Sundrifter Premiere “Till You Come Down”; New Album in Progress

Posted in audiObelisk on August 18th, 2017 by JJ Koczan

sundrifter-photo-Mario-Forgione

“Till You Come Down” is the second track to be released ahead of Boston trio Sundrifter‘s sophomore full-length. The yet-unnamed follow-up to 2016’s Not Coming Back is still being put together, but listening to the spacious riffing and rampant melody at work in this cut and in “Death March,” which preceded it earlier this year, as well as yet-to-surface rough mixes of stompers like the eight-minute “Fire in the Sky” or the Torche-style thrust of “Light Worker,” one can get an immediate sense of why they’d be eager to start getting their material out there. Fueled by catchy structures and the soaring vocals of guitarist Craig Puera, who is joined in the band by bassist Paul Gaughran and drummer Patrick Queenan, the affect of Sundrifter is to blend grounded craftsmanship with otherworldly themes, outward-reaching echoes, and a rhythmic push that remains fervent despite the pace of an individual song.

For example, Gaughran‘s bass-heavy intro to “Till You Come Down,” matched soon with Queenan‘s thudding toms and the opening riff from Puera, doesn’t seem to be in any hurry, but within 30 seconds, the three-piece are digging into the first verse, and in short order from there, Puera is delivering the title-line in a hook that’s derived in part from Soundgarden-style soul but still retains a thicker underpinning in its tonality. “Death March,” which is perhaps fuzzier in the guitar and dreamier in its transitions through sustained echoes, carries a like-minded modernity-in-a-blender feel, but even in unfinished form, it’s clear Sundrifter put a decided emphasis on songwriting and creating a sense of place in their tracks — even if that place is only intended to be “somewhere else.”

Like Not Coming Back before it, Sundrifter‘s new offering was recorded by Dan Schwartz at Futura Productions in Massachusetts. The band is currently seeking a label to get behind the release and it’s hard to imagine they’ll have trouble finding one once the record is completed, given a title, artwork, and so on. What we can know right now from hearing pieces like “Till You Come Down,” “Death March,” the more desert-minded “Hammer Burn” and others is that the songs are there, and that’s the best starting point a band could ask for going into any new release. Once that’s down, the rest tends to take care of itself.

On the player below, you’ll find the premiere of “Till You Come Down,” as well as some comment from the band. I’ve also gone ahead and included an embed for “Death March” at the bottom of this post in case you’d like to dig further and get a side-by-side from one single to the next. “Death March” can be downloaded name-your-price-style and I wouldn’t be surprised if sooner or later Sundrifter posted “Till You Come Down” in similar fashion, so keep an eye out. And when I hear more about the album coming together, I’ll post accordingly.

In the meantime, please enjoy:

Sundrifter on “Till You Come Down” & New Album:

“Till You Come Down” is our second single released from our coming full-length album. The album is still in the final mixing and mastering phases of the recording process and is expected to be released this Fall 2017. “Till You Come Down” is a song about contacting and connecting with beings or entities from different dimensions, worlds or time periods.

The track is a part of the greater whole of the album that covers topics of ancient theories about extraterrestrials, spiritual and psychedelic subjects. With this album we made a slight shift up in heaviness from our previous release, Not Coming Back. Our first album has a lot more desert vibes but this follow-up will be like if you lost yourself in the desert and you begin to lose your mind and next thing you know cruising through space fighting alien scum. We also self-released the first single back in June titled “Death March” found at www.sundrifter.bandcamp.com. The track was recorded mixed and mastered by Dan Schwarts at Futura Productions, Roslindale, Massachusetts.

Sundrifter is:
Craig Peura – Vocals/Guitar
Paul Gaughran – Bass
Patrick Queenan – Drums

Sundrifer, “Death March”

Sundrifter on Thee Facebooks

Sundrifter on Twitter

Sundrifter on Instagram

Sundrifter on Bandcamp

Sundrifter website

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¡Pendejo! to Reissue Cantos a la Vida Sept. 15; Preorders Available

Posted in Whathaveyou on August 18th, 2017 by JJ Koczan

pendejo photo carlos lopez

Netherlands-based and Latin-inspired heavy rockers ¡Pendejo! are three years removed from their second album, Atacames (review here), and on Sept. 15, the esteemed Kozmik Artifactz will dip back even further to give their 2010 debut, Cantos a la Vida, its first-ever official vinyl release. The trumpet-prone outfit are now past the decade mark since their inception and while I haven’t seen word of new material in the works, with a four-year split between the first and second albums, it doesn’t seem outside the realm of possibility they might have something brewing for 2018. That’s speculation, of course, but a reissue of their debut would make a good lead-in to build momentum going into a third record.

Either way, Kozmik Artifactz has the limited LP up for preorder now and sent info and links and whatnot down the PR wire. Wouldn’t you know it, it’s all right here:

pendejo cantos a la vida

¡PENDEJO! – Get ready for the heavy grooves of “Cantos a la Vida” on vinyl for the first time EVER!

¡PENDEJO! is a four-piece heavy rock band from the Netherlands, founded by two cousins with a history in Latin America. Digging into their Latino roots, El Pastuso and Jaap ‘Monchito’ Melman started blending heavy riffage, pounding drums, right-in-your-face lyrics in urban Spanish about the weirdest stories in life, and to top it all off, a screaming trumpet.

‘Cantos a la Vida’ (2010), the band’s first full length album, was initially released in Spain and warmly received an array of stunning reviews. A bit later, the band released the album in the Benelux too. Now finally, for the first time ever, this milestone of heavy rock, that ‘Cantos a la Vida’ truly is, receives its long deserved vinyl release!

Having played mostly in the underground scene throughout Europe and Latin America – and sharing stages with influential heavyweights like Fu Manchu and Karma to Burn – the band puts on a show for anyone who is not afraid to be grabbed by the cojones and be thrown into a spicy puddle of chile con carne.

Release Date: 15th September 2017

VINYL FACTZ
– Plated & pressed on high performance vinyl at Pallas/Germany
– limited & coloured vinyl
– 300gsm gatefold cover
– special vinyl mastering

TRACKS
1. Flotadores
2. LLoron
3. Arrecho Vengo
4. Tan Tan Tan
5. La Vagancia
6. Juanita
7. El Taxista Limeño
8. La Ruta
9. Comunicado
10. Nadadores
11. Eclypse 2000

¡PENDEJO! are:
Vox/Trumpet – El Pastuso
Guitar – Loco Ed
Bass – Stef ‘El Rojo’ Gubbels
Drums – Sjoerd van der Knoop

https://www.facebook.com/pendejoband/
http://twitter.com/pendejoband
https://pendejoband.bandcamp.com/
http://www.pendejoband.com/
http://kozmik-artifactz.com/
https://www.facebook.com/kozmikartifactz
http://shop.bilocationrecords.com/navi.php?suchausdruck=pendejo&JTLSHOP=feea12544391b9c1425dad91cf034bf7

¡Pendejo!, Cantos a la Vida (2010)

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Hypertonus Post 360° Video for “H.E.D.E.R.A.”

Posted in Bootleg Theater on August 18th, 2017 by JJ Koczan

hypertonus

The new Hypertonus video starts out with a warning for those with sensitivity to flashing lights or sudden shifts in visual stimuli, and that’s a warning worth heeding if you’re prone to seizures or headaches as a result of changes in light, color, and so on. It hasn’t been all that long since the Bremen, Germany, instrumental three-piece gave us an interactive glimpse of the Harbor Inn 360° Session in which they took part by premiering a clip for “Phantasmagoria” (posted here) from their earlier-2017 self-released debut album, Tidal Wave (review here), but just a month later they’re following-up that video with a new one for the song “H.E.D.E.R.A.” that seems to come from the same source. Hey, if you’ve got it, use it.

Like “Phantasmagoria” before it, “H.E.D.E.R.A.” — an acronym for… oh wait, sorry, I have no idea what it’s an acronym for — bends the line between heavy rock and psychedelia. One can hear post-rocking airiness in the guitar of Patrick Büch, but the groove of bassist Arne Staats and drummer Hannes Christen is earthier and laden with a crunch that complements the leads rather than contrasts. As was the case throughout Tidal WaveHypertonus set themselves up for consideration as a progressive outfit whose style may just be in an early developmental stage in comparison to what they might go on to accomplish, but nonetheless already shows them with a pointed intention toward individuality that, hopefully, will underpin subsequent releases as well as it does the first full-length.

“H.E.D.E.R.A.” doesn’t have the same clickable interactivity as had “Phantasmagoria,” but is distinguished through its camera shifts and lighting effects for something of a different feel. In either case, it serves well to demonstrate the burgeoning nuance of Hypertonus‘ approach, and whether you can actually watch the video or not without it overwhelming your senses — that’s not me knocking anyone with that kind of sensitivity at all; I often get immediate headaches from flashing lights and find it’s simply too much for me, especially in videos and also in the case of this one — the live performance of the track, which checks in at just under six minutes long, is easily worth that minimal investment of your time.

They promise more clips to come from this session, so when I see what’s next, I’ll do my best to keep up. Till then, please enjoy:

Hypertonus, “H.E.D.E.R.A.” Harbor Inn Session

This is HYPERTONUS, an instrumental three-piece hailing from Bremen, Germany, playing their track ‘H.E.D.E.R.A.’ at the Harbor Inn Studios Bremen.

This is the second part of our ‘Harbor Inn Sessions 360°’ – there’s more to be released soon!

Part I: ‘PHANTASMAGORIA’: https://www.youtube.com/watch?v=0u2TEudxuqk

Listen to our debut ‘TIDAL WAVE’ here:
https://hypertonus.bandcamp.com

Hypertonus is:
Hannes Christen (drums)
Arne Staats (bass)
Patrick Büch (guitar)

Thanks to:
Timo Hollmann – Record Engineer
Ole Janßen – Camera & Audio-Editing

Hypertonus live:
18.08. – Bremen – Überseefestival Warm-Up
25.08. – Berlin – Mensch Meier
09.11. – Hamburg – Hafenklang

Hypertonus on Thee Facebooks

Hypertonus on Instagram

Hypertonus on Bandcamp

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Lewis and the Strange Magics Set Oct. 20 release for Evade Your Soul; New Video Posted

Posted in Bootleg Theater, Whathaveyou on August 18th, 2017 by JJ Koczan

lewis-and-the-strange-magics

Plenty to like immediately about the upcoming second long-player from Barcelona trio Lewis and the Strange Magics. Titled Evade Your Soul and set to release Oct. 20 through Soulseller Records, the follow-up to the band’s 2015 debut, Velvet Skin (review here), shows off an immediate uptick in the weirdo factor in a new video for the cut “You’ll be Free Forever.” It’s the first audio to be made public from Evade Your Soul and bodes remarkably well in its balance of sonic clarity and arrangement flourish — the keys, the call-and-response vocals, etc. — in a way that makes me look forward all the more to hopefully getting to experience the whole album sooner rather than later. Like for an advance review maybe? I’m just spitbaling ideas here. Just seeing what sticks.

Hopefully that sticks. This Fall isn’t short on badass forthcoming releases by any means, but standout stuff like this is always welcome as far as I’m concerned. Album art by Branca Studio, tracklisting details and that video all came down the PR wire, and Lewis and the Strange Magics are also set to play Cheapstock Vol. 4 in Barcelona next month, about which you can find more info here:

lewis-and-the-strange-magics-evade-your-soul

LEWIS & THE STRANGE MAGICS – New album details and video clip available

Spanish Heavy-Psych-Rockers LEWIS & THE STRANGE MAGICS are back with their second full-length!

“Evade Your Soul” will be released on 20th October 2017 via Soulseller Records on CD, vinyl and in digital formats.

Formed in Barcelona during the summer of 2014 and influenced by a wide range of styles from Black Sabbath to The Beatles, they shortly after released their debut demo which received great reception from audience and critics alike. Only a month later the band signed with Soulseller Records to release the debut LP, “Velvet Skin”, in August 2015.

With their new album “Evade Your Soul” the band offers a heavier and more psychedelic sound, highlighting melodic songs with fuzzy riffs, crazy keys, spiritual lyrics and a lot of groove. It was recored, mixed and mastered by L’Antoine LV at La Musaranya, a studio from Olesa de Montserrat. The front cover and all the artwork has been created by Branca Studio.

A video for the song “You’ll Be Free Forever” is available. Preorders start in September.

Tracklist:
1. Leaving Myself
2. Ugly Face
3. TV Monsters
4. Lisa Melts The Wax
5. Out Of My Home
6. You’ll Be Free Forever
7. RMS
8. Escape
9. Another Lonely Soul (On The Road)

Lewis & the Strange Magics:
Lewis P. – vocals, guitar, keyboard
Ivan Miguel – drums
Javi Bono – guitar, vocals

https://www.facebook.com/lewismagics
https://www.facebook.com/SOULSELLERRECORDS/
http://www.soulsellerrecords.com

Lewis and the Strange Magics, “You’ll be Free Forever”

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Stinkeye, Llantera: Down the Gutter and into Space

Posted in Reviews on August 17th, 2017 by JJ Koczan

stinkeye llantera

If Stinkeye have anything in common with the current West Coast heavy psych boom, it’s the possibility that at any moment — any moment at all — it just might be time to boogie. But at the same time, true to their geography, the Phoenix, Arizona, trio are a little more inland in their sound, a little more suburban-skatepark-disaffection and garage-rehearsals than they might be were they otherwise basking in the coastal sunshine of San Diego. Issued by Milwaukee Junction Records and Blade RecordsLlantera is the debut full-length from the young three-piece of guitarist/vocalist Andrew Hosley, bassist Harris Smull and drummer Anthony DeMuro, and though it takes some tonal and tempo cues from the unabashed I-got-this-legally new-school stonerism of Fuzz across its span, whether it’s the Dead Meadow march of post-intro opener “Orange Man,” the Sungrazer-style vocal harmonies of the subsequent “Pink Clam,” the weirdo-born bounce of “No Spoon” or the grunged-out, semi-punk fuckall thrust of closer “Feed,” Stinkeye careen from one influence to another with fluidity more deceptive than the forwardness of their hairy tones and cymbal washes might at first convey.

Including the digital bonus/maybe-hidden track “Fink Ployd,” Llantera checks in at a thoroughly manageable 37 minutes — ready and seemingly waiting for whoever might want to pick it up for a vinyl release to do so — and is the follow-up to the band’s first outing, last year’s Llantera Demos (review here), a four-track demonstration released in October that also featured “Orange Man,” “Pink Clam,” “Llantera” and “Fink Ployd.” If that seems like a quick turnaround between a first demo and a first long-player, it is, and Llantera has its rough edges to be sure, but that ultimately becomes a part of the album’s appeal, as shown in the harsher bite of “Feed” or the manner in which “Bringer of Grief” shifts from its instrumentally jamming first half to the languidly bouncing verses of its second. Youth is very much on Stinkeye‘s side. The energy of their delivery and the sense of exploration at root in the construction of their material both benefit from the freshness of the experience on the part of the band. They’re new to their potential listenership? Well, they’re new to themselves too.

Accordingly, in addition to actually being partially comprised of the same tracks, Llantera carries forward the overarching rawness of the Llantera Demos. Produced and engineered by Dylan Thomas, “Pink Clam,” “No Spoon” and the rest of the cuts bask in a natural vibe and a variable mix that sees Hosley‘s vocals brought to the fore in volume on “Orange Man” and “Pink Clam” and the latter portion of “Bringer of Grief,” highlighting a burgeoning melodic approach that one can only hope the guitarist and the band as a whole will develop as they move forward, and pushed back into echoing trippery to allow the added percussion in “No Spoon” to flourish amid the fuzzy and desert-hued guitar leads while Smull‘s bass — with a ’90s-style funk at its core — provides the grounding force necessary to tie it all together before DeMuro‘s drums lead the way into the slowdown at the end that explodes and the tongue-in-cheek keyboard wash rounds out as the transition into “Feed.”

The smoothness of that transition, as well as that earlier between the 28-second intro “The Calm” — which functions in direct defiance of its title with an immediately abrasive push of guitar noise — and the ultra-welcoming initial roll of “Orange Man,” isn’t to be understated, but this too feels like an element in progress on the part of Stinkeye, something they’ll build on from here for their next release. Still, as righteously paced as their material is throughout Llantera, and as much as they shift from one vibe to the next — the title-track becoming a party of gang shouts and the record’s most shuffling rhythm, much thickened by Smull‘s low end and clearly having a great time getting alternative-universe surf-rock in Hosley‘s guitar over DeMuro‘s steady, handclap-worthy snare before “Bringer of Grief” more fully introduces the edgier single-word shouts foreshadowed in “Pink Clam” that will jab throughout “No Spoon” to follow — the front-to-back impression is hardly lacking flow either way. Repeat listens to the entirety, which are well earned, only make this linearity more resonant.

Add to that little hints of bizarro nuance like a possible lyrical mention of Barbara Bush in “Pink Clam” and the structural departure in “Bringer of Grief,” and Llantera becomes a decisively engaging piece of crafted fuzzy, heavy rock, infused with the sneer of garage and some noisier impulses for good measure. That, as the debut full-length from a relatively new band, it says as much as it does about their potential makes it all the more welcome, but there’s value in the breadth Stinkeye present in the here and now as well, and as much as one looks forward to hearing how they might bridge the sonic/stylistic gaps between “Llantera” and “Feed” as their methods evolve over time, the fact that they can put both of those songs together in relatively close proximity on a short-ish album isn’t to be ignored. And while one suspects that pieces like “Feed” and”Bringer of Grief” and “No Spoon” were already in the works, the quick turnaround between the demo and the long-player bodes well for future productivity too.

Llantera might be a sleeper in terms of the response it gets, but it puts Stinkeye in league with next-generation upstarts like FoggBison Machine, Salem’s BendCloud Catcher and perhaps even Slow Season (among others) in fostering a new breed of American heavy that learns from the past even as it places itself at the cutting edge of what’s to come. Of course, what Stinkeye become as they pass through the next few years is up to them — they could call it quits tomorrow and completely pull the plug on the potential shown here; it’s certainly happened before — but Llantera fills one with hope for what they might be able to contribute to this pastiche and kicks more than enough ass besides to be counted as one of the best debuts of 2017. May they continue to work quickly, may they continue to boogie at will, and may they continue to get weirder as they go.

Stinkeye, “No Spoon” official video

Stinkeye on Thee Facebooks

Stinkeye on Bandcamp

Llantera at iTunes

Stinkeye on Soundcloud

Stinkeye website

Stinkeye on Instagram

Blade Records webstore

Milwaukee Junction Records website

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Queens of the Stone Age Post Video for “The Way You Used to Do”

Posted in Bootleg Theater on August 17th, 2017 by JJ Koczan

queens-of-the-stone-age-Andreas-Neumann

As a people, a collective and a universe constantly in flux, we’re inching closer to the Aug. 25 official release date of Queens of the Stone Age‘s new album, Villains, on Matador Records. The record, which was announced back in June, has carried a sense of production value as a forward-facing theme since the outset — even the announcement was a well-directed and clever video — and with the emphasis on the recording by Mark Ronson (Lady Gaga, Bruno Mars, etc.) plays into that as well. So to it would seem does the new clip for the uptempo leadoff single “The Way You Used to Do.” Nothing quite like being on theme.

I say “it would seem” as regards the new video though because all I’ve seen of the thing is the teaser clip below. Queens of the Stone Age released it exclusively through Apple Music, and while I’m sure it’ll make its way to YouTube in short order if it hasn’t by the time this post is live, the notion of paying to watch a music video in 2017 strikes me as more than its fair share of ridiculous. Most bands can barely give away a video, and while I’ve already reconciled myself to writing about it and subsequently purchasing Villains when it comes out — I used to be cool enough to get promos of their stuff to review; this one’s got me chasing down leaks like I’m the dag-nab Attorney General — you’ll pardon me if I try and hold onto some measure of propriety, at least, you know, until I don’t.

Anyway, I’m sure you’ve all heard the record by now and have your own opinions on it. I’ll have a review up I think next week for it if all pans out the way I’m hoping it does, and then the universe will proceed on its merry way, catchy songs and whatnot.

Here’s the teaser for the video and more info from Matador‘s website:

Queens of the Stone Age, “The Way You Used to Do” teaser

“Dancing and headbanging are truly individualistic expressions of losing oneself fully in appreciation of music—who better to combine these things into a singular vision than someone who’s directed Madonna and Lady Gaga videos–and also happens to have been a member of Bathory?”—Joshua Homme

“The Way You Used To Do,” the recently released first single from Queens Of The Stone Age’s ominously approaching seventh album ‘Villains’, has been realized as a fever dream Satanic dance ritual extravaganza—featuring QOTSA founder and frontman Joshua Homme lighter on his feet and darker in his soul than ever before.

Conceived by Homme, directed by Jonas Akerlund and produced by Serial Pictures, “The Way You Used To Do,” somehow fit its multiple sets, wardrobe changes and intricate dance routines into one day of shooting August 8th in Los Angeles. Considering potential reactions to the sinister shuffle of “The Way We Used To Do” being translated into a panoramic soul-selling dance trip, Homme says “It’s our way of paying tribute to Cab Calloway and the film Hellzapoppin’. I fully realize that may be a little more than some are open to, and that’s perfectly fine with me. There’s the door. If some of the more close-minded are gently pruned, that just leaves more room on the dance floor for the open-minded ones to get loose. That’s been the spirit of Queens Of The Stone Age and the space we’ve worked to create from day one.”

‘Villains’ is co-produced by Mark Ronson and will be released worldwide on August 25th.

Queens of the Stone Age on Thee Facebooks

Matador Records website

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Gin Lady Announce Sept. 15 Release for Electric Earth

Posted in Whathaveyou on August 17th, 2017 by JJ Koczan

gin lady

Right from its very start, Gin Lady‘s upcoming fourth album, Electric Earth is striking in its classic-style impression. Though it doesn’t necessarily fall into a vintage-style production mode, the record — set for release Sept. 15 through Kozmik Artifactz — begins with two five-minute cuts in “Flower People” and “I’m Your Friend,” and the primary impression between the two of them, respectively, is The Rolling Stones and The Beatles. Read that as easy grooves, choice melodic work, a little arrangement flourish in the vocals a deceptive depth of accessible songwriting. They play these impulses off each other throughout and get a touch more raucous in the process later on with the likes of “Water and Sunshine,” but that sing-along feel never leaves them, and the further one digs into Electric Earth, the warmer the outing seems to become.

There’s no audio public from the LP yet, but preorders are up now from Kozmik Artifactz, who sent the following down the PR wire:

gin-lady-electric-earth

Gin Lady return with glorious rock masterpiece “Electric Earth” this September!

Gin Lady from Sweden formed in early 2011 and released in 2012 their same titled debut, which received positive feedback from all over the globe. The group is influenced by artists such as The Faces, Alice Cooper, Master’s Apprentices, Cream and Blue Oyster Cult. The sound is straightforward and heading for the roots of rock.

Earlier ventures, Black Bonzo and The All Janet, clearly show the members taste for detail and perfection in their sound, production and songwriting.

On their 3rd album ‘Call The Nation’, which was released by Kozmik Artifactz in 2016, the band showed their talent for creating catchy melodies and songwriting in the best tradition of Ufo, Free, Rolling Stones, Humble Pie and from the heydays of heavy rock from the seventies.

Now with ‘Electric Earth’ the quartet is proud to present us with their new masterpiece!

Release Date: 15th September 2017

VINYL FACTZ
– Plated & pressed on high performance vinyl at Pallas/Germany
– limited & coloured vinyl
– 300gsm gatefold cover
– special vinyl mastering

TRACKS
1. Flower People
2. I’m Your Friend
3. Badger Boogie
4. The Things You Used To Do
5. Mercy
6. Brothers Of The Canyon
7. Rolling Thunder
8. Water And Sunshine
9. Wasted Years
10. Running No More

Gin Lady are:
Vocals – Magnus Kamebro
Guitar/Vocals – Joakim Karlsson
Bass/Vocals – Anthon Johansson
Drums – Fredrik Normark

https://www.facebook.com/Gin-Lady-254447104608141/
https://ginlady.bandcamp.com/
https://www.facebook.com/kozmikartifactz
http://kozmik-artifactz.com/

Gin Lady, Call the Nation (2016)

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Árstíðir Sign to Season of Mist; New Album Coming Soon

Posted in Whathaveyou on August 17th, 2017 by JJ Koczan

Icelandic chamber folk ensemble Árstíðir have signed a deal to release their fourth album through Season of Mist next year. The Reykjavík-based crafters of melody haven’t set an exact date yet so far as I’ve seen, but if that means it’s going to be a winter release, one could hardly think of more appropriate fare for those darker, still and reflective moments of that time of year than the rich folk harmonies they offer.

Even if it winds up being a Spring 2018 outing — leaving you even more barren, eternal hopelessness of February — Season of Mist has done well in the past setting fellow Icelanders Sólstafir up for colder-month releases, and as a kind of companion outfit, Árstíðir are even more of a fit with the label’s ongoing expansion in roster and style. Not that they need me to say so, but this is a cool pickup.

The PR wire has details and heralds good things to come:

arstidir

ÁRSTÍÐIR sign to Season of Mist

Season of Mist are proud to announce the signing of Iceland’s ÁRSTÍÐIR. The contemporary indie/chamber folk band will release their much anticipated new album through Season of Mist later next year. The band’s complete catalog is now available digitally in North America, on all platforms including Spotify, Apple Music, Bandcamp, and more.

Regarding the recent signing, the band comments: “We have admired bands associated with Season of Mist for years. In our minds, this label represents quality and artistic integrity. It has that aura which tells you that it is all about the music, that the bands are the real deal, and not just grist to the grinding mill of commercial music. And that is the kind of label, you want your music on. We feel a kinship with the good people and artists at Season of Mist, and we are proud be a part of this family.”

ÁRSTÍÐIR first emerged from the burgeoning Icelandic music scene in 2008, when the three founding members (Daniel Auðunsson: guitar, vocals; Gunnar Már Jakobsson: baritone guitar, vocals; and Ragnar Ólafsson: piano, vocals) discovered their mutual love for vocal harmonies. Daniel, Gunnar and Ragnar quickly went from playing acoustic covers to their own music, amalgamating influences from classical compositions, folk rock, and minimalist soundscapes into something they could call their own.

With early lyrical references pointing towards the spectacular nature and scenery of the Icelandic volcanic landscape, and the wildly different seasons there, the band took the name ÁRSTÍÐIR, which translates to “Seasons” in their native tongue.

Only four months after their formation, ÁRSTÍÐIR scored a number one hit on Icelandic national radio with the track “Sunday Morning”. The band then released their eponymous debut ‘Árstíðir’ in 2009, and began touring internationally.

ÁRSTÍÐIR’s second album, ‘Svefns Og Vöku Skil’ followed in 2011, and only a year later, the band won Geramny’s prestigious Eiserner Eversteiner European Folk Music Award. Shortly thereafter, an impromptu acapella performance of an old Icelandic hymn in a train station, went viral on YouTube, attracting millions of views.

ÁRSTÍÐIR launched a highly successful crowdfunding campaign in 2014 to finance the recording of their third full-length ‘Hvel’, which translates to “Spheres”. The campaign exceeded all expectations, raising almost four times their original goal, and uncovering a legion of North American fans that the band was unaware they had.

A 2016 collaboration with Anneke Van Giersbergen (formerly of THE GATHERING) followed. The album, ‘Verloren Verleden’ contains a collection of re-imagined traditional and classical songs.

https://www.facebook.com/arstidir/
https://twitter.com/Arstidir
http://instagram.com/arstidir
http://www.arstidir.com/
https://www.facebook.com/seasonofmistofficial/
https://twitter.com/SeasonofMist
https://www.instagram.com/seasonofmistofficial/
http://www.season-of-mist.com/

, “Scarborough Fair” live Dec. 23, 2016

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