Doomstress Touring Midwest Next Month

Posted in Whathaveyou on April 26th, 2018 by JJ Koczan

doomstress

Doomstress ride again. Actually, that’s pretty much been the story of the band since the first time they rode. They’ve toured steadily since the release of their first EP 2016’s Supernatural Kvlt Sounds (video premiere here), which got a follow-up in last year’s The Second Rite (discussed here), issued via NoSlip Records and DHU Records.

Appropriately enough, the run starts and ends in Texas, heading up to Wisconsin and back between May 18 and May 26, and as they go out again, I still can’t help but wonder when we might see a full-length from them. Two EPs and numerous runs later, I don’t think anyone would say they aren’t ready or sounding like they’re not up to the task. Hell, they started out up to the task, even before all the touring. Maybe I’m just impatient. Scratch that. I’m definitely just impatient. Point stands.

Nonetheless, off they go:

doomstress may tour

Texas heavy metal doomers, DOOMSTRESS, will be rolling back out on the US highways for their 3rd tour in 2018 to support their “Supernatural Kvlt Sounds-The Second Rite” ep (released on cd via NoSlip Records and 12″ vinyl split w/Sparrowmilk via DHU Records)

The tour kicks off at the 11th annual Loud!Fest in Bryan/College Station, TX on Friday, May 18th, travelling as far north as Madison, WI and covering much of the central US region before it wraps up back in Alington,TX at Division Brewing.

DOOMSTRESS – May tour dates:

5/18-Bryan, TX at Loud!Fest @ Revolution Cafe
5/19-Oklahoma City, OK @ Blue Note
5/20-Albuquerque, NM @ Moonlight Lounge
5/21-Denver, CO @ Streets of London Pub
5/22-Omaha, NB @ Lookout Lounge
5/23- Madison, WI @ The Wisco
5/24-Lawrence,KS @ Replay Lounge
5/25-Little Rock, AR @ Vino’s
5/26-Arlington,TX @ Division Brewing

Doomstress is out supporting their latest release, Supernatural Kvlt Sounds: The Second Rite. The EP contains remixed versions from the original, very limited self release and 7″ DHU single, as well as new song “Bitter Plea” recorded at the end of the Wicked Summer tour and featuring additional rhythm guitar by guitarist Joe Fortunato (Sparrowmilk/Venomin James/ex-Ancient VVisdom). The artwork that will appear on both the CD & vinyl is by renowned psychedelic artist, Goatess Doomwych.

www.doomstress.com
www.doomstress.bandcamp.com
www.doomstress.bigcartel.com
https://www.facebook.com/DoomstressBand/
instagram.com/Doomstress_band
twitter.com/Doomstress
www.darkhedonisticunion.bigcartel.com
https://www.facebook.com/DHURecords/
https://twitter.com/dhu_records

Doomstress, “Bitter Plea” official video

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Thought Eater Premiere “Bones in the Fire Pt. 1”; Album out May 18 on Grimoire Records

Posted in audiObelisk, Whathaveyou on April 26th, 2018 by JJ Koczan

thought eater

One has to wonder if when Baltimore’s Thought Eater chose their moniker they imagined they’d ever write material so evocative as that on their debut album, Bones in the Fire. Set for digital issue on May 18 via respected purveyor Grimoire Records, the new release runs an instrumentalist gamut from modern progressive metal to folk-tinged classic Zeppelinist whathaveyou, and with six tracks and a 40-minute playthrough, songs like “Speak Through Dreams,” “Covenant” and the two-part title-track — the first piece of which opens the record, the second is penultimate to closer “Umwelt” — there’s plenty of room for both sonic exploration and a current of noise rock to show themselves amid the central weavings of guitar and bass, reminiscent in their winding course of Leviathan-era and given added crunch of underlying aggression that staves off proggy self-indulgence entirely.

That’s not to say Bones in the Fire isn’t a progressive work. It’s just not a dick about it. The synth on “Umwelt” holds court in underscoring how far the three-piece of guitarist Douglas Griffith, 12-string bassist Darin Tambascio and drummer Bobby Murray have journeyed from “Bones in the Fire Pt. 1” and the blasting at the start of “Pantomimic Dances,” which follows, but there’s nothing overly showy about Thought Eater‘s presentation. They’re writing songs, not putting on a clinic.

And I think the difference is audible even just in the sampling you can find at the bottom of this post of the album’s wares in the form of the track premiere of “Bones in the Fire Pt. 1.” It doesn’t speak for the whole of the record stylistically, but it certainly gives a sense of the Noel Mueller-recorded impact that Thought Eater make in terms of tone and rhythmic intensity.

One more time, release date is May 18. Here’s info off the PR wire and that track premiere for your streaming enjoyment:

thought eater bones in the fire

I’m glad to report that we’ve finished work on Thought Eater’s first proper full-length album, titled “Bones in the Fire.” This is the follow up to their first release, a split with Iron Jawed Guru called Vortex 6.

A brand new three-piece instrumental band from Baltimore, MD, featuring a 12-string bass through a big muff. This monstrosity is a standard bass with three of everything, producing a bizarre double-vision effect on every note. Uniquely hypnotic riffs reminiscent of High On Fire and Mastodon along with Black Sabbath-esque tempo changes are woven into angular, odd-time compositions. Prior to forming Though Eater, bassist Darin Tambascio was a founding member of the prog metal two-piece National Sunday Law and Graviton, which featured both members of NSL and Sacha Dunable from Intronaut.”

The crazy sounding 12 string bass is actually more prominent than ever, as is a more significant sprinkling of shimmery 12 string acoustic guitar, and occasional synths for added texture. However, on this album, you will find more a sprawling, almost meditative atmosphere, more proggy riffs, more weird harmonies, just.. more everything. They still sound like High on Fire, early Mastodon, and Zebulon Pike, but have managed to grow a couple of mutant appendages to their sound.

Here’s the pre-order page: https://grimoirerecords.bandcamp.com/album/bones-in-the-fire

“Bones in the Fire” is released on 5/18/18 world wide as a digital download via Grimoire Records. Will be available on Spotify, iTunes, Amazon mp3, and direct download through Bandcamp. No physical release for this one!

Thought Eater is Darin Tambascio (12 string bass), Douglas Griffith (guitar), and Bobby Murray (drums). “Bones in the Fire” was recorded by Noel Mueller in November of 2017 and January of 2018. Mixed and Mastered by Noel Mueller. Artwork by Andrew Notsch. © 2018 Grimoire Records.

https://www.facebook.com/thoughteaterband
https://grimoirerecords.bandcamp.com/album/bones-in-the-fire

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Horehound Reissue Self-Titled Debut on Hellmistress Records

Posted in Whathaveyou on April 26th, 2018 by JJ Koczan

horehound

Pittsburgh doom rockers Horehound took part this past weekend in the inaugural New England Stoner and Doom Fest in Connecticut, playing alongside Gozu, Wasted Theory and a vast host of others at a show I was both proud to be involved in presenting and sorry to have missed on account of timing. The appearance there is just the latest in the momentum-building that’s been going on for Horehound more or less since their self-titled debut (review here) was released in 2016.

The date of that release? April 20. The release date of the brand new Hellmistress Records CD and vinyl edition of the album? April 20, AKA last Friday. You have to appreciate a bit of symmetry. The band said last fall when they signed to Hellmistress that they had new material in the works. I haven’t seen an update on that, but maybe by the time they get to Descendants of Crom 2018 this September we’ll have word one way or another. Or maybe they’ll just wait for April 2019. Ha.

Here’s the latest on the reissue and the whatnots:

horehound self-titled

HOREHOUND to Re-Issue Self-Titled Debut on CD and Vinyl on April 20th via Hellmistress Records; Current Live Dates & Fest Appearances.

Pittsburgh, PA’s HOREHOUND announce their teaming up with Hellmistress Records to re-issue the Horehound Self-titled 2016 debut for both CD and first-time colored vinyl variants. The seven original tracks have been re-mixed, re-mastered, and now include a bonus song of Portishead’s, ‘Mysterons’, covered a la doom!
Digital Streaming on Bandcamp and other outlets, as well as the new CD will be available 4/20/2018, which is the second anniversary of the original release date.

Vinyl press is expected to be available on June 1st.

Artist Name: Horehound
Location: Pittsburgh, Pennsylvania, USA
Genres/Styles: Doom Metal, Heavy Metal, Sludge
Label Name:
Blackseed Records (First Press, April 20, 2016)
Hellmistress Records (Re-Issue, April 20, 2018)

Horehound – Track List:

1. World to Come
2. Sangreal
3. Crowns and Thrones
4. The Dead Don’t Lie
5. Waters of Lethe
6. Myope
7. Waking Time
8. Mysterons (bonus track on re-issue only)

Recorded by Matt Schor at War Room.
Mastering by James Plotkin at Plotkinworks.
All music written and performed by Horehound, with the exception of “Mysterons”, originally written and performed by Portishead.
Cover Art by Sasaya Orenda Hamer-Pennisi

HOREHOUND is:
JD Dauer – drums
Brendan Parrish – guitar
Shy Kennedy – vocals
Nick Kopco – bass

HOREHOUND – Upcoming Live Events:
05I10I18 – Pittsburgh, PA @ Brillobox (w/Mos Generator, Limousine Beach)
05I26I18 – Pittsburgh, PA @ Cattivo (w/Ufomammut, White Hills)
06I16I18 – Aliquippa, PA @ Fallout Shelter (w/Rule Of Two, Everyone Hates Everything)
09I28I18 – Pittsburgh, PA @ DESCENDANTS OF CROM

Blackseed Records Presents:

DESCENDANTS OF CROM 2018

September 28th – 29th @ Cattivo
Day One: Lo-Pan + Come To Grief + Telekinetic Yeti + Devil To Pay + Disenchanter + Sierra + Heavy Temple + Demon Eye + Horehound + Doomstress + Doctor Smoke + Curse The Son + Eternal Black + Cloud + Solarburn + The Long Hunt
Day Two: Mos Generator + Duel + Kind + Freedom Hawk + Geezer + Forming The Void + Serpents Of Secrecy + Wolftooth + Ironflame + River Cult + Cavern + Thunderbird Divine + Molasses Barge + OutsideInside + Jakethehawk

RSVP – https://www.facebook.com/events/177536592803763/
TICKETS: https://www.brownpapertickets.com/event/3186333

Pre-Gala: September 27th @ Howlers
Destroyer Of Light + Rebreather + Fist Fight In The Parking Lot + Gran Gila + Mires
RSVP – https://www.facebook.com/events/2074052449275860/

https://www.facebook.com/horehoundband/
http://horehound.bandcamp.com/
https://twitter.com/horehoundband
https://www.facebook.com/blackseedrecords/
http://www.blackseedrecords.com/
https://hellmistressrecords.com/
https://www.facebook.com/HellmistressRecords/

Horehound, Horehound (2016)

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Review & Full EP Stream: Named by the Sun, Deathcap

Posted in audiObelisk, Reviews on April 26th, 2018 by JJ Koczan

named by the sun deathcap

[Click play above to stream Named by the Sun’s Deathcap EP in full. It out April 7 on Superhot Records and available now to preorder.]

“Band begets band” is a familiar enough story. A given group is going for a while and something happens or doesn’t happen to drive them apart, then some of the members from that band want to embark on a new project together. For London’s Named by the Sun, their immediate lineage finds them stemmed from defunct progressive heavy rockers Landskap, whose final album, III (review here), was issued in 2016. Landskap drummer Pat Casey joins George Pan on guitar in the new band, and with Chris West — also a Landskap alum, currently of Glanville, formerly of Stubb, Groan, and Trippy Wicked, etc. — on bass and engineering duties and Graham Brown on drums, the new outfit seems to have come together rather quickly to offer the initial 18-minute collection of three songs, which runs in order from shortest to longest and in true EP tradition feels intended to give just a sampling of where the band might ultimately be headed.

And in that, it succeeds easily, with “Dogfight,” “Solar Gain” and “The Mountain and the Moon” seeing some continuity from Landskap in terms of the overall thoughtfulness of their construction but veering out into their own territory with the dual-guitar harmonies, sans-keyboard approach, and so on. These aren’t ultimately make-or-break differences between Named by the Sun and three-quarters of its membership’s former outlet, but if there’s one thing that’s crucial to stress about Deathcap, it’s that it really does just feel like the beginnings of a new exploration. That is to say, the band sound like they’re just coming to life, and I wouldn’t expect that any issue or aesthetic point raised in these three songs is necessarily final. They will, one hopes, continue to grow from here.

Which is another familiar enough story, right? Band records a couple tracks to see what they’ve got and puts it out as a limited-type release to gain some traction and momentum going into their next offering, whatever it might be? The distinguishing factor Named by the Sun, then, needs to be the material itself. They’re a new band, sure, but the familiarity of the players with each other — Brown notwithstanding; I don’t any of the other three played in his other group, The Sound Machine, though I could be wrong on that — brings that distinction, and from the easy-riding pace set in “Dogfight,” which is quick to show off the harmonies between Pan and Casey before launching into a first solo that might otherwise take the place of a sung verse, through the more classically proggy interweavings of “The Mountain and the Moon,” their work remains a central driving force.

named by the sun

That said, as a fan of West‘s work across a swath of bands, I’m glad to hear him make an impression in the mix along with the two guitars, settling into the rhythm with Brown‘s creative drumming and fostering a groove of significant sway. There’s just a touch of NWOBHM in some of the harmonized guitar, but the vibe is more classically heavy rock than metal, which is something accomplished largely through tempo, and with a big rock finish, “Dogfight” rounds out sounding like hardly a battle at all. Rather, they’d be hard-pressed to sound less adversarial. Perhaps “Complete Agreement” wasn’t as exciting a title option. Nonetheless, that’s way more the vibe here than something so aggressive as either animals or airplanes clashing, and rather than work in contrast, the elements of “Dogfight” line up fluidly as an introduction that leads the way into the fade-up fuzz-lead scorch of “Solar Gain,” which with what might a slide guitar lead over its first riff has a swaggering classic rock feel.

The beginning of the track hints at a level of spaciousness that “Dogfight” steered away from, but the song ultimately nestles into a swing leading to its midsection, where the bass takes the fore to transition into a section of acoustic-guitar. Drums holding tension beneath, the foursome build by adding some electric back into the mix before shifting back into the central riff of the song and pushing “Solar Gain” forward into its payoff at about the five-minute mark before they return once more to the main figure to close out. At about seven and a half minutes, it has plenty of time to make the most from its turn from al laid back opening into more active push. In the fine tradition of instrumentalists like Karma to Burn — a methodological comparison more than a sonic one; there are, after all, two guitars here — Named by the Sun shift nimbly between riff to riff, and there does seem to be some space where vocals could fit if the band wanted them to, including after the halfway point when, not so dissimilar from “Solar Gain” before it, “The Mountain and the Moon” shifts to more soothing guitar and opens to a flowing electric solo and jam, dedicating its longer runtime to a worthy cause to be sure.

If there’s any reason I note places where vocals might fit, it’s not necessarily because I think the band needs a singer — they don’t — but only to underscore the point made earlier, which is that Named by the Sun don’t at all seem settled on what kind of reach and breadth they’ll ultimately have stylistically. What makes this exciting instead of disconcerting is the quality of the foundation they’ve laid in Deathcap, the chemistry and balance at work between the four of them, and the clarity and confidence with which they bring their intentions to life in the studio. One hopes that wherever they do end up heading in terms of style and songwriting, these factors remain consistent throughout their work, and they continue to push themselves creatively as they’ve so obviously done in establishing this group and this material. That one might drift mentally toward such future considerations is only further evidence of Deathcap having done its job as their debut EP — offering a sample of direction and craft that entices the listener to want to investigate more.

Named by the Sun on Thee Facebooks

Named by the Sun on Bandcamp

Superhot Records website

Superhot Records on Thee Facebooks

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Soldati Post New Single “El Latigo y las Riendas”

Posted in Whathaveyou on April 25th, 2018 by JJ Koczan

Last summer, Buenos Aires-based heavy rock trio Soldati issued the single El Nudo en la Soga (discussed here) and put out word of an intended vinyl release. It’s been some months, obviously, and I have to wonder if the newly-posted “El Latigo y las Riendas” isn’t perhaps the B-side of that same single, which presuambly would be put out through frontman Sergio Chotsourian‘s own imprint, South American Sludge Records; though at this point one never knows.

The reason I say that is because Chotsourian — who uses the abbreviated moniker Sergio Ch. for his solo and other releases and who has been talked about here enough over the years that I can’t believe I still feel compelled to explain that — recently signed Italy’s Argonauta Records to re-release the first, classic album from Los Natas, 1996’s Delmar, through that label rather than his own. I think an eye toward European distribution is the idea there, which makes sense. The one time I was fortunate enough to watch Los Natas play, it was in Europe and the crowd loved it.

But back to the matter at hand, I’m not sure where that leaves Soldatior Sergio Ch.‘s solo work — he’s got a new album coming this year as well– so we’ll just have to find out as we get closer. In the meantime, you might recall that “El Latigo y las Riendas” was posted here about a year ago as a solo track. Hardly the first time one Sergio Ch. project has bled over into another, and I doubt it will be the last.

Whatever comes next and however it arrives, enjoy the single. Recording info follows, then the stream:

soldati el latigo y las riendas

SOLDATI – EL LATIGO Y LAS RIENDAS

[S.A.S. 085]

SERGIO CH. – GUITARRA & VOCALS
LUCAS CASSINELLI – BASS
RANZ – BATERIA

Recorded and mixed by PATRICIO CLAYPOLE at ESTUDIO EL ATTIC
Mastered by PATRICIO CLAYPOLE at ESTUDIO EL ATTIC
Artwork by Sergio Ch.
Produced by PATRICIO CLAYPOLE

SOUTH AMERICAN SLUDGE RECORDS

https://www.facebook.com/SOLDATIDOOMNACIONAL
https://sasrecords.bandcamp.com/
https://www.facebook.com/SASRECORDSARGENTINA

Soldati, “El Latigo y las Riendas”

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Yawning Man Announce Seven-Week European Tour

Posted in Whathaveyou on April 25th, 2018 by JJ Koczan

yawning-man-Photo-by-River-Arce

If you’ve been keeping up with Yawning Man on the social medias at all, you’ve probably noticed they’re in the the studio working on new material. That’s only going to be good news, because new Yawning Man is inherently a positive force in the universe, and further intrigue is added by a shot of bassist Mario Lalli adding vocals to a track, something pretty rare for the band. I’ll hope to have more on that as we get closer to what may or may not be called The Revolt Against Tired Noises based on some artwork the band posted by Kelly Keith and the name shared by their upcoming European tour, which will run for a somewhat astounding seven-week stretch.

I don’t know if that’s the longest stint the band has ever undertaken, but if not, it’s gotta be pretty close to it, and if they have a new record out at some point during the tour or perhaps even before, then all the better. For a year that’s already brought some rather killer releases, the possibility of a new Yawning Man before 2018 only further complicates the prospect of a best of the year list.

Hopefully more to come soon. Here are tour dates:

yawning man tour poster

Tour Announcement – Yawning Man!

Currently working on their next album, Desert-Rock legends Yawning Man will come back to Europe this summer, for a 7-week tour!! Check-out the first batch of dates below. More will follow soon.

25.07.18 | NL | Utrecht | Db’s
27.07.18 | UK | Manchester | The Rebellion
28.07.18 | UK | Bristol | The Louisiana
29.07.18 | UK | London | The Blackheart
31.07.18 | DE | Wiesbaden | Schlachthof
03.08.18 | IT | Osoppo | Pietra Sonica Festival
04.08.18 | AT | Waldhausen | Lake On Fire Festival
05.08.18 | PL | Chorzow | Red & Black
06.08.18 | PL | Warsaw | Chmury
11.08.18 | AT | Döbriach | Sauzipf Rocks Festival
13.08.18 | IT | Brescia | Festa Radio Onda D’Urto (*)
15.08.18 | IT | Ancona | Go Down Beach Fest (*)
16.08.18 | IT | Pescara | Frantic Fest (*)
17.08.18 | IT | Bari | Go Down Beach Fest (*)
18.08.18 | IT | Galatone | Sagra Del Diavolo (*)
24.08.18 | CH | Luzern | Sedel
25.08.18 | IT | Bolzano | Mountain Session
30.08.18 | GR | Thessaloniki | Street Mode Fest
02.09.18 | BU | Sofia | Mixtape 5
03.09.18 | HR | Zupanja | MKC
04.09.18 | SI | Ljubljana | Dvorana Rog
06.09.18 | FR | Clermont-Ferrand | Raymond Bar
07.09.18 | FR | Montpellier | Le Black Sheep
08.09.18 | SP | Barcelona | Rocksound
09.09.18 | SP | San Sebastian | Dabadaba
10.09.18 | SP | Gijon | Sala Memphis
11.09.18 | PO | Porto | Woodstock 69
12.09.18 | SP | Madrid | Wurlitzer Ballroom
13.09.18 | SP | Bilbao | Maritime Museum Bar

(* with ANANDA MIDA)

https://www.facebook.com/yawningmanofficial/
https://yawningman.bandcamp.com
http://www.yawningman.com/
https://www.soundofliberation.com/yawning-man
https://www.facebook.com/Sound-of-Liberation-UG-183095098426785/

Yawning Man, Historical Graffiti (2016)

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Review & Full Album Stream: The Freeks, Crazy World

Posted in audiObelisk, Reviews on April 25th, 2018 by JJ Koczan

the freeks crazy world

[Click play above to stream Crazy World by The Freeks in full. Album is out April 27 on Heavy Psych Sounds.]

In the second cut ‘This is Love’ from The Freeks‘ fourth album, Crazy World, there is PJ Harvey‘s standout lyric, “I can’t believe that the axis turns on suffering when you taste so good.” And say whatever you want to about “Chronic Abduction” toward the record’s end or opener “American Lightning” before, to me, it’s that line in that cover summing up the central driving force of classically-derived heavy rock lust and thrust driving the Los Angeles five-piece’s second release on Heavy Psych Sounds, the eight tracks of which span a vast but still hyper-manageable 30 minutes.

That’s runtime is noteworthy because The Freeks‘ prior offering, 2016’s Shattered (review here), was 48, so the new collection is a significant drop in duration; one that brings it more in line with 2013’s sophomore LP, Full On (review here), though as seems to be the case with everything The Freeks have done going back to their 2008 Cargo Records self-titled debut, Crazy World has a mind of its own. It just so happens that that mind sounds like it’s been blown to bits on some obscure desert lysergic, and with a bit of Take it to the Stage mingled in with its Fun House and Superjudge, it offers listeners a quick but ultra-engaging sense of outward voyage, holding to an element of rawness with the vocals of Jonathan Hall (also guitar and bass) and Ruben Romano (also guitar, bass, drums and percussion). They are not, however, simply aping the tenets of classic punk or classic rock of any kind, and Crazy World sounds thoroughly modern in its presentation. But neither are they shy in showing off where their foundation comes from.

Come to think of it, “shy” isn’t a word I’d use for The Freeks on any aesthetic level. Romano and Hall are joined in the band by newcomer bassist Ray Piller, returning drummer Bob Lee, who debuted on Shattered, and keyboardist/synthesist Esteban Chavez, whose work once again proves crucial to evoking a psychedelic atmosphere across Crazy World‘s manic landscape. Not only in the two interludes “Take 9” and the noise and manipulated sample piece “Thank You, Mr. Downing” — a reference perhaps to early LSD researcher Jack Downing; the name comes up again in the finale — that leads and plays into the closing duo of “Chronic Abduction” and “Mothership to Mother Earth,” but also in the strutting Rolling Stones-style piano line of “Easy Way Out” and the low-mixed organ and swirl of “American Lightning,” which sets Crazy World‘s consuming forward momentum in motion.

the freeks

There is little time wasted throughout the record, the longest song being “Mothership to Mother Earth” capping at 7:53. Nothing else hits the five-minute mark — “Hypnotize My Heart”” comes closest at 4:34 — and along with the straightforward structures in which most of the cuts operate, be it “This is Love” hammering its hook via sheer repetition or “Chronic Abduction” worming its way into the consciousness of the listener via easy nod and ambience surrounding its sleazy stonerist verses, the general tightness of the material’s construction helps maintain the momentum that “American Lightning” flashes forth. It would be a quick listen one way or another at a half-hour, but with the deft turns of style and mood between its opening salvo of “American Lightning,” “This is Love,” and “Easy Way Out,” the two, very different interludes with “Hypnotiize My Heart” sandwiched between them, and the final culminating pair, Crazy World sees The Freeks operating in top form and, at times, top pace, to keep a current of motion running through their material. Thus, it’s the kind of record that, when it’s over, you have little choice but to go back to the beginning and start again.

Perhaps one of the most fortunate aspects of Crazy World is that it lives up to that standard of warranting repeat listens. It’s not the kind of record that will take multiple visits to sink in necessarily, because that would kind of run counter to its punker side, but there’s enough depth in the mix even of the most straightforward songs — witness the midsection break in “American Lightning,” for example — that it manages to deliver something new each time out. The band employed a number of guests throughout, whether it’s Ray Hanson adding guitar scorch to that opener, Sara Loera putting backing vocals on “This is Love,” Rainer Fraenkel on bass for “Take 9” and “Mothership to Mother Earth” or Glenn Slater adding synth and keys to those same two songs as well as “Hypnotize My Heart.” That track, likely the side B opener, introduces some of the darker-toned fuzz that will reemerge following the noise wash of “Thank You, Mr. Downing” and add to the sense of relative lurch in “Chronic Abduction,” but the acoustic and swirl and dynamic jam that emerges in “Mothership to Mother Earth” is the ultimate earmark of the band’s triumph over the forces of squaredom.

Its near-eight-minutes are a thrill of minor-key ebbs and flows, classic psych and desert idolatry sharing space in, well, space. Heady vibe? You best believe it, but that’s the idea, and as big a fan as I am of opening records with their longest tracks — always a bold move; always good for bonus points in my book — the inclusion of “Mothership to Mother Earth” anywhere on Crazy World is brazen enough. And one might say the same of the record as a whole: brazen. The Freeks have never exactly been subtle, whether it was the funk-punk of their debut or the psychedelia that’s emerged in their work since, but there’s no question that Crazy World puts their delivery in a new echelon in terms of songwriting and execution. They’ve never lacked confidence, but the poise with which they hurl their rawer side forth here isn’t to be ignored, and though at times the outing may seem unhinged, one should never doubt that the controls are in the hands of masters. This band is so much better than people know. Tell two friends.

The Freeks on Thee Facebooks

The Freeks on Twitter

The Freeks website

Heavy Psych Sounds webstore

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Høstsabbat 2018 Announces Amenra to Headline, Adds Eagle Twin & Lonely Kamel to Bill; Lineup Complete

Posted in Whathaveyou on April 25th, 2018 by JJ Koczan

I was pretty down the the level of variety Høstsabbat 2018 had running in its lineup before, but if you want to see a spectrum of heavy, just take a look at the last three bands added to complete the lineup. Amenra, the Belgian outfit who I think are inarguably the foremost European post-metal band at the moment, will headline. Oslo’s own heavy rockers Lonely Kamel will play, bringing classic heavy vibes and an unabashed, unashamed good time. Oh, and then there’s the two-piece Eagle Twin from Utah who blend doom and psychedelia and throatsinging and stories about mythical birds and beasts and whatnot. So, you know, a little something for everyone.

Plus Electric Moon are playing. That’s excuse enough to show up right there, frankly.

But yeah, it’s a killer way for Høstsabbat 2018 to finish unveiling its lineup, and one imagines the massive strobe setup Amenra bring to the proceedings will be the unholiest thing ever seen in the Church JAKOB, where Høstsabbat is being held.

Dig it:

Amenra: Please welcome the headliner of Høstsabbat 2018!

When we first landed Church JAKOB as this years’ venue, a couple of bands came to mind as the perfect bookings..

And it is with massive pride we are able to announce our first choice, the legends in the Belgian five piece, Amenra . What could possibly be a more fitting closure to this years event than the founders of the Church of RA-collective?

To witness Amenra from a stage is something you won’t forget. It’s cleansing, ritualistic, nihilistic, scary, painful and in the most accurate sense of the word; mindblowing. Their attention to detail in performance, riffs and visuals can hardly be described as anything but spellbinding, and to have this complete package in a church, downtown Oslo.. well what to say?

On top of this, their recent masterpiece “MASS VI”, put Amenra in a different league all together, as the Neurot Records release was hailed as one of the absolute best metal records of 2017. Also bringing them onboard two massive US-tours alongside label bosses Neurosis and Converge.

On October 6th they grace Church JAKOB with their presence. Are you in?

Lonely Kamel

Touring Europe as we speak, the re-invented five piece version of Oslo’s stoner legends Lonely Kamel will make a joyful return to Høstsabbat, as they deserve.

Their new album “Death’s-Head Hawkmoth” was released about a month ago on the stellar Stickman Records, putting the Kamel’s in the top shelf of European underground rock.

Lonely Kamel have played more or less every underground festival there is, on the European continent, from Duna Jam, to Roadburn, to Desertfest, to Up in Smoke..you name it, and they have toured massively for years, making them an easy act to love.

We’re eager to welcome these blues and boozehounds back, as should you!

Eagle Twin

We are extremely proud to present the two-headed beast that is Eagle Twin (US). Probably one of the best live acts around, and a huge favorite in our camp. Being somewhat of a benchmark for what two guys can make out of their instruments and hands, we will bow to their wall of sound.

The guys from Utah just released their new album “The Thundering Heard” to massive praise, and will set out for a short span of shows in Europe in October. After trying to have Eagle Twin over for several years, we are stoked to tell they will start their Euro run at Høstsabbat Friday October 5th.

What else to say, than the Eagle has landed.

LINE-UP
Amenra
Electric Moon
Asteroid
Toner Low
Lonely Kamel
Brutus
Eagle Twin
Elephant Tree
Hällas
Spurv
The Moth Gatherer
Domkraft
DWAAL
Krokofant
Taiga Woods
SÂVER

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Amenra, Mass VI (2017)


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