Posted in Whathaveyou on May 25th, 2022 by JJ Koczan
As Kyiv’s Stoned Jesus unveil the first audio from their new album to see release hopefully soon as their debut on Season of Mist, one can’t help especially thinking of the fragility of porcelain itself but be reminded of the fact that the trio should’ve been on an extensive European tour this Spring if not for the ongoing brutalization of their home nation at the hands of Russian forces. Here in the US, the propaganda is pervasive and on the Ukrainian side — doesn’t take much for America to go anti-Russia, even though America pretty much pulls all the same bullshit, just on Black and Brown people — but even considering that it’s hard not to consider the lost homes and lost lives as a crime against humanity. Warcrimes. Think there will be any tangible consequences? Were there from the US’ war in Afghanistan or Iraq? For the Americans, I mean.
If you’d say “keep politics out of music”: All things are political. Grow up.
This song rules, and Igor is right when he calls out Porcupine Tree — can hear some In Absentia in the atmosphere — for “Porcelain,” and the percussive bent that underscores the driving riff could be Swans drawn. To me it sounds more like Stoned Jesus acknowledging their prog leanings of recent years while reengaging with the riffier methods of their early work. Finding a balance, maybe. Mountain climbing in their own way.
Ukrainian sludge rock trio STONED JESUS is now releasing a brand new song, “Porcelain!” The song and visualizer, which was created by the band, can be found at THIS LOCATION.
Lead vocalist and guitarist Igor Sydorenko comments: “‘Porcelain’ was one of the last songs I brought to my bandmates for the upcoming album, and they loved it instantly! In fact, we all loved this track so much we decided we’d play it live even before the album’s out, so now it makes all the sense releasing it as a single. People told me it sounds like 2000s PORCUPINE TREE covering 2010s SWANS but to me it’s just another amazing chapter in the STONED JESUS songbook. Hope you’ll enjoy it too!”
The song is taken from the band’s new upcoming album, for which the details will be revealed at a later date. Stay tuned!
“Porcelain” can be pre-saved across streaming platforms HERE: https://orcd.co/stonedjesus-porcelain
Line-up: Lead-Vocals and Guitar: Igor Sydorenko Bass and backing vocals: Sergii Sliusar Drums and backing vocals: Dmytro Zinchenko
Posted in Whathaveyou on April 27th, 2022 by JJ Koczan
At the end of last month, Crippled Black Phoenix shared a live double-album capturing their sets at Roadburn Festival from 2017 and 2019. I don’t think either of those represent the current lineup of the band, but hell, while the getting’s good, get. They follow that bit of good news with more in announcing both a new album on the way and the first round of touring they’ll do to support it like it ain’t no thing. Their last full-length was 2020’s Ellengæst (review here), and they followed it last year with the two-songer Painful Reminder / Dead is Dead EP (discussed here), continuing a run of downerist post-rock the likes of which, 20 years from now, other bands will be ripping off wholesale and forgetting to cite as an influence. Come back in two decades and prove me wrong.
Season of Mist will have the release on Sept. 9, and the UK/Euro stint will be with Impure Wilhelmina and MØL, as the band posted on social media:
YO! ‘Banefyre’! The new full-length is set for worldwide release on September 09, 2022 via Season of Mist and new music will be released soon!
Also.. after reuniting with our friends at Avacado Booking we are simultaneously announcing new European tour dates in support of the new album, together with label mates Impure Wilhelmina and MØL. A full list of confirmed shows can be found below.
The band comments on the album:
“So yeah, this announcement is a pretty special one. The album and the tour! They’re finally happening!
Banefyre, The Musical!
CBP is still alive. Still predictably unpredictable, doing our own thing. Accept no imitation. If you find it necessary to indulge yourself with a full dose of “the Musical!”, you’ll find a fantastic dance of triumph and defeat amongst a starlit atmosphere of deviant Magik. A congregation of outland dwelling characters in tales of caution and of hope, a reflection of human nature, ‘This, a journey through OUR world which only we understand but strikes a chord of lightning blue recognition amongst the crowd. As satisfying as the longest and most perfect shit. To coin a phrase. The Scene. The Prophet. The Clown. The End.”
CRIPPLED BLACK PHOENIX – BANEFYRE EUROPE MMXXII Special Guests: MØL Impure Wilhelmina 25.08.22 Germany Hannover @ Faust 26.08.22 Germany Hamburg @ Bahnhof Pauli 27.08.22 Denmark Copenhagen @ Hotel Cecil 28.08.22 Germany Berlin @ SO36 29.08.22 Germany Leipzig @ Täubchenthal 30.08.22 Germany Munich @ Backstage 31.08.22 Hungary Budapest @ A38 01.09.22 Austria Vienna @ Chelsea 02.09.22 Italy Bologna @ Link 03.09.22 Switzerland Winterthur @ Gaswerk 04.09.22 France Paris @ Backstage 05.09.22 Germany Cologne @ Essigfabrik 06.09.22 Netherlands Zoetermeer @ Boerderij 07.09.22 UK London @ The Dome 08.09.22 UK Bristol @ The Fleece 09.09.22 UK Manchester @ Rebellion 10.09.22 UK Glasgow @ Classic Grand (Tickets will be on sale on April 28)
The Space is the third full-length from Lviv, Ukraine’s Somali Yacht Club, as well as their first offering through Season of Mist. It arrives following 2018’s The Sea (review here) and 2014’s The Sun (discussed here) and is accordingly encompassing to suit its title. More over, it is the trio’s first long-player to arrive following their 10th anniversary in 2020, and it lands even as their home country and hometown are under attack by Russian forces in an atrocity-laced war of aggression. The band — guitarist, vocalist, keyboardist Ihor, bassist Artur and drummer Oleksa — are elsewhere and safe, but it is difficult to separate the six-song/45-minute procession from the context in which it arrives, though of course it was completed before the fighting began (unless you count the years of conflict in Crimea, in which case it goes back to the first record and before). Although, if anything were going to aid in that forgetting, it might be actually listening to the album in its entirety. As each Somali Yacht Club release has stepped forward from the last, from the warmer heavy psych of The Sun to the melancholic roll of The Sea, so too does The Space clearly state its evolution from where the band were those eventful four years ago.
Alternating between shorter and longer pieces across opener “Silver” (5:17) and the subsequent “Pulsar” (9:06), “Obscurum” (5:06) and “Echo of Direction” (9:46), and “Gold” (3:33) and closer “Momentum” (12:30), The Space is able to create a sense of movement despite a resoundingly methodical delivery, aspects of heavy post-rock in and around “Obscurum” meeting with the most complex melodies Somali Yacht Club have yet harnessed throughout, even “Gold” — which I feared would be an interlude ahead of the finale — boasting an attention to its arrangement and depth that speaks to the care the band put into their craft on the whole. The Sea was also six songs set in pairs, but the manner in which it happens here is more dynamic, and once “Silver” draws the audience into the universe Somali Yacht Club are constructing, that forward push — gentle at times, slow at times, more of a shove others — does not abate.
In this way, The Space is a monument to the richness in Somali Yacht Club‘s sound as it is today and to the artistic growth that’s led them to this point. It nods confidently at Neurosis, building off the rhythm of that band’s 2001 track “Falling Unknown” in the midsection break of “Momentum” and having its own “Stones From the Sky”-moment in “Echo of Direction,” but takes this influence and scores of others and incorporates it into an expressive sonic palette that is nothing if not Somali Yacht Club‘s own. Psychedelic and otherworldly in its purpose — it’s not called The Space because it’s so grounded — the album’s underlying structures are nonetheless firm, the fluidity that emerges in “Obscurum” as it moves into its post-midpoint wash of melody kept together not even just by the drums, but the unity of intent on the part of the whole band and the sense that, yes, they have a plan they’re playing out and that the thing to do is let them guide you through it.
“Silver” touches on pop melodicism in its crescendo, and conveys the breadth with which the rest of what follows will unfold, “Pulsar” beginning with a duly pulsing progression of bass, guitar and effects swirl over the steady drums, cascading between the serene verses and its harmonized chorus, growing peaceful and declarative in kind as it pushes through a build toward its last apex, the keyboard overtop adding to both melody and drama and assuring that the song holds its resonance even as it hits its final crashes into the sunnier beginning of “Obscurum.” This flow continues all throughout The Space — which would seem to have its vinyl side break between “Obscurum” and “Echo of Direction,” though it’s clearly built with more than one format in mind — and the trio are duly graceful as “Obscurum” surprises with a bit of solo scorch later on, feeling perhaps all the more prominent in the mix for the softer notes just before.
The drums begin “Echo of Direction” and set in motion a hypnotic heavy psych-style jam until the aforementioned Neuro-chug is established, carrying into a quieter verse, gorgeous in its layering and open feel. They tease a volume trade first and then bring back the rumble at about five minutes in before working their way back into ‘the riff,’ then execute the quicker back and forth they had hinted toward earlier, once again showcasing a structural awareness that speaks to their having a big-picture view even as they offer their audience the most breadth they’ve ever had. “Echo of Direction” is encompassing in a way that feels purposeful at the outset of the second half of the tracklist — start of side B by any other name — and that correspondingly means “Gold” is exceptionally well placed between it and the closer, the shorter and more straight-ahead motion of the penultimate cut striking just the same for its floating flourish of guitar and mellow vocals, weighted but flying like some kind of metallic airship.
“Gold” slows down as it wraps, letting the sample and more immediate start of “Momentum” convey urgency without feeling overblown. Those expecting a massive payoff in the ending of The Space will likely be satisfied by the peak in “Momentum” that lands just before the song wraps up, but like the album as a whole, it’s more about the journey to get there and the discoveries made along the way; the long, beautiful and exploratory stretch in the midsection just as engrossing as the inevitably made turn toward more outwardly heavy crunch, a last demonstration of the mastery Somali Yacht Club have over their sound as they approach veteran status from their beginnings as upstarts in what at the time was (and I suppose still is) a crowded European psychedelic underground.
In light of the conflict currently embroiling Ukraine, it is easy to read The Space as bittersweet, and Somali Yacht Club‘s craft has always had its share of melancholy. I’ll offer instead not necessarily an alternate read but perhaps one that accounts more for the awe the trio seem to express in what they’re witnessing in the songs themselves. It is as though they’re on the same journey as the listener, moving outward into the unknown, sure of the getting there even as the destination remains intentionally vague. Most of all, The Space is resonant. In shimmering guitar and rich low end, in its lush swells and directed minimalism, it is a triumph beyond expectation and a reminder that the light and warmth, the star-stuff that makes life possible, is in constant wavelength motion.
[Click play above to stream the premiere of Deathwhite’s ‘No Thought or Memory.’ Album preorders are available here. The band says, “‘No Thought or Memory’ details the opioid epidemic ravaging the United States and the perils of addiction. It is well documented how pharmaceutical companies have made billions by getting people hooked on their substances. The fact that they have gotten away with it for so long is reprehensible, but how quickly prescription drug abuse can destroy lives and families is even worse. The amount of lives affected is untold and there is no end in sight.”]
Anonymous Pittsburgh melodic death-doom hood-bearers Deathwhite release their third full-length, Grey Everlasting, June 10 through Season of Mist. In some ways, it is business as usual for the unknown parties involved in the band. The core of their sound remains intact in honing a style that is richly and morosely melodic, recalling the depressive craft of mid-period Katatonia especially but having increasingly made it their own over the last decade; their first full-length, 2017’s For a Black Tomorrow (review here), serving as the impetus for the Season of Mist pickup and re-release early the next year, while early-2020’s Grave Image (review here) fostered vibes that were only well at home in the darkest of winter and the resoundingly bleak Spring that followed. Grey Everlasting, with production once again from Shane Meyer and Art Paiz — instruments at Cerebral Audio and vocals at Erik Rutan‘s Mana Recording, respectively — invariably carries much of their sound forward into its new collection of 11 songs. Even the cover art by Jérôme Comentale is a consistent presence from both albums prior and then some. For those who’ve followed Deathwhite over their now 10-year arc, they reaffirm the depressive melodic doom metal that’s expected of them.
They also expand on it. The intro “Nihil,” in just 97 seconds, signals a shift in focus toward keyboard orchestrations, setting an expanded foundation for the tracks that lead-single “Earthtomb” soon answers in an initial blastbeaten burst and one of Grey Everlasting‘s most memorable hooks. This uptick in keys continues throughout and strengthens songs like “No Thought or Memory” (premiering below), the last piece of the opening salvo “Quietly, Suddenly,” or the later “Formless,” bolstering the impact of the guitar, bass and drums while enhancing the often-harmonized vocals that are by now a signature aspect of Deathwhite‘s approach. Correspondingly, Grey Everlasting is the most extreme album the band have done to-date, as the double-kick drumming in “Earthtomb” and “No Thought or Memory” is a foreshadow of “White Sleep” and “Immemorial” at the center of the tracklist. The former follows the title-cut and is an immediately meaner shove, pulling back from its ferocity for the verse but seeming extra tense in the crashes there, as though sending a subliminal signal of where it’s ultimately headed.
It’s as though, having been saddled with a perceived death metal influence to some degree or other over their prior releases, Deathwhite decided to really dive into it in more than just those first measures of “Earthtomb.” The vocals in the second half of “White Sleep” become more guttural. They’re still clean on the whole — it’s not an all-out growl — but the change is remarkable and resonates with the more intense instrumental turn surrounding. “White Sleep” settles down in its final movement, bringing the residual pummel in the drums together with the keyboard, and “Immemorial” doesn’t give away the plot right away, but at 2:36 into its total 4:06, the drums signal a change and growing whispers far back in the mix more fully depart from the ultra-clean delivery, soon joined by layers of growling and screaming both.
In the context of the song itself and the 47 minutes of Grey Everlasting as a whole, it’s a relatively minor stretch of time — doesn’t even last until the finish of the song — but just by being there, it expands the reach of record and band alike, and it means that the aggressive threat that’s seemed to underlie Deathwhite‘s material all along has been real. The effect is such that when the double-kick starts in “So We Forget” after “Formless,” it’s that much harder to know what kind of shift is coming. It makes Deathwhite a more versatile band.
In that regard, one can also point to the use of space throughout Grey Everlasting. Similar to how they’ve always incorporated ideas from death metal, Deathwhite have always been atmospheric — at very least you would say their songwriting does not want for mood — but the standalone drums in the first half of the penultimate “Blood and Ruin,” or the open-sounding patient manner in which the title-track unfolds, the echo there on guitar, snare and vocals alike. Even “Nihil” and “Earthtomb” demonstrate the greater breadth that Grey Everlasting seems to evoke in its sound, the latter layering a solo over its central rhythm not by forcing it to squeeze in ahead of the vocals, but by using the room that was there already — same thing goes for the keys coming forward between vocal lines. And before it arrives in the final chug that caps the record, six-minute closer and longest track “Asunder” does not neglect this element either, as its steady progression of verse and chorus give over to a stretch of acoustic guitar before the vocals and guitar return and herald the aforementioned payoff, allowing for one last moment of quiet and thereby furthering its own summary of who Deathwhite are at this pivotal stage in their development.
Let’s be honest. To a certain degree, those who’ve heard either of the Deathwhite full-lengths before Grey Everlasting should have some idea of what’s coming in these songs, and their consistency is an asset in acting as the ground upon which they build. And part of that is the emotionality of the songs. That is not lessened for the more extreme parts nor overblown by an increase in the lushness of the instrumental melodies. Whether it’s the sharper lead guitar line in “No Thought or Memory” or the cavernous scope in the beginnings of “Blood and Ruin,” Deathwhite not only sound more sure of that ground, but confident in the new ideas being presented. That combination makes Grey Everlasting the broadest Deathwhite release yet, and speaks of new life even when so much feels dystopian and disconnected outside the music. I won’t call a record titled Grey Everlasting hopeful, but the songs are a comfort and a catharsis in kind. Even as they seem so steady in their miseries, there’s room for beauty and brutality alike.
Posted in Whathaveyou on March 30th, 2022 by JJ Koczan
Ukrainian heavy rockers Stoned Jesus have inked a deal to release their next album and perhaps more through Season of Mist. The Kyiv-based trio follow quickly in the footsteps of countrymen and tour-mates Somali Yacht Club in aligning with the label, and their fifth full-length will follow behind 2018’s Pilgrims (review here), which was their most ambitious and progressive-sounding offering to-date. I’ve been looking forward to the new stuff since they entered the studio last July, and if I’m honest, before that as well.
It’s impossible to get out of this post (nor would I try) without mentioning that Stoned Jesus‘ home country has been invaded for the last month-plus (years, really) by neighboring Russian military forces. If you follow the band or guitarist/vocalist Igor Sydorenko on social media, you’ve already seen first-hand accounts of their current life in Ukraine, a question more of surviving than promoting their band. Their Spring tour with Samavayo, which was set to begin at the end of next week, was canceled owing to the fighting and the band’s very real need to be where they currently are. For what it’s worth — next to nothing — I wish them the best and hope this little bit of good news heralds more to come on the more serious issues they and their nation are facing. It seems low-stakes to compare heavy rock and war, but these are lives we’re talking about either way.
Season of Mist is proud to announce the signing of psychedelic rock trio STONED JESUS. Forged in Kyiv in 2009, this Ukrainian band submerges themselves in the world of doom, grunge and prog, while maintaining their own identity. Their upcoming album will be the fifth in line and the first to be released through Season Of Mist.
Lead vocalist and guitarist Igor Sydorenko comments: “I’ve always been a huge fan of progressive music – progressive not in the number of notes played per second, but progressive in terms of songwriting, concept and attitude.
“And I rarely saw rock and metal labels encouraging this deeper approach, until I discovered Season Of Mist. This is the label that I can describe with one word: ‘eclectic.’ And this is the label that not only approves the idea of artistic freedom, but openly indulges in it! So we’re extremely happy that these exact people are going to help us share our creative vision with the whole world from now on.”
Formed by Igor Sydorenko in Kyiv in 2009, STONED JESUS quickly progressed beyond their tongue-in-cheek moniker. The Ukrainian trio’s second full length “Seven Thunders Road” converged doom, prog and grunge in their own recognizable way and the album’s centrepiece, 13-min long “I’m the Mountain”, boasts 15 million plays on YouTube.
STONED JESUS’s next LP “The Harvest” sounded like a blend of MASTODON, PORCUPINE TREE and SOUNDGARDEN, and their charismatic live shows and relentless touring schedule helped to double and then triple their fanbase in mere months.
While being integral to the European psychedelic rock scene STONED JESUS helped popularize, creatively STONED JESUS never stopped pushing the envelope, taking influences for their newer material from such diverse acts like SWANS, THE CURE, KING CRIMSON and DEFTONES.
Line-up: Lead-Vocals and Guitar: Igor Sydorenko Bass and backing vocals: Sergii Sliusar Drums and backing vocals: Dmytro Zinchenko
Posted in Whathaveyou on March 10th, 2022 by JJ Koczan
There aren’t many places Weedeater haven’t been and much they haven’t done, but they keep breaking out the riffs and rolling them from town to town, now more than 20 years on from their debut album. They’ve got shows lined up in the Southeast for April, and that run will take them into the Midwest before they turn back toward home in North Carolina, from where they’ll pick up again in May and head west to make it to the Heavy Psych Sounds festivals in San Francisco and Los Angeles. After that, it’s back east again on the quick to make it to Arkansas for Mutants of the Monster on June 3. That’s gonna be a long bit of driving for whoever’s behind the wheel, but at least there’s a day off between Phoenix and Oklahoma City. Woof.
Weedeater‘s most recent album was 2015’s Goliathan (review here), and they’ve basically been on tour ever since, plague notwithstanding. Seems to me that if there’s a band on the planet who should probably put out a live record or 10, it’s these guys, but I’ve heard no such murmurings in that regard. Alas, you gotta show up if you want the experience, and Weedeater live is most certainly that.
Hope gas gets cheaper:
WEEDEATER Announces Headlining Spring U.S. Tour
Cape Fear metal legends WEEDEATER have announced an extensive headlining U.S. tour! The trek will kick off on April 7 in Charleston, SC and will conclude on June 3 in Little Rock, AR. The band will be supported by REBELMATIC and ADAM FAUCETT from April 7- April 24 and then will be supported by HTSOB & JD PINKUS from May 17 until June 3. The full run of dates can be found below while tickets are now available at THIS LOCATION: https://tourlink.to/weedeater2022tour
WEEDEATER U.S. Tour Dates: 04/07: Charleston, SC @ Trolley Bar 04/08: Gainesville, FL @ Loosey’s 04/09: Melbourne, FL @ Iron Oak 04/10: Cape Coral, FL @ Nice Guys 04/12: New Orleans, LA @ Poor Boys 04/13: Nashville, TN @ Springwater 04/14: Indianapolis, IN @ Black Circle Brewing 04/15: Chicago, IL @ Chop Shop 04/16: Columbus, OH @ Ace of Cups 04/17: Pittsburgh, PA @ Mr. Smalls Funhouse 04/18: Youngstown, OH @ Westside Bowl 04/19: Detroit, MI @ Sanctuary 04/20: Morgantown, WV @ 123 Pleasant St 04/21: Charlottesville, VA @ Champion Brewing 04/24: Raleigh, NC @ Pour House 05/17: Charlotte, NC @ Snug Harbor 05/18: Knoxville, TN @ Brickyard 05/19: Newport, KY @ Southgate House 05/20: Green Bay, WI @ Lyric Room 05/21: Davenport, IA @ Racoon Motel 05/23: Denver, CO @ Hi Dive 05/25: Portland, OR @ Bossanova Ballroom 05/26: Seattle, WA @ El Corazon 05/28: San Francisco, CA @ Heavy Psych Sounds Fest 05/29: Los Angeles, CA @ Heavy Psych Sounds Fest 05/30: San Diego, CA @ Soda Bar 05/31: Phoenix, AZ @ Nile Theatre 06/02: Oklahoma City, OK @ 89th Street 06/03: Little Rock, AR @ Mutants of the Monster Fest
All of WEEDEATER’s albums are now available at fine record stores nationwide and online at the WEEDEATER Bandcamp page: https://weedeater.bandcamp.com/
Posted in Whathaveyou on March 9th, 2022 by JJ Koczan
I’m not saying I made this happen or anything, but I did email Season of Mist yesterday and ask what was going on with this record, because frankly, I just couldn’t take not knowing anymore. One way or the other, the press release below is my answer about anonymous Pittsburgh melodic death-doomers Deathwhite‘s impending third album, Grey Everlasting, which follows 2020’s Grave Image (review here) and 2018’s For a Black Tomorrow (review here) and is set to issue on June 10. Preorders, the cover art, track info and a video for post-intro lead cut “Earthtomb” are available below, and no, I haven’t sent another email to the label yet harassingly asking to premiere a song with a review, but I kind of feel like that’s only because I’m too busy typing this out first.
This is a band I really dig, and I’ve been looking forward to this album since they announced last June that they were working on it, let alone when they finished in October. Have to wonder if the June release date is just for pressing concerns or if it might coincide with some manner of touring domestically or abroad, but whatever. The title-track sounds like what I’ve been wishing Katatonia would put out forever, and for today I’m gonna just dig in here and enjoy it. You can do likewise with the new video.
Still have no idea who they are, by the way. That’s some impressively-maintained anonymity.
From the PR wire:
DEATHWHITE Reveals New Album Details, Shares Official Music Video for New Song
Enigmatic dark metal outfit DEATHWHITE will be releasing their third full-length, ‘Grey Everlasting,’ on June 10 via Season of Mist! The band is now sharing the devastating first single, “Earthtomb,” along with a music video! The heart-wrenching video, which was created by Guilherme Henriques, can be found at THIS LOCATION.
DEATHWHITE comments: “It is our abundant pleasure to share the video for ‘Earthtomb,’ the first single from ‘Grey Everlasting.’ The immaculate Guilherme Henriques shot the clip in Aceredo, Spain and Porto, Portugal. Unfortunately, the song and video are a rather timely and direct reflection of the times we live when unchecked power, deception, gas-lighting and flat-out lies are used as tools to wreak havoc upon humanity and sow discord.
“‘Earthtomb’ was written as our observation — and inherent wish — that these individuals succumb to their misdeeds. What is happening in Ukraine at the moment has, for the members of Deathwhite, made this song more prescient than ever. Our hearts go out to those impacted by this utter tragedy.”
‘Grey Everlasting’ will follow up 2020’s critically-acclaimed ‘Grave Image.’
‘Grey Everlasting’ is available to pre-order HERE: https://shop.season-of-mist.com/list/deathwhite-grey-everlasting and can be pre-saved to your streaming library HERE: https://orcd.co/greyeverlasting
The cover was created by Jérôme Comentale.
Tracklist: 1. Nihil (01:37) 2. Earthtomb (05:06) 3. No Thought or Memory (04:08) 4. Quietly, Suddenly (04:38) 5. Grey Everlasting (03:51) 6. White Sleep (04:22) 7. Immemorial (04:05) 8. Formless (03:35) 9. So We Forget (05:15) 10. Blood and Ruin (04:58) 11. Asunder (06:21) Total run-time: 48:03
Posted in Whathaveyou on February 16th, 2022 by JJ Koczan
Based in the Ukraine — maybe you’ve seen it on the news this week — heavy psychedelic trio Somali Yacht Club were announced as being picked up by Season of Mistalmost a year ago. Together, the band and label set about putting together reissues for the group’s two-to-date full-lengths, 2018’s The Sea (review here) and 2014’s The Sun (discussed here), and now comes work of a third in an apparent ‘the’ series, The Space, the realization of which is being demonstrated in the first streaming single “Silver.”
Before you skip the rest of my blah blah blah and go right to the video at the bottom of this post — as you should — to check out the track, please take note of the April 22 release, the tour dates with Mars Red Sky and the fact that preorders are already up.
Okay, off you go:
SOMALI YACHT CLUB Reveals New Album, Premieres New Single
Psychedelic stoner rock trio SOMALI YACHT CLUB will be releasing their third full-length, ‘The Space,’ on April 22 via Season of Mist, making it the band’s debut to the label! The album art, tracklisting, and details can be found below. The band is now sharing the first new single, “Silver,” which can be heard at THIS LOCATION.
