if they’re doing other dates around that or flying in as an exclusive, but they’re one of the reasons I’m so very much pining to be in Vegas at the start of 2025.
And if you’re up for a refresher on Echoes From the Universe or haven’t yet had the pleasure, the four-piece have a new video out for “The Veil” that leads nicely into the album stream, and you’ll find both of those near the bottom of this post under the links. You know, where the players go in the made-up formatting rules I have for this site. Some day I’m going to put a player at the top, first thing, just to make my own head explode.
For now, to the PR wire:
MR.BISON share new video “The Veil”; European fall shows announced!
Italian progressive and heavy psych goldsmiths MR.BISON present “The Veil” video, taken from their latest album “Echoes From The Universe” on Heavy Psych Sounds. The band just announced their European fall tour including appearances at Heavy Psych Sounds Fest Berlin, London and Dresden.
Watch MR.BISON’s new video “The Veil.”
MR.BISON European Fall Tour 2024: 12 Oct – Cerberus Festival – Bar.Ca’- Imola (IT) 13 Oct – Heavy Psych Sounds Fest Berlin (DE) 25 Oct – Décal’Quai – Montreux (CH) 26 Oct – Glashaus – Bayreuth (DE) 27 Oct – Heavy Psych Sounds Fest Dresden (DE) 29 Oct – C-Keller-Weimar (DE) 30 Oct – Vinyl Reservat-Gottingen (DE) 31 Oct – Stereowonderland – Koln (DE) 01 Nov – PsyKA Festival – Karlsruhe (DE) 02 Nov – 1001 Bieres – Amiens (FR) 03 Nov – Black Heart – Heavy Psych Sounds Fest London (UK)
MR.BISON masters the art of melding heavy psychedelia with progressive elements and evocative soundscapes. Formed in a small coastal town in Tuscany (Italy) in 2009, the band has reinvented their sound through four albums from stoner psych to heavy progressive rock, firmly establishing themselves in 2018 with the acclaimed “Holy Oak” and their 2020 concept album “Seaward”. The band has toured Europe and North America several times and played various festivals such as Desertfest Berlin, London and Antwerp, Krach am Back, Duna Jam.
Their new album “Echoes From The Universe” invites the listener to a prismatic voyage that explores the notion of freedom and destiny through Norse mythology and weaves together a vivid and majestic sonic tapestry that brims with liquid riffs, graceful psychedelia, progressive grandeur and vibrant vocals. “Echoes From The Universe” is available now on Heavy Psych Sounds.
So this is it, but before we — you and I, not at the same time but together nonetheless — dive into the final 10 records of this well-still-basically-winter-but-almost-spring-and-god-damn-I-wish-winter-was-over Quarterly Review, how about a big, deep breath, huh? There. In occupational therapy and other teach-you-how-to-keep-your-shit-together circles, deep breathing is spoken of like it’s a magic secret invented in 1999, and you know what, I think it was. That shit definitely didn’t exist when I was a kid. Can be helpful though, sometimes, if you need just to pause for a second, literally a second, and stop that rush in your brain.
Or my brain. Because I’m definitely talking about me and I’ve come to understand in time not everyone’s operates like mine, even aside from whatever I’ve got going on neurologically, sensorially, emotionally or in terms of mental health. Ups and downs to that, as regards human experience. There are a great many things that I’m useless at. This is what I can do, so I’m doing it. Put your head down, keep working. I can do that. 10 records left? Easy. You might say I did the same thing yesterday, and that was already my busiest day, so this is gravy. And gravy, in its various contexts, textures, tastes, and delivery modes, is delicious. I hope you heard something new this week that you enjoyed. If not yet, there’s still hope.
Quarterly Review #41-50:
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Megaton Leviathan, Silver Tears
I’ll confess that when I held this spot for groundfloor now-Asoria, Oregon, dronegazers Megaton Leviathan, I was thinking of their Dec. 2023 instrumental album, Magick Helmet, with its expansive and noisy odes to outsider experimentalism of yore, but then founding principal Andrew James Costa Reuscher (vocals, guitars, synth, bass, etc.) announced a new lineup with the rhythm section of Alex Wynn (bass) and Tory Chappell (drums) and unveiled “Silver Tears” as the first offering from this new incarnation of the band, and its patient, swirling march and meditative overtones wouldn’t be ignored, however otherwise behind I might be. Next to Magick Helmet, “Silver Tears” is downright straightforward in its four-plus minutes, strong in its conveyance of an atmosphere that’s molten and maybe trying to get lost in its own trance a bit, which is fair enough for the hypnotic cast of the song’s ending. The lesson, as ever with Megaton Leviathan, is that you can’t predict what they’ll do next, and that’s been the case since their start over 15 years ago. One assumes the new lineup will play live and that Reuscher will keep pushing into the ether. Beyond that, they could head anywhere and not find a wrong direction.
They put their own spin on it, of course, but there’s love at heart in Merlin‘s take on the classic “Let’s All Go to the Lobby” jingle that serves as the centerpiece of Grind House, and indeed, the seven-song late-2023 long-player unfolds as an intentional cinematic tribute, with “Feature Presentation” bringing the lights down with some funkier elevator vibes before “The Revenger” invents an ’80s movie with its hook alone, “Master Thief ’77” offers precisely the action-packed bassline and wah you would hope, “Endless Calamity” horror-soundtracks with keyboard, “Blood Money” goes west with due Dollars Trilogy flourish, and the 12-minute “Grindhouse,” which culls together pieces of all of the above — “Let’s All Go to the Lobby” included — and adds a voiceover, which even though it doesn’t start with “In a world…” sets its narrative forth with the verve of coming attractions, semi-over-the-top and thus right on for where Merlin have always resided. Interpreting movie music, soundtracks and the incidental sounds of the theater experience, isn’t by any means the least intuitive leap the Kansas City four-piece could make, and the ease with which they swap one style for another underscores how multifaceted their sound can be while remaining their own. If you get it, you’ll get it.
After what seem to have been a couple more group-oriented full-lengths and an initial solo EP, Minsk-based heavy rockers Stonerhenge seem to have settled around the songwriting of multi-instrumentalist Serge “Skrypa” Skrypničenka. The self-released Gemini Twins is the third long-player from the mostly-instrumental Belarusian project, though the early 10-minute cut “The Story of Captain Glosster” proves crucial for the spoken word telling its titular tale, which ties into the narrative derived Gemini myth and the notion of love as bringing two halves of one whole person together, and there are other vocalizations in “Time Loop” and “Hypersleep,” the second half of “Starship Troopers,” and so on, so the songs aren’t without a human presence tying them together as they range in open space. This is doubly fortunate, as Skrypničenka embarks on movements of clear-eyed, guitar-led progressive heavy exploration, touching on psychedelia without getting too caught up in effects, too tricky in production, or too far removed from the rhythm of the flowing “Solstice” or the turns “Over the Mountain” makes en route its ah-here-we-are apex. Not without its proggy indulgences, the eight-song/46-minute collection rounds out with “Fugit Irreparable Tempus,” which in drawing a complete linear build across its five minutes from clean tone to a distorted finish, highlights the notion of a plot unfolding.
Guiltless make their debut with the four songs of Thorns on Neurot Recordings, following on in some ways from where guitarist, vocalist, noisemaker and apparent-spearhead Josh Graham (also ex-Battle of Mice, Red Sparowes, Neurosis visuals, etc.) and guitarist/more-noisemaker Dan Hawkins left off in A Storm of Light, in this case recording remotely and reincorporating drummer Billy Graves (also Generation of Vipers) and bringing in bassist Sacha Dunable, best known for his work in Intronaut and for founding Dunable Guitars. Gruff in the delivery vocally and otherwise, and suitably post-apocalyptic in its point of view, “All We Destroy” rumbles its assessment after “Devour-Collide” lays out the crunching tonal foundation and begins to expand outward therefrom, with “Dead Eye” seeming to hit that much harder as it rolls its wall o’ low end over a detritus-strewn landscape no more peaceful in its end than its beginning, with subsequent closer “In Radiant Glow” more malleable in tempo before seeming to pull itself apart lurching to the finish. I’d say I hope our species ultimately fares a bit better than Thorns portrays, but I have to acknowledge that there’s not much empirical evidence to base that on. Guiltless play these songs like an indictment.
The latest check-in from the dimension of Italian four-piece MR.BISON, Echoes From the Universe is the band’s most realized work to-date. It’s either their third LP or their fifth, depending on what counts as what, but where it sits in the discography is second to how much the effort stands out generally. Fostering a bright, lush sound distinguished through vocal harmonies and arrangement depth, the seven-song collection showcases the swath of elements that, at this point, has transcended its influence and genuinely found a place of its own. Space rock, Elderian prog, classic harmonized melody, and immediate charge in “The Child of the Night Sky” unfold to acoustics kept going amid dramatic crashes and the melodic roll of “Collision,” with sepia nostalgia creeping into the later lines of “Dead in the Eye” as the guitar becomes more expansive, only to be grounded by the purposeful repetitions of “Fragments” with the last-minute surge ending side A to let “The Promise” fade in with bells like a morning shimmer before exploring a cosmic breadth; it and the also-seven-minute “The Veil” serving as complement and contrast with the latter’s more terrestrial swing early resolving in a an ethereal wash to which “Staring at the Sun,” the finale, could just as easily be referring as to its own path of tension and release. I’ve written about the album a couple times already, but I wanted to put it here too, pretty much just to say don’t be surprised when you see it on my year-end list.
You’d figure with the slash in its title, the split release pairing UK sludge upstarts At War With the Sun and Slump, who are punk-prone on “Dust” and follow the riff on “Kneel” to a place much more metal, would break down into two sides between ‘SP’ and ‘LIT,’ but I’m not sure either At War With the Sun‘s “The Garden” (9:54) or the two Slump inclusions, which are three and seven minutes, respectively, could fit on a 7″ side. Need a bigger platter, and fair enough for holding the post-Eyehategod disillusioned barks of “The Garden” and the slogging downer groove they ride, or the way Slump‘s two songs unite around more open verses, the guitar dropping out in the strut of “Dust” and giving space to vocals in “Kneel,” even as each cut works toward its own ends stylistically. The mix on Slump‘s material is more in-your-face where At War With the Sun cast an introverted feel, but you want to take the central message as ‘Don’t worry, England’s still miserable,’ and keep an eye to see where both bands go from here as they continue to develop their approaches, I don’t think anyone’ll tell you you’re doing it wrong.
They know it’s gonna get brutal, the listener knows it’s gonna get brutal, and Massachusetts riff rollers Leather Lung don’t waste time in getting down to business on Graveside Grin, their awaited, middle-fingers-raised debut full-length on Magnetic Eye Records. An established live act in the Northeastern US with a sound culled from the seemingly disparate ends of sludge and party rock — could they be the next-gen inheritors of Weedeater‘s ‘ I don’t know how this is a good time but it is’ character? time will tell — the 40-minute 11-songer doesn’t dwell long in any one track, instead building momentum over a succession of pummelers on either side of the also-pummeling “Macrodose Interlude” until “Raised Me Rowdy,” which just might be an anthem, if a twisted one, fades to its finish. I’ve never been and will never be cool enough for this kind of party, but Leather Lung‘s innovation in bringing fun to extreme sounds and their ability to be catchy and caustic at the same time isn’t something to ignore. The time they’ve put in on EPs and touring shows in the purpose and intensity with which they execute “Empty Bottle Boogie” or the modern-metal guitar contortions of “Guilty Pleasure,” but they are firm in their purpose of engaging their audience on their own level, and accessible in that regard. And as raucous as they get, they’re never actually out of control. That’s what makes them truly dangerous.
A new(-ish) band releasing their first album through Sulatron Records would be notable enough, but Italy’s Citrus Citrus answer that significant endorsement with scope on Dec. 2023’s Albedo Massima, veering into and out of acid-laced traditions in what feels like a pursuit, like each song has a goal it’s chasing whether or not the band knew that when they started jamming. Drift and percussive intrigue mark the outset with “Sunday Morning in the Sun,” which lets “Lost It” surprise as it shifts momentarily into fuzzier, Colour Haze-y heavy psych as part of a series of tradeoffs that emerge, a chorus finish emphasizing structure. The Mediterranean twists of “Fantachimera” become explosively heavy, and that theme continues in the end of “Red Stone Seeds” after that centerpiece’s blown out experimental verses, keyboard drift building to heft that would surprise if not for “Lost It” earlier, while “Sleeping Giant” eschews that kind of tonal largesse for a synthier wash before “Frozen\Sun” creates and fills its own mellow and melancholy reaches. All the while, a pointedly organic production gives the band pockets to weave through dynamically, and melody abides. Not at all inactive, or actually that mellow, Albedo Massima resonates with the feel of an adventure just beginning. Here’s looking forward.
Troubled Sleep, A Trip Around the Sun & Solitary Man
Two initial tracks from Swedish newcomers Troubled Sleep, released as separate standalone singles and coupled together here because I can, “A Trip Around the Sun” and “Solitary Man” show a penchant for songwriting in a desert-style sphere, the former coming across as speaking to Kyuss-esque traditionalism while “Solitary Man” pushes a little further into classic heavy and more complex melodies while keeping a bounce that aligns to genre. Both are strikingly cohesive in their course and professional in their production, and while the band has yet to let much be known about their overarching intentions, whether they’re working toward an album or what, they sound like they most definitely could be, and I’ll just be honest and say that’s a record I’ll probably want to hear considering the surety with which “A Trip Around the Sun” and “Solitary Man” are brought to life. I’m not about to tell you they’re revolutionizing desert rock or heavy rock more broadly, but songs this solid don’t usually happen by accident, and Troubled Sleep sound like they know where they’re headed, even if the listener doesn’t yet. The word is potential and the tracks are positively littered with it.
I’m not sure how the double-kick intensity and progressive metal drive translates to the stately-paced, long-shots-of-things-floating-in-space of Kubrick’s 2001: A Space Odyssey, but Observers‘ debut, The Age of the Machine Entities, is sweeping enough to bridge cynical headscratching. And of course there were the whole lightspeed freakout and we-invented-murder parts of Arthur C. Clarke’s narrative as well, so there’s room for All India Radio‘s Martin Kennedy, joined by bassist Rich Gray, drummer Chris Bohm and their included host of guests to conjure the melodic wash of “Strange and Beautiful” after the blasting declarations of “Into the Eye” at the start, with “Pod Bay Doors” interpreting that crucial scene in the film through manipulated sampling (not exclusive to it), and the 11-minute “Metaphor” unfurls a subtly-moving, flute-featuring ambience ahead of the pair “The Star Child” and “The Narrow Way Part II” wrap by realigning around the project’s metallic foundation, which brings fresh perspective to a familiar subject in the realm of science fiction.
Posted in Whathaveyou on February 16th, 2024 by JJ Koczan
All-caps Italian psychthrusters MR.BISON have announced a European tour supporting their new album, Echoes of the Universe. And I’ve got a slot saved for that record — which was announced here with a track premiere, as sometimes happens — in the next Quarterly Review, which kicks off in about a week, but it’s out today on Heavy Psych Sounds, and considering the spaces the four-piece traverse within its component songs, the richness of the flow they conjure and the classic-rooted-but-forward-looking mindset under which they seem to operate, basking in bright melodies and swinging groove set to evocative purpose and willing to dive into ethereal headspinning, as later cut “The Promise” demonstrates, without losing track of the audience’s place in the song, its ringing bells and softer accompanying guitar a sanctuary before the sweep of the next chorus.
If I keep going I’m just gonna review the thing — sometimes I need to stop myself, especially if I’m listening to an album as I am this one now; it’s just how my brain is trained to work at this point — so I’ll stop myself and say that it’s great MR.BISON are getting out to herald Echoes of the Universe because I think it’s a worthy cause. Note the open slot March 18 in Germany if you can help out, and that the actual tour picks up in March and spreads across April and May and into June — obviously there are breaks in there — with appearances set for Heavy Psych Sounds Fest in Italy and Switzerland, as well as Maximum Festival and Space Goat Fest in Italy along with copious club shows.
June’s a ways out, so don’t be surprised if more shows are added around that trip to Switzerland as well. Especially after more people hear the record, which, again, is out today. If you’ve got ears to dig it, it’s at the bottom of this post.
From the PR wire:
Heavy Psych Sounds Records & Booking to announce MR.BISON – Echoes From The Universe EUROPEAN TOUR !!!
Our beloved psychedelic prog rockerz MR.BISON will tour Europe presenting their latest album Echoes From The Universe !!!
*** MR.BISON – Echoes From The Universe EUROPEAN TOUR *** 16th February / EXWide Pisa (IT) – Release Party 17th February / Bloom Mezzago -MB (IT) – Release Party 14th March / Channel Zero – Lubjana (SLO) 15th March / Mocvara – Zagreb (HR) 16th March / Music House – Graz (A) 17th March / Schokofabrik – Bayreuth (DE) 18th March / *** OPEN SLOT *** GERMANY 19th March / Black Label – Leipzig (DE) 20th March / Stereowonderland – Cologne (DE) 21th March / Extrablues Bar – Belefield (DE) 22th March / Waldmeister – Solingen (DE) 23th March / Ruefetto – Freibourg (DE) 21th April / Space Goat Fest – CPA – Firenze (IT) 26th April / Maximum Fest – ZeroBranco -TV (IT) 27th April / Verona – TBA (IT) 03th May / Bocciodromo – Vicenza (IT) 04th May / HPS Fest – Bologna Trieste (IT) 05th May / HPS Fest – Bologna Trieste (IT) 11th May / Blah Blah – Torino (IT) 17th May / Le Bout du Monde – Vevey (CH) 18th May / Durrorsdorf – TBA (DE) 07th June / HPS Fest – Martigny Winthertur (CH) 08th June / HPS Fest – Martigny Winterthur (CH)
Italian heavy psych rockers MR.BISON will release their new album, Echoes From the Universe, through Heavy Psych Sounds on Feb. 16. The Tuscany-based four-piece were announced as having signed to the imprint last week, and today brings preorders and the first song premiere — LP-opener “The Child of the Night Sky” — which is streaming for your pleasure under this text.
Next year will mark the 60th anniversary of the first time humans heard the echo of the Big Bang in cosmic background radiation. MR.BISON, working more on the temporal than the cosmic end of spacetime for this third full-length follow-up to 2020’s Seaward (review here) and their split with Spacetrucker (review here), would seem to use the universe itself as a means of exploring notions beyond linear time, ideas from myth and science fiction combining to give a thematic heart to the proceedings. I haven’t heard the full record yet, but “The Child of the Night Sky” is way tripped out, and if you thought the band — whose moniker you’ve probably seen stylized as Mr. Bison; they reportedly prefer the caps-no-space version — were flexible as they hit into Seaward after 2018’s Holy Oak (review here), the intervening years would not have seemed to lessen that in the slightest.
Song’s here, blue copy follows. Go make friends with it:
MR.BISON, “The Child of the Night Sky” track premiere
MR. BISON – New album “Echoes From The Universe” out February 16th on Heavy Psych Sounds
About the album, the band says: “The theme of “Echoes from the Universe” is the attempt, as human and temporal beings, to escape the idea of an alleged destiny predetermination by managing to build one’s own individual life path trough will power. Its concept is based on the of the Norse Norns myth, who weave the threads of universal destiny on a tapestry, in which all existence, in a continuous mix of past, present and future, intersect and influence each other, thereby generating a kaleidoscopic vortex of infinite and unpredictable possibilities. For this reason, we have used them as a symbol of freedom of choice, which never excludes but indeed implies, the element of chance.”
The artwork designed by Django Nokes reflects the Concept perfectly. “Echoes from the Universe” is an evocative soundscapes trip and fresh breeze of groovy beats and psychedelia swaying between sweet moments and massive progressive deliriums.
TRACKLIST
1. The Child Of The Night Sky 2. Collision 3. Dead In The Eye 4. Fragments 5. The Promise 6. The Veil 7. Staring At The Sun
CREDITS
Recorded by Matteo Barsacchi at Blotch Recordings Studio – Cecina (LI) Italy and Nicola Giorgetti at Indipendente Recordings – Matelica (MC) Italy. Mixed by Nicola Giorgetti at Indipendente Recordings – Matelica (MC) Italy. Mastered by Carl Saff at Saff Mastering – Chicago (IL) US
Additional instrumentations by: Fabio Cuomo (Synth, Keyboards “Collision”) Dominik Wichrobrody (Bass “The Fragments) Artwork by Django Nokes
BIOGRAPHY
Mr Bison is a rock band that melts heavy psychedelic sounds with progressive elements and evocative soundscapes.
Formed in a small coastal town in Tuscany / Italy, the band has reinvented their sound over the course of four albums from Stoner/Psych Sounds to Heavy Psychedelic Progressive Sounds,
firmly establishing themselves in 2018 with the acclaimed “HOLY OAK” and the latest Concept Album “SEAWARD”, which suddenly brought them touring around Europe and US many times, attending the best festivals on the scene such as Desertfest Berlin London Antwerp, Krach am Back, Duna Jam ….
The band has just finished the new concept album, produced by guitarist Matteo Barsacchi, mixed by Nicola Giorgetti at the Indipendente Recording Studio and mastered by Carl Saff.
