Album Review: King Buffalo, The Burden of Restlessness

Posted in Reviews on May 11th, 2021 by JJ Koczan

king buffalo the burden of restlessness

From the time Rochester, New York, trio Do you agree with Time Management Essays TrustScore? Voice your opinion today and hear what 1 customers have already said. | assignmentdoer.co.uk King Buffalo announced in March that they’d be releasing three full-lengths over the course of the next 12 months — #3recordsin2021; a challenge as much about logistics in pressing and distributing schedules, if not more so, as about recording the material itself — with each one recorded in a different circumstance, anticipation has justly run high. The first of them, which is both part-one-of-three and the band’s third standalone long-player in its own right — a pivotal arrival for any act — is We provide Help In Writing A Papers in India at affordable rates to remove any grammatical or spelling mistakes. Request a quote and avail for our The Burden of Restlessness, which collects seven tracks across 40 minutes of existence plainly derailed. That is to say, had 2020 not played out as it did in times of pandemic and sociopolitical unrest,  Cheap Dissertation Writing Services Have More Features. Not only our target is to provide Essay Writer Vancouver in the UK and first-class work, but we also aim to deal with our customers politely so that they can feel us as a family, not their custom essay providers. King Buffalo‘s third LP would invariably be a much different outing.

How To Start A Literature Review For A Dissertation You Can Trust. As you know, any writing assignment requires individual approach and good writing skills. Our company offers The Burden of Restlessness captures the tension of paranoia and fear in its sharp guitar chugs, the notion of things going wrong but proceeding apace in its odd time signatures, churning and roiling grooves and the melancholy and languishing brought on by lockdown and lack of direction in its lyrics, as well as the inward and outward frustration brought on by the decaying of American political norms, the country nearly confronting its troubled history with racism in the wake of the murder of George Floyd and the ensuing protests, as well as the right wing anti-progress cacophony that eventually manifested in the (arguably successful) terrorist putsch on the US Capitol in January.

These things are real and brought to life throughout Our online service will help any student to Dissertation Writing Assistance Vocabulary within the deadline! We are working with native USA and UK speakers to create and edit your academic papers. You can ask us for a revision, and we will proofread your paper to make it flawless. If you want to order an urgent paper, we can submit it within four hours. Choose our support, pay for your paper online, and save your time! The Burden of Restlessness, which tightens some of the more open, jammier spirit  Sociological Perspective Essay Writing Services. We offer affordable prices and around the clock support. Best price guarantee. We have analyzed 92 websites offering the same writing services and can state that with us, you can save from 30% in most cases and up to 50%. Order now Check prices. What's in the price . Free Features. Check for plagiarism; Unlimited revisions; Title and reference pages; 24/7 King Buffalo has brought to bear across prior releases — they put out an EP,  MY ACCEPTED STANFORD ESSAYS (and other essay college process and my experience at reviewed Divisional Judging For Transcontinental Railroad Essay will be the Dead Star (review here), last year to coincide with subsequently canceled tours;  how to write a compare and contrast essay Ne Yo Ghostwriter essay for sale papers term help write paper Live at Freak Valley (review here) followed months later, presenting their 2019 set at the German festival of the same name, then supporting their 2018 sophomore album, http://fempop.sra.at/texts/essay.php?1021 - paper writing service Pay someone to do my assignment australia -... Longing to Be the Mountain (review here) — into a concise progressive aggression, at times reminiscent of earlier Get http://www.grossbundenbach.de/?cheap-essay-papers-for-sale in Canada for all possible concerns related to dissertation writing, statistical help or formatting. Contact our writers and Tool, as with some of the lead work on “Locusts” or the thudding culmination of the penultimate “The Knocks,” but one way or the other a streamlining of purpose and expression on the part of the band, as ever comprised of guitarist/vocalist  If your words will be "i want to buy an essay", our response will be prompt execution of the order, its execution and the best authors sending you Sean McVay, bassist  View New Posts; View Today's Posts; Cigar Sanctuary Cuban Cigars CC Discussion my review here editing service for phd Dan Reynolds and drummer  distribution assistant cover letter The http://www.antholzer.de/?service-quality-master-thesis essay on my village in english essay writing lined paper Scott Donaldson.

While the overarching three-album storyline remains untold, there is nothing that feels incomplete about http://www.educasources.education.fr/cache/81/index.php?286 - Quality and cheap essay to make easier your studying Essays & dissertations written by professional writers. Let the specialists The Burden of Restlessness. The darker themes are telegraphed by the album cover courtesy of check my sites - Take Expert Essay Writers help for completing your essay writing. Many offer avail here for writing service, can't miss Zdzislaw Beksinski and the band —  McVay also helmed the recording and mixed — extend the thoughtfulness of their presentation to the material, telling of confusion without becoming confused in the telling. The synths that came to prominence in Dead Star and seemed to foreshadow where King Buffalo might have been headed with their next long-player are shouldered out of the foreground by the intensity of “Burning,” as the album’s opening line, “I turn my head from the stars,” feels like a direct and willful contrast to the title-track of their debut, 2016’s Orion (review here), which began with the call to the constellation, “Orion can you hear me?” The ensuing chorus, “Another year lost in the wasteland/Another day drowns in dust/Another one dead in the wasteland,” picks apart the passage of time in pandemic quarantine, familiar surroundings made ominous with a looming specter of death outside. Perhaps it’s a processing of trauma happening throughout The Burden of Restlessness, but the perspective is individual.

King Buffalo

On a thematic level, King Buffalo are no strangers to lonelier or more depressive fare, but as the third verse of “Hebetation” finds McVay narrating, “Every night I close my eyes/I lie awake and try to pacify a listless mind/Nothing’s changed at 35/Still every night I dream a million different ways for me to die,” and the later “Silverfish” talks of “slithering away, from everything, and everyone,” the images are striking and real. In terms of point of view, the metaphor-laced approach holds consistent in what might be considered the more outward-facing “Locusts” and “Grifter,” which seem to speak to police brutality — “Hand of the shield/Suppressing the field” — and the cult of personality surrounding the American right wing’s descent into fascism — “He promises deliverance, day after day/Releasing only pestilence, and festering decay” — respectively.

The lyrics are essential here, of course, with McVay and Donaldson collaborating throughout, but it’s in the pairing of the final two tracks, “The Knocks” and “Loam,” that the full storyline of The Burden of Restlessness finds its self-contained resolution, regardless of what’s to come on King Buffalo‘s intended fourth and fifth long-players. “The Knocks” pushes as close to bottom as the band gets, “As I press my ear against the floor/A knocking beckons from the barricade on the door/I can hear it pounding more and more/Don’t think that I can take no more, don’t think I wanna live no more,” and “Loam” complements with an earned hopeful feeling, bringing the title-line in the context of, “I’m shedding the burden of restlessness/To rise from the loam of the nothingness,” the last lyrics and a far cry from the turning-eyes-from-the-sky setting out in “Burning.”

McVay in the position of producer/engineer is nothing new for King Buffalo, as he also helmed 2018’s Repeater EP (review here), Orion and Dead Star, but in addition to bringing lyrics into focus in new, pointed ways, The Burden of Restlessness is all the more complete for the manner in which the lyrics and instrumental progressions play off each other. To listen to Reynolds‘ bassline — he remains the secret weapon in King Buffalo‘s arsenal; low-key, keeping it all together as the drums push inextricably forward and the guitar stretches out — beneath the soaring lead of “Locusts,” or to chart the build of “The Knocks” or find the synth balanced into the midsection of “Loam” for melodic emphasis is to understand the individualized dynamic that King Buffalo have honed over the last seven years, and in encapsulating that as they have, The Burden of Restlessness fulfills its apparent promise in portraying the troubled time of its creation.

It is both a culmination of horrors and the initial steps beyond them, and the turn it makes in sound is no less full than anything they’ve done before; they are adjusting the balance of elements that have worked in their favor all along. I at this point have precious little insight as to how The Burden of Restlessness will play into the next King Buffalo full-length, or if it is intended to at all. Will that album pick up from this one, move into a different aspect of their style, readjust the balance again, and so on? Unknown. But not knowing doesn’t make the band’s overarching project any less exciting, and in making them a less predictable outfit as it does, The Burden of Restlessness can only be considered a success. It not only realizes a bridge between progressive heavy rock and psychedelia in a manner that is their own, but perhaps serves just as an initial stretch in an even wider blossoming of sound and craft. No matter what the next one or the one after brings, The Burden of Restlessness is one of 2021’s best and a fittingly otherworldly document of this surreal era.

King Buffalo, The Burden of Restlessness (2021)

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King Buffalo to Release The Burden of Restlessness June 4; Preorders Available & Song Streaming; Tour Announced

Posted in Whathaveyou on March 30th, 2021 by JJ Koczan

King Buffalo

Rochester, New York, heavy psych trio King Buffalo take on the darker side of quarantine with The Burden of Restlessness, their third LP, set to release on June 4. Their most progressive album rhythmically is also their more aggressive thematically, and the album’s tracks do a damn fine job of living up to the album’s name. If you happened to be alive last Spring, you probably felt some of that burden yourself. Or you actually got sick, which as I understand it was worse.

Not that the pandemic is over, mind you.

As discussed in the recent interview with drummer Scott DonaldsonThe Burden of Restlessness will serve as one of three full-lengths King Buffalo will issue in 2021/early 2022, with the next one to be recorded next month. I’ll have more on that to come. In the meantime, preorders are up for The Burden of Restlessness, which will be released through the band in the US and through Stickman Records in Europe. And hey, they’ve got tour dates! Will they happen? Maybe!

As per the PR wire:

king buffalo the burden of restlessness

KING BUFFALO RELEASE THIRD RECORD, THE BURDEN OF RESTLESSNESS, ON JUNE 4TH & ANNOUNCE TOUR DATES

Preorder: kingbuffalo.bigcartel.com

King Buffalo’s third full-length record, The Burden of Restlessness, will be released on June 4, 2021. The widely-hailed progressive heavy rock trio will have vinyl & CD preorders available on April 2, via kingbuffalo.bigcartel.com.

This the first of three full-lengths they will release throughout 2021.

REPEAT: THREE

Their most focused progressive offering to-date, The Burden of Restlessness will self-release throughout North America and see European issue via Stickman Records.

Self-recorded in late 2020 and early 2021 by guitarist/vocalist Sean McVay, bassist Dan Reynolds and drummer Scott Donaldson, The Burden of Restlessness continues to push King Buffalo’s progressive aspects forward into new avenues of melody and exploration.

At the same time, it is not mistitled. There are deep undercurrents of frustration and even an aggressive pulse that coincide with the spaciousness for which the band has been so widely lauded since their 2016 debut, Orion. Guitarist/vocalist Sean McVay drops what’s bound to become one of the record’s signature lyrics in opener “Burning” when he declares, “Another year lost in the wasteland,” and more succinct summaries of canceled plans and rescheduled, lost or damaged lives are hard to come by.

“The Burden of Restlessness was written over the course of what most would consider a pretty stark and stressful time period. The end result is our darkest, most aggressive, and most intimate work to date. We are extremely proud of what this record became.” – Sean McVay

Followers of King Buffalo will find the band’s time was not at all wasted. While some of the synthesizer-driven elements of early-2020’s Dead Star EP have been stripped back, the rhythmic complexity in The Burden of Restlessness is yet more new ground the band are claiming as their own. They do so with confidence and a creative depth of atmosphere that comes through in more than just the effects being used, and the urgency in their material is unmistakable.

“Since Covid stopped all touring, we’ve been hard at work and made the commitment to not waste the opportunity. We’re excited to share the first of three records of 2021, which has expanded our sound in a lot of different ways. We hope you enjoy it and we look forward to eventually playing these songs live.” – Scott Donaldson

The Burden of Restlessness was written and recorded by King Buffalo in Rochester, NY at the Main Street Armory in December of 2020 & January 2021. Produced, engineered & mixed by Sean McVay, and mastered by Bernie Matthews. The artwork was created by Zdzis?aw Beksi?ski with cover fonts by Mike Turzanski and album layout by Scott Donaldson.

The Burden of Restlessness Tracklist:
1. Burning
2. Hebetation
3. Locusts
4. Silverfish
5. Grifter
6. The Knocks
7. Loam

2021 Tour Dates (Tickets on sale NOW at kingbuffalo.com)
9/10 Denver, CO @ Larimer Lounge
9/11 Denver, CO @ Larimer Lounge
9/14 Los Angeles, CA @ Moroccan Lounge
9/15 San Francisco, CA @ Bottom of the Hill
9/17 Seattle, WA @ Barboza
9/18 Vancouver, BC @ Fox Cabaret
9/19 Portland, OR @ Lola’s Room
11/5 Philadelphia, PA @ Johnny Brenda’s
11/6 New York, NY @ Mercury Lounge
11/11 Pittsburgh, PA @ Club Café
11/12 Detroit, MI @ Loving Touch
11/13 Indianapolis, IN @ HI-FI
11/14 St. Louis, MO @ Off Broadway
11/16 Madison, WI @ The Bur Oak
11/17 Minneapolis, MN @ 7th St. Entry
11/18 Milwaukee, WI @ Colectivo
11/19 Chicago, IL @ Lincoln Hall
11/20 Cleveland, OH @ Beachland Ballroom

King Buffalo is:
Sean McVay – Guitar, Vocals, & Synth
Dan Reynolds – Bass & Synth
Scott Donaldson – Drums & Percussion

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Review & Track Premiere: Motorpsycho, Kingdom of Oblivion

Posted in audiObelisk, Reviews on March 25th, 2021 by JJ Koczan

motorpsycho kingdom of oblivion

[Click play above to stream ‘The Waning Pt. 1’ from Motorpsycho’s Kingdom of Oblivion. Album is out April 16 on Stickman Records and Rune Grammofon.]

The heavy prog Kings in the North — Trondheim isn’t Tromsø, but it’s far enough up — Motorpsycho return on the relative quick after wrapping up a trilogy between 2017’s The Tower (review here), 2019’s The Crucible (review here) and 2020’s Spellmannprisen-nominated The All is One (review here) with the new 70-minute 2LP Kingdom of Oblivion, a record that seems to speak to current times without necessarily being of them stylistically. Also without not. Trust me, it makes sense.

Now, to be sure, Motorpsycho are beyond review. I could say anything here and it doesn’t matter. To new listeners, their massive, decades-spanning discography might seem insurmountable, and indeed it might very well be a lifetime project of listening. Even their post-Heavy Metal Fruit (2010 and on) catalog is a mountain to climb, and perhaps an intimidating prospect.

More than that, though, Motorpsycho know what they’re doing and they have for some time. Kingdom of Oblivion enacts this massive span of work, but also makes it genuinely digestible with each side functioning as a piece of the whole. But with Motorpsycho, there’s just about no way founding members Bent Sæther (bass, lead vocals) and Hand Magnus “Snah” Ryan (guitar/vocals) as well as Swedish import drummer Tomas Järmyr, with the band since 2017, aren’t going to deliver the album they wanted to make.

Even as they’ve consistently explored varying textures and sides of alternative rock, indie, classic heavy riffs and vibes — dig that solo three minutes into “The United Debased” — and keyboard-laced progressive serenity, among others, they’ve carved out an identity that is wholly their own and is maintained on Kingdom of Oblivion. Motorpsycho said they wanted to make a heavier record. So guess what? They did.

Of course it’s not that simple even on its face, but with any new Motorpsycho release, the assumption going into it is that the listener is being placed in the hands of masters, and that’s basically how it works out across Kingdom of Oblivion‘s span. These players are not fools and they do not make foolish decisions in terms of craft. They cast purpose across the punchier beginning the record gets in “The Waning Pt. 1 & 2” and “Kingdom of Oblivion” and the folkish harmonies of the subsequent “Lady May 1,” the experimental atmospherics of “The Watcher (Including the Crimson Eye)” and “Dreamkiller” after “The United Debased” (which, yeah, fair), as they make ready to dig into the post-jazz “Atet” and revive the more rocking progressions on “At Empire’s End,” offsetting with acoustic stretches as they careen between styles and motivations.

Kingdom of Oblivion, which on headphones functions with a smoothness that’s outright beautiful in how it uses bass to emphasize melody as well as rhythm alongside the guitar and drums, is patient in its execution and refuses to go anywhere it doesn’t want to go, but that doesn’t at all mean Motorpsycho are doing only one thing throughout, because they’re simply not. Even in the earliest going — which is unquestionably where the harder hitting material lies and is the first impression the band wanted to make as a lead-in for all that follows — the songs aren’t entirely singular in their purpose as the second part of “The Waning” picks up motorik in the second half of that 7:30 track and the title-track meets its early fuzz with later wash of keys ahead of the guitar solo that borders on orchestral.

motorpsycho

None of these moves are particularly unexpected for Motorpsycho, but that doesn’t make the journey less thrilling, and their embrace of a heavier push early gives the subsequent semi-extended pieces like “The United Debased” (9:04), “At Empire’s End” (8:36) and “The Transmutation of Cosmoctopus Lurker” (10:56) — each one featuring on its own side like the showcase work it is — all the more of a dynamic range to work from. Same goes for the acoustic work throughout and other more classically progressive moments.

“Lady May 1” feels like a nature-worshiping take on Simon & Garfunkel (that’s a compliment) and though “Dreamkiller” surges from its minimal beginning to striking heft, it flows easily to the wandering guitar of the two-minute “Atet” ahead of the grooving volume trades and engrossing payoff that “At Emipre’s End” provides, backed by “The Hunt,” a folkier jaunt that teases Tull-ish storytelling without going all-in with the flute and leg kick. Fair enough.

The softest and quietest Motorpsycho get on Kingdom of Oblivion is on side D, where the subdued “After the Fair” and the closer “Cormorant” surround on either side of “The Transmutation of Cosmoctopus Lurker.” As for the quizzically named longest cut on the record itself, it is duly dizzying in its riffs and solo work and melodically grand, vocals hitting an apex in the midsection leading to a guitar-and-keys chase that is, yes, head-spinning in King Crimsony tradition. They bring it down, threaten to build it up again, then leave it to quietest bass and ambience to cap, with silence as prelude to “Cormorant”‘s avant, far-off marching finish. An epilogue well earned, and they know it.

Here’s the thing. Yes, Motorpsycho put out a lot of records. Can’t be denied. I won’t pretend to have heard all of them. Yes, they have a history that goes back to 1989. Yes, it’s a lot. What matters more than quantity of the work they’ve done/do, however, is of course the quality of that work, and with Kingdom of OblivionMotorpsycho emphasize that the most essential moment is not the past but the present.

Motorpsycho are creating pivotal heavy progressive and psychedelic rock right now. Not in 1989. Not in 2015. Now. Before you feel overwhelmed by the prospect of taking on listening to them, not knowing where to start and so on, stop for a second and take it one thing at a time. Kingdom of Oblivion, oddly enough since some of it was recorded at the same time, works as an entry point even better than the prior trilogy because while one can hardly call it restrained across its run, it nonetheless brings to light so much of what makes Motorpsycho the crucial and influential band they are. I’m not saying ignore history and context altogether, but Kingdom of Oblivion stands on its own and is worth experiencing in that light.

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The Obelisk Questionnaire: Bent Sæther of Motorpsycho

Posted in Questionnaire on March 12th, 2021 by JJ Koczan

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The Obelisk Questionnaire is a series of open questions intended to give the answerer an opportunity to explore these ideas and stories from their life as deeply as they choose. Answers can be short or long, and that reveals something in itself, but the most important factor is honesty.

Based on the Proust Questionnaire, the goal over time is to show a diverse range of perspectives as those who take part bring their own points of view to answering the same questions. To see all The Obelisk Questionnaire posts, click here.

Thank you for reading and thanks to all who participate.

The Obelisk Questionnaire: Bent Sæther of Motorpsycho

How do you define what you do and how did you come to do it?

We’ve never really felt the need to define this to ourselves, but Motorpsycho is the flag we fly and sail under when writing and playing and doing musical research work in our own main musical project. It is a constantly shapeshifting entity with its own life, and all we ever do is try to be honest and genuine in our musical research. Some people do projects for every different musical style they want to work in, but early on we decided that it’s all us and thus all Motorpsycho, and that we would do it all under this moniker.
I met Snah in high school and we’ve more or less played together since our late teens in the mid-’80s, but Motorpsycho as a band was established in 1989. Music was all any of us were ever any good at, so we played until it got good enough to interest someone else, and then we just kept at it with various lineups until today.

Describe your first musical memory.

Getting children’s records when I was really young — Disney’s Aristocats soundtrack was one early one, but some Norwegian fairytale thing was probably the very earliest. That said, finding my mum & dad’s 7’’ collection, putting singles on the turntable and eventually after many misses, finding — and loving — “Dynamite” by Cliff Richard, was probably the first mindblowing musical adrenaline rush moment of my life.

Describe your best musical memory to date.

I don’t think I can. There has been so many life affirming, great moments that all were so different they are incomparable, but that all were the best ever in the moment, that I struggle to put my finger on one specific moment. How do you compare that and decide that one is better than all the others when they were all out of this world?

Getting lost in the music is an entry point to transcendence, and all such experiences are potentially the best musical memory ever. Until the next one!

When was a time when a firmly held belief was tested?

Oh, all the time! I am an opinionated loudmouth and catch myself spewing bullshit almost every day, so … ‘frequently’ would be the truest answer here!

Where do you feel artistic progression leads?

…To new insight that hopefully leads to further artistic progress!

How do you define success?

Success to me means realizing my musical ambition – making an idea become manifest in its truest form.

The point isn’t really that a lot of people heard what I said, but that I actually managed to formulate and say it in the best and truest way I know how, if that makes sense? That is all we can do as ‘artists’ I think — once we end that process it’s out of our hands. Then it’s all about marketing and the selling of an image and a product, and that mercantile bit — the bit that usually is the marker — is not something we are interested in. Usually we suck at things that don’t interest us — this is no exception.

What is something you have seen that you wish you hadn’t?

I’m good — knowing reality can only make me stronger.

That film a few years back that treated drumming like a sports contest tho’ …yikes!

That misunderstood utter crap waste of time made me see how many people relate music though, and realizing that a lot of people can only ever understand something in competitive terms made me really sad. I don’t believe you can win or lose at music — that is what makes it so great!

Describe something you haven’t created yet that you’d like to create.

I’d love to create something that made humans treat the world around us less binary. Less back and white, less good or bad, less either / or: All the really interesting and good stuff is found in-between the fixed points and the extremes. If we realized this and understood the implications, the world would be a better place for everyone.

What do you believe is the most essential function of art?

All art forms are in essence languages I think. Means to say something that can be said no other way, by no other art or language. It makes the artist able to communicate something he/she otherwise wouldn’t be able to. We’ve all felt the shortcomings of our spoken and written languages at some point, and we’ve all recognized the truth in good art at some point. A way to say the unsayable maybe?

Something non-musical that you’re looking forward to?

Spring! I’m so fed up with the cold and the damp and having to stay indoors by now, feeling the heat of the sun today made me giddy with anticipation!

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Nick DiSalvo Announces Delving Album Hirschbrunnen Due in May

Posted in Whathaveyou on March 3rd, 2021 by JJ Koczan

delving nick disalvo

Man that’s a clumsy headline. Nevertheless, we press on.

One can only imagine how refreshing it might be for someone like Nick DiSalvo of Elder to compose music without any expectation of what shape it might ultimately take. Of course that’s never really, really possible in a world of subjective experience, but these things are relative, and if Delving — also stylized low-caps: delving — were Elder, there would be significant baggage with that in terms of what the audience expects. I’m not saying I’ve heard the entirety of Hirschbrunnen or anything — the album will see release in May through Stickman Records — but the moniker chosen for the project is fairly tongue-in-cheek. DiSalvo doesn’t so much delve into the world of lush and progressive rock that he’s creating across the album’s near-hour-long run as he does dive in headfirst. And if there’s any expectation it’s fair to place on Hirschbrunnen, it would probably be that.

My guess is DiSalvo will be surprised how much of Elder‘s fanbase digs on what he’s doing in channeling some of his pandemic-era restlessness and longstanding proggy/fusion tendencies into a collection of its own, and with just how much Delving feels like a culmination of where his journey has taken him to this point, so too is it a beginning. As I said above, must be refreshing.

And hey, nice to see Richard Behrens (Wedge, Heat, ex-Samsara Blues Experiment, etc.) at Big Snuff involved with the recording.

From the PR wire:

delving hirschbrunnen

Nick DiSalvo (ELDER) To Release DELVING Solo-Album!

Hirschbrunnen out this Spring on Stickman Records!

For many who lived through it, 2020 will forever be the year that time stopped. Especially for those who thrive in packed, sweaty environment – musicians, concertgoers, even humble record label operators – this led to some pretty fundamental changes in the way we spent our time. Enough with the platitudes: delving is a new project by Nick DiSalvo (better known as the frontman of Elder and one half of Gold & Silver) long in the making but finally taking off in this dreaded year where creativity was relegated exclusively to one’s own domain.

DiSalvo elaborates:

“I’m an almost obsessive songwriter, working on music every day and amassing a huge collection of song fragments and ideas that often don’t get the attention I’d like because of the time I spend with my main band. ‘Thanks’ to this pandemic, I’ve had plenty of time to pick up some of the songs I’ve written over the past years and finally make an album that I’ve been telling myself forever I’d do.

From my earliest moments as a musician, I have been obsessed with home recordings, begging my parents for a Tascam 4-track cassette recorder for Christmas when I was 12 and making my own albums. delving is a continuation of this creative spirit: experimenting all on my own, forgetting bands, fans and expectations and making whatever music I want to.”

The debut album Hirschbrunnen will be released in May 2021 through Stickman Records. It is a collection of songs that display a wide range of influences from psychedelic rock, early electronic music, 70’s prog as well as jazz and even ambient sounds – yet all with a distinct songwriting style that DiSalvo has come to be known for. The album was recorded, mixed and mastered by Richard Behrens and Emanuele Baratto at Big Snuff Studio.

“Hirschbrunnen – “stag fountain” – is the colloquial name of a large fountain that presides over a large green area near where I live.“ DiSalvo continues. “For me, it’s been strange to see my world, which normally consists of a fair amount of travel and external stimuli, reduced to one city, one district, one block for so long. Frustrating as that is, you might start to find inspiration and surprising beauty in your everyday surroundings that you otherwise would have ignored. Just as all the music I make is influenced by my experiences, Hirschbrunnen is a product of this unique and strange time in which we all have been forced to delve more deeply into our own thoughts.”

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Video Interview: King Buffalo Announce Three Albums Coming in 2021

Posted in Bootleg Theater, Features on March 2nd, 2021 by JJ Koczan

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Rochester, New York, trio King Buffalo will release three full-lengths throughout 2021.

Repeat: three.

The band — comprised of guitarist/vocalist Sean McVay, bassist Dan Reynolds and drummer Scott Donaldson — recently oversaw the release of Live at Freak Valley (review here) as a follow-up to their early-2020 EP, Dead Star (review here). By now the narrative of group-who-should’ve-spent-all-of-2020-touring-but-didn’t should be well familiar, but King Buffalo made exceptional use of the time. As Donaldson explains in the interview below in discussing their project, they actually had enough to use for four albums and decided to whittle it down to three.

This does nothing less than set King Buffalo up to potentially own the year, especially with the way they’re going about it. Each of the three albums will be recorded in a different manner and setting, so that while they’re using songs written during the same span of lockdown months, the presentation of each LP will inherently be different because the experience behind it will be different. In talking to Donaldson, I brought up a kind of second-installment syndrome, thinking of examples from Earth‘s Angels of Darkness, Demons of Light and Ufomammut‘s Oro two-parter projects, wherein the second piece came out and brought more of what the first had on offer. King Buffalo‘s methodological thinking seems like not only a clever workaround, but a way to continue to grow the band each time out.

And, it needs to be said, to take the place, momentum-wise, of touring. One would figure that if King Buffalo put out one album in alternate-reality-2021, they’d tour to support it in Europe and the US. Instead of those two tours, the band makes the jump through albums three, four and five in a span of months. Even if you’re a King Buffalo fan, it might seem like a lot to take in, but if the band have proved anything yet in their tenure, it’s that their work stands up to being digested over a longer time. That is, just because album four has arrived doesn’t mean you’re not still allowed to listen to album three.

Many details about the recording projects are still to be unveiled, but Donaldson talks a bit about the timing below — it may be 2022 before that last LP arrives, and if it is, fine — but his excitement is infectious. I hope you enjoy the interview.

The text of the band’s announcement also follows below:

King Buffalo, Interview with Scott Donaldson, Feb. 17, 2021

Hey Friends,

That’s not a typo, and we know it sounds crazy, but yes, we will be releasing THREE FULL-LENGTH RECORDS in 2021!

It’s all new material and we’re really excited to finally be able to tell you. Since Covid stopped all touring, we’ve been hard at work and made the commitment to not waste this time.

We can’t give you all the details, but each record will be distinct. We’ve chosen different methods to record and produce each one, and we will share that info with you in the coming months.

The artwork and single from the first record will be announced in a few weeks. So sit tight. There’s going to be a lot of new tunes coming and we can’t wait for you to hear them!

For a deeper dive, check out Scott’s interview over at theobelisk.net.

All the best,
KB

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King Buffalo website

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Motorpsycho to Release Kingdom of Oblivion April 16

Posted in Whathaveyou on February 22nd, 2021 by JJ Koczan

motorpsycho

Business as usual for Motorpsycho, being nominated for the Spellmann for one record even as they announce they’ve got another one in the can and due out in a couple months. Typical. You know what the difference is between Motorpsycho and other bands who put out a ton of records? The consistency. Motorpsycho could put out an album (or two) every year, and if some of them weren’t that good, well fine, you wait for the next. But they’ve amassed this insurmountable catalog, and I’m sure they’re not all gold — no way I’m going to tell you I’ve heard them all — but I’ve yet to find a real stinker in the bunch. And the run they’ve been on for the last decade is enviable to say the least. And when Enslaved shouts you out as an influence on their own latter-day work — and it’s true! — you’re doing alright.

Once again, onto my running upcoming albums list Motorpsycho go. I don’t know why I ever take them off, frankly.

Still, this is not a band to take for granted.

From the PR wire:

motorpsycho kingdom of oblivion

MOTORPSYCHO Announce New Album “Kingdom of Oblivion”!

Hard times call for big riffs. And, it seems, also for big news:

Not only was Motorpsycho’s 2020 album “The All is One” nominated for a Spellemannprisen (a Norwegian Grammy) in the Best Rock Album category, but just recently the band also announced a new Motorpsycho album titled Kingdom of Oblivion!

“It is clear to us that TAIO reached a pretty wide audience, and we are as grateful as ever for all of you taking the time to listen to what we do.” Comments the band on their homepage. “It is really important to us to not become an oldies band merely dealing in nostalgia, and the only way we can avoid that is by forging ahead and trying to make music that is true to who we are. When you lot show your appreciation by buying the new records and not just baying for the old schlägers, that makes it all feel worthwhile and important, and that is all we can ask. Thank you!

“On that subject … we have a new record coming out in a couple of months!”

[ Artwork by Sverre Malling ]

The release date has been slated for April 16th, 2021 through Stickman Records, Kingdom of Oblivion will be available on 2LP, CD and digitally. While the pre-sale is scheduled to start on Friday, March 5th, watch out for many more details and a first single to follow in the weeks ahead!

Motorpsycho is: Bent Sæther, Hans Magnus “Snah” Ryan, Tomas Järmyr.

https://www.facebook.com/motorpsycho.official/
https://twitter.com/motorpsychoband
http://motorpsycho.no/
https://www.facebook.com/Stickman-Records-1522369868033940/
https://www.instagram.com/stickmanrecords/
https://www.stickman-records.com/

Motorpsycho, “The All is One”

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Papir to Release Jams 2LP April 9

Posted in Whathaveyou on February 1st, 2021 by JJ Koczan

If the thought of Copenhagen’s Papir releasing a double-vinyl collection of jams called simply Jams doesn’t immediately pique your interest, well, I’m sorry. Sincerely. Because it should. I double-dog-dare you to take on the 20 minute creative sprawl that they’ve titled “17.01.2020 #1” and see if your mind isn’t changed for the better.

The Danish outfit were last heard from with 2019’s VI (review here), and though Stickman Records doesn’t list an exact release date in their newsletter — for which you might consider signing up — the band’s Bandcamp page has it as an April 9 release. Whether that means vinyl will be after the digital, I don’t know. I don’t know anything. All I know is I dig Papir jamming and this is two 12″ platters’ worth of Papir jamming. Sometimes the universe does you favors.

The band’s own Nicklas Sørensen provided the update via the label:

papir jams

New Papir album “Jams” to be released in spring 2021

Stream a song from the record at Bandcamp now!

2LP coming this spring

“Jamming has always been an essential part of Papir. Jamming in the rehearsal room, jamming in the studio, collectively jamming live and getting in to a common zone of rocking outbursts, ambient soundscapes, repetitive trances or whatever comes through. Sometimes it can just feel like a hard work of even trying to get into the zone. But mostly it’s just good times and fun, and I guess that’s why we do it. It’s all about musical energy!

So why haven’t we released a pure jam record before you might ask? Well, that’s a great question and all we can say is that we don’t really know, but this time we went all in on the jams. This record is a product of the jams we did during our recording sessions in The Black Tornado Studio last year. So is this the raw uncensored version of Papir? No, not really. There are always choices to make, so we picked out the best jams for you. Hope you will enjoy it!”

– Nicklas Sørensen

Papir is:
Nicklas Sørensen
Christoffer Brøchmann Christensen
Christian Becher Clausen

https://www.facebook.com/papirband
https://papir.bandcamp.com/
https://www.stickman-records.com/
https://www.facebook.com/Stickman-Records-1522369868033940

Papir, Jams (2021)

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