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.

Beesus on Thee Facebooks

Beesus on Instagram

Beesus on Bandcamp

More Fuzz Records on Thee Facebooks

More Fuzz Records on Bandcamp

Go Down Records on Thee Facebooks

Go Down Records website

New Sonic Records on Thee Facebooks

New Sonic Records on Bandcamp

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Black Rainbows Announce European Tour Dates

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

black rainbows

Inevitable. As Black Rainbows move toward the May 1 release date for their new album, Cosmic Ritual Supertrip, they were more or less bound to announce a round of European touring to support. They’ll of course play the Heavy Psych Sounds Fests in Paris, London, the Netherlands and Belgium, and they’ll do Desertfest in Berlin (they still have room in the schedule for London as well) and a bunch of other festivals along the way between this week and the end of June, as well as shows later this Spring alongside such luminaries as Greenleaf and Elder, which, as ever, is fine company to keep.

I’ve heard Cosmic Ritual Supertrip at this point. Sooner or later I’ll review it — hopefully before May — but if I can bottom line it for you, these guys have taken space rock and classic ’90s-style stoner and made it their own thing. The Nebula/Fu Manchu influence that drove their earlier days is still there, but it’s morphed into a personality that’s more theirs than ever. I’ll leave it there for now, but they’ve worked diligently and you can hear that in the quality of their material and how they’ve moved forward as songwriters and performers. Eight records in they’re still pushing hard. That’s a good fucking band.

Tour dates follow:

black rainbows euro tour

BLACK RAINBOWS – EUROPEAN TOUR 2020

Black Rainbows are ready to release this spring their 8th album: “Cosmic Ritual Supertrip”. The new album been recorded at Forward Studios in Rome on an incredible Neve consolle recorded and mixed by Fabio Sforza same engineer of the last album “Pandaemonium.” The new beast has a monolithic force: guitars, drums, bass are all glued together and give the listener a punch on his face!

This album has a magic power mixing together the 70’s attitude with the doom-occult sound and the stoner rock in a masterful way.

*** BLACK RAINBOWS – EUROPEAN TOUR 2020 ***
A lot of headlining shows but also great festivals such as Heavy Psych Sounds Fests in Paris, London, Antwerp, Deventer and Winterthur !!!

05.03.2020 FR Paris – Glazart HPS Fest
06.03.2020 BE Antwerp – Trix HPS Fest
07.03.2020 UK London – Underworld HPS Fest
08.03.2020 NL Deveneter – Burgerweeshuis HPS Fest
25.04.2020 DE Dortmund – Check Your Head Fest
26.04.2020 DE Oldenburg – MTS
27.04.2020 DE Hamburg – Stubnitz
28.04.2020 PL Wroclaw – Dk Luksus
29.04.2020 PL Poznan – Alternativa
30.04.2020 DE Dresden
01.05.2020 DE Leipzig – Zoro
02.05.2020 DE Berlin – DesertFest
06.05.2020 DE Koln-MTC
07.05.2020 BE Bruxelles – Le Nuis Botanique Fest
08.05.2020 FR TBA
09.05.2020 FR TBA
14.05.2020 CH Olten-TBA
15.05.2020 CH Martigny – Caves Du Manoir w/Monkey3
16.05.2020 CH Altdorf – Vogelsang
17.05.2020 AT Salzburg – Rockhouse w/Greenleaf
06.06.2020 CH Winterthur – Gaswerk HPS Fest w/Elder
25.06.2020 DE Munich – Backstage
26.06.2020 DE Passau – Blackdoor Fest

BLACK RAINBOWS is:
Gabriele Fiori – Guitar/Vocals
Filippo Ragazzoni – Drums
Edoardo “Mancio” Mancini – Bass

http://www.theblackrainbows.com/
https://www.facebook.com/BLACKRAINBOWSROCK/
http://blackrainbows.bandcamp.com/
https://www.facebook.com/HEAVYPSYCHSOUNDS/
http://www.heavypsychsounds.com/
https://heavypsychsoundsrecords.bandcamp.com/

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Beesus to Release 3eesus on April 3; Tour Dates Announced

Posted in Whathaveyou on March 2nd, 2020 by JJ Koczan

beesus

It’s their third album. They called it 3eesus. It’s clever. And all the more appropriate that it’s coming out through three different labels. The latest work from Roman trio Beesus will be presented through France’s More Fuzz Records as well as respected Italian purveyors Go Down Records, and New Sonic Records on April 3. The band, by then, will be en route to Germany from France as they embark on a tour to support the release. I’ll go ahead and assume More Fuzz is in some way affiliated with putting the shows together, since most of them are happening in France, but it nonetheless looks like a good time and there are some dates that may or may not be filled in as they go — would a couple days off between Lorient and Limoges really be the worst? — as they wrap up April 18 in Nice. You can make your own pun there, I’ll preserve what little dignity I have left.

This is the first of a three-leg European tour — speaking of puns — so you can expect more to come. To wit, preorders start next Friday from all three labels and they’ll reportedly have a new song up then as well. So yes, worth keeping an eye out as you will.

Here’s what’s up in the meantime:

beesus 3eesus gatefold

BEESUS – 3eesus

BEESUS are proud to announce their third album “3EESUS” will be released next April the 3rd 2020 via More Fuzz Records (F), Go Down Records (I) and New Sonic Records (I).

Embellished by Max Ernst’s “Europe After The Rain II” (Wadsworth Atheneum Museum of Art, Hartford, CT) on the cover artwork, the vinyl version will be ready to spin in Black and in marbled Rusty/Light Blue editions.

After “The Rise of Beesus” (2015 Goodfellas/New Sonic Records) and “Sgt. Beesus…& the lonely ass Gangbang!” (2018 New Sonic Records) the three Romans are ready to unveil 3EESUS!

TRACKLIST:
– Reproach
– Sand for lunch
– Suffering Bastards
– Sleng Footloose
– Flags on the Sun
– Gondwana
– Sacoph

From April the 1st the band will be touring Europe for three legs that will touch most of the continental Europe.

Here is the first:
01.04.2020 – I – Secret show
02.04.2020 – F – LYON – Le Farmer
03.04.2020 – D – LANDAU – Sudstern
04.04.2020 – B – GAND – Den Drummer
05.04.2020 – B – HERENT – De Loft
07.04.2020 – F – PARIS – L’International
08.04.2020 – F – RENNES – Le Méliès
09.04.2020 – F – NANTES – La Scène Michelet
10.04.2020 – F – LE MANS – Le Lézard
11.04.2020 – F – LORIENT – Le Galion
15.04.2020 – F – LIMOGES – Espace El Doggo
16.04.2020 – F – TOULOUSE – Les Pavillons Sauvages
17.04.2020 – F – MONTPELIER – The Black Sheep
18.04.2020 – F – NICE – La Matrice

BEESUS are:
Francesco Pucci – guitars, vocals
Emiliano Gianni – bass, vocals
Adriano Bartoccini – drums, vocals

https://www.facebook.com/beesusindope/
https://www.instagram.com/sgt.beesus/
https://beesus.bandcamp.com/
https://www.facebook.com/morefuzzrecords/
https://morefuzzrecords.bandcamp.com/
https://www.facebook.com/GoDownRecords/
https://www.godownrecords.com/
https://www.facebook.com/NewSonicRecords/
https://newsonicrecords.bandcamp.com/

Beesus, Sgt. Beesus… and the Lonely Ass Gangbang (2018)

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Black Rainbows: New LP Cosmic Ritual Supertrip Available to Preorder; Streaming “Isolation”

Posted in Whathaveyou on February 13th, 2020 by JJ Koczan

black rainbows

Italian heavy psychedelic rock magnates Black Rainbows return May 1 with their eighth full-length, Cosmic Ritual Supertrip, from which they’re streaming the first single and for which they’re taking preorders both as of today.

Perhaps the most striking thing about “Isolation,” which is serving as the lead track unveiled, is that an opening riff so killer isn’t how the bands chose to actually start the record. I’d be on board with checking it out anyhow, most likely — eight records deep, and I haven’t heard this one yet, but they don’t have a bummer in the bunch preceding — but I’m all the more interested in knowing how it actually leads off if not with something as awesome as this.

Expect more to come ahead of the release in May. Only reason I haven’t yet sent the label an email asking to set up a premiere is because I can’t actually get to my laptop at the moment to do such a thing. In any case, I will shortly and keep my fingers crossed at the possibility.

Fresh off the PR wire:

black rainbows Cosmic Ritual Supertrip

BLACK RAINBOWS – Cosmic Ritual Supertrip

Today we are extremely proud to start the presale of the BLACK RAINBOWS brand new album COSMIC RITUAL SUPERTRIP !!!

Black Rainbows are back with a brand new album! This time they are delivering 12 new and fresh tunes. Recorded and produced by Fabio Sforza, who was also behind the previous album Pandaemonium. “Cosmic Ritual Supertrip” has a monolithic force; guitars, drums and bass are all glued together to give the listener a punch in the face! This album gets its magic power from mixing together a 70’s attitude with a doom-occult and stoner rock sound in a masterful way.

We can count a bunch of singles, such as “Isolation” and “Master Rocket Power Blast”, as well as a couple of doomy songs like “Universal Phase” and “Saacred Graal” and also more catchy tunes like “Radio 666” and “At Midnight You Cry”. This is the 8th album of the band and we believe the best one so far. Recorded at Forward Studios in Rome on a huge Neve desk, this new gem will be out May 1st, on Heavy Psych Sounds Records.

The amazing artwork, made by the one and only Robin Gnista, is matching in its entirety the album music concept.

tracklist:
1. At Midnight You Cry
2. Universal Phase
3. Radio 666
4. Isolation
5. The Great Design
6. Hypnotized By The Solenoid
7. Master Rocket Power Blast
8. Snowball
9. Glittereyzed
10. Sacred Graal

BLACK RAINBOWS is:
Gabriele Fiori – Guitar/Vocals
Filippo Ragazzoni – Drums
Edoardo “Mancio” Mancini – Bass

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Black Rainbows Finish Recording New Album; Announce Bassist Departure; Repress Pandaemonium

Posted in Whathaveyou on January 14th, 2020 by JJ Koczan

Much ado in the ever-whirling universe of Roman heavy spacers Black Rainbows, who’ve not only issued new pressings of their 2018 LP, Pandaemonium (review here), but have announced that their next album is already in the can. Doneski. I don’t know about you, but I anxiously await the news of a release coming through Heavy Psych Sounds any minute now, since as we all know, Black Rainbows aren’t ones to waste time. To that end, they’re currently booked to play three editions of the Heavy Psych Sounds Fest in March in Antwerp, Belgium, London, UK and Deventer, the Netherlands, as well as a couple other odds and ends this Spring.

Only snag there is they’ll need a new bassist to do it, as they’ve put out word that Giuseppe Guglielmino is no longer with the band. They’ve got an email listed where one might apply for the position, and though they’ve been through a couple low-end specialists at this point, that still seems like a pretty primo opportunity for any four-stringer out there who wants to join an awesome touring band with a following. Talk about stepping into a cool situation. Anyway, the email’s below, and if you play bass and were thinking about moving to Rome — aren’t we all? — then you might want to drop a line.

Words in blue from thee social medias:

black rainbows

We’re very sorry to announce that Peppe, our bassplayer is no longer a member of Black Rainbows:

Unfortunately our life and band plans were not matching anymore.

We really thanks Peppe for everything done so far and happy we shared this path together until now:

Anyway, we care about to say that he recorded the new album, which we are so proud to present really soon!

In the meantime we are looking for a new bass player in our area, if you think you can fit in the band …write at infoblackrainbows@gmail.com

Today we want to celebrate the repress of the BLACK RAINBOWS last album PANDAEMONIUM with 2 new different covers and coloured vinyls !!!

GRAB YOUR COPY HERE:
https://www.heavypsychsounds.com/shop.htm#HPS073v2
or
https://heavypsychsoundsrecords.bandcamp.com/

USA MARKET via All That is Heavy:
https://allthatisheavy.com/

AVAILABLE IN:
– LTD YELLOW SPLATTER BLACK / GREEN FLUO / RED
VINYL (WHITE COVER)
– LTD GREEN FLUO VINYL (GREEN COVER)
– DIGIPAK

“Well after one and half year, we just realized that our dear last album Pandaemonium was sold out!! We went to pick copies for the tour and some single orders and we realized copies were finished! We are so excited to repress it and it will be an amazing repress cause of two new different covers and vinyl editions. We want to thanks all the people who supported us buying the album so fa.r”

http://www.theblackrainbows.com/
https://www.facebook.com/BLACKRAINBOWSROCK/
http://blackrainbows.bandcamp.com/
https://www.facebook.com/HEAVYPSYCHSOUNDS/
http://www.heavypsychsounds.com/
https://heavypsychsoundsrecords.bandcamp.com/

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Ufomammut Announce Indefinite Hiatus

Posted in Whathaveyou on January 13th, 2020 by JJ Koczan

Ufomammut have gone on hiatus, and the question I keep coming back to is whether or not the band had run their course. For those unaware — who likely aren’t reading this anyway because if you don’t know the band you’re probably not interested in their breaking up, but stay with me — the Italian three-piece of bassist/keyboardist/vocalist Urlo, guitarist/keyboardist Poia and drummer Vita formed in 1999 and would go on to serve as progenitors of a movement one can now refer to as cosmic doom largely because of the work they did in shaping it. Their blend of psychedelia and crushing rhythm and tone remains largely unmatched in the known universe, and if you think their innovation ends with “they play doom with keyboards,” I wholeheartedly invite you to partake of 2010’s Eve (review here, also discussed here) and eat your words. And just in case you click either of those links, I’ll prepare you: there are few records I’ve lauded as voraciously on this site, and I stand by every word of that hyperbole.

The band say in their statement that they’re not done, despite Vita leaving, but that they’re stepping back after this 20-year run to reassess and regroup, figuratively and literally. Best wishes to them for that, of course, but going back to the initial question, I can’t quite wrap my head around the idea that they had nothing more to say. I’ll say outright that nothing they’ve done since has hit me in the same impact as Eve — whether it was 2017’s 8 (review here), 2015’s Ecate (review here) or 2012’s two-parter, Oro: Opus Primum (review here) and Oro: Opus Alter (review here) — but honestly, few records have by anyone else either. But Ufomammut have never stopped moving forward creatively, and even the manner in which they marked their 20th anniversary, with the XX EP (review here) and box set, found them bringing new ideas to their past work, reinventing it in an even more atmospheric context.

And that’s what makes me say no to the above question and, in particular, what makes me interested in where Ufomammut might go when this hiatus ends, which, again, they say it will, despite its “indefinite” nature. The fact that they’ve never done anything but build on their past. I’m not blind to the fact that this will be the first lineup change involving what was the core trio of the band for two decades, and nor will I minimize Vita‘s contributions to the personality of the group — he can still be heard in Sonic Wolves and Rogue State — but what does a post-hiatus Ufomammut sound like? Where does that scope go? My guess is forward.

The band’s statement follows:

UFOMAMMUT photo by Francesca De Franceschi Manzoni

After twenty years, Ufomammut is pausing for a while, the time has come to turn off amplifiers and let the tubes cool down, to let the silence allow us to rebuild, and then start again.

This decision comes to the end of an intense and difficult period of problems and misunderstandings that none of us has been able to solve and overcome, after which Vita decided to leave the band.

We thank him for sharing with us twenty incredible years of creation, recordings, tours and concerts, of uncompromising music, sacrifices and great satisfactions.

Started in February 1999, it’s been a journey in which we have been lucky enough to create our music and to tour all around the world to play it, as well as the honor of sharing the stage with our favorite bands.

It’s been an opportunity that made us understand that this band is not only the three guys on stage, but also YOU.

YOU made us live through emotions which we would have not experienced otherwise.

YOU, that have shared with us the sound and the power of this religion without boundaries and ideology, that is music.

YOU, that all are, simply, Ufomammut.

Thank You.

And see you soon.

www.ufomammut.com
https://ufomammut.8merch.com/
www.facebook.com/ufomammutband
www.instagram.com/ufomammut
http://www.supernaturalcat.com

Ufomammut, 8 (2017)

Ufomammut, Eve (2010)

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Doomraiser Premiere “Chimera” Video; The Dark Side of Old Europa out Jan. 24

Posted in Bootleg Theater on December 12th, 2019 by JJ Koczan

doomraiser

Not to give too much away, but the final resolve of The Dark Side of Old Europa — the fifth full-length from Roman five-piece Doomraiser out Jan. 24 on Time to Kill Records — comes amid thudding drums and plodding riffs as “Loathsome Explorer Interpolation” ends on vocalist Nicola Rossi‘s repeated line, “We are all doomed.” That would very much seem to be the underlying — and often not-at-all-underlying — message of The Dark Side of Old Europa‘s plunge through Europe’s dark, violent and plague-addled history, which Doomraiser lead while also taking on the history of doom metal itself, from (of course) Black Sabbath on the intro “Passage” to shades of Celtic Frost that show themselves in the title-track and the later “Häxan” and the closer, theremin-laced dark psych on “Tauroctony (The Secret Cult of Mithras),” elements of Cathedral on “Chimera” and elsewhere, Trouble throughout, and Scott Reagers-era Saint Vitus most especially on the nine-and-a-half-minute highlight “Terminal Dusk” and also the aforementioned finale. Following the intro, “Chimera” opens the The Dark Side of Old Europa like a gateway to the abyss, with a swinging rhythm from bassist Andrea Caminiti and drummer Daniele Amatori, and riffs from Marco Montagna and Giuseppe Nantini to lead the way down into the void.

They talk about themselves as playing “heavy drunken doom” in the bio info, and, okay, fair enough, but if they’ve been downing beers or whatever, they seem to be able to hold their liquor. The songs are coherent in their structure, and offer nuance in drum changes that end up driving doomraiser the dark side of old europarighteousness like the ending lead of “Chimera” or the finish of “Tauroctony (The Secret Cult of Mithras)” to an all the more effective level even as the crunch in “The Dark Side of Old Europa” or the synth-laced instrumental build of the penultimate “Continuum Pt. 1 (Suspended in Darkness)” set a pretty broad range of influence within the sphere of doom. And Doomraiser, rest assured, are doom. They’re practically dooom, they’re so doom. And they know it.

The Dark Side of Old Europa is their first full-length in some five years since 2015’s Reverse (Passagio Inverso), but they’ve been at it steadily since 2003 and very clearly know who they are and what their mission is as a band. Their mission is doom metal, and their songs serve that end. Intoxicated as they may or may not be at any given moment, they remain lucid in that purpose and the eight tracks and 51 minutes of The Dark Side of Old Europa bear that out from front to back on a deceptively engaging linear path that is broader than it first appears. “Passage” and “Chimera,” and even the 6:28 title-track thereafter, are the lead-in salvo for the longer pieces that follow beginning with “Tauroctony (The Secret Cult of Mithras)” (8:30), and the flow of the album is all the more immersive for the crucial setup they provide — evidence of the band’s experience in terms of knowing how to put the listener where they want them to be.

The video premiering below for “Chimera” was directed by Pietro Tamaro and is rife with forest ceremony that according to the band represents human decline. I’m not disposed to argue. Good news for the species seems to be hard to come by these days, but if we’re on our way out, it’s hard to say we didn’t earn what we get. Nonetheless, it’ll probably be 10,000 years at least before the last of us burns, freezes, or plagues our way off the face of the earth, so we might as well doom out in the meantime.

Therefore, please enjoy:

Doomraiser, “Chimera” official video premiere

Doomraiser on “Chimera”

Chimera is a legendary monster from the Greek, Roman and Etruscan mythology, a horrible hybrid with divine origins portrayed with a mixed lion and goat body, and a venomous serpent as tail. The characteristic and surreal shape of the creature, a clear product of fantasy, has become through the years the symbol of illusion, of what is unreal, vain and elusive.

A stratification of meanings and languages that comes directly from an ancient imagery, which probably reflects an attempt of recreating, in the past, the hideous and hybrid forces of nature. Chimera represents a dark concept, based on a bizarre and unsteady basis, caused by its grotesque and shapeless character, and by its “versus nature” aspect, which represents the “non form.”

The song itself speaks of the Chimera as a concept of illusion, the indefinite and the chaotic; it describes the theme of precariousness of human life, as an extremely fragile dimension compared to the vastness of eternity.

The idea of growth and progress in this historical phase are just illusions, Man walks more and more away from Knowledge, has no more awareness, has lost direction, so he tries to exceed Nature itself, but nonetheless everything has its birth and death, beginning and end, Alpha and Omega. Empires have fallen over time, entire populations and cultures are gone forever. The video represents this human decline, the fragility of an ever delicate balance, the materialization of the “fathers of illusions” and “mothers of void.”

“The Dark Side of Old Europa” will be released on January 24th 2020 via Time To Kill Records.

The album was produced by Danilo Silvestri and by the band. Renowned artist Roberto Toderico is responsible for the impressive cover artwork that’s now available along with the album’s tracklist.

“Exploring Europa’s darkest events, we conceived an obscure sound relying on the Doomraiser ‘heavy drunken doom’ trademarks: heavy metal played at a monolithic pace, where fast and slower, gloomy introspective parts often collide. The final result is very ‘live sounding’, every instrument breathes with vicious abandon while building a tight wall of sound. This time around the songs’ length has also been reduced in order to strengthen their impact and intensity”.

Pre-order: https://doomraiser-thedarkside.bandcamp.com/

“The Dark Side of Old Europa” tracklist:

01. Passage
02. Chimera
03. The Dark Side of Old Europa
04. Tauroctony (The Secret Cult of Mithras)
05. Terminal Dusk
06. Haxan
07. Continuum Pt. 1 (Suspended in Darkness)
08. Loathsome Explorer Interpolation

Line-up:
Nicola Rossi – Vocals/Synth
Marco Montagna – Guitars
Giuseppe Nantini – Guitars
Andrea Caminiti – Bass
Daniele Amatori – Drums

Doomraiser on Thee Facebooks

Doomraiser on Instagram

Doomraiser on Bandcamp

Doomraiser on YouTubbe

Time to Kill Records on Thee Facebooks

Time to Kill Records website

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Fvzz Popvli Sign to Retro Vox Records for New Album

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

As Rome’s Fvzz Popvli round out what was a pretty successful year supporting their 2018 album, Magna Fvzz (review here) — most recently on a Fall tour produced by Heavy Psych Sounds — they’re announcing a new label home for what will be their third full-length. Pootchie Popvli & Co. will take their fuzzly — or is that fvzzly? — ways to Retro Vox Records, based out of Parma, in Italy, after taking a bit of time to catch their breath after touring and what was a pretty whirlwind couple of initial years for the band. I think their records were sleepers compared to some of Heavy Psych Sounds‘ higher profile releases, but they both delivered, the second even more than the first. No matter which outlet has its stamp on there, the third one will be something to look forward to, whenever it will happen along.

Retro Vox — who have worked in the past with countrymen Gorilla Pulp, Caronte, Whiskey Ritual, Da Captain Trips and others — and Pootchie both offered comment on the alliance:

fvzz popvli

Fvzz Popvli sign with Retro Vox Records!!!

Pootchie of Fvzz Popvli on the signing:

“After 2 albums, 10 European tours, 50.000km and more than 200 shows in 11 EU countries… We must say STOP! Now it’s time to rest and have a bit of time for ourselves… But the best thing is that a new adventure is coming, we gonna enter in the studio for our 3rd album in the end of January! We are very excited to announce our new label for this release: RETROVOX RECORDS an Italian based Rock’n’roll label, Bye Heavy Psych Sounds, thanks for all you did! More news soon! “

Carlo Izzo, A&R Retro Vox Records on the signing:

“I met Mr. Pootchie at Duna Jam years ago and soon was a blast. We had a lot of fun. Even if the band was under licence with another label I always try to help ’em with booking and with suggestions on production. That’s why I think this is a sort of natural transition.”

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, Magna Fvzz (2018)

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