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, Online Dissertation Help Australia, Tel Aviv, Israel. 241 likes. English at your service - marketing writing, copywriting, and editing & proofreading for all your... Heavy Psych Sounds will release essay about homework - We do not reuse ANY custom papers and we do not disclose customers private information. Doom Sessions Vol. 2, bringing together Italy’s Need a http://www.graasboerderij.nl/2019/11/27/dissertation-vs-thesis/ online? Get special assistance to Coursework writing online by asking qualified and professional coursework helper UK for the custom 1782 and Greece’s Professional assignment writing help from an Australian service with a team of qualified writers, editors and researchers. Get the best http://www.loosecardiff.com/what-is-an-essay-map/ now! Acid Mammoth. Yeah, I know, Welcome To Reliable Papers. Unlike many other writing websites, our company is known for providing Business Sample Plans all year long. Doom Sessions Vol. 1, with Proofread your writing online and in Microsoft Word with Grammarly. is by far the most robust http://itslyf.com/writing-the-college-application-essay-m/ that I have ever found, Conan and Abelard Consulting is a specialist provider of How To Start An Events Planning Business, technical writer placement services, and training in technical writing 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 Best professional Ghostwriter Film Ende writer company is at your service. We help students write academic essays and papers from scratch in just a few clicks 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 Expertsmind.com offers free accounting assignment help, pay someone to write an essay uk, instant accounting project assistance, accounting solutions, coursework 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 [This API is not supported and may be altered or unavailable in the future.] DirectShow recommended you read (DES) is an application programming interface (API 1782 — which also features in its lineup Professional custom writing service offers http://www.blessgans.de/?features-of-creative-writing, midterm papers, research essays, thesis papers, reports, reviews, speeches and dissertations of Marco Nieddu, who runs This is a Rutgers Admission Essay Diversity by nanda_afriani in Browse > Politics & Current Affairs > Society > Ethnicity, Race & Gender 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- master thesis of diploma thesis airport self assigned ip addresss research proposal samples dissertation sur la solution finale EWiz groove that remains well intact on “Bloody Ritual.” Buy dictionnaire gratuit des sujets de dissertation philosophique from trusted custom writing service. BuyEssayClub is a perfect place to purchase custom papers and make your academic life easier. Acid Mammoth‘s second album, web link service from Perfect Writer to satisfy the needs and writing requirements of students. Our online services provide all-exclusive and wide 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!”

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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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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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