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Album Review: Mammatus, Expanding Majesty

Posted in Reviews on June 27th, 2023 by JJ Koczan

mammatus expanding majesty

Any addition to the catalog of Santa Cruz, California, merchants Mammatus is noteworthy. Expanding Majesty is all the more so, in being the trio’s fifth album, first for Silver Current Records, and in arriving some eight years after their fourth, 2015’s sharp-visioned Sparkling Waters (review here); they also had their The Ear Food compilation of off-album tracks in 2020. One way or the other, it’s been a while, and the trio who began their run in 2005, released their self-titled debut (discussed here) in 2006, and quickly reaffirmed their penchant for epic and longform heavy psychedelia in 2007’s The Coast Explodes, continue to grow in new directions.

True, Expanding Majesty shares much of its makeup in common with Sparkling Waters; at nearly 70 minutes long, it is presented across the each-to-their-own-vinyl-side “Expanding Majesty” (15:18), “By the Sky” (15:17), “Foreveriff” (22:38) and “Beams of Light” (16:19), and like its predecessor, the latest offering was recorded with Phil Manley (Trans Am/The Fucking Champs) at El Studio in San Francisco (Tim Green mastered at Louder Studios in Grass Valley), and the result is a rich tapestry of prog-informed heavy psych rock, as classic in its exploration as it is evocative in the hearing. Pretty much what Mammatus do, right?

Honestly, that’d probably be enough on its own for Expanding Majesty to accomplish — a new Mammatus record, existing! — but guitarist/vocalist Nicky Emmert, bassist Chris Freels and drummer Aaron Emmert push forward along their individual path, each contributing to the overarching washes of synthesizer/keyboard that become so much a part of the album’s personality. Whether it’s the serene pastoralism in the opening moments of “By the Sky” or the science-fact swirls that fill out along the extended intro to “Expanding Majesty” itself, they play a central role.

That early going of the title-track finds them contrasting but following the rhythm of the purposefully tense guitar circular runs of guitar, gradually becoming more prominent until they’re at the forefront of the mix, not so much competing with the pickslide sweep of distortion that comes in at 7:05 as a setup for the first (yes, first) entry of the vocals half a minute later, but definitely the sky to that grounding rumble. That makes the keys/synth a fit as well alongside Nicky‘s effects-laced-but-gentle vocal delivery, which becomes a part of the atmosphere of the record as a whole and is a uniting factor in the material.

“Expanding Majesty” further establishes the self-awareness that underlies so much of the album that shares its name. The song? Well, it’s majestic and it expands and grows broader throughout its 15-plus minutes. “By the Sky?” Perhaps best summarized by the gorgeous Cristian Eres hinting-at-classic-metal cover art, a dragon flying to a guitar castle above clouds on what may or may not be another planet; it starts with just under three minutes of wakeup before slow-crashing in and taking off into the verse, which does nothing if not look down from above. “Foreveriff?” Yeah, it’s 22 minutes long, but more than that, it’s the way the rolling heavy post-rocker seems to meander even as it weaves into and out of leads, verses, float and crush; the surrounding rhythm is so linear that it’s easy to get lost and not know where it begins or ends. Imagine marching on air, finding clarity in the last nod that starts at about 19 minutes in, growing more fluid en route to the comedown.

mammatus

And do I even have to say it for “Beams of Light?” The dreamy, melody-focused opening section building gracefully to a heavy psych crescendo about five minutes in that puts twists on a riff that would otherwise be signature Colour Haze before going full-cosmic ethereal around the midpoint, soon to pick up the tempo with an earlier Devin Townsend-style chug (note these are my comparisons; I’d be surprised if the band listened to either of the groups mentioned in this sentence) that serves as a bed for the at-least-two layers of guitar soloing that transport Mammatus and their audience alike to the record’s finish, highlighting the shimmer that’s been there all the while in all the songs, each presenting it in its own sculpted form, sometimes vast, sometimes compact, tense like the hi-hat and speedy noodling of “Expanding Majesty” or an exercise in worldbuilding like the closer.

Through it all, Mammatus retain their sense of purpose, and while there’s little doubt these four pieces were born out of jamming and perhaps built around them, they are not jams. They are songs, with structures and plotted directions, considered dynamics and places to go. That difference is crucial to understanding Expanding Majesty as a forward step in Mammatus‘ ongoing progression. Even the logo the band uses on the front cover tells you something about the heavy metal precision that sneaks into some of the lead guitar parts — “Beams of Light” circa 12 minutes in, for example — but from inside out, Expanding Majesty is conscious of what it’s doing and why, and the focusing of that intention around progressive elements, the slowdown in “By the Sky” and “Foreveriff” after “Expanding Majesty” and the way “Beams of Light” seems to draw the different sides together while also finding new ground, makes it even more resonant as arguably the most vocal-minded and definitely the most synth-minded release in Mammatus‘ catalog.

They remain themselves, which is something for which anyone still reading this is likely to be thankful, but as they did following the six years between The Coast Explodes and 2013’s Heady Mental (review here), Mammatus would seem to have used at least part of the longer break between outings to present and develop fresh ideas. The immersion factor in Expanding Majesty is not to be understated. The Emmerts and Freels carefully and lightly guide the listener through the sometimes-sparse, sometimes frenetic course the record takes, having long since earned the trust of their audience. That intro to “By the Sky.” That last push over the top the vocals bring in “Foreveriff” at about 18 minutes in. These are emblematic of the fullness of Expanding Majesty and the band’s ability to steer their particular dragon wherever they want it to fly. Here, they encompass multitudes.

Mammatus, Expanding Majesty (2023)

Mammatus on Facebook

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Mammatus website

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Mammatus Announce Expanding Majesty Out June 23; Streaming Title-Track

Posted in Whathaveyou on May 3rd, 2023 by JJ Koczan

I’m well aware that if you’re anything like me, no words I put here are going to make a damn bit of difference in slowing you down from checking out the 15-minute streaming-now title-track of Mammatus‘ impending 2LP full-length, Expanding Majesty. So have at it. I can’t even argue. The Cali psych-prog purveyors make the going sweet, with crisp tonality that reminds of where they were eight years ago on 2015’s Sparkling Waters (review here) without giving up the sense of journey from their earliest work, be it their 2006 self-titled debut (discussed here) or that record’s 2007 follow-up, The Coast Explodes.

Those two records are something of a longform/jam holy duology, but 2013’s Heady Mental (review here) began interweaving progressive textures into the proceedings, and listening to “Expanding Majesty” even as long as it’s been since Sparkling Waters — which, indeed, shimmered — the three-piece are still recognizable in their craft, dynamic and willingness to go, go, go where the song wants to go. I didn’t have a spot saved on my best-albums-of-2023 list for Mammatus when I woke up this morning, but I do now. It’s out June 23 through Silver Current Records.

Enjoy:

mammatus expanding majesty

MAMMATUS return after 8 years with brand new album Expanding Majesty on Silver Current Records

A sprawling masterwork and a career defining album that pushes the boundaries of 21st Century heavy music.

8 years in the making, Santa Cruz California’s reclusive sons of tectonic riffage Mammatus return with Expanding Majesty, a 69 minute magnum opus of kaleidoscopic guitars, soaring analog synths, wall-of-amps fuzz bass and 100ft drums. 4 side-long pieces unfold across a double album in unstoppable riffs that span the meditative and joyful un-earthed flight of 70’s kosmische godfathers like Popol Vuh and Tangerine Dream to the kinds of sub-surface thunder pioneered by Melvins and Sleep.

Like Stanley Kubrick, Mammatus are slowing in output as they forge surely and steadily down the path of their artistic legacy. Now, 8 years since their last release and 20 years since their inception as a band, Mammatus have recorded a sprawling masterwork. Expanding Majesty is not just a career defining album for the band but one that pushes the boundaries of 21st Century heavy music.

Formed by brothers Nicky and Aaron Emmert in 2005 in Santa Cruz, California, the same fertile Redwoods-and-sea incubator that produced fellow outer-region psych travelers Comets on Fire, Residual Echoes and The Fucking Champs, Mammatus have become increasingly reclusive in the years since their inception. They have also been honing their vision of mathy stoner rock, proto-new age, Kraut-prog and organic proto-metal into a panoramic, ever-expanding visionary world uniquely their own resulting in Expanding Majesty. Engineered by Phil Manley (The Fucking Champs/ Trans Am) at El Studio in San Francisco, four extended side-long pieces take the listener on a journey in which they experience reality only through the mind and vision of Mammatus.

The album opens with the 15+ minute ‘Expanding Majesty,’ as guitarist and singer Nicky Emmert strikes a single window-rattling guitar chord and breaks the darkness, shooting a ray of sonic light forth and letting it hang, glowing for a moment before Mammatus begins to assuredly introduce and weave together the album’s strands of DNA; kaleidoscopic guitar notes in infinite double helix, soaring 70’s analog synthesizers, wall-of-amps bass, 100ft drums and finally, no sooner than 71/2 minutes into the song, huge and ethereal vocals in cascading harmonic layers.

Opener ‘Expanding Majesty’ in its long running, epic arc, travels from the meditative and joyful un-earthed flight of 70’s Kosmische godfathers like Popol Vuh and Tangerine Dream to the kinds of tectonic sub-surface riffage pioneered by The Melvins and Sleep and these two poles of heavyosity maintain the balance of the album’s 69 minutes.

Despite the intensity of the music veering between darkness and light, the subject matter and intention of the music is strictly positivism, awe and wonder at the beauty of the natural world and the possibilities of expanded human consciousness.

16 years ago and only two years into their existence, Mammatus essentially dropped out of the indie music rat race and were absorbed back into the Santa Cruz hills and valleys, walking away from an expanding touring career and the traditional non-stop release/ promote/ tour/ release cycle to find out if there was something more profound at the true heart of creativity and ‘being a band.’ In 2007, having just come off a successful US tour with Acid Mothers Temple, they retreated and reconfigured their musical life around the idea of peak creativity and peak quality of output completely off timeline or professional agenda. Their releases began to slow down and they began to create music with glacial precision.

There have been bands that have taken 8 years to release an album but very few who intentionally afford their creativity such time to patiently, steadily and mindfully work on a record and see it through to completion.

The old-growth redwoods, the grassy hills and mountain tops, the crashing ocean, the blue sky into the black of space into the infinite universe are all the stuff of Expanding Majesty, both its subject matter and its genetic structure. It is a slow work, made of patience, tradition and love of craft, a master rendition of the beauty of our world, fantastic and incredible through the eyes of Mammatus.

MAMMATUS
EXPANDING MAJESTY
Silver Current Records
Release date: 23rd June 2023 (2XLP)

Tracklist
1. Expanding Majesty (15:18)
2. By The Sky (15:17)
3. Foreveriff (22:38)
4. Beams Of Light (16:18)

https://www.facebook.com/mammatusband/
https://www.instagram.com/mammatusband/
https://mammatus.bandcamp.com/
https://headymental.com/

https://www.facebook.com/SilverCurrentRecords
https://www.instagram.com/silvercurrent/
https://silvercurrent.bandcamp.com/
http://www.silvercurrentrecords.com/
https://linktr.ee/silvercurrent

Mammatus, “Expanding Majesty”

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Quarterly Review: Earthless, Satan’s Satyrs, Mantar, Child, T.G. Olson, Canyon, Circle of the Sun, Mythic Sunship, Svarta Stugan, Bast

Posted in Reviews on December 6th, 2018 by JJ Koczan

quarterly-review

There isn’t enough coffee in the universe, but I’ve got mine and I’m ready to burn the living crap out of my tongue if that’s what it takes to get through. We’ve arrived at Day 4 of the Quarterly Review, and though we’re less than halfway to the 100-album goal set by some maniac sitting at his kitchen table with a now-burnt tongue, there’s been an awful lot of good stuff so far. More even than I thought going into it, and I slate this stuff.

That said, today’s list is pretty killer. A lot of these bands will be more familiar than maybe has been the case or will be on some of the other days of this Quarterly Review. It just kind of worked out that way as I was putting it together. But hey, a few bigger bands here, a few “debut EP” demos there. It’s all good fun.

So let’s go.

Quarterly Review #31-40:

Earthless, From the West

earthless from the west

Bonus points to whatever clever cat correctly decided that Earthless‘ 2018 studio album, Black Heaven (review here), needed a companion live record. With artwork mimicking a Led Zeppelin bootleg of the same name, From the West arrives through Silver Current and Nuclear Blast capturing the most powerful of power trios earlier this year in San Francisco, and it’s like the fire emoji came to life. With Mike Eginton‘s bass as the anchor and Mario Rubalcaba‘s drums as the driving force, guitarist Isaiah Mitchell starts ripping holes in the fabric of spacetime with “Black Heaven” and doesn’t stop until 64 minutes later as “Acid Crusher” dissolves into noise. Of course “Gifted by the Wind” from the latest LP is a highlight, and suitably enough, they cover Zeppelin‘s “Communication Breakdown,” but I’m not sure anything tops the extended take on “Uluru Rock” from 2013’s From the Ages (review here) — and yes, I mean that. Of course they pair it with the 1:48 surge of “Volt Rush,” because they’re Earthless, and brilliant is what they do. Every set they play should be recorded for posterity.

Earthless website

Silver Current Records on Bandcamp

Earthless at Nuclear Blast webstore

 

Satan’s Satyrs, The Lucky Ones

satans satyrs the lucky ones

Encased in cover art that begs the Spinal Tap question, “what’s wrong with being sexy?” and the response that Fran Drescher gave it, Virginia classic heavy rockers Satan’s Satyrs return with their fourth full-length, The Lucky Ones (on RidingEasy and Bad Omen), which also marks their first record as a four-piece with guitarist Nate Towle (Wicked Inquisition) joining the returning lineup of bassist/vocalist Clayton Burgess, guitarist Jared Nettnin and drummer Stephen Fairfield, who, between the fact that Burgess founded the band and played in Electric Wizard, and all the lead guitar antics from Nettnin and Towle, might be the unsung hero of the band. His performance is not lost in the recording by Windhand‘s Garrett Morris or Burgess‘ own hefty mix, and as one would expect, Satan’s Satyrs continue to deliver deceptively refined ’70s-heavy vibes caked in cult biker horror aesthetics. Some songs hit more than others, but Satan’s Satyrs‘ dust-kicking approach continues to win converts.

Satan’s Satyrs on Thee Facebooks

RidingEasy Records on Bandcamp

Bad Omen Records on Bandcamp

 

Mantar, The Modern Art of Setting Ablaze

mantar the modern art of setting ablaze

One generally thinks of Hamburg duo Mantar as having all the subtlety of a bone saw caught on video, and yet, in listening to “Seek + Forget” from their third album, The Modern Art of Setting Ablaze (on Nuclear Blast), there are some elements that seem to be reaching out on the part of the band. Guitarist Hanno‘s vocals are more enunciated and discernible, there is a short break from the all-out blackened-sludge-punk assault that’s been their trade since their start in 2012, and “Obey the Obscene” even has an organ. Still, the bulk of the 12-track/48-minute follow-up to 2016’s Ode to the Flame (review here) is given to extremity of purpose and execution, and in pieces like the churning “Anti Eternia” and the particularly-punked “Teeth of the Sea,” they work to refine their always-present threat of violence. Closer “The Funeral” brings back some of the quiet moodiness of intro “The Knowing” and underscores the point of sonic expansion. I hope next time they use a string section.

Mantar on Thee Facebooks

Nuclear Blast website

 

Child, I

child i

It took me a few minutes to get to the heart of what my problem with Child‘s I EP is. Really, I was sitting and listening to “Age Has Left Me Behind” — the first of the three included tracks on the 20-ish-minute 12″ — and I had to ask myself, “Why is this annoying me?” The answer? Because it’s not an album. That’s it. It’s not enough. Kudos to the Melbourne, Australia, heavy blues trio on having that be the biggest concern with their latest release — it follows 2016’s righteously-grooved Blueside (review here) — and kudos to them as well for their cover of Spirit‘s “The Other Song,” but of course it’s the 10-minute jam “Going Down Swinging” on side B that’s the immersive highlight of I, as Child‘s balance of softshoe-boogie and expansive mellow-psych is second to none in their subgenre. It’s not an album, and that’s kind of sad, but as a tide-ya-over until the next long-player arrives, I still does the trick nice and easy. And not to get greedy, but I’d take a II (or would it be You?) whenever they get around to it.

Child on Thee Facebooks

Kozmik Artifactz website

 

T.G. Olson, Wasatch Valley Lady & The Man from Table Mountain

tg olson wasatch valley lady and the man from table mountain

Across Tundras frontman T.G. Olson, who by now has well lapped that band’s output with his solo catalog, would seem to have sat down with his guitar sometime in the last week and put two songs to tape. The resulting 10-minute offering is Wasatch Valley Lady & The Man from Table Mountain, its component title-tracks stripping down some of the more elaborate arrangements he’s explored of late — his latest full-length, Riding Roughshod (review pending; it’s hard to keep up), came out in October — to expose the barebones construction at root in his Rocky Mountain country folk style. “Wasatch Valley Lady” and “The Man from Table Mountain” make an engaging couple, and while Olson has a host of videos on YouTube that are similarly just him and his acoustic, something about the audio-only recordings feel like a voice out of time reaching for human connection. The first seems to have a natural fade, and the second a more prominent rhythm showcased in harder strum, but both are sweet melodies evocative as ever of open landscapes and wistful experience.

Across Tundras on Thee Facebooks

T.G. Olson/Across Tundras on Bandcamp

 

Canyon, Mk II

canyon mk ii

The Deep Purple-referential Mk II title of Canyon‘s second EP, also the follow-up to their 2017 debut LP, Radiant Light, refers to the lineup change that’s seen Dean Welsh move to drums so that he and guitarist Peter Stanko can welcome bassist/vocalist Fred Frederick to the fold. The three included songs, the hooky “Mine Your Heart,” expansively fuzzed “Morphine Dreams” and bouncing “Roam” make a hell of a first offering from the reconstituted trio, who capture classic heavy naturalism in a chemistry between players that’s mirrored in the songwriting itself. Canyon‘s 2016 self-titled debut EP (review here) held marked promise, and even after the full-length, that promise would seem to be coming to fruition here. Their tones and craft are both right on, and there’s still some gelling to do between the three of them, but they leave no doubt with Mk II that this incarnation of Canyon can get there. And, if they keep up like this, get there quickly.

Canyon on Thee Facebooks

Canyon on Bandcamp

 

Circle of the Sun, Jams of Inner Perception

Circle of the Sun Jams of Inner Perception

One man jams! Psych-jam seekers will recognize Daniel Sax as the drummer for Berlin-based trio Cosmic Fall. Circle of the Sun is a solo-project from Sax and Jams of Inner Perception collects six tracks for 39 minutes of adventuring on his own. Sax sets his own backbeat and layers bass and “effectsbass” for a full-lineup feel amid the instrumental creations, and those looking to be hypnotized by the space-rocking jams will be. Flat out. Sax is no stranger to jamming, and as one soaks in “Jamming in Paradise” or its nine-minute predecessor “Liquid Sand,” there’s little mistaking his intention. Curious timing that Circle of the Sun would take shape following a lineup change in Cosmic Fall — perhaps it was put together in the interim? — but whether Jams of Inner Perception is a one-off of the beginning of a new avenue for Sax, its turn to blues noodling on “Desert Sun,” thick-toned “Moongroove” and fuzzy roll on “Acid Dream” demonstrate there are plenty of outer realms still to explore.

Circle of the Sun on Thee Facebooks

Circle of the Sun on Bandcamp

 

Mythic Sunship, Another Shape of Psychedelic Music

Mythic Sunship Another Shape of Psychedelic Music

The simplest way to put it is that Mythic Sunship‘s Another Shape of Psychedelic Music lives up to the lofty ambitions of its title. The Danish band is comprised of guitarists Kasper Stougaard Andersen and Emil Thorenfeldt, bassist Rasmus ‘Cleaver’ Christensen, drummer Frederik Denning and saxophonist Søren Skov, and with Causa Sui‘s Jonas Munk — who also produced the album — sitting in on the extended “Backyard Voodoo” (17:41) and “Out There” (13:53) as well as overseeing the release through El Paraiso, the band indeed makes there way into the far out reaches where jazz and psychedelia meet. It’s not about pretentiously saying they’re doing something that’s never been done. You’ll note it’s “another shape” and not a “new shape” or the “shape to come.” But immersion happens quickly on opener “Resolution” (14:23), and even quicker cuts like “Last Exit,” “Way Ahead” and “Elevation” carry the compelling spirit of forward-thinking creativity through their dynamic course, and if Mythic Sunship aren’t the shape of psychedelic music to come, it’s in no small part because there are so few out there who could hope to match what they do.

Mythic Sunship on Thee Facebooks

El Paraiso Records website

 

Svarta Stugan, Islands / Öar

svarta stugan islands oar

Islands / Öar — the second word being the Swedish translation of the first — is the 40-minute debut full-length from Gothenburg atmospheric heavy post-rock instrumentalists Svarta Stugan, who demonstrate in influence from Hex-era Earth on the opener “Islands III” but go on in subsequent tracks to pull together a sound distinct in its cinematic feel and moody execution. Five out of the seven component tracks are “Islands” pieces, which are presented out of order with “Islands IV” missing and “Islands Unknown” perhaps in its place, and the respective side A/B finales “Inner Space” and “Prospects Quatsi” standing apart. Both bring to bear a style ultimately consistent with the melancholy so rife throughout Islands / Öar as a whole, but they’re obviously intended as outliers, and so they seem to be. The LP release follows a couple shorter outings, issued over the past six-plus years, and it’s clear from the depths and range on display here in the build-to-crescendo of “Inner Space” alone that Svarta Stugan haven’t misspent their time in their progression to this point.

Svarta Stugan on Thee Facebooks

Svarta Stugan on Bandcamp

 

Bast, Nanoångström

bast nanoangstrom

Largesse of scope and largesse of tone work in tandem on Bast‘s Nanoångström full-length on Black Bow, as they bring together aspects of post-metallic churn and more extreme metal methods to hone a style highly individualized, highly weighted and as much cosmic as it is crushing. Through six tracks and 57 minutes, the London trio (plus two guest spots from Chris Naughton of Winterfylleth) careen and crash and set an atmosphere of chaos without actually being chaotic, their progressive craft working to tie the songs together into a larger impression of the work as a consuming entirety. It’s the kind of record you pick up and still hear new things in by the time they put out their next one. Production from Chris Fielding at Skyhammer Studio only helps creates the heights and depths of their dynamic, and whether they’re rolling out the severity of closer “The Ghosts Which Haunt the Space Between the Stars” or laying out the soundscape of “The Beckoning Void,” Bast shape the tenets of genre to suit their needs rather than try to work within the barriers of any particular style. Nanoångström is all the more complex and satisfying for their efforts in that regard.

Bast on Thee Facebooks

Black Bow Records webstore

 

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Earthless to Release From the West Live Album

Posted in Whathaveyou on September 12th, 2018 by JJ Koczan

Presenting the biggest no-brainer of your day. On Sept. 28, Silver Current Records will issue the vinyl edition of a new live album from Earthless titled From the West. Nuclear Blast will follow-up with the CD and digital version on Oct. 19. The set was recorded in March as Earthless set to work heralding their already-a-landmark 2018 full-length, Black Heaven (review here), and as you can see in the tour dates below, that work continues. It’s pretty much been the theme of Earthless‘ year, much to the benefit of humanity in general.

If you need me to tell you to pick up a live Earthless record, you’ve either already decided you’re not into Earthless — which is fair, nothing’s universal — or you’ve already placed your preorder and you’re just like, “Dude, shut up, I know.” Also fair. Either way, here’s the info for it, because one likes to stay informed:

earthless from the west

On the eve of the release of ‘Black Heaven,’ their debut for Nuclear Blast Records, Earthless turned in this incredible live performance in San Francisco on March 1st 2018, captured and released on vinyl by Silver Current Records on September 28th. (On CD & Digital by Nuclear Blast Records.)

Since their inception seventeen years ago Earthless has become an icon of 21st century heavy music and a cult unto themselves. They’ve toured across the world and rightfully become known as an unparalleled live experience.

On ‘From the West’ the bands signature high-volume drive and unbridled horsepower create an almost mantra-like repetition as a framework for infinite improvisation. That, and beer-can crushing, fist-pumping riffs and solos delivered by an unstoppable rhythm section.

‘From the West’ is a complete, hypnotic, psychedelic experience in a way that remains totally unique to the band’s virtuosic expression. A live album that captures Earthless at peak powers and a quintessential fan piece from one of the best live rock bands in the world.

Album tracks includes looser, rawer versions of ‘Black Heaven’ favorites, a nearly 20 minute version of their instrumental titan ‘Uluru Rock’ and a blazing cover of Led Zeppelin’s ‘Communication Breakdown.’

The jacket is a meticulous reproduction of the band’s favorite TMOQ Zeppelin bootleg.
Recorded March 1, 2018.
Recorded by Jon Hart.
Mixed and mastered by Tim Green.

Tracklist:
1. Black Heaven 10:50
2. Electric Flame 8:46
3. Gifted by the Wind 6:04
4. Uluru Rock 19:26
5. Volt Rush 1:47
6. Communication Breakdown 4:16
7. Acid Crusher 13:42

EARTHLESS live:
09/25/18 Eugene, OR – Old Nick’s Pub
09/26/18 Seattle, WA – Chop Suey
09/27/18 Portland, OR – Dante’s
09/28/18 Boise, ID – Neurolux
09/29/18 Salt Lake City, UT – CRUCIAL FEST
09/30/18 Denver, CO – Marquis Theatre
10/02/18 Minneapolis, MN – Lee’s Liquor Lounge
10/03/18 Winnipeg, MB – Park Theatre
10/05/18 Saskatoon, SK – Amigos Cantina
10/06/18 Edmonton, AB – UP & DOWNTOWN MUSIC FESTIVAL
10/07/18 Calgary, AB – Dickens Pub
10/09/18 Victoria, BC – The Copper Owl
10/10/18 Vancouver, BC – Rickshaw Theatre
10/12/18 Oakland, CA – Starline Social Club
10/13/18 Long Beach, CA – Alex’s Bar
10/14/18 Desert Daze – DESERT DAZE

Earthless is:
Bass: Mike Eginton
Drums: Mario Rubalcaba
Guitar & Vocals: Isaiah Mitchell

https://www.facebook.com/earthlessrips
www.twitter.com/earthlessrips
www.instagram.com/earthlessrips
https://www.facebook.com/nuclearblastusa
https://twitter.com/nuclearblastusa
http://shop.nuclearblast.com/en/shop/index.html
https://silvercurrent.bandcamp.com/
http://www.silvercurrentrecords.com/

Earthless, “Electric Flame”

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