CB3 Premiere Aeons Live Session in Full; Out Friday

Posted in audiObelisk, Reviews on January 13th, 2021 by JJ Koczan

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Buy academic paper writing services from trusted custom writing service. BuyEssayClub is a perfect place to purchase custom papers and make your academic life easier. CB3 will release Aeons Live Session this Friday, Jan. 15, on http://www.maisonpechenature.com/2020/12/03/online-professional-resume-writing-services-ratings/ services are aimed at ensuring your grades remain at the optimum level.This is to ensure all of our clients remain in the top 10% in every level of their academic journey. We want to see you succeed in the best careers and follow your dreams, this is our inspiration. All do my assignment services are optimized to your preference. Founded in 2010 to benefit students. Avoid The Sign Records. And first of all, what you see is what you get. blog here - Why worry about the dissertation? Receive the required guidance on the website If you want to find out how to compose a top-notch Aeons Live Session. Well, okay. So parse it out. Burgeoning Swedish instrumentalists put out a full-length called review. Students always encounter difficulties when solving algebra homework due to the lack of understanding during teaching. In some cases Aeons (review here) last year, so this would pretty clearly be a recording of them playing songs from it live. And since it’s a ‘session’ instead of an ‘at’ or ‘in’ kind of live record, it’s clearly live in a studio setting. So there you go. It was Best Rates To Deliver Homepage. We do not aim to earn from students. We are here to assist you, guide you, and help you with our best essay writing service UK. It motivates us to keep our rates very low. We also offer discounts and promotions throughout the year so that students can benefit from our assistance, especially when Signalverket, in Malmö. Unable of course to play shows to support their LP released by hire someone to take your paper Essay For Me Reviews Zemyx write essay on my great india business law paper topics The Sign Records, the trio of guitarist buy term paper line http://crp-construction.com/creative-writing-san-francisco/ 2014 is odysseus a hero or not financial research paper Charlotta Andersson — who, if we’re playing guessing games, one might wager is a Distribution Channels Business Plan. Home / Buy dissertations online. Proven custom thesis in our writers working on down most our thesis. Patrick s, they were highly qualified writers is the leading dissertation writers writer. Start we know that you--and your task for the best dissertation for your supervisor! Scott lake lodge - professional help buy a tough thing to know where best dissertations. My Rush fan — bassist A research paper is a piece of academic writing that provides analysis, interpretation, and argument based on in-depth independent research. Research papers are similar to academic essays, but they are usually longer and more detailed assignments, designed to assess not only your writing skills but also your skills in scholarly research. The Glass Menagerie Essay requires you to demonstrate a strong knowledge of your topic, engage with a variety of sources, and make an original contribution Pelle Lindsjö and drummer Dj Resume Proposal : Custom essay writing services australia Buy a persuasive essay? / bachelor abschluss kaufen artikel schreiben englisch aufbau? Tok essay help. Natanael Salomonsson did what a lot of bands at various stages in their careers have done and recorded themselves playing live. There are videos to accompany and with The prodigal and devoid of rights of Dominique causes that its plow canaliere and contradicts Child Care Business Plan Sample phonologically. Alabamian Philip Aeons Live Session, cv writing service bath http://www.abg-net.de/?best-online-resume-writing-services-consumer-reports Com science help mass matter weight homework thesis and dissertation ucf CB3 get a chance to air out three of the total five songs from the album in “Acid Haze” (12:15), “Sonic Blaze” (8:11) and “Warrior Queen” (7:36) for a total set of about 28 minutes.

But hold on. Wasn’t Looking for the best Research Paper Sites? Before you make the final choice, check out our independent reviews. Compare prices, quality & more! Aeons recorded live? Yeah, it was. I raised the issue when Freelance Copywriter - Copy & Co is a Freelance Copywriting Agency located in Cape Town South Africa. We provide Writing Argumentative Essays to an array of Aeons Live Session was announced and  cambridge essay editing service http://centre.allevard.montreuil.fr/?business-plan-table-of-contents-sample Typing help writing essay college application matts masters thesis Salomonsson was kind enough to offer a bit of an explanation: “Regarding the recording live-part, you are correct that both were recorded live. A more apt description for this might have been ‘concert-form’ rather then live album, but it is what it is. The music and songs keep evolving as we play them and we like to consider each recording more of as a timestamp on where we are at the moment.”

He’s not wrong and he’s not exaggerating. I wouldn’t know, never having been so fortunate as to see the band — who are based in Malmö — live, but the songs are reshaped as they’re played here compared to what they were less than a year ago. “Acid Haze,” which is both opener and longest track (immediate points) becomes a side-A-consuming jam, its midsection stretched with an Andersson-led effects freakout that morphs from a likewise exploratory solo section. Listening to the cb3 aeons live sessionensuing shred, one is put in mind of Earthless, but there’s a progressive undercurrent as well in the use of effects from Andersson and Lindsjö, and that comes across as well in “Sonic Blaze” as the various melodic flourishes hint toward what vocals might do in those places, not quite forming words but setting the listener’s brain to the task of hearing them nonetheless.

And with a solid weight of distortion behind them, “Acid Haze” and “Sonic Blaze” — there’s something satisfying about that rhyme; put them together and you actually have a pretty apt description of CB3‘s sound and style; indeed they’re all about acid haze in terms of their heavy psychedelic and sonic blaze in terms of their ability to scorch with various effects and Andersson‘s lead work — offer no shortage of depth for listener immersion. But parts are also maintained to make the songs recognizable, such as the emergent chug in the second half of “Sonic Blaze” or the monolithic plod as “Acid Haze” returns from its jammier stretch.

Of the three inclusions, “Warrior Queen” is the closest to how it appeared on Aeons proper, but the organ-style melodic effects still manage to shimmer through its earlier heavier parts and the kind of manic rush as it moves toward its midpoint — a proggy freneticism that “Sonic Blaze” also tapped, suitably enough — and there are still spaces being explored that the original dared not tread, the band seemingly bolder in this live show-esque context, though it could also be a case of the rougher sound generally adding edge to their style. One way or the other, it works in the songs’ favor.

Each of CB3‘s to-date three studio offerings — Aeons, 2018’s From Nothing to Eternity (discussed here) and 2015’s CB3 — has had a companion live release. So in a way, Aeons Live Session is right on form, but it still manages to reveal a different side of the band, and more importantly, it demonstrates their ongoing evolution as players and as a unit. I would not be at all surprised if their next full-length pushed even further into prog-psych adventures, since what CB3 show most of all with Aeons Live Session is that it isn’t just the songs themselves that grow and change, but the chemistry of the band as well.

More PR wire/pressing info follows the stream of Aeons Live Session below.

Please enjoy:

CB3 released their second studio album Aeons in February 2020, right before the pandemic hit. The essence of the band is the live concert experience; every song becomes different and new, solos are improvised, and the intensity is ever-shifting. With limited opportunities for gigs, the band decided to capture the live experience on record, so that fans can experience the music the way it’s meant to be heard.

Aeons Live Sessions will be available on Youtube, streaming platforms, and as a limited edition 12” vinyl. Recorded live at Signalverket in Malmö, the tracks “Sonic Blaze,”, “Acid Haze,” and “Warrior Queen” add up to almost half an hour of intoxicating, instrumental jamming. Close your eyes, set your mind free, and drift away into the musical universe of CB3!

Aeons Live sessions will be released January 15 on The Sign Records on digital and 12? vinyl format. The physical release is limited to 300 copies.

CB3 are:
Charlotta Andersson – Electric Guitar
Pelle Lindsjö – Electric Bass
Natanael Salomonsson – Drums

CB3, “Sonic Blaze” from Aeons Live Session

CB3, Aeons (2020)

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CB3 Set Jan. 15 Release for Aeons Live Session; Post “Sonic Blaze” Live Video

Posted in Whathaveyou on November 17th, 2020 by JJ Koczan

Let’s go ahead and make the rash assumption that CB3 are in their element on the upcoming Aeons Live Session. My first thought when I saw the news about the release: ‘Wait a second, Aeons (review here) wasn’t recorded live?’ Either way, the band’s work is based around improvisational conversation between the guitar, bass and drums, and it seems only natural that at a time when they can’t get on stage and offer that to an in-person audience, they might seek to at least do what they can to support the record that came out earlier this year. You might’ve noticed, they’re not the only ones taking such a course.

They’re underknown as yet, but I dig the vibe CB3 bring, and if you want to do the same, the video below for “Sonic Blaze” makes a compelling case toward doing so. You could do way, way, way worse with your time.

PR wire info follows, along with this badass cover art:

cb3 aeons live session

CB3 release first single from upcoming live album

CB3 (Charlottas Burning Trio) are set to release a live session album on The Sign Records early 2021. The album contains three tracks from the band‘s latest release “Aeons”, clocking in at 28 minutes of mind-bending and psychedelic cosmic jams. All three tracks are accompanied by live videos. The first single leading up to the live-album is called “Sonic Blaze (Live)” and is out now on all streaming platforms.

CB3 released their second studio album “Aeons” in February 2020, right before the pandemic hit. The essence of the band is the live concert experience – every song becomes different and new, solos are improvised and the intensity is ever-shifting. With limited opportunities for gigs, the band decided to capture the live experience on record, so that fans can experience the music the way it’s meant to.

Aeons Live Session is a video and music release, to be available on Youtube, streaming platforms and as a limited edition 12″ vinyl. It was recorded live recording at Signalverket in Malmö, Sweden, with three of the band‘s favorite songs from their latest full-length “Aeons”. The tracks, “Sonic Blaze”, “Acid Haze” and “Warrior Queen” ad up to almost half an hour of intoxicating, instrumental jamming. Close your eyes, set your mind free, and drift away into the musical universe of CB3!

Aeons Live sessions will be released January 15 on The Sign Records on digital and 12″ vinyl format. The physical release is limited to 300 copies.

CB3 are:
Charlotta Andersson – Electric Guitar
Pelle Lindsjö – Electric Bass
Natanael Salomonsson – Drums

www.charlottasburningtrio.com
https://www.facebook.com/charlottasburningtrio/
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https://cb3band.bandcamp.com/
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CB3, “Sonic Blaze” from Aeons Live Session

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Stream Review: Vokonis, Live at Klubb Undergrunden, Sept. 18, 2020

Posted in Reviews on September 21st, 2020 by JJ Koczan

vokonis klubb undergrunden

My wife and I threw rock-paper-scissors in a best of three to decide which of us was going to put our son down for nap. She won. I had a run of victories that lasted for years but ever since then it’s been like the curse of the Bambino. I’m lucky if I make the playoffs.

But then I looked at my watch and saw it was 1:58PM and that in two minutes it would be time for Borås, Sweden, trio Vokonis to begin their live stream from Klubb Undergrunden in their hometown, and I called in the favor. Though she was plenty ready for a nap herself, the love of my life relented and took the kid upstairs to lie down.

A few minutes later, as Klubb Undergrunden Sessions II was underway with the progressive-heavy three-piece of guitarist/vocalist Simon Ohlsson, bassist/vocalist Jonte Johansson and drummer Peter Ottoson opening their relatively quick 27-minute set with the title-track of 2017’s The Sunken Djinn (review here), I got the call from upstairs.

He’d thrown up. Not uncommon but not unheard of; generally he’s not much of a puker, but of course timing is anything. As the band nestled into the stomp of the verse in “The Sunken Djinn,” with Ohlsson and Johansson sharing vocal duties as they’ve done more and more effectively since making their debut with 2016’s Olde One Ascending (review here), I hit pause, grabbed some paper towels, and went to assess the damage.

It wasn’t so bad, and soon enough, I was back in front of the television, watching the multi-camera, pro-sound, pro-lighting cast of the trio playing “Grasping Time” off of 2019’s Grasping Time (review here) as I seemed to be doing so myself, but it goes to the ongoing discussion of how music and especially the experience of live music interacts with the rest of our lives in this pandemic era.

Having recently experienced a socially-distant live performance for direct comparison, I’ll say that the simple act of having to leave one’s house makes a huge difference.

I’ve never lived in a major city or particularly close to any relevant venues, so I’m fairly used to traveling for shows, but I would think if you were down the block from your favorite concert hall, the same would still apply. You have to pull yourself out of your own space to see a show (unless you own the venue, in which case, congratulations to you on living my dream) in a way that, watching a COVID-born stream, the whole point is to not.

When you’re at a show, you’re not thinking about doing the dishes. You’re not throwing pillowcases in the laundry. You’re not taking the fucking dog out for the 15th time because she has the world’s most expensive UTI and will invariably piss all over everything if you don’t. Even if you’re the type to text or engage social media while out and about — and by “type,” mostly at this point I think I mean “human” — you’re physically somewhere else.

Vokonis played five songs in this — again — fairly brief mini-gig, with “The Sunken Djinn” and “Grasping Time” giving way to “Antler Queen” and “I Hear the Siren,” before closing out with the quick energy burst of “Exiled”; the latter three tracks all from Grasping Time as well, which is unmistakably the band’s best work made public to-date, though as Ohlsson noted in April, their next offering is already well in progress.

I would imagine that, as different as it is for the audience of a stream, it’s no less a new world for the performers involved. Of course, in a shoot like this one there are other people in the room, working lights, the live mix and camera direction, but that’s hardly the same as a boozy crowd come to see a good show. Still, OhlssonJohansson and Ottoson were able to get into the spirit, headbanging a bit while issuing forth through a series of proggy turns and adrenaline-fueled hooks.

They have worked relatively quickly over the last several years to grow beyond the influences that sparked their earliest efforts — and that work has been successful — and even though Ottoson didn’t appear on Grasping Time, the dynamic between the trio came across as that of a band whose evolution was serving a greater aesthetic purpose. A band who, in stylistic terms, are going somewhere and exploring new ideas.

And so they are. “Exiled” capped with a quick “tack” from Ohlsson and it was over. My wife long since gone for her own nap, our son upstairs, blowing off his own but playing peacefully enough, I disconnected the stream, turned off the tv and sat for a minute to process. I’ve never seen Vokonis live — a planned trip to Esbjerg Fuzztival this year would’ve been the first time — and I came away from the stream feeling like my experience of it was afflicted by the rest of what was going on.

But here’s the thing with the stream: As the house had finally settled down — even the dog was in her crate — I happened to have another 27 minutes at my disposal. Not something that happens every day. So I just put it on, on my laptop this time, and watched Vokonis kill it once again so I didn’t come away feeling like I’d missed anything.

That’s something that, were I pulled away from an in-person show by some domestic consideration — it’s happened before; you get bad news, etc. — I wouldn’t have been able to do. Everything has its ups and downs. And in a time that seems perpetually to find new lows, I’ll take every 27 minutes of positivity I can get.

The stream is still up and you can see it below. Thanks for reading.

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Skraeckoedlan Premiere “Doomedag” Video; Sagor Reissue out Now

Posted in Bootleg Theater on August 14th, 2020 by JJ Koczan

skraeckoedlan doomedag

Progressive fuzz heavy hitters Skraeckoedlan originally released their second album, Sagor (review here), in 2015, and it was something of a special moment for the band. Foremost, it was a chance for them to prove decisively that their 2011 debut, Äppelträdet (review here), was no fluke, and further, it was a moment that allowed them to reach a wider audience by releasing through Razzia Records in their native Sweden. I guess it went well — they’re still a band, and they’ve only garnered more notoriety over the last five years since Sagor came out, touring and last year releasing the follow-up LP, Eorþe (review here) through Fuzzorama. Fair enough they might want to revisit that time, and The Sign Records, which previously reissued the first album in 2018 and is also doing another pressing, obliges with a subsequent Sagor LP reissue.

“Doomedag” as I understand it was a bonus cut on the original LP pressing of Sagor that’s never been digitally released before. The only version of it I could find anywhere was a live show from 2017, and while that looked like good fun, with the band in a small venue packed onto a stage, headbanging and all that kind of thing, it’s hardly the most representative of the track itself. All the better then, that here, on the day Sagor is being reissued — and that new pressing of Äppelträdet as well — comes a video for the studio version of “Doomedag”; something that hasn’t appeared online before to support an album initially put out five years ago. You’d almost think these things were planned in advance.

But anyhoozle, you’re gonna dig the track, which is on the shorter and less epic end of Skraeckoedlan‘s sound and has some pretty awesome push behind it from the drums. Plus the single has the art above, and that alone is worth the price of admission, which if you’re keeping up, is nothing. This premiere kind of came in last-minute, but hell, I dig the band and I dug Sagor when it came out, and I’ve legitimately never heard this song before, so I’ll take it. Doesn’t need to be any more complicated than that, really.

Enjoy the video:

Skraeckoedlan, “Doomedag” official video premiere

On Spotify: https://open.spotify.com/track/2aw0r5p6kOlpqWUE9HG84p

The Sign Records re-release the second album “Sagor” by Skraeckoedlan on colored vinyl August 14. The album, which turns five years old this year, will be released on 180g double LP with gatefold cover. The first pressing is limited to 1000 copies, and the vinyl is available today.

“Mountains. Colossal peaks stretch past the darkened clouds and further into the cosmos. In the leviathan’s towering shadow the landscape is left black, like the uncertainty of eternity. Only a pulse remains. A barely noticeable but steadily growing sensation, a promise of direction in the fangs of darkness. Through the dream we escape time, to the brink of infinity where love thrives.”

To celebrate the 5 year anniversary of their album Sagor, Skraeckoedlan is now releasing a song that previously only was to find as a bonus track on the original print of the vinyl. The song is called Doomedag, and is a song about finding yourself, to always look ahead and not to be scared about the unknown. The album was recorded in numerous studios with different technicians and producers during a two year period. The band collaborated with Daniel Bergstrand (In Flames, Meshuggah, El Caco) and Niklas Berglöf (Ghost) among others.

The artwork has been made by Johan Leion, who also designed the debut album, Äppelträdet.

Order the vinyl: https://freighttrain.se/skraeckoedlan-

“Sagor” will be available in 1000 copies of colored, 180g gatefold double LP. Besides the re-release of “Sagor”, The Sign Records will also release a new pressing of Skraeckoedlan’s debut album “Äppelträdet” in 500 copies of 180g purple vinyl.

Skraeckoedlan:
Robert Lamu – Vocals/Guitar
Henrik Grüttner – Guitar
Erik Berggren – Bass
Martin Larsson – Drums

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The Hawkins Premiere “Hilow” Video; Silence is a Bomb out Sept. 4

Posted in Bootleg Theater on August 4th, 2020 by JJ Koczan

The Hawkins Silence is a Bomb

Swedish heavy rockers The Hawkins are set to issue their second album, Silence is a Bomb, through The Sign Records on Sept. 4. My only regret when it comes to hosting the premiere of the video for “Hilow” is that there isn’t a full-album stream to go with it. As a follow-up to their 2017 debut, Ain’t Rock ‘n’ Roll, the 12-track/39-minute collection is a fascinating document, bringing forth a vision of heavy rock and roll that is unabashedly modern despite being constructed of classic elements, and brazenly takes on the tropes of pop — from direct lyrical references to social media and engrossing, sing-along-ready vocal arrangements to a sense of movement that picks up directly from the bluesy opening the title-track gives the album and pushes through “Roomer” and “Hilow” as the start of a momentum that careens across the entirety. Dynamic in their songwriting, The Hawkins execute their material with that particularly-Swedish sense of we’ve-been-doing-this-since-we-were-six control, and an energy that is infectious, calling to mind the likes of Queen and Dio with strong vocals even as the instruments behind veer in and out of a heavier-toned vision of pop-punk.

Likewise, the detail of the production is incredible. The extra raw snap of snare in “Cut Moon Bleeds,” or the way that “Mynah” seems to build off the rush of “Stones” before it The Hawkins Silence is a Bombbut reach further in its melody. There isn’t a song on side A that doesn’t work as a single, and yes, that includes the opener, which is basically an intro, and the same holds for much of side B in the hooky “Libertine,” the attitude-laced “Stranger in the Room” and even the darker lyric of “Black Gold,” which seems to build on the brooding that’s hidden beneath the uptempo thrust of “Roomer” early on. Metallic-tinged riffing shows up in “Fisherman Blues,” but is met by a grand arrangement of vocals, and the closer “All My Birds are Dead” plays off volume changes as smoothly as cuts prior switched meter to highlight a bigger chorus feel or push a verse to give an all the more twisting feel. This is all done with an unbridled passion for the craft itself, and Silence is a Bomb makes it clear that The Hawkins aren’t just fans of heavy rock looking to exercise (or exorcise) their influences, but looking to bring something of themselves to the pastiche as well.

As for silence — bomb that it is — there isn’t much of it to be found. The Hawkins bring an abidingly raucous feel to the offering, and despite the fact that they’re very much in control of each of these songs, and the production is clear in such a way as to highlight the poppier moods in some of the tracks, “Hilow” among them, the electricity running between them as players is no less affecting than the hooks are catchy. It’s the kind of record that might put you in a better mood providing you’re willing to let it.

So give it a shot. “Hilow” follows here, and as it’s the third song to be released from Silence is a Bomb thus far, I’ve included the band’s Bandcamp player as well, so you can hear how the record kicks off and at least get that much of a taste. CD and LP preorders are, of course, available there as well.

Enjoy:

The Hawkins, “Hilow” official video premiere

The Official Music Video for The Hawkins single “Hilow”. Taken from their second album “Silence is a Bomb”, released by The Sign Records. Filmed by Ted Lindén, Bullsize Production. Artists in the video: Margareta Skogsberg Pettersson, Joel Kallioniemi.

Born and raised within a two-square-meter Swedish village, the four members have shared their musical journeys since they plucked their first chords. The specific journey of The Hawkins started back in March 2013. Deep inside a huge local industrial park, they have built their own Hawks Nest. It’s within these four walls of carpets and egg cartons where all the blistering creative magic happens.

The Hawkins debut album Ain’t Rock N Roll (released via GAIN/Sony Music) entered the world with a superb explosion in October 2017. The album included the single “Fuck You All I’m Outta Here,” a powerful song with a strong anti-fascist message which quickly gained momentum in the Swedish rock scene, securing the band’s role as one the most promising bands of the country.

To follow up the successful release of their debut, The Hawkins started the year of 2018 by going on a 22-day tour across Europe with the fellow Swedish band Corroded, rocking stages in Germany, France, Austria, Switzerland, and Denmark. Since then, The Hawkins have kept rocking and rolling, releasing singles, dealing with broken van- incidents in the overwhelming summer heat of eastern Europe, playing countless gigs in and outside of their home country, and even brewing their own beer — the fresh IPA simply entitled “Fuck You All I’m Drinking Beer.”

Now in 2020, The Hawkins have partnered up with The Sign Records. They’re finally back with a new album entitled Silence is a Bomb, dropping on September 4th, 2020.

The Hawkins are:
Albin Grill
Mikael Thunborg
Johannes Carlsson
Martin Larsson

The Hawkins, Silence is a Bomb (2020)

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Skraeckoedlan Announce Sagor Vinyl Reissue Due in August

Posted in Whathaveyou on July 1st, 2020 by JJ Koczan

skraeckoedlan

Swedish modern progressive heavy rock/metallers Skraekoedlan originally released their second album, Sagor (review here), in 2015 through Razzia Records, and I recall at the time thinking it was kind of a curious fit, as they mostly release pop and not stuff quite so hard-hitting as Sagor was. There was some relation to In Flames, if I remember right. I don’t know. Whatever it was, the album didn’t seem to get the love it deserved, so I’m glad to see it being reissued on vinyl through The Sign Records. The label also reissued Skraeckoedlan‘s debut, 2011’s Äppelträdet (review here), in 2018, and that’s being pressed again as well. The more the merrier.

Preorders are up. Here’s the info from the PR wire:

skraeckoedlan sagor

Skraeckoedlan to re-release second album “Sagor” on colored vinyl

The Sign Records will re-release the second album “Sagor” by Skraeckoedlan on colored vinyl August 14. The album, which turns five years old this year, will be released on 180g double LP with gatefold cover. The first pressing is limited to 1000 copies, and the vinyl is available for pre-orders today.

Skraeckoedlan’s second album “Sagor” was released in June 2015 on Razzia / Sony Music. The album was praised by both critics and fans, and the physical release has for long been difficult to obtain. This year, the album turns 5 years old. To celebrate this, Skraeckoedlan has partnered up with The Sign Records for a physical re-release of the vinyl. The band has previously collaborated with the label – in 2018, The Sign Records released a repress of Skraeckoedlan’s debut album “Äppelträdet”, and in the fall of 2019 Skraeckoedlan headlined The Sign Records’ traveling festival “The Sign Fest”.

Robert Lamu, vocalist and guitarist in Skraeckoedlan, states:

“We are very happy to finally be able to re-release our album “Sagor” on vinyl after 5 long years. This album means a lot to us, and it feels good to finally be able to offer it on the format it was meant for.”

“Sagor” will be available in 1000 copies of colored, 180g double LP. Like the original, the album will have a gatefold cover. In addition, the design of the cover artwork will have a few changes. Besides the re-release of “Sagor”, The Sign Records will also release a new pressing of Skraeckoedlans debut album “Äppelträdet” in 500 copies of 180g purple vinyl.

The re-release of “Sagor”, as well as the new pressing of “Äppelträdet”, will be out on vinyl format August 14. Both albums are available as pre-orders today.

Pre order “Sagor” and “Äppelträdet”:
https://freighttrain.se/preorder/

Skraeckoedlan:
Robert Lamu – Vocals/Guitar
Henrik Grüttner – Guitar
Erik Berggren – Bass
Martin Larsson – Drums

http://www.skraeckoedlan.com/
http://instagram.com/skraeckoedlan
https://www.facebook.com/SKRAECKOEDLAN/
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Skraeckoedlan, “El Monstro” official video

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Volcanova Premiere “Sushi Sam”; Debut Album Radical Waves out Aug. 21

Posted in audiObelisk on May 21st, 2020 by JJ Koczan

volcanova

Volcanova will release their debut album, Radical Waves, on Aug. 21 through The Sign Records. Denizens of the widely-varied pastiche that is the Icelandic heavy underground — from Icecross of yore to Sólstafir to Misþyrming to The Vintage Caravan, the heavy rock elders of Brain Police, etc. — the trio arrive after six years with a collection of 10 cuts (nine plus an intro) of willful heavy rock for heavy rock heads digging into raw post-Kyuss energy on songs like “Super Duper Van,” with Queeny vocal melodies over gritty riffs and shouted verses. The vibe? Depends who you ask. Check out the post-intro opener “Where’s the Time” and the vibe is go-go-gone. Dig into “I’m Off” a couple tracks later and there’s a spacey beginning before one of Radical Waves‘ most vicious stomps ensues, and then the harmonized voices and a bit of largesse in the roll resumes for “Stoneman” at the end of side A and there’s even some drift to coincide.

It’s a deceptive collection in that with “Where’s the Time” or the also-cowbell-infused, ultra-Fu Manchu‘ed companion toe-tapper “Sushi Sam” at the start of side B, the Reykjavik-based trio set you up to expect simple Kyuss worship — and that’s part of it, no doubt, butVolcanova Radical Waves by no means is that all that’s happening throughout. “Sushi Sam” — which is premiering below — and the swaggering “Mountain” are a blast, while “M.O.O.D.” pulls a bit more from the Deliverance-era Corrosion of Conformity playbook (while thankfully avoiding the trap of Down-esque chestbeating that so much of that style falls into), and “Got Game” brings in some more airy guitar work in its back half en route to “Lights” at the end, which winds its way forward initially, only to draw back at its midpoint to an evocative wistful stretch of guitar that one suspects is the basis for the YOB comparison the PR wire makes below, reminiscent as it is of that band’s masterpiece “Marrow” as it builds up to cap the album, swirling lead and all, finishing with string sounds — one assumes it’s keys or synth of some sort — having covered a surprising amount of ground for a song that’s just under six minutes long.

Are they preaching to the converted? Okay yeah, probably, but that’s hardly a reason not to get down. The prevailing spirit of Radical Waves is an energy-infused kick in the ass that makes itself welcome through the trio’s performance and the sense of the good time they’re having playing the songs, which turns out to be no less infectious than the songs themselves. Going forward from this debut, I wouldn’t be surprised if Volcanova pushed deeper into vocal arrangements and worked to add some of the complexity heard in the beginning of “Stoneman” or the end of “Lights” into their material more generally, but that’s a progression that needs to happen naturally if it’s going to happen at all, and honestly, what’s more important than sonic growth is that they’re playing what they want to play, which it seems very much here like they are. That that comes through so sharply on their first album alone makes it a win.

“Sushi Sam,” with its own cover art and everything, is being issued as a standalone single tomorrow, May 22, ahead of Radical Waves‘ release, but the album is worth focusing on, so if you take it as advance notice three months ahead of time, right on. Nothing like being prepared and all that.

Enjoy the track:

In an alternate reality where Kyuss was born in the barren, volcanic landscape of Iceland, emerges the unholy trio Volcanova. With members hailing from three corners of this unique island of lava fields, glaciers, and hot springs, Volcanova comes together to erupt a fresh take on desert rock.

Building on this style, the band pays homage to the crushing doom of Black Sabbath as well as progressive sludge in the vein of modern bands like Mastodon and Gojira. But wait, there’s more! Volcanova can turn seamlessly to thunderous fuzzy riffs in the style of Fu Manchu or somber moments akin to YOB — all coupled with an irreverent live show that’s straight out of a Red Fang video. There is never a dull moment with Volcanova.

Volcanova was founded in the summer of 2014 with principle song writer Samúel Ásgeirsson on guitar and vocals. After a few lineup changes, the band finally settled on a winning formula with Þorsteinn Árnason of (Rock Paper Sisters) on bass and vocals and Dagur Atlason (Churchhouse Creepers) on drums and vocals.

The trio has an infectious groove and togetherness that’s bolstered by an ability to pull off three-part vocal harmonies, keeping audiences rocking and rolling. Uplifting moments with epic guitar solos are underpinned by headbanging bass grooves and complemented with a tasteful use of cowbell — because who doesn’t have that fever?

Due out August 21st, 2020 via The Sign Records, Volcanova’s debut album Radical Waves will surely propel the band to new heights.

Album Tracklist:
1. Welcome
2. Where’s the Time?
3. Super Duper Van
4. I’m Off
5. Stoneman Snowman
6. Sushi Sam
7. Mountain
8. M.O.O.D.
9. Got Game
10. Lights

Volcanova are:
Samúel Ásgeirsson on guitar and vocals
Þorsteinn Árnason on bass and vocals
Dagur Atlason on drums and vocals

Volcanova on Thee Facebooks

Volcanova on Instagram

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The Sign Records website

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Vokonis Premiere ‘Live at Studio Underjord 2019’ Video

Posted in Bootleg Theater on May 7th, 2020 by JJ Koczan

Last month, while no doubt restless during the process of making their new album during a time of ongoing global pandemic, increasingly progressive Swedish riffers Vokonis put up a two-songer stopgap called Live at Studio Underjord 2019 that — you guessed it — was recorded in 2019 at — you guessed it again — Studio Underjord. The studio, which in the past has hosted the likes of Skraeckoedlan, Domkraft, MaidaVale, Ocean Chief, Hazemaze, Alastor, The Tower, is set in Norrköping, and Vokonis come from Borås to the south and west. It’s about three-hours between the two, but last September, the band — no strangers to the place; they’ve done their last two LPs there — made the trip to put down live versions of “AntlerQueen” and “Sunless Hymnal,” both of which come from their 2019 album, Grasping Time (review here).

That record wasn’t shy in displaying the increasing breadth that Vokonis‘ sound has come to encompass, or the variety of influence they take from sludge, heavy rock, post-rock, progressive metal, and so on. Particularly, a dynamic of shared vocals between guitarist Simon Ohlsson and bassist Jonte Johansson — while not brand new by any means — became an increasing presence in their sound, and perhaps in addition to wanting to showcase how that comes across live, the band also wanted to get versions of the two songs to tape with Peter Ottosson on drums, whereas Grasping Time was recorded when Emil Larsson was still in the lineup.

So if you need reasons, there are a couple right there. I’m not sure you actually need reasons though, because whatever it was that had Vokonis riding the E4 up to Underjord, the fact remains that the songs are killer heavy and killer heavy is its own excuse for being. Indeed we get to hear Johansson‘s clean singing in the rolling “Sunless Hymnal” mixed in with some of Ohlsson‘s more shouting approach in “AntlerQueen,” and even some screams thrown in at the end, as on the record, and as the two songs appear in succession on the actual studio release as well, they flow together with no hesitation at all, as though they were written that way. Funny how that works out sometimes.

I’m not saying I’ve heard any rough versions of tracks or anything like that, but Vokonis‘ progression is ongoing with their new material, and they’re getting ready to explore some new ideas in terms of arrangement as well, so whatever else 2020 or early 2021 brings, it’s going to be worth your time keeping an eye out for news for what they have coming up. Until then, I’m happy to host the premiere for the video edition of Live at Studio Underjord 2019, because, well, see the paragraph above about “killer heavy.” Especially as someone who’s never gotten to see them live, I appreciate the chance to check this out.

I hope you enjoy:

Vokonis, Live at Studio Underjord 2019 video premiere

Vokonis play “AntlerQueen” and “Sunless Hymnal”, both from their latest album Grasping Time, live at Studio Underjord.

Vokonis are:
Simon Ohlsson – Guitar & Vocals
Jonte Johansson – Bass Vocals
Peter Ottosson – Drums

Vokonis, Live at Studio Underjord 2019 (2020)

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Vokonis on Instagram

Vokonis on Bandcamp

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The Sign Records website

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