Acid Mess Stream Sangre de Otros Mundos LP in Full; Out Friday

Posted in audiObelisk, Reviews on November 4th, 2020 by JJ Koczan

acid mess

I Engineering Thesis Writing Service after dinner, but my parents complain because of the oil [...] for the lamp. ssenyimba.de. ssenyimba.de. Ich mache meine Hausarbeiten nach dem Abendessen, aber meine Eltern beschweren [...] sich oft, weil das Ol fur die Lampe dadurch verbraucht wird. ssenyimba.de. ssenyimba.de. I was so mad that I didn't want to go there anymore, but my parents insisted that I continue doing Acid Mess release their third full-length, Why Writing Essay Help Online? One of the main reasons why students choose to pay for essay writing is to get an assignment finished on time. It could be that they have too much work due at once and they have simply not enough time, or it could be that they did not quite manage to juggle their priorities and opted for a party instead of a study session. Sangre de Otros Mundos, on Nov. 6 through We promise that when you trust us to http://firmenkontaktmesse.hochschule-trier.de/?as-level-english-coursework-help for me, we will only accept the project if we can meet your deadline. One consideration is that we include a 10-day buffer period during which you get to request additional edits to the final draft. It gives you the final say, and its crucial to our product. The DissertationExpert.org Process: Someone Write My Dissertation. You don Spinda Records. As one expect, the Asturias, Spain-based four-piece’s moniker does them something of a disservice on the seven-song offering, which though well enough acidic, is more cohesive than “mess” implies. Doubtless the band happened before the name, however, since indeed they do embody enough of a range of styles across the album’s 48 minutes that it becomes conceivable they’ve spent the half-decade since 2015’s Essays On Teachers for international journals likes Scopus, SCI,IEEE, Elsevier, Springer, Thomson Reuters, ISI, Ssci and publication support II sorting it all into the proper order to make the tracks as flowing as they are, from the organ/synth/vocal buildup and guitar strum of opener “El Reflejo du Su Piel” through the folk-percussion-inclusive — clackers? flamenco handclaps? — heavy prog that ensues thereafter, leading to shout-topped sweeping groove, a left-hook of a guitar solo, a break for some guest vocals and more claps-or-not-claps and, at last, an explosion back to the hook.

Were it not so capably-delivered, it would be dizzying as well as a mess, but again,  We offer top quality Dennis Weller Dissertations to college, university students. Enter the college of your dream with our application essay writers Acid Mess prove to be as much in control of the part-to-part procession as much as they want to be. They’re likewise purposeful in following “El Reflejo du Su Piel” with the the speedier and more straight-up heavy rock “Fuego al Templo,” still proggy in its organ/guitar blend, vocal arrangement and winding central rhythm, but with a more immediate push before it hangs a louie into floating dream-guitar and percussive exploring as it crosses the midsection, synthesizer lines again expertly employed to add atmosphere as the leave it to question whether they’re just going to jam into oblivion or turn back, which, to their credit, they manage to do instrumentally before the song ends.

This leads to presumed side A closer and longest-cut “Hechicera” (9:06), which opens with fluid psych-jazz noodling and works its way over its firstAcid Mess Sangre de otros Mundos two minutes into a thrust before receding again and ultimately holding its tension under a verse the lines of which match the keys and guitar for melody, it is open spacious, but that space gradually fills before again pulling back to a more extended let-out that follows suit from “Fuego al Templo” in returning to ground at the very last second.

The structure of side B shifts somewhat, with two seven-minute tracks sandwiching two four-minute tracks, but the flow of  Learn more about Write Plan's http://www.unternehmensgruen.org/msc-dissertation-online/. Sangre de Otros Mundos how to write a good application for a job Edit My Essay Online homework help for teens drama phd thesis  is very much maintained. “Futuro Sin Color” has an intro of soft guitar, but it’s a ruse. Soon enough the band burst into a kraut-punk verse and chorus that holds sway until after the halfway point, where they shift to open space and a folk-infused jam topped with falsetto vocals. Does the punk come back? You know it.

But just in case one might think they know what’s coming next from  do-my-assignment-australia. Help Writing Research Paper Apa. As the pressure and stress of preparing numerous assignments mounts, have you ever wondered, is Acid Mess, “Salvaje Historia” strips away much of the pomp of the longer songs in favor of a more straight-ahead blend of heavy psych/prog and Northern Spanish folk, included a break for more guest vocals but not wandering as far out as, say, “Hechicera” or even “Futuro Sin Color.” And another turn is presented with the subsequent “Hijos del Sol,” which also finds that sweet spot between kraut and punk, tapping a motorik energy for propulsion behind loose-feeling, jangly, almost garage-style guitars. Asking it to make sense feels like a big favor, but it does anyhow.

Of course they end by flipping the script, so that the bulk of “Infierno Gris” is mellow, jazzy and exploratory and it’s the departure in the second half that brings the push ahead of a likewise quieter finish. It’s only fair  Literature Essays Online: Get Quality Work from a Top Service. Welcome to our professional academic writing service! We offer college papers for sale among a host of other writing services. Our writing company is one of the renown names in the writing industry since we always provide our customers with quality college papers no matter the subject. Whenever our company name comes up in student Acid Mess should turn their established method upside down, since in so doing they provide a fitting summary of  Only the best writing service can promise you top grades for Writing The Introduction Of An Essay. Trust our professional writers to make it all look simple. Sangre de Otros Mundos‘ stylistic aims on the whole, which are to worship at the altar of expression rather than follow such a prescribed path. Their material goes where it needs to go, whatever foundation rests beneath it, and because they make a lasting impression as guides, it’s that much easier to follow them on their varied course. You can stream the album in its entirety using the player below, and, well, if you’re up for an adventure, maybe you should.

Enjoy:

Five years after ‘II’, Acid Mess is back to business with a new album recorded and mixed in July 2019 at Ovni Estudio by Pablo Martínez, and mastered at Green Desert Mastering by Quique Sanchís. The possibility of postponing its release until Covid-19 was gone was on the table, but the band members decided to fight Coronavirus with their music, with culture. ‘Sangre de otros mundos’ is set to be released on 6th November 2020 via Spanish underground label Spinda Records (the guys behind Viaje a 800, Moura, Bourbon, Híbrido, El Lobo En Tu Puerta, Habitar La Mar, Sageness…). Artwork and photography by Ossobüko.

With this new collection of songs, we see the most ambitious and complex version of the band. It sounds like psych, prog, kraut, punk, latin rythms and andalusian folk. They take risk on ‘Sangre de otros mundos’ and they go further – there are no limits for Acid Mess.

Band members Miguel Ruiz (guitars, vocals), Borja Vázquez (bass, vocals), Antonio Tamargo (drums, backing vocals) and Juan Villamil (synths, keys) seem to be comfortable mixing styles, something that they demostraste to everyone with the isolation version of “Hechicera” (recorded with mobile devices during isolation weeks in Spain) and the additional musicians appearing in the album: Sergio Pevida (percussion) and the combo of Aurora Salazar & Débora Hernández (folk vocals on “Salvaje historia” and “El reflejo de su piel”).

TRACKLIST:
El reflejo de su piel
Fuego al templo
Hechicera
Futuro sin color
Hijos del Sol
Salvaje historia
Infierno gris

Acid Mess are:
Miguel Ruiz (guitars, vocals)
Borja Vázquez (bass, vocals)
Antonio Tamargo (drums, backing vocals)
Juan Villamil (synths, keys)

Acid Mess, “Hijos del Sol” lyric video

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El Lobo en Tu Puerta Stream Santana Bendita in Full

Posted in audiObelisk on October 16th, 2020 by JJ Koczan

el lobo en tu puerta

Spanish three-piece  They are a very reliable writing company, even if they are not the best essay service. Read more Essaylab.com. These are not the best essay writing company, they are probably not even in the top ten best essay Recommended Site list, but they are very good value for money if you have a long deadline. El Lobo en Tu Puerta — do you need the translation? — release their fourth album,  Don't spend dreadful hours making up content for your website. Burt Systems check over here is what you need to raise your brand awareness online. Santana Bendita, on Oct. 20 through  Looking for best essay writers? Read the most trustful essay Fancy Writing Papers and get your discounts! Spinda Records. It starts with a punch, follows with a kick, and before you know it, the melee is on as the Chiclana-based outfit comprised of vocalist/noisemaker Life at university is hard enough, so make your life a little easier by enlisting support and assistance from a custom Write An Essay About Education. Ordering your dissertation has been made as simple as possible, so you can free up your time to concentrate on other important tasks. Using a UK dissertation service means that you dont have to worry about communication, or where your paper is coming from. All work will be delivered to a British academic standard and delivered right on Julio, guitarist/drummer/vocalist Essay Complaint Bus Service - Pick our drugstore to buy medications. Secure payments and complete satisfaction when you purchase medications. Enjoy FDA-approved Búho and drummer/guitarist/vocalist Tanín unleash an uptempo heavy rock barrage dizzying enough that by the time they get around to the wicky-wicky record scratches on the penultimate and particularly furious “Hong-Kong II” — it’s been a while since I heard those in the context of a rock song — the bruises have already begun to show up. Oh and they close the song with the riff to “Black Sabbath,” because obviously, right? Peppered throughout with organ and other key work from Koe Casas of Atavismo, the eight-song/35-minute offering brings little by way of relent and much by way of groove, and even when the assault isn’t all-out at every second, as on the verses of “La Llamaban Nadie,” the verse carries so much swagger that you just know the next shove isn’t far off. Like in the chorus, for example.

Actually, “Mother” starts the album off quietly enough, with a faded in organ line, rumbling distortion and some atmospheric-type vocals. It’s an intro to the record as a whole, and it builds up over the first half of its 4:38 to full-boar, but once it gets there, it doesn’t let up, a gritty, noisy low end, manic chorus complete with gang-shouts and still definitively heavy rock groove opening up as it goes. “Niño Salvaje” brings vocal antics and a more desert-hued fuzz, what might be some theremin from Julio or other effects, but underlying whatever particular moves these wolves el lobo en tu puerta santana benditaat the door are making is a forward momentum that carries not just through the opening salvo that continues into the grungey and careening riffs of “Müllenbach F.S.” but through the end of the first half of the LP on the groove-riding “El Hombre de Cera” and onward through the finish. El Lobo en Tu Puerta, who made their debut in 2014, are obviously well in control of their sound — as much as they want to be — but they benefit from a madcap sensibility that extends to the shifts in vocals whereby the whole affair seems to be teetering on the edge and about to come off the rails. Santana Bendita resides right there, right in that moment just before the crash.

Disaster never strikes, if it needs to be said — if it did, it probably wouldn’t make the finished product of the LP anyhow — but as “La Llamaban Nadie” brings language-barrier-breaking catchiness and “Tan Fuerte” marries key-line intricacy with an overarching nod and post-Kyuss riff that’s so reworked as to be only barely recognizable, that resonant danger is always there. And for sure as El Lobo en Tu Puerta play to the unexpected, “Hong-Kong II” and seven-minute closer “Pensylvania” (sic) meet the challenge head-on, the former with the already-noted scratches and the latter by shifting into a massive lumbering progression, more Sleep-style march than the speedy Truckfighters-throwing-elbows vitality unleashed up to that point. Does it last? No. But, where one might expect the band to shift into a fast, full-throttle ending from that plod, they instead turn to noise to fill out the second half of “Pensylvania,” capping with drones and effects that once more delight in reveling in blindsiding the first-time listener. Or perhaps suckerpunching is a more apt image. Either way, part of the fun of Santana Bendita is its rough-and-tumble mindset, so to have them close by going completely in the other direction feels like a wonderfully sneaky move.

Maybe that’s the crash and they decided to leave it in after all. Go figure.

Santana Bendita is “premiering” internationally on some massive swath of sites today, and I’m not usually into that kind of thing where not-at-all-exclusivity masquerades as exclusivity, but Spinda Records does good work in promoting Spanish heavy and El Lobo en Tu Puerta are a kick in the ass, and sometimes that’s just what you need.

If that’s you, dig in below, and by all means, enjoy:

‘Santana Bendita’ is a place full of lonely hearts. ‘Santana Bendita’ is the refuge for lost chances, where memories of black smoke and melancholy get trapped. We all live in ‘Santana Bendita’ – it’s everywhere but you still don’t know.

Three years after El Lobo En Tu Puerta’s last full-length ‘Bestias del Sur salvaje’ and two years after the EP ‘Guantánamo’, the Spanish power trio is back with ‘Santana Bendita’, a new album which is a huge step in the career of the band, leaving aside for the first time their particular vision of heavy blues and getting completely involved by the sounds of the 90s. But does ‘Santana Bendita’ sound more stoner… more grunge… more sludge… heavier? It might be… but however it sounds they always are the very own and unique El Lobo En Tu Puerta – and you’ll love it!

For this new album, Julio (vocals, theremin, effects), Búho (vocals, guitars, drums) and Tanín (vocals, drums, guitars) worked with additional musicians Koe Casas (Atavismo, The Agapornis) on the keyboards and Jesús Trivinho on the turntables. ‘Santana Bendita’ was recorded, mixed and mastered by Javier Rondán at Audiorama Estudio (Spain) in July 2020. The band also signs up with Spanish indie label Spinda Records (Viaje a 800, Moura, Acid Mess, Grajo, Rosy Finch, Habitar La Mar, Híbrido…) for its release, with an artwork and photography of Pitu García.

‘Santana Bendita’ is set to be released on 20th October 2020 on digital, streaming and in a triple edition on 12″ vinyl limited to 500 hand numbered copies, including download code. But before, video-singles “Pennsylvania” and “Hong Kong II” were 1st September and 8th October respectively. Both videos were directed, recorded and edited by Spanish visual artist Pitu García, responsible also for the album artwork.

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Moura Post “Quen Poidera Namorala” Quarantine Video

Posted in Bootleg Theater on June 15th, 2020 by JJ Koczan

moura quarantine

When Moura released their self-titled debut (review here) earlier this Spring through Spinda Records, that offering already found their heavy progressive rock steeped in influences of Galician folk and psychedelia, so it’s not a surprise to find them doing likewise with a quick-turnaround follow-up single. But “Quen Poidera Namorala,” which is based on a poem by Álvaro Cunqueiro (1911-1981) and draws on an arrangement from 1975, plays to a mellower kind of vibe and was recorded by the band using I guess their phones or tablets or whathaveyou and mixed altogether to make the video below. You’ll note the clip is tagged with “versión confinamento” — which translates from Galician to, of course, “confinement version.”

And naturally, the confinement is a result of the COVID-19 pandemic which has proved to be the cause of much restlessness on the part of bands around the planet, resulting in videos like this one — perhaps not as well edited, but still of the members-shot-individually style — as well as live streams, virtual Q&A sessions, listening parties and so on. It is a challenging time to reach an audience, and especially for a band like Moura, releasing their debut full-length, it’s a moment where reaching their audience is especially pivotal. If a video for “Quen Poidera Namorala” is one more means of doing that as well as being a complement to the album and as well as being melodically gorgeous, with a steady line of keys behind the acoustic guitar, bass, traditional percussion and melancholy vocals, then all the better.

It’s not as lush as are parts of the narrowly-preceding album, but it suits the quarantine spirit and the folkish intent that it shouldn’t be. If nothing else, it feels of the moment in which it was made, which is all the more impressive considering the roots of the song itself.

I hope you enjoy:

Moura, “Quen Poidera Namorala” quarantine video

Moura on “Quen Poidera Namorala”:

Despite the many technical and personal difficulties arising from the COVID-19 pandemic that, among other things, prevented the participation of Luis Casanova (drums), this is our free adaptation of the poem “No niño novo do vento” by Álvaro Cunqueiro set to music by Luis Emilio Batallán in the year 1975.

Recorded with mobile devices and mixed by J. Gutierrez in May 2020.

Moura are:
Diego Veiga (guitarra, voz)
Pedro Alberte (baixo, voz)
Hugo Santeiro (guitarra, voz)
Fernando Vilaboy (órgano Hammond, sintetizadores)
Luis Casanova (batería, percusións)

Moura, Moura (2020)

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Moura Premiere “Ronda das Mafarricas”; Self-Titled Debut LP out April 1

Posted in audiObelisk on February 28th, 2020 by JJ Koczan

MOURA

Spanish heavy progressive rockers Moura are set to make their self-titled debut on April Fool’s Day through Spinda Records. The A Coruña-based five-piece start the album off with a gentle meditation of keys and guitar, Floydian in atmosphere but duly modern in meditation, and soon enough are off into a thickened earlier-King Crimson mediation, guitar and organ working together, then apart, then together again with an insistent rhythmic backing and a vocal reminiscent of Moura‘s labelmates and countrymen on the Southern coast in Algeciras, Atavismo and Híbrido.

Moura, whose progressive elements are nonetheless presented in across a manageable 38-minute/four-track LP stretch, are comprised of vocalist/guitarist Diego Veiga, guitarist/vocalist Hugo Santeiro, bassist/vocalist Pedro Alberte, synthesist/organist Fernando Vilaboy and drummer Luis Casanova, and to coincide with their proggy movements, which are maintained throughout the just-under-nine-minutes-each opener “Eira” and “Da Interzona a Annexia,” there come fervent doses of psychedelia and folk sounds. “Da Interzona a Annexia” dips particularly into the latter in its second half, with harmonized vocals in a melody derived from Galician folk — the scales will sound Middle Eastern to many ears — with a lead line of Hammond following that ends up in a run alongside the guitar that is likewise gorgeous and effective in blending the different styles already put on display. This is, it has to be repeated, Moura‘s first album.

After “Eira,” which the band also released as a single in 2018, and “Da Interzona a Annexia,” the flip to side B brings the longest and shortest tracks on Moura, respectively, in “O Curioso Caso de Mademoiselle X” (13:43) and closer moura moura“Ronda das Mafarricas” (7:04). Both manage to successfully highlight the aesthetic aspects that side A brought to the table, but push further along similar lines as well, with the fluidity and patience of “O Curioso Caso de Mademoiselle X” bringing a  stretch of molten drift in intertwining synth and keys as it moves into its second half after a duly flowing beginning, moving in its own time to a sweep of organ and full-toned guitar. The “full-toned” there should be read with emphasis, particularly as it relates to what VeigaSanteiro and Alberte bring to the proceedings.

As much nuance as there is in what Moura are doing throughout these songs — and there’s plenty — there is also no lack of tonal presence as well, and that’s no less true in the longer cut than on either of the first two pieces before it or even the one after, though “Ronda das Mafarricas” is something of a departure as well in terms of how it shifts the balance toward the folkish side of their approach, reminding early on of some of Death Hawks‘ proggy key-laced melodic glories, but keeping an identity in step with the rest of the proceedings here. The shift into the verse is smooth and led more by the vocals than it might at first seem, and as “Ronda das Mafarricas” smooths out — such as it does — it taps into some of the rhythmic bounce of “Eira” and that feeling of perhaps-courtly (in the King Crimson-sense) chase the album indulged earlier on. The finale fades into folkish percussion but the organ and guitar aren’t ultimately done yet and they surge back for a last measure or two of bookending in a final nod to songcraft that speaks to a strength that’s been underlying the material all along.

The lushness of combining two guitars, organ and synth speaks for itself throughout Moura‘s Moura, and as the record will no doubt serve as the band’s introduction to many listeners who take it on, they leave an impression of encompassing dynamics that are only further bolstered by the kinetic rhythm that’s being fostered by the bass and drums. As to how Moura might develop going forward, their combination of varying influences makes it harder to guess and thus more exciting to imagine the possibilities, but listened back through “Eira” on another go and making my way toward “Ronda das Mafarricas” once more — as the LP makes for easy repeat visits — I’m less inclined to guess how their sound might wind up than I am to enjoy what they’re doing now. Tomorrow can be tomorrow, then. Today, we dance.

I’m grateful to the band and to Spinda Records for allowing me to host “Ronda das Mafarricas” as a streaming premiere, as it’s obviously a special piece of the album and for the band generally. You’ll find it on the player below, followed by more background on the band from the PR wire.

Please enjoy:

MOURA is all about going into trance around the bonfire and get ready for the coven. Psychedelic rock, prog rock, traditional folk and lyrics in Galician go together in their debut album. Spanish band formed by Diego Veiga (vocals, guitars), Hugo Santeiro (guitars), Pedro Alberte (bass), Fernando Vilaboy (keys) and Luis Casanova (drums) give us the key to open ourselves and meet our souls once again, those ones that real life wanted us to forget.

Band members are not new at all in the Spanish music scene… Lüger, Jet Lag, Ictus, Guerrera, Saharah, Elephant Band, Fogbound and Holywater are some of the projects in which they were involved in the past. But the present is MOURA, a new band which is making a name in the scene very quickly. This can explain how they managed to play huge names as Resurrection Fest 2019 or Monkey Week 2019 even without any album on the market. 2020 will be their year for sure: debut album and many gigs (Esmorga Fest and Barcelona Psych Fest are already confirmed).

For their debut album, which is an excellent candidate to be part of many top albums lists at the end of the year, MOURA joined Spanish underground label Spinda Records (Viaje a 800, Híbrido, Bourbon, The Dry Mouths, Habitar La Mar…) and got surrounded by very close people and friends: José Gutiérrez (production, recording and mixing); Fernando Mejuto (mastering); Leo López (photography); and Hugo Santeiro (artwork).

Moura are:
Diego Veiga (guitarra, voz)
Pedro Alberte (baixo, voz)
Hugo Santeiro (guitarra, voz)
Fernando Vilaboy (órgano Hammond, sintetizadores)
Luis Casanova (batería, percusións)

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Surya Premiere Debut Album Overthrown in Full; Out This Week

Posted in audiObelisk on November 19th, 2019 by JJ Koczan

SURYA

Based in Cádiz on Spain’s southern coast, the heavy psychedelic four-piece Surya make their debut through Spinda RecordsSurnia RecordsOdio Sonoro and a host of others — Spanish labels should form a conglomerate and take over the world or at very least the heavy underground — with the eight-track/40-minute LP, Overthrown. Set to release Nov. 20 (which, holy shit, is tomorrow), the unpretentiously atmospheric outing works smoothly to make itself comfortable in a balance between harder-pushing rhythms and tonal warmth, an overarching shimmer of melody coming through the lead work on tracks like “Golden Tower” that reminds some of their countryfolk to the east in Algeciras in groups like Híbrido and Atavismo, though their aims for the most part aren’t so directly progressive at this point. Rather, while “Crystal Gate” is the longest inclusion at 7:29, it uses most of that time in developing a jammy flow, and even the decidedly linear, post-Elder sway of “Turtle Shaman,” which would seem to be side B’s answer back to “Crystal Gate” in terms of soundscaping reach, manages not to overindulge in its own lushness.

I’m not sure if I’d call their approach measured in the sense of being overly controlled, but the songs have an organic, carved-from-jams feel, and whether it’s a SoCal riffer like opener “Tales of the Great Fharats” and the subsequent echoer “Sundazed” or the from-the-ground-up build of the finale in “No Further,” they once again make a noble drive toward finding their identity in a sense of balance between sides. The four-piece of guitarist/vocalist Antonio Hierro, guitarist/synthesist José Moares, bassist José María Zapata (also percussion) and drummer/acoustic guitarist/vocalist Carlos Camisón (also also percussion) do well in setting and attaining this goal for themselves on Overthrown, recounting a surya overthrownnarrative across the record’s span but not sacrificing the impressions made by individual tracks in order to do so — not taking away from the songs for the story, in other words, as “concept records” sometimes do.

Instead, whether it’s the boogie in the penultimate “Begone” or the dreamy acid-strum of side A capper “Thousand Year Bridge,” which though it’s just four and a half minutes long does much to bolster a kind of Floydian pastoralism that only adds to the overall tally of their breadth of sound. “Golden Tower” is a fine example of how they bring these different sides together — the acoustic guitar notwithstanding — but wherever Surya end up on their first full-length, they get there with a remarkable sense of awareness for what they’re doing and a style that’s all the more engaging for that. It’s that much easier to go along with the fluidity they conjure because they seem to present it with such confidence.

As to what their future might hold, it’s hard to surmise where the mix of sound might take them or, likewise, where they might take it. But that too is part of what makes Overthrown an exciting listening experience, as their prospects seem to unfold with each careening riff or each patiently-delivered turn. And whatever they do, one can only hope that the current of songwriting they bring to these eight tracks continues to develop along with their aesthetic, since it’s what ultimately works to tie the material together, long with Hierro‘s vocals and a quickly-earned sense of trust that they pay back in kind with laudable effort for the converted and open-minded alike.

Happy to host the stream of the full album below. Dig in and enjoy:

Surya is a 4-piece Heavy Rock/ Heavy Psych band based in Jerez de la Frontera, Spain. After an EP (Vol. 1) released in 2017, Overthrown is their first full length album, culmination of almost one year of work. Although they are all in their early 20s, Surya takes influence from 70s dual guitars with plenty of harmonies, classic sounds and powerful vocals, but with a 90s twist to spice it all up. Recorded at Estudio 79 in April 2019 by Rafa Camisón (G.A.S Drummers, Gentemayor), Overthrown tells us the story of an banished prince and his revenge on his father with roaring guitars, earth-shattering bass and huge drums. A very limited 300 copy vinyl (released between Spinda Records, Odio Sonoro, Monasterio de Cultura, Surnia Records, Bandera Records, Violence in the Veins, Sacramento Records, Noizeland Records, Discosxmil and Gato Encerrado Records) is also available for purchase in their bandcamp. Enjoy!

Releases November 20, 2019

Surya:
Antonio Hierro – guitar & vocals
Carlos Camisón – drums, percussion, acoustic guitar & vocals
José Moares – guitars and synth
José María Zapata – bass and percussion

Recorded, produced and mixed at Estudio 79 by Rafa Camisón.
Mastered at Kadifornia by Mario G. Alberni.
Artwork by Nacho Fernández-Trujillo (@nachoooft).

Edited by Spinda Records, Surnia Records, Monasterio de Cultura, Violence In The Veins, Bandera Records, Sacramento Records, Odio Sonoro, Gato Encerrado Records, Discos X Mil and Noizeland Records.

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Viaje a 800 Reissuing Santa Águeda for 20th Anniversary

Posted in Whathaveyou on November 12th, 2019 by JJ Koczan

At the time of this posting, there are five (5) copies left of Viaje a 800‘s Santa Águeda available on tap through Spinda Records, and as I watch and listen through to the video for the 11-minute closing track “Al-Yazhira,” I have to think they’ll be gone in no time flat. The desert tones are raw and gorgeous in the guitar and yet there’s an airy effects layer as well that serves as foreshadow for some of the more progressive and psychedelic elements the band would bring to their sound later on. After reissuing their first two records through Spinda, putting out a live album and now this demo — the tape limited to just 50 copies worldwide — I have to wonder if maybe the Algeciras-based troupe might be headed toward the inevitability of a new full-length. I know José “Pot” Moreno is plenty busy with other projects, and Algeciras isn’t exactly short on related bands at this point, but there’s an awful lot going on the last couple years with Viaje a 800 in terms of playing shows and putting out releases for a band who are, you know, not really a band anymore.

If you’re lucky enough to grab one of these tapes, congratulations. You will have beat me to it, thereby giving you bragging rights into perpetuity.

Don’t forget Viaje a 800 also play Spinda RecordsSpinda Fest this month. Info on that is here.

From the PR wire:

Santa Águeda viaje a 800

New from Viaje a 800: Santa Águeda, Limited Edition Cassette

A bit earlier than expected… We’ve just started pre-sale for Viaje a 800’s demo tape ‘Santa Águeda’. Ah, and there are only 50 copies worldwide, so be quick!!!

Recorded at Estudios Pinrrel de Santa Águeda in 1997 and 1998.
Please listen to this as a demo as that is what it is.
Re-issued by Spinda Records to celebrate band’s 20th Anniversary

Tracklisting:
1. El dios de mi mentira
2. Equivocación
3. Solo
4. Cardio Límite
5. Esfera Violencia
6. Al-Yazhira

Viaje a 800 is:
José Pot Moreno – vocals, bass
Océano Galindo – guitar
David Ruiz – drums
Carlos Navas – bass
Miguel Acuña – guitar

https://www.facebook.com/Viaje-a-800-373382802690104/
https://viajea800.bandcamp.com/
http://www.spindarecords.com/
https://spindarecords.bandcamp.com/

Viaje a 800, “Al-Yazhira” official video

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Spinda Records Announces Spinda Fest with Viaje a 800, Bourbon and Grajo

Posted in Whathaveyou on October 29th, 2019 by JJ Koczan

viaje a 800

Spinda Records will celebrate its second anniversary on Nov. 23 by hosting the inaugural edition of what it has suitably dubbed Spinda Fest. It’s a three-band bill — now that’s the kind of festival I can get behind — with a free warm-up show before that Doctor Sax are playing, and the fest proper will feature Viaje a 800Bourbon and Grajo. In Algeciras, which is in the Andalusian home region of the bands. Fucking cool, right? Viaje a 800 have done just a handful of shows to this point celebrating the reissues of their first two records — which I very much need to review and kind of can’t believe I haven’t yet; enough that I just stopped writing this sentence and went and looked to double-check that I hadn’t, and nope, not there — and this will be the next one, and they’ll be joined for it by two more than companionable outfits of similar heavy psychedelic intent. What I’m saying here is if you can get there, you should. It’ll be cool.

Here’s the info, as run through a major internet company’s translation matrix and tweaked by me to preserve titles and whatnot:

What better way to celebrate the second anniversary of Spinda Records than with a party surrounded by friends?

And what a party! Point:

*** SPINDA FEST 2019 ***
* THE SOUTH CALLING *

23 NOVEMBER 2019, 20:30 H
SALA GRAMOLA, ALGECIRAS

FB event: https://www.facebook.com/events/2416998745249154/
FREE Warm-up party FB event: https://www.facebook.com/events/730956160676684/

VIAJE A 800 / Heavy Psych: after 2 years of celebrations with the reissues of ‘Estampida de trombones’ and ‘Diablo roto dë …’, and their performances at the Festival Sound Isidro de Madrid and at SonicBlast Moledo (Portugal), those of La Novena had to finish celebrating their 20th Anniversary as a band with a pitch at home, where they did not play since 2012. If you did not have the opportunity to see them on their previous dates of this year, do not miss this one because he finds out when they get back on stage … Madness is coming! Ready to scream?

BOURBON / Psych Hard Rock: after kicking Spain with their most recent work ‘Fuente Vieja’ (among the best albums of 2018 according to many national media), those from Sanlúcar arrive at the Spinda Fest to make us fly with their particular way of understanding the hard rock; full of Andalusian psychedelia and folklore. If you have not seen them live, you do not know what you are missing; and if you’ve seen them, your repeat fixed … what if?

GRAJO / Space Doom Rock: like a true steamroller, that’s how Grajo sounds on stage. If you still had a good ear, you have little left because they are going to burst on the basis of the best doom that is done today in Spain, seasoned with a lot of space rock and Andalusian essence. Crushing rhythms and sidereal journeys, with a simply “unique” voice. A little jewel, come on!

http://spindarecords.com/spinda-fest-2019
https://www.facebook.com/events/2416998745249154/
https://entradium.com/es/events/spinda-fest-algeciras-2019-viaje-a-800-bourbon-grajo
https://www.facebook.com/SpindaRecords

Viaje a 800, Diablo Roto De… (2019 reissue)

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Quarterly Review: Ufomammut, Horehound, Lingua Ignota, Valborg, Sageness, Glacier, MNRVA, Coroza, Noosed, zhOra

Posted in Reviews on October 4th, 2019 by JJ Koczan

quarterly review

Oh hi, I didn’t see you there. Earlier this week — Sunday, Monday, Tuesday, and yes, even Wednesday — the alarm went off at 4AM as usual and I got up, got coffee going and a protein bar and sat down to write, starting basically around quarter-after with a quick email check and whatnot. In terms of basic timing, this last morning of the Fall 2019 Quarterly Review is no different. I even have the baby monitor streaming on my phone as I would most mornings, so I can keep an eye on when The Pecan gets up. What’s changed is I’m sitting in a hotel lobby in Oslo, Norway, having just arrived on an overnight flight from Newark. Managed to sleep some on the plane and I’m hopeful adrenaline will pick up the rest of the slack as regards getting through the day. That and caffeine, anyhow.

Although, speaking of, my debit card doesn’t work and I’ll need to sort that out.

First thing’s first, and that’s reviews. Last batch of 10 for the week. We made it. Thanks as always for reading and being a part of this thing. Let’s wrap it up in style, and because I like working on a theme, three Irish bands in a row close out. Hey, I went to Ireland this year.

Quarterly Review #41-50:

Ufomammut, XX

UFOMAMMUT XX

Five years ago, Roman cosmic doom masters Ufomammut took a reflective look back at their career for its 15th anniversary with the documentary/live-performance DVD XV (review here). And since one might define the arc of their tenure as constantly trying to top themselves, for their 20th anniversary, they’ve issued a 12LP boxed set, titled simply XX, that compiles their nine albums to-date and tops them off with the mostly-subdued-style XX itself, which reimagines past cacophonies like “Mars” and “Plouton” in a quieter context. That part of the mega-offering issued through their own Supernatural Cat imprint comprises six songs recorded live and makes highlights out of the hypnotic strum and incantations of “Satan” as well as the rumbling drone of “Lacrimosa,” which takes on new emotional resonance for the shoegazy treatment it receives. I’ve said on multiple occasions throughout the years that Ufomammut are a band to be treasured, and I stand by that 100 percent. The XX box should be perceived by fans as an opportunity to do likewise.

Ufomammut on Thee Facebooks

Supernatural Cat website

 

Horehound, Weight

horehound weight

Less than a year after issuing their second long-player in the form of Holocene (review here) through Blackseed and Doom Stew Records, Pittsburgh atmosludgers Horehound align with DHU Records for the two-song 8″ EP Weight, which brings “Unbind” and “The Heavy,” two new cuts that, while I’m not sure they weren’t recorded at the same time as the last album — that is, they may have been — they nonetheless showcase the emergent melodic breadth and instrumental ambience that is developing in their sound. Even as “Unbind” rolls toward its low-end tempo kick, it does so with marked patience and a willingness to stay slow until just the right moment, which is not something every band cane effectively do. “The Heavy,” meanwhile, builds itself around a Crowbar-style dirge riff before Shy Kennedy‘s verse arrives as a standalone element, all the instruments around her dropping out from behind. That moment alone, frankly, is worth the price of admission, as whether it’s through that extra inch in diameter of the platter itself or through the audio of the tracks in question, Horehound continue to distinguish themselves.

Horehound on Thee Facebooks

DHU Records BigCartel store

 

Lingua Ignota, CALIGULA

LINGUA IGNOTA CALIGULA

I’m not sure I’m qualified to write about Lingua Ignota‘s CALIGULA (on Profound Lore), but I’m not sure anyone else is either. Like a self-harmonizing mega-Jarboe turning existential horror into epic proclamations of “I don’t eat/I don’t sleep” on “DO YOU DOUBT ME TRAITOR?” amid bass throb and terrifying melodic layering before making bedroom black metal sound like the lightweight self-indulgence it’s always been on the subsequent check-out-the-real-shit “BUTCHER OF THE WORLD,” Kristin Hayter‘s work is little short of experimentalist brilliance. She is minimal and yet over-the-top, open in creative terms but unwaveringly dark and rife with melody but severe to the point now and again of true aural abrasion. She weaves a context of her own into “FUCKING DEATHDEALER” as she recalls the lyrics to the aforementioned “BUTCHER OF THE WORLD,” while the outright brutality of “SPITE ALONE HOLDS ME ALOFT” is married to a piano-led meditation that, even without the noise wash from whence it comes, is enough to recast visions of what heavy is and can be in musical terms. I won’t pretend to get all the references like “kyrie eleison” (“lord have mercy”) worked into “IF THE POISON WON’T TAKE YOU MY DOGS WILL” and the violent strains surrounding, but it’s impossible not to realize the power of what you’re hearing when you listen.

Lingua Ignota on Thee Facebooks

Profound Lore Records on Bandcamp

 

Valborg, Zentrum

valborg zentrum

With an intensity born out of a history of industrial music and focus on tight rhythms making an impact in even-tighter songwriting, Valborg are neither beholden to death metal nor entirely separate from it, but their style has taken on a life of its own over the course of the last 10 years, and their latest offering, Zentrum (on Prophecy Productions), is the German trio’s most individualized take yet, whether that’s shown in the unbridled melodicism of “Anomalie,” the sludgy riff that drives the barking “Ultragrab” or the seemingly unrelenting snare pops of “Kreuzer” that, even when they finally release that tension, still make it only a temporary reprieve. Valborg‘s sense of control through the epic “Nonnenstern” should not be understated, and though the track is under four minutes long, yes, “epic” very much applies. Suitably enough, they close with “Vakuum” and throw everything at the listener at once before resolving in relatively peaceful atmospherics that could just as easily serve as an introduction to the next round of malice to come, whenever it shows up.

Valborg on Thee Facebooks

Prophecy Productions webstore

 

Sageness, Akmé

sageness akme

Spanish trio Sageness — also written SageNESS — conjure smooth Electric Moon-style soundscapes on their second album, Akmé, and yes, that is a compliment. The record brings forth six tracks of easy-rolling instrumentalist jam-based heavy psychedelia that offer much and take little in return, the richness of the guitar tone from Dawyz and Michi‘s bass given jazzy fluidity by Fran‘s drumming. “Ephemeral” touches most directly on a Colour Haze, as it would almost have to, but even there, the feeling of spaciousness that Sageness present in the recording is a factor that helps them come across as more individual. Earlier, “The Thought” is a little more directly space rock, but opener “Andromeda” seems to be charting the course with its liquefied effects and somehow-even-more-liquefied groove, and if you can’t get down with that, I’ve got nothing for you and neither does the rest of the universe.

Sageness on Thee Facebooks

Spinda Records website

 

Glacier, No Light Ever

glacier no light ever

It’s not exactly true, about their being no light ever on Boston post-metallers Glacier‘s latest full-length, No Light Ever. Sure, it’s plenty dark and heavy and brooding and all that fun stuff, and the riffs get loud and the drums break stuff and all that, but it’s certainly colorful in its way as well, and more than just shades of black on black. Comprised of four tracks cumbersomely titled in keeping with the traditions of the likes of Red Sparowes and the band’s own past work, cuts like “O World! I Remain No Longer Here.” and “The Bugles Blow, Fanned by Hysteria.” stretch themselves out along a scope as massive as the tonality the band emits, and as the wash of “We Glut Our Souls on the Accursed,” — the comma is part of the title there — gives way to feedback and the onset of “And We Are Damned Amid Noble Sound.” the sense of immersion is complete and clear as the priority under which they’re working. It’s about the whole album, or at least the two sides, as a unified work, and about crafting a world through the atmosphere evoked in the material. It works. If they say there’s no light in that world, so be it. It’s whatever they want it to be.

Glacier on Thee Facebooks

Wolves and Vibrancy Records webstore

 

MNRVA, Black Sky

mnrva black sky

Not-entirely-bereft-of-vowels South Carolina heavy trio MNRVA make their debut with the three-song EP Black Sky, a beast of a short release led by the riffs of guitarist Byron Hark on a stretch of ’90s-style crunch and sludge, with bassist/vocalist Kevin Jennings and drummer Gina Ercolini adding to the weight and shove of the proceedings, respectively. “Not the One” has the hook, “No Solution” has the impact and the title-track has both, and though I’m by no means saying the issue of their sound is settled 100 percent and they won’t grow or find their way from this — again, their debut — EP, they do prove to be well in charge of where their songs head in terms of mood and the atmosphere that comes through elements like the blown-out vocals and the rumbling bass beneath the lead guitar in the second half of “Black Sky” itself. Indeed, it’s those harsher aspects that help MNRVA immediately establish their individuality, and the vibe across these 18-plus minutes is that the punishment is only getting started.

MNRVA on Thee Facebooks

MNRVA on Bandcamp

 

Coroza, Chaliceburner

coroza chaliceburner

Just because Irish four-piece Coroza — guitarist/vocalists Ciaran Coghlan and Jack O’Neill, bassist/vocalist Jonny Canning and drummer Ollie Cunningham — might write a song that’s 18 minutes long, that doesn’t mean they forgot to actually make it a song as well. Thus it is that extended cuts like “The Plutonian Drug” (18:24) and closer “Iron from the Sky” (19:30) have plenty of room to flesh out their more progressive aspects amid the other three also-kind-of-extended pieces on Chaliceburner, the group’s ambitious hour-plus/five-track debut full-length. Each song essentially becomes a front-to-back movement on its own, with shifts between singers arranged thoughtfully from one part to the next and hooks along the way to serve as landmarks for those traversing, as in the opening “Chaliceburner” or the gruff winding moments of “Mountain Jaw,” which follows the nine-minute sax-inclusive centerpiece “Scaltheen,” because of course there’s a saxophone in there somewhere. All of this is a recipe for a band biting off more than they can chew stylistically, but Coroza manage pretty well the various twists and turns of their own making, particularly considering it’s their first album.

Coroza on Thee Facebooks

Coroza on Bandcamp

 

Noosed, She of the Woods

noosed she of the woods demo

Encased front and back by witchy samples and creepy vibes, Sept. 2019’s She of the Woods is the second demo in two months to come from Cork, Ireland’s Noosed. And you know it when they get around to the closing seven-minute title-track because it’s just about the only thing other than “Intro” that isn’t raging with grind intensity, but that stuff can be fun too. I don’t know how much witch-grind-doom is out there, but Noosed‘s first, self-titled demo (released in August) had a sludgy edge that seems to have separated out to some degree here into a multifaceted personality. Can one possibly be certain of the direction the band will ultimately take? Shit no. It’s two demos with basically no time differential between them. But if they can effectively bridge the gap between “Fuck Up,” “Wretch” and “She of the Woods,” or even play directly with the contrast, they could be onto something with all this noise and fuckall.

Noosed on Thee Facebooks

Noosed on Bandcamp

 

zhOra, Ruthless Bastards

zhora ruthless bastards

The narrative — blessings and peace upon it — has it such that Irish four-piece zhOra wanted to do something less complicated than was their 2017 album, Ethos, Pathos, Logos (discussed here), so they went ahead and wrote a song that’s five minutes long and purposefully hops between subgenres, going from sludge to doom to a deathcore breakdown, with a snare-pop count-in, to blackened death metal and then back to a lumbering chug to finish out. Okay, zhOra, “Ruthless Bastards” is a an awful lot of metal and an awfully good time, but you missed the mark on “simple” by a considerable margin. If indeed the band had been plotting toward something, say, easier to play or to compose, “Ruthless Bastards” ain’t it. They’ll have to settle for being brutal as fuck instead. Something tells me they’ll survive having made that trade, as much as anything will.

zhOra on Thee Facebooks

zhOra on Bandcamp

 

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