Fvzz Popvli Releasing Live in Hamburg Jan. 29; “Stamps are For… Smile” Video Posted

Posted in Whathaveyou on January 8th, 2021 by JJ Koczan

I’ll spare you — this time — the diatribe about how crucial live albums have become in a time when live music itself feels like a thing of the past. Rome’s  Best Custom Diversity And Tolerance Essay Services - Stuck Writing Essay or Research paper? ? We Write Customized Essays From Scratch! Call Now: ? (855) 513-7729 Fvzz Popvli traveled to Hamburg, Germany, in Sept. 2019 to support their 2018 second album, Order research paper writing services and enjoy the highest Term Paper Finance show that SameDayEssay.com holds the top Magna Fvzz (review here), and the show was recorded. I’m sure when it happened they didn’t think much about it. There’s video as well, and you can see the set opener “Stamps are For… Smile” at the bottom of this post. The lesson here? If you’re in a band, document as much as you can. Recording sessions, rehearsals, demos, live shows, everything. Get as much as you can, because you never know when you’re going to want it.

Maybe never. Or maybe some crazy weird shit will happen all over the world and instead of releasing your third album and touring the whole year like you planned, you’ll be stuck at home in a quarantine situation. Bottom line is I bet  Sample Of Business Plan Proposal Essay Writer Generator - Title Ebooks : Essay Writer Generator - Category : Kindle and eBooks PDF - Author : ~ unidentified Pootchie and company are pretty happy those cameras showed up to  We have been selected as the best Visit Website online, simply place your order now to receive a top quality custom-written research paper. MS Stubnitz.

Release date is Jan. 29. Here’s PR wire info:

Fvzz Popvli LIVE IN HAMBURG COVER

FVZZ POPVLI PROUDLY PRESENT: LIVE IN HAMBURG!

Fvzz Popvli are proud to announce the release for their first live album ever!

The world covid crisis unfortunately forced us to reschedule our 3rd album for an unknown date. We took the decision to release our first live album in a moment where live concerts aren’t possible, just to remind all of you how much live music is the fuel for our beloved scene.

Live in Hamburg: Eight killer tracks of our live concert produced by Desert Hazard Crew and recorded inside a fishing boat named MS Stubnitz, a legendary venue docked in the Nord Elbe river in Hamburg (D)! This live album will be a digital release exclusive for Bandcamp, coming out Friday the 29th of January 2021.

TRACK LIST
Stamps Are For… Smile
Hashish
Mastvrbation
White Fish
Napoleon
Lost In Time
Shamother
Rvmpeltvm

In the meantime enjoy the first “Live in Hamburg” video of Stamps Are For… Smile the second track of our first album “Fvzz Dei”.

AVAILABLE FROM 29th JANUARY ON FVZZPOPVLI.BANDCAMP.COM

FVZZ POPVLI ARE:
FRANCESCO “POOTCHIE” PUCCI – Guitar and Voice (BEESUS,The Wisdoom)
DATIO PALATIO – Bass (The Anthony’s Vinyls)
George – Drums

https://www.facebook.com/FvzzPopvli/
fvzzpopvli.bandcamp.com
https://www.facebook.com/RetroVoxRecords
https://retrovoxrecords.bandcamp.com/

Fvzz Popvli, “Stamps are For… Smile” Live in Hamburg

Fvzz Popvli, Magna Fvzz (2018)

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IO to Release Debut Album on Argonauta Records

Posted in Whathaveyou on November 25th, 2020 by JJ Koczan

Roman sludge-rollers How to get Professional Www Onlinecriticalessay Com Online. There are a few tips to help make the ordering easy. When the paper is chosen, a student must take several steps to obtain thesis writing help: Choose the desired topic. Before paying, you have to select the type of paper and state the topic and length. Describe any details. Familiarize the writer with the basic requirements: the IO have signed to Our watchs are able to construct a dissertation of the highest quality and on time. You will receive the finished product on the deadline you specify. Dissertation Editing and Proofreading. Our staff of professional dissertation writers can help you at any stage of the process, whether you need help from the very beginning or you have begun the process, but are Argonauta Records for the 2021 release of their yet-untitled debut full-length. The album comes preceded by two songs posted on YouTube that finds the three-piece dug into a cosmic strain of ultra-heavy sludge, echoing screams and humongous riffs acting in concert with a plus-sized The typhoid Meade irritates his inclination. Unrolled Creative Writing Personal Statement for me and uncultured speech michelle obama convention analysis essays Sleep-style groove. You can hear in “Fire Walks With Us” below that the surprises are few but the sense of space is palpable, and that’s just fine as it moves from the pummel into a trippy second-half jam to answer back to the quiet beginning stretch. It’s a warm sound through a cold brutality, and of course as it builds toward the apex and of the track, the journey is well worth the minimal effort it takes to follow along.

No title or details yet on the record to come, but the PR wire sent this along:

io

Sludge Heavy Weights IO Sign To Argonauta Records!

Dissertations constitute a strong part of the academic achievements of any student and largely contribute to his or her academic performance and accomplishment. The highly skilled professional writers of best Do Schools Kill Creativity Essays provide quality dissertations by using appropriate methods within a given time frame. Debut Album coming in the Spring of 2021!

Rome- based Sludge heavy weights, IO, have announced their signing with powerhouse label Argonauta Records, who will release the band’s debut album in the Spring of 2021.

The trio’s music is basically inspired by the burning, volcanic and foggy lands of IO, the Jupiter’s moon; their long, slow, and heavy as fire compositions could be indeed characterized by a dense atmosphere of sulfur while lava flows turn into magma lakes. IO‘s hazy yet poundering sounds, pure fuzz and sludgy heaviness, is taking its listener on a cosmic trip into volcanic space dimensions.

IO, who was formed in 2015, shared several stages with acts alike Monkey3, OTUS and many more, until they gained the attention by one of Italy’s leading heavy music underground labels Argonauta Records.

“We are very excited to join forces with Argonauta Records for the release of our first full length album.” IO comments. “We are really proud of this volcanic doomed work, which took some time to be completed during this pandemic, and we just can’t wait to bring you this caliginous overflow, we expect all the muddy sounds’ lovers to ride it loudly!”

IO’s debut will be seeing the light of day in the Spring 2021, with many more details and album tunes to follow in the months ahead.

IO is:
Fabio De Santis: Guitar & Vocals
Valeria T. Trucker: Drums & Lyrics
Stefano Ferramola: Bass

www.facebook.com/IOsludge
www.argonautarecords.com
www.facebook.com/argonautarecords

IO, “Fire Walks With Us”

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Quarterly Review: The Pilgrim, Polymoon, Doctors of Space, Merlock, Sun Dial, Saturn’s Husk, Diggeth, Horizon, Limousine Beach, The Crooked Whispers

Posted in Reviews on October 12th, 2020 by JJ Koczan

THE-OBELISK-FALL-2020-QUARTERLY-REVIEW

Well, the weekend’s over and it’s time to wrap up the Quarterly Review. Rest assured, I wrote the following during my copious weekend leisure time, resting on the side of a heated Olympic-size pool with a beverage nearby. It definitely wasn’t four in the morning on a Sunday or anything. If I haven’t gotten the point across yet, I hope you’ve found something amid this massive swath of records that has resonated with you. By way of a cheap plug, I’ll be featuring audio from a lot of these bands on the Gimme Metal show this Friday, 5PM Eastern, if you’re up for tuning in.

Either way, thanks for reading and for being a part of the whole thing. Let’s wrap it up.

Quarterly Review #51-60:

The Pilgrim, …From the Earth to the Sky and Back

the pilgrim from the earth to the sky and back

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The Pilgrim on Thee Facebooks

Heavy Psych Sounds website

 

Polymoon, Caterpillars of Creation

Polymoon Caterpillars of Creation

There is an undercurrent of extremity to the debut release from Polymoon, who hail from the psychedelic hotbed that is Tampere, Finland. The six-song/42-minute Caterpillars of Creation turns in opener “Silver Mt.” to fervent guitar push or from freaked-out cosmic prog into drifting post-universe exploration, setting the stage for the dynamic that unfolds throughout. The wash early in the second half of “Lazaward” is glorious, and it’s not the first or the last time Polymoon go to that adrenaline-pumping well, but the serenity that caps that song and seems to continue into “Malamalama” in closing side A is no less effective. “Helicaling” mounts tension in its early drumming but finally releases it later, and “Neitherworld” gives Caterpillars of Creation‘s most fervent thrust while closer “Metempsychosis” rounds out with a fitting sense of dissipation. As a first album/first release, it is particularly stunning, and to make it as plain as possible, I will think less of any list of 2020’s best debut albums that leaves out Polymoon.

Polymoon on Thee Facebooks

Svart Records website

 

Doctors of Space, First Treatment

doctors of space first treatment

The two-piece comprised of Martin Weaver (ex-Wicked Lady) and synthesist Scott “Dr. Space” Heller (Øresund Space Collective, Black Moon Circle, etc.) position First Treatment as their proper studio debut, and it certainly hits its marks in galaxial adventuring well enough to qualify as such, but the duo have been on a creative splurge throughout this year — even in lockdown — and so the six songs here are also born out of the work they’ve been doing since releasing their debut single “Ghouls ‘n’ Shit” (video premiere here) late last year. The album launches with “Journey to Enceladus,” which boasts drum programming by Weaver and though one of the movements in the 21-minute “Into the Oort Cloud” is based around beats, the bulk of First Treatment is purely a work of guitar and synth, and it basks in the freedom that being so untethered inherently brings. Running an hour long, it’s improvisational nature isn’t going to be for everyone, but Heller and Weaver make a strong argument that maybe it should be.

Doctors of Space on Thee Facebooks

Space Rock Productions website

 

Merlock, That Which Speaks

merlock that which speaks

Who’s ready for a New Wave of PNW Fuckery? That’s right folks, the NWOPNWF has arrived and it’s Spokane, Washington’s Merlock leading the sometimes-awfully-punk-sometimes-awfully-metal-but-somehow-also-always-sludge charge. Aggressive and damning in lyrics, swapping between raw screams, grows, shouts and cleaner vocals and unhinged in terms of its genre loyalties, That Which Speaks seems to find the “melt faces” setting wherever it goes, and though there’s a sense of the four-piece feeling out what works best for them stylistically, the sometimes frantic, sometimes willfully awkward transitions — as in second cut “Prolapse” — serve the overall purpose of undercutting predictability. Eight-minute opener/longest track (immediate points) “Idolon” stomps and shoves and gnashes and nasties its way through, and that’s the modus across what follows, though the scream-along headbanger “Vessel” somehow seems even rawer, and though it ends by floating into oblivion, the start of “Condemnation” heavy fuckin’ metal to me. You never know quite where Merlock are going to hit next, and that’s the joy of the thing. May they remain so cacophonous.

Merlock on Thee Facebooks

Merlock on Bandcamp

 

Sun Dial, Mind Control: The Ultimate Edition

sun dial mind control

Long-running UK psychedelic rockers Sun Dial — led by founding guitarist/vocalist Gary Ramon — released Mind Control in 2012. Sulatron Records picked it up in 2015, and now, five years after that, the same label presents Mind Control: The Ultimate Edition, a 2CD version of the original LP-plus-bonus-tracks reissue that brings the total runtime of the release to a well-beyond-manageable 98 minutes of lysergic experimentation. A full 20 tracks are included in the comprehensive-feeling offering, and from early mixes to alternative takes and lost tracks, and if this isn’t the ‘ultimate’ version of Mind Control, I’m not sure what could be, notwithstanding a complete-studio-sessions box set. Perhaps as a step toward that, Mind Control: The Ultimate Edition gives an in-depth look at a vastly underappreciated outfit and is obviously put together as much for the label as by it. That is to say, you don’t put out a reissue like this unless you really love the original record, and if Sulatron loving a record isn’t enough endorsement for you, please turn in your mushrooms on your way out the door.

Sun Dial on Thee Facebooks

Sulatron Records webstore

 

Saturn’s Husk, The Conduit

Saturns Husk The Conduit

Immersion is the goal of Saturn’s Husk‘s third long-player, The Conduit, and the Riga, Latvia, instrumentalist trio accomplish it quickly with the fluid riffs that emerge from the drone-based intro “Death of Imaginary Lights” and the subsequent 10-minute opener “Black Nebula.” At nine songs and 63 minutes, the album is consuming through the welcome nodder “The Heavenly Ape,” the especially-doomed “The Ritual” and the more mellow-float centerpiece “Spectral Haze,” while “Mycelium Messiah” brings more straight-ahead fuzz (for a time) and drones on either side surround the 10:35 “Sand Barrows,” the latter serving as the finale “A Shattered Visage” quoting Percy Bysshe Shelley and the former “City of the Djinn” running just a minute-plus but still doing enough to reset the brain from where “Mycelium Messiah” left it. Almost functioning as two albums side-by-side with “Spectral Haze” as the dividing point, The Conduit indeed seems to join various sides together, with a depth to coincide that invites the listener to explore along with it.

Saturn’s Husk on Thee Facebooks

Saturn’s Husk on Bandcamp

 

Diggeth, Gringos Galacticos

diggeth gringos galacticos

Landing a punch of classic metal to go along with its heavy-bottomed groove, Diggeth‘s Gringos Galacticos — one supposes the title ‘Spacecrackers’ was taken — was released by the Dutch trio in 2019 and receives a US limited vinyl edition thanks to Qumran Records. One finds some similar guitar heroics to those of Astrosoniq‘s more straightforward moments, but Diggeth‘s focus remains on hookmaking for the duration, offering hints of twang and acoustics in “In the Wake of Giants” and tipping a hat southwestward in “Three Gringos,” but “Straight-Shooter” is willfully breaks out its inner Hetfield and even as the penultimate “Unshackled” departs for a quieter break, it makes its way back in time for the big finish chorus, adding just a touch of Candlemass grandiosity for good measure before the harmonica-laced closing title-track rounds out with its dynamic spacey weirdness, the name of the album repeating itself in an answer to the Stephen Hawking sample that started the voyage on its way.

Diggeth on Thee Facebooks

Qumran Records website

 

Horizon, The White Planet Patrol

horizon the white planet patrol

Cursed Tongue Records has the vinyl here, and Three Moons the tape, and the CD will arrive through Aladeriva Records, La Rubia Producciones, Aneurisma Records, Surnia Records and Violence in the Veins — so yes, Horizon‘s third album, The White Planet Patrol is well backed. Fair enough for the Kyuss-via-BlackRainbows vibes of “End of Utopia” or the initial charge and flow of “The Backyard” that sets the Alicante, Spain, trio on their way. “King Serpent” and “Death & Teddies” bring well-crafted fuzz to bear, and “Blind World” effectively layers vocals in its chorus to coincide, but the more laid back roll of the title-cut is an unmistakable highlight. Shades of mid-paced Nebula surface in “Meet the Forest” later on, but Horizon are part of a tradition of heavy bands in Alicante and they know it. The smoothness of their tone and delivery speaks volumes on its own in that regard, never mind the actual songwriting, which also leaves nothing to be desired.

Horizon on Thee Facebooks

Cursed Tongue Records webstore

 

Limousine Beach, Stealin’ Wine + 2

Limousine Beach Stealin Wine

Debut EP from Limousine Beach out of Pittsburgh, and if the three guitars involved don’t push it over the top, certainly the vocal harmonies get that particular job done. You got six minutes for three songs? Yeah, obviously. They scorch through “Tiny Hunter” to close out, but it’s in the leadoff title-track that Stealin’ Wine + 2 sees the Dave Wheeler-fronted outfit land its most outrageous chorus, just before they go on to find a middle-ground between KISS and Thin Lizzy on “Hear You Calling.” The harmonies open and are striking from the outset, but it’s in how they’re arranged around the standalone parts from Wheeler (also Outsideinside, ex-Carousel) that the outfit’s truest potential is shown. Issued through Tee Pee Records, Stealin’ Wine + 2 is the kind of thing you’d pick up at a show in a normal year and then feel way ahead of everyone else when the LP finally hits. Not a normal year, obviously, but Limousine Beach are serving due notice just the same. In six minutes, no less.

Limousine Beach on Thee Facebooks

Tee Pee Records website

 

The Crooked Whispers, Satanic Melodies

the crooked whispers satanic melodies

I’m sure a lot of records show up at Satan’s door with notes, like, “Dear sir, please find the enclosed submitted for your approval,” but it’s not hard to imagine Beelzebub himself getting down with the filth-coated sludge and rolling doom unfurled across The Crooked Whispers‘ debut offering, Satanic Melodies, marked by hateful, near-blackened screams from Anthony Gaglia and the plodding riffs of Chad Davis (Hour of 13, et al). The title-track is longest at 8:23 and in addition to featuring Ignacio De Tommaso‘s right-on bass tone in its midsection, it plays out early like Weedeater sold their collective soul, and drifts out where earlier pieces “Sacrifice” and “Evil Tribute” and “Profane Pleasure” held their roll for the duration. Stretches of clean-vocal cultistry add to the doomier aspects, but The Crooked Whispers seem to care way less about genre than they do about worshiping the devil, and that unshakable faith behind them, the rest seems to fall into place in accordingly biting fashion.

The Crooked Whispers on Thee Facebooks

The Crooked Whispers on Bandcamp

 

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The Pilgrim Stream First Single From New LP …From the Earth to the Sky and Back

Posted in Whathaveyou on July 22nd, 2020 by JJ Koczan

Oct. 2 is the given release date for The Pilgrim‘s second album, which has been titled …From the Earth to the Sky and Back and is now available to preorder from Heavy Psych Sounds. The first single, “Mexico ’84” had its premiere and can be heard at the bottom of this post. For those who heard the project’s debut, last year’s Walking into the Forest (review here), you might note an immediate uptick in the general production value. The tones of guitar are richer and as Gabriele Fiori (also Black Rainbows and Killer Boogie) and drummer Filippo Ragazzoni (also Black Rainbows) explore these acid folk textures, they’re clearly keeping a classic sense of groove with them.

With 14 tracks included on the LP — which I haven’t heard yet but am kind of dying to after listening to the single — it seems like there’s plenty of room to experiment, and I wonder just how proggy Fiori is getting, given the nods in the PR copy to Motorpsycho and Captain Beyond. Also wondering if that closer is a Doors cover, but I guess that’s just more general curiosity.

Here’s the latest:

the pilgrim from the earth to the sky and back

THE PILGRIM: debut single “Mexico ’84”; new album announced!

Folk rock duo THE PILGRIM (w/ Black Rainbows members) to return with new album on Heavy Psych Sounds; debut new single “Mexico ’84” now.

Roma-based folk rock duo THE PILGRIM (formed by Gabriele Fiori and Filippo Ragazzoni of Black Rainbows) will return this October 2nd with their sophomore full-length “…From The Earth To The Sky And Back” on Heavy Psych Sounds. Fly back in time with first single “Mexico ’84.”

THE PILGRIM is the brainchild of Gabriele Fiori (also frontman of Black Rainbows and Killer Boogie, and founder of Heavy Psych Sounds Records). This semi-acoustic, psychedelic folk project started to nebulously take shape as a solo project a few years back, as something different than the hard-driving psychedelia and garage heavy rock for which Fiori has been so revered. Quickly joined by Black Rainbows drummer Filippo Ragazzoni, they issued their debut album “Walking into the Forest” in the spring of 2019, meeting an unexpected success among the press and fans by quickly selling out all records.

About this new song, Gabriele Fiori comments: “Try to travel with your mind: back in time, desert lands, cactus, dusty roads and a long journey. Think about stopping somewhere beautiful at the end of the trip and refreshing your soul with a cold beer and a breathtaking landscape view. “Mexico ’84” is the perfect soundtrack for a mind travel or a real journey on a hot hot summertime day. Acoustic and electric guitars, percussion and mellow vocals let you dream away…”

With a refined work on production and recording, and more drums all throughout the record, new album “…From the Earth to the Sky and Back” has all the assets to meet the fans’ expectations, and more. The album was mixed and mastered by Shane Trimble (High Reeper), with a fantastic artwork designed by Maarten Donders. The first part of the record is inspired by a classic Americana vibe, while the rest of the record conjures up a sound reminiscent of Santana, The Eagles, Crosby Stills Nash & Young, Faces, Spirit, Captain Beyond and recent Motorpsycho work.

It will be released on October 2nd, and available to preorder now at this location: https://www.heavypsychsounds.com/shop.htm#HPS141

– Ultra LTD 2xLP Test Press Vinyl
– Ultra LTD 2xLP Orange/Black/Red Vinyl w/ gatefold + 4 bonus tracks + lyrics
– Ultra LTD Test Press Vinyl
– LTD Yellow/Red Splatter Vinyl
– Black vinyl
– Digipack and digital

New album “…From The Earth To The Sky And Back”
Out on October 2nd via Heavy Psych Sounds – Preorder

TRACK LISTING:
1. Mexico ’84
2. Sitting Down On The Porch
3. Obsessed By The West Part I, Ii ,Iii, Iv
4. Lion
5. Fool Around
6. Riding The Horse
7. Cuba
8. Secrets In The Kingdom
9. I’m Just Scared
10. Solitude
11. At Your Door
12. Sounds In The Night
13. Space And Time
14. Waiting For The Sun

THE PILGRIM is:
Gabriele Fiori – Guitars/Vocals/Keys/Banjo/Bass/Synth/Tambourine/Maracas
Filippo Ragazzoni – Drums/Percussions

https://www.facebook.com/THEPILGRIMACOUSTIC/
heavypsychsoundsrecords.bandcamp.com
www.heavypsychsounds.com
https://www.facebook.com/HEAVYPSYCHSOUNDS/

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The Pilgrim Announce New Album Preorders & Single Coming Soon

Posted in Whathaveyou on July 16th, 2020 by JJ Koczan

The announcement before the announcement? Oh, that’s the pre-announcement. That’s a thing, right? Either way, that’s kind of what we have here with the update from Heavy Psych Sounds about the upcoming sophomore long-player from The Pilgrim, otherwise known as the acoustipsych-folk solo-ish project led by Gabriele Fiori, frontman of Black Rainbows and Killer Boogie and the figurehead behind Heavy Psych Sounds label/booking/festivals as well. Needless to say, dude already had his hands plenty full before starting this outfit with last year’s Walking into the Forest (review here), but even with everything else going on and the world collapsing, he’s still managing to do a second The Pilgrim record on a year’s turnaround. The new one will be out this Fall.

And you know what? I bet it would have been out sooner if not for the coronavirus. Pretty god damned impressive.

Look out for the new single next week when preorders go up. For now, the pre-announcement:

the pilgrim

Heavy Psych Sounds announce THE PILGRIM coming back with a BRAND NEW ALBUM

We are so stoked to announce that our space folk acoustic rock riffers THE PILGRIM are coming back with their brand new sophomore album!!!

ALBUM PRESALE STARTS: JULY 21st

On tuesday, July 21st we are going to unveil all the details of THE PILGRIM sophomore album.

Cover, tracklist, all the different coloured vinyl versions and of course the first single MEXICO ’84 !!!

BIOGRAPHY

The Pilgrim is an acoustic, psychedelic, melodic, folk project created by Gabriele Fiori already front man of the heavy rock band Black Rainbows and garage fuzz band Killer Boogie. The Pilgrim started to nebulously take shape as an idea for a solo-project few years back, something different than the hard-driving psychedelia and garage heavy rock for which he’d already been so revered.

The first album “Walking into the Forest” has been a surprise success while selling out in 1 year and receiving the attention of many devoted followers who are waiting impatiently for the second chapter. Their sophomore album will see the light in fall 2021, a brand new release which has really big expectations.

THE PILGRIM is:
Gabriele Fiori – Guitars/Vocals/Keys/Banjo/Bass/Synth/Tambourine/Maracas
Filippo Ragazzoni – Drums/Percussions

https://www.facebook.com/THEPILGRIMACOUSTIC/
heavypsychsoundsrecords.bandcamp.com
www.heavypsychsounds.com
https://www.facebook.com/HEAVYPSYCHSOUNDS/

The Pilgrim, Walking into the Forest (2019)

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1782 Premiere “Bloody Ritual”; Doom Sessions Vol. 2 Split with Acid Mammoth out Sept. 18

Posted in audiObelisk on June 29th, 2020 by JJ Koczan

1782 acid mammoth doom sessions vol 2

Here’s what you need to know: On Sept. 18, Heavy Psych Sounds will release Doom Sessions Vol. 2, bringing together Italy’s 1782 and Greece’s Acid Mammoth. Yeah, I know, Doom Sessions Vol. 1, with Conan and Deadsmoke isn’t even out until July 17, but I guess the label is trying to stay ahead of the game. What it rounds out to is more riffs, and I know damn well you’ve got room in your life for more riffs, so quit yer yappin’ and dig into 1782‘s “Bloody Ritual” on the streaming doodad below in all its premiere-y goodness. It runs five minutes and it’s got like a whole day’s worth of Vitamin Nod. Take your pills, man.

How on earth did Heavy Psych Sounds get the notion to pair up these Roman and Greek titans? Well, both bands released records through the imprint last year. For the duo 1782 — which also features in its lineup Marco Nieddu, who runs Electric Valley Records — it was their self-titled debut (review here), rife with willful primitivism of its approach, drawing from VHS horror grain and a post-EWiz groove that remains well intact on “Bloody Ritual.” Acid Mammoth‘s second album, Under Acid Hoof (review here), arrived later in the year and shared some genre-on-genre aesthetic with their labelmates, both bands favoring a rawness of approach and themes centered around ritualism, darkness, the devil and all that other spooky fun stuff.

I haven’t been graced with the full release as yet, so I can’t speak to what Acid Mammoth are doing this time — please don’t go prog; sometimes I feel like everybody’s going prog — but if it’s up to 1782 to set the tone with “Bloody Ritual,” they’re setting it for all the fuzzy decay you can handle. Like body odor and liquor breath put to tape. Full on scuzz.

Dig:

Bloody Ritual is the first single taken from the upcoming split album DOOM SESSIONS VOL.2 – 1782 // ACID MAMMOTH. This first single is from 1782.

The release will see the light September 18th via Heavy Psych Sounds.

ALBUM PRESALE:
https://heavypsychsoundsrecords.bandcamp.com/album/doom-sessions-vol-2-1782-acid-mammoth

TRACKLIST

SIDE A – 1782
Bloody Ritual
Hey Satan
Witch Death Cult

SIDE B – Acid Mammoth
Black Wedding
Sleepless Malice
Cosmic Pyres

Say 1782:
“A song that goes straight to the point, the emotions of the last moments of a ritual, fuzzy and heavy riffs, the battery like a boulder that enters your mind! Bloody Ritual is the track that opens Doom Sessions vol.2, 1782 & Acid Mammoth split album!”

1782 on Thee Facebooks

1782 on Instagram

Acid Mammoth on Thee Facebooks

Acid Mammoth on Bandcamp

Heavy Psych Sounds on Thee Facebooks

Heavy Psych Sounds website

Heavy Psych Sounds on Bandcamp

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Album Review: Black Rainbows, Cosmic Ritual Supertrip

Posted in Reviews on May 26th, 2020 by JJ Koczan

black rainbows Cosmic Ritual Supertrip

This is a band who know what works. Some 13 years on from their debut album, Twilight in the Desert, and working as a flagship act for frontman Gabriele Fiori‘s Heavy Psych Sounds label as well as spearheads of Italy’s jam-packed underground, Roman trio Black Rainbows have every sense of who they are as a unit and where they want to be in terms of their sound. And even as Fiori has split his focus with the label, a festival series of the same name, and with other projects like Killer Boogie and The Pilgrim, the mission of Black Rainbows has remained consistent: To embody the sound of riding a motorcycle made of fuzz riffs through space on a desert interstate to hell.

Cosmic Ritual Supertrip is the seventh or eighth Black Rainbows full-length depending on how you count, and like 2018’s Pandaemonium (review here), it was recorded with Fabio Sforza. Tracked over a period of three days at Forward Studios in Rome, it finds Fiori as the lone remaining original member of the band joined by the rhythm section of returning drummer Filippo Ragazzoni and newcomer bassist Edoardo “Mancio” Mancini, who steps in for Giuseppe Guglielmino. The shifts in lineup around Fiori aren’t necessarily anything new for Black Rainbows, and as noted, who’s where around him ultimately factors little into the band’s purpose. That’s not to take away from anyone else’s personality or playing style — there are certainly changes in the band’s dynamic that have emerged over time as well as an evolution of songwriting that hits its high water mark here — but there’s little question whose band Black Rainbows is.

Past efforts from Black Rainbows have pounded away through space rock, psychedelia, classic stoner idolatry — Nebula have always been a crucial influence — and jammy freakouts, and Cosmic Ritual Supertrip brings a mix of all of the above, but mostly what comes through the 12-track/49-minute long-player (the vinyl leaves off two songs) is the underlying strength of craft. FioriRagazzoni and Mancini weave and wind their way through these varying styles and elements, working at a range of tempos within and between songs, but whether it’s the scorching layered soloing at the apex of “Hypnotized by the Solenoid” or the pure stoner-is-as-stoner-does-ism of the earlier “Radio 666,” there is a distinct energy and vitality to the work that is singularly Black Rainbows‘ own.

The album practically starts at a sprint with “At Midnight You Cry” and even a subdued moment like the two-minute drifter “The Great Design” is followed up by “Master Rocket Power Blast,” which — if it even needs to be said — hits like it’s been huffing paint thinner for three weeks straight and decided now was a good time to try skydiving. What’s come to the fore over time in Black Rainbows‘ let-it-fly-off-the-rails approach, however, is just how much it actually doesn’t fly off those rails. It was true to an extent on Pandaemonium and 2016’s Stellar Prophecy (review here) and 2015’s Hawkdope (review here) as well, but never more than it is now, that there is a plan being followed in the material. The title Cosmic Ritual Supertrip sounds like pure druggy nonsense, but that’s the idea too. The record, the band, and the songs — they’re all supposed to be the vehicle of the pure, out-of-your-mind escapism that is relishing volume, weight, and presence in heavy music. The medium is the message.

black rainbows

Where Black Rainbows bring a shift in approach into play is the focus on songs. Cosmic Ritual Supertrip flows suitably as a full-length release — the vinyl edition drops the last two tracks of the CD, “Searching for Satellites I & II” and “Fire Breather,” bringing the runtime to about 40 minutes even — but it’s the manner on which individual tracks stand out that would seem to distinguish this latest work from its recent predecessors. A normally hard-touring unit, Black Rainbows are no strangers to engaging an audience, and whether it’s the initial salvo of “At Midnight You Cry,” the desert-rolling “Universal Phase,” “Radio 666” and the hotshot swing of “Isolation” ahead of “Hypnotized by the Solenoid,” or later pieces like the lead-and-crash-soaked “Snowball,” “Glittereyzed” with its mashed-together space and gallop impulses, or the almost chunky-style turns of “Sacred Graal” — Deliverance-era C.O.C. come to mind — there’s a sense that even when Cosmic Ritual Supertrip is at its most sonically sprawling, the songs aren’t wasting a second of their time or yours.

I don’t know if it’s right to call it urgency, though it can be intense at times and Black Rainbows have bordered on speed-rocking mania in the past, but these songs maintain the electric current so key to the band’s collective persona even as they feel particularly hammered out and worked through. They’re not overthought, but it’s as though Fiori and company went into the process of making Cosmic Ritual Supertrip with the goal of having the individual tracks each do as much work as possible. And they do, from front to back. Be it the sharp turns from “Hypnotized by the Solenoid” into “The Great Design” into “Master Rocket Power Blast” or the Monster Magnet-y keys and effects laced throughout “Searching for Satellites I & II” or the samples from 1957’s The Giant Claw about seeing a giant bird as a harbinger of death in “Fire Breather” as the band conjure one last rush, each piece finds a way to leave an impression, and because of that, the album as a whole does as well.

It’s not a case where Black Rainbows have undergone a radical shift in approach. Their sound will be easily recognizable for anyone who took on Pandaemonium, etc., but Cosmic Ritual Supertrip proves their mastery of their approach on a new level by seeing them use songwriting in a different way. They’ve released collections of songs before, and they’ve released albums that have cohered like single long-form works as well, but never quite with as much purpose behind doing so as Cosmic Ritual Supertrip has in how it gives each inclusion its moment in the spotlight. As Black Rainbows continue through this stage of their maturity — and 13 years and seven or eight records on, “maturity” seems like a fair word — that they’re still working in different modes of expression as a unit, and seeming to control it more than ever before, could hardly be more encouraging. The possibilities become endless.

Black Rainbows, Cosmic Ritual Supertrip (2020)

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Review & Full Album Stream: Beesus, 3eesus

Posted in audiObelisk, Reviews on March 30th, 2020 by JJ Koczan

beesus 3eesus

[Click play above to stream 3eesus by Beesus. Album is out Friday on Go Down Records, More Fuzz Records and New Sonic Records.]

As the title hints, 3eesus is the third full-length from Roman heavy fuzz rockers Beesus. Also their first offering through long-established Italian imprint Go Down Records as well as More Fuzz Records and New Sonic Records, the seven-song excursion spreads languid and loose across 40 minutes that are alternately spaced and driving and swinging and rolling, with guitarist/vocalist Francesco Pucci, bassist/vocalist Emiliano Gianni and drummer/vocalist Adriano Bartoccini putting a clear priority on sonic diversity throughout. Consistency is maintained through the tones of the guitar and bass — that is, the fuzz is thorough — but after the push of opener “Reproach” and the spacier “Sand for Lunch,” third cut “Suffering Bastards” offsets its hooky nodder chorus with verses of spoken word on the way to a jammier second half marked out by airy soloing and unbridled groove.

Having all three members of the band ready and willing to contribute vocals adds to the band’s ability to build more complex arrangements, and even as the wall of fuzz overwhelms the shouts of centerpiece “Sleng Footloose,” those shouts clearly arise from different sources and are themselves something of a shift from what’s come before. Those who’ve followed Beesus across their two prior outings, 2015’s The Rise of Beesus (review here) and 2018’s Sgt. Beesus… & the Lonely Ass Gangbang! will find the elements at work to be familiar, particularly with the latter, which expanded on the more straight-ahead approach of the debut, but while it wouldn’t feel appropriate to go so far as to call 3eesus experimental, there’s no question the band are actively working to push their sound in multiple directions, thinking of the album on its own terms with individual cuts serving a larger purpose within the whole. Those efforts are successful across the 40 minutes of 3eesus, right down to how “Sand for Lunch” teases some of the more psychedelic aspects of side B’s “Flags on the Sun,” “Gondwana” and the scorching closer “Sacoph.”

In some ways, whether it’s the interwoven layers of synth in the opener or the overarching Fu Manchu-style groove they offset, 3eesus reminds of some of fellow Romans Black Rainbows‘ melting-pot take on grunge, fuzz and psychedelia, but Beesus bring a more terrestrial sound on the whole, and the multi-vocalist aspect is a distinguishing factor that, along with the persistent sonic changes from one track to the next, helps distinguish PucciGianni and Bartoccini from the arguably forerunning counterpart three-piece. Beesus are nonetheless well at home in the psychedelic flourish of “Sand for Lunch,” calling to mind a ’90s drift without being shoegaze or post-rock, letting the bass and drums carry the guitar across the chasms of its own making, like a river cutting through a canyon.

beesus

beesus 3eesus gatefold

The elements at work in “Sand for Lunch” are exceedingly well balanced without purposefully sounding like it, and the band are able to affect a laid back atmosphere and a looseness of rhythm even though they’re very clearly pushing the song ahead toward its break before the five-minute mark at which point a more solidified low-end riff takes hold and the three players lock into the progression and ride out through the final chorus. That song, surrounded on side A by “Reproach,” “Suffering Bastards” and “Sleng Footloose,” is something of a triumph for 3eesus, and it’s doubly fortunate that it acts as a precursor to some of what the second half of the record brings with the final three tracks. The more the merrier, as it were. That’s not to discount what they do across the rest of side A, which is to bring more than just a feeling of variety to the work in terms of quality, whether it’s the structural play of “Suffering Bastards” — the chorus lyric, “We’re never wrong,” repeated as an anchor for some of the LP’s most out-there fare — just to point out the success on the part of the band in terms of tying the material together despite the shifts that take place particularly early in the proceedings.

And when it comes to the massive groove of “Sleng Footloose,” well that’s just good fun, and all the more as 3eesus‘ centerpiece. “Flags on the Sun” follows immediately as the longest individual song at 7:29 with a Doors-y night-in-desert — the time of day somewhat ironic given the sunny title — openness of tone and a relatively patient unfolding compared to some of what comes before; a clear indication of the shift taking place from side A to B, even in the digital realm. Deceptive in its melody, the track moves with marked fluidity and a gradual forward progression, not building to a huge payoff, but instead bringing in (seemingly) all three players on vocals toward the finish and capping with a somewhat understated flourish of drums behind distorted strumming guitar, the arthouse-grunge vibe palpable. “Gondwana,” which takes its name from the Neoproterozoic supercontinent made up of India, Arabia, Australia, South America, Africa and Antarctica, revives some push in its second half while also calling back to the spoken word of “Suffering Bastards,” but still draws atmospheric impression from “Flags on the Sun” prior and even as it moves through its shouts just prior to six minutes in, it does so with the current of effects/synth running alongside swirling to the inevitable fade at the conclusion and arrival of “Sacoph,” which, in contrast, seems to be named for a grocery store. Go figure.

The final cut begins with a righteously slow nod and some scorcher lead work from Pucci, and that sets the tone for what follows as the band with three singers decides to go it instrumental at the end, letting the guitar ring out into open space with a clarion shimmer underscored by the weight of the bass and accompanying fuzz. There’s a kick of tempo in the second half, but they end slow and dramatic and that feels well earned after all the various turns preceding, both within and between the songs. As much as that’s a somewhat inevitable focal point of 3eesus, the greatest effect it has on the band’s work overall is to emphasize the cohesion with which Beesus are able to unite the material. I don’t know whether the tracks were recorded live or not, but the feel of band-in-a-room is palpable, and it’s that singular energy that most comes through in drawing songs together as a singular presentation. It enhances the various strengths of the trio and only makes the listening experience richer and more consuming, which would seem to have been precisely their intent for it.

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