Friday Full-Length: Hermano, …Into the Exam Room

Posted in Bootleg Theater on May 17th, 2019 by JJ Koczan

Hermano, …Into the Exam Room (2007)

In the vast catalog of vocalist John Garcia, which includes Unida, Slo Burn, Vista Chino, three solo records, Zun and more guest appearances than I can count in addition to his time fronting the formative desert rockers Kyuss, Hermano‘s third album, …Into the Exam Room, is the most undervalued. Issued in 2007 by Suburban Records, it was recorded in no fewer than six studios, featured writing contributions from Garcia as well as guitarists Dave Angstrom and Mike Callahan, bassist Dandy BrownChris Leathers completed the lineup and I’m sure came up with his own parts — and Sean Bilovecky, who was one of the 10 engineers credited working in geographic locales like Georgia, Ohio, Kentucky, and indeed, Palm Springs, California. At that point, is it even fair to call …Into the Exam Room a desert rock album? Therein lies the appeal. It is desert rock, and so much more.

Hermano‘s earlier work on 2002’s …Only a Suggestion (discussed here) and 2004’s Dare I Say… was straight-up desert-style songcraft, following in a tradition Garcia helped create. Though it must have been a logistical nightmare to put together, let alone to mix — I think this was the first time I interviewed Garcia; he was working as a vet tech; he mostly spoke about being a family man and was driving his family to a basketball game at the time? pretty sure that’s how it went — …Into the Exam Room blew down the doors of genre. Absolutely, songs like “Left Side Bleeding” and “Hard Working Wall,” “Adoption Boy,” the penultimate “Our Desert Home” and even opener “Kentucky” had desert rock on lockdown. No question. The push, the tonal weight, and of course Garcia‘s vocal style — yes. It was all there. But …Into the Exam Room‘s 12 tracks went so far beyond that as to make it just one more element at their disposal, to be used at moments when it might be most effective, for example, with “Left Side Bleeding” taking off at a sprint from the finish of the acoustic “Dark Horse II.” Garcia’s last crooned line in that song was, “I’m so much more,” and …Into the Exam Room was the record where he proved it.

Not just on mostly-unplugged cuts like “Dark Horse II,” “Bona Fide” or “At the Bar” — which itself appeared ahead of the mega-hook in “Our Desert Home” — but on the unmitigated heavy funk rock of “Exam Room” itself, or the loose-feeling but still tightly constructed “Out of Key, But in the Mood” or even “Don’t Call Your Mama,” with its relatively dead-ahead start and memorable chorus, which ended up reiterated by Garcia alone for the final minute as the instruments largely dropped out behind him. Through complex arrangements and nuanced sonic dhermano into the exam roometailing, these songs pushed well beyond anything Hermano had done before, and that extended even to the in-the-studio atmosphere given to the tracks by the inclusion of short intros, even just toss-off gag lines and things like that. I don’t think one would get away with including the inflected lisp at the beginning of “Our Desert Home” these days without being called out for it — at least I hope not — but whether it was the quick bit of guitar noise at the start of “Hard Working Wall,” the far-away dream vocals that begin “Dark Horse II” or the revving motor that set the album in motion in “Kentucky” and the reference to “Dueling Banjos” that ended that opener, these little moments added to the inherent diversity of the material and helped set a wide-open creative sphere in which the record took place. They gave it more personality, and in the case of “At the Bar,” the recorded child’s voice of Calliope Brown — presumably the progeny of Dandy Brown — set up the closer “Letters from Madrid” two tracks later, which featured Angstrom‘s daughter and son, Audrey Angstrom and Evan Angstrom, strumming an acoustic guitar and repeating the line, “Everyone still believes in you but you” before ending with both kids saying “I love you, daddy.” Tearjerker.

And maybe that’s what Hermano were doing on …Into the Exam Room. I recall Garcia at the time noting that the title referred to looking at one’s life, and certainly the semi-title-track “Exam Room” lived up to that — “Well you’ve got 40 more years to go drown in your tears/And the little hand’s slower than the big hand, honey” — so perhaps this work, spread from one end of the country to the other and recorded in a manner so complicated I can even pretend to have a grasp on how it happened, is Hermano with the advent of middle age, with home life. Maybe it was supposed to be a blowout. I don’t know. Whatever it was, …Into the Exam Room was a mature vision of style that legitimately did desert rock in a way it had never been done before. And it kinda flopped.

Maybe it was the wrong moment? Maybe if it came out today it would do better? I don’t know, but I don’t think it’s a coincidence that …Into the Exam Room was the last record Hermano released — though they were playing new material three years ago, so when I say “last,” take the potential impermanence of that into consideration — and that Garcia subsequently went on to form Garcia Plays Kyuss in 2010, which became the semi-reunion Kyuss Lives!, which in turn became Vista Chino. In some ways, I look at …Into the Exam Room like Vista Chino‘s lone 2013 album, Peace (review here, also discussed here). It was a way to move forward. Still acknowledging the past, but not necessarily dwelling in it. I thought Vista Chino had a real chance to build something new, but I think it was another case where they didn’t get the public response they wanted, so went their separate ways.

Same thing here, though the complex logistics very well could’ve also played a part. Still, Dandy Brown does solo work. Angstrom has stayed involved with Garcia on the songwriting front, Garcia dutifully delivers desert rock with his Band of Gold, and Hermano kind of disintegrated at least until their onstage reunion a few years back at Hellfest in France. Entirely possible they’re working quietly on a follow-up fourth LP, but even if they are, that doesn’t change the fact that …Into the Exam Room has languished for 12 years as a ridiculously underrated album. What should’ve been a springboard to Hermano stepping out of the shadow of Garcia‘s past in Kyuss instead became their final record. A loss for sure in terms of the potential, but listening back to …Into the Exam Room more than a decade after the fact, I can’t help but feel lucky we got this record in the first place.

This one’s for Slevin. As always, I hope you enjoy.

I got unceremoniously fucked out of an audio premiere this week. Brutally. It happens all the time that PR companies and record labels decide to do streams with a bigger outlet, and hey, I get it. They’re getting paid to get shit in front of as many eyes as possible, and just because I might write some hyper-wordy piece about how crucial a band’s work is doesn’t mean I have the same reach as Revolver or Kerrang or whoever. I get it. I’ve been involved one shape or another in the music industry for 15 years. People have dumb hair and wear t-shirts, but at the end of the day, it’s a business. Not personal.

Usually I let it go. This is a low-stakes thing. We’re not solving climate change here. This one hurt though primarily because of the people involved, and because it was something that had been committed to me that was when taken away for ostensibly a bigger outlet (I’m not even sure that it is, but I’m not going to name names, and obviously it was neither of the mags above). I was set to go, and after arranging it like a month ago, this week it got pulled. It’s one of the year’s best records, from band I’ve been writing about for seven years, on a label I’ve been covering voraciously since before this site started 10 years ago, and yeah, I just got straight-up fucked over. As I said, brutal.

That, combined with ongoing tooth pain, kind of colored my week in a distinct hue of “everybody fuck off.” I went saw the Deep Space Nine documentary with The Patient Mrs. on Monday in an opiate fog of leftover percocet from some medical procedure or other, and was still holding my aching head in my hands by the end. I finally got to the dentist on Tuesday afternoon and they indeed found an infection that had spread to multiple teeth and decided I needed an emergency root canal as well as antibiotics. Super duper. So they numbed me up and let me sit there and wait 45 minutes before starting the procedure — dentist had two patients with the same appointment and was next door fitting a crown, as I could hear through an open doorway — then came back, found I wasn’t numb enough when they started digging through my tooth and it was excruciating. Another three shots of novocaine, the last two right in the nerve, which hurt. Significantly.

Eventually I was numb enough that I couldn’t feel the dentist scraping the nerve out of my tooth. He left it open so the infection could drain — yup, gave me a big ol’ hole-in-the-tooth; still got it — and I have to go back Monday so they can finish the procedure. I fainted at the counter making my next appointment. Fell over and everything. Ker-plunk. They put me on the couch and gave me one of those little plastic rinse cups of water. I felt old, and sad, and alone.

So yeah. My mouth still hurts, though nowhere near the constant infected throb it was last weekend. Just enough to still be there.

Here’s what’s up for next week:

MON 05/20 WOLF PRAYER VID PREMIERE; KANDODO3 TRACK PREMIERE/REVIEW
TUE 05/21 VALLEY OF THE SUN REVIEW
WED 05/22 ABRAHMA FULL ALBUM STREAM
WED 05/22 TOUR ANNOUNCE; SLEEP LIVE RECORD REVIEW
FRI 05/24 SLOUGH FEG PREMIERE/REVIEW (MAYBE)

That Slough Feg is going to happen, it’s just a question of whether it happens next Friday or some other time. The rest is pretty much locked in, as much as anything. Subject to change blah blah, as usual.

The process of moving south back to New Jersey has begun as The Patient Mrs. and I have started packing. Home Depot moving boxes haven’t changed much in the last half-decade, it seems. Old t-shirts and stuff go first, I guess. I’ll do records sooner or later. I’d prefer sooner, just to get it done, but who the hell knows. It’s going to be a long, busy summer on the I-95 corridor, I think. Good thing I’m not doing anything crazy like flying to Ireland next week.

Oh wait.

Yeah, that’s happening. The Patient Mrs., in one of her final acts as full-time faculty for Bridgewater State University, here in not-at-all-scenic Southeastern Massachusetts, is taking students on a study-abroad trip from I guess this Thursday through June 3. It’s madness, I tell you. I’m going basically to provide childcare, as I did in London last year. I don’t know how that will affect posts or whatever during travel days. I’d like to buy a throwaway cheapie 11″ laptop rather than risk traveling with this one, which is huge and has like my whole life on it, but I don’t think the money is there for such things.

Oh, and tonight’s like a going-away party The Patient Mrs. is throwing with two of her friends at our place that maybe like 30-50 people are coming to? Strangers to me, mostly. I didn’t invite anyone because I don’t have any friends in real life and I expect to be sad and then to go to sleep early without saying goodnight. Because that’s who I am. I’m the guy who faints at the counter in the dentist’s office.

Fuck it. I’m gonna premiere Kandodo3 and Slough Feg next week. Life is awesome.

Have a great and safe weekend. Please hit up the shirts and such at Dropout Merch, and please check out the forum and radio stream.

The Obelisk Forum

The Obelisk Radio

The Obelisk shirts & hoodies

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Here’s the Bio I Wrote for Worshipper’s Light in the Wire

Posted in Features on May 17th, 2019 by JJ Koczan

Today marks the release date of Worshipper‘s second album, Light in the Wire (review here). Out on Tee Pee Records, it lands immediately following the return of the Boston four-piece from a European tour alongside labelmates The Skull that included stops at Desertfest in London and Berlin to follow-up on both bands’ appearance at the inaugural Desertfest NYC a few weeks back (review here).

The release will be celebrated tonight in Cambridge, MA, with a live in-store performance at Newbury Comics in Harvard Square. The retail outlet also has an exclusive color vinyl edition available that looks just lovely in the pictures that I’ve seen. I was fortunate enough to be asked when they were putting the promo package together to write the bio for the album, and I did so happily.

For the occasion of the release, here’s that bio I wrote, as it appears currently on their Bandcamp page:

worshipper light in the wire

Worshipper – Light in the Wire bio

Whatever frame you want to give it, Worshipper’s story is one of growth. What started four years ago with a couple digital singles has blossomed — yes, blossomed — into an expansive and individualized sound that’s like nothing else in heavy rock and roll. With patient and graceful songwriting, and thoughtful, detailed arrangements, the Boston-based four-piece bring something new to the hordes of those building altars to the capital ‘r’ Riff. Their second album, Light in the Wire, presents a progressive vision that’s not just about “oh hey we threw a keyboard on some guitar,” but instead bleeds into every melody, every smoothly-delivered rhythmic change, and every performance captured on the recording.

Worshipper’s first album, Shadow Hymns, came out in 2016 on Tee Pee, and they followed it with the 2017 covers EP Mirage Daze, a four-song jaunt exploring influences like Pink Floyd, The Who, Uriah Heep and doom rockers The Oath. That release gave new context to Shadow Hymns, and it informs Light in the Wire as well, though with the new LP, Worshipper are most recognizable as themselves.

Led by would-be-reluctant-were-it-not-for-all-that-pesky-stage-presence frontman John Brookhouse (guitar/vocals/synth), with Alejandro Necochea on lead guitar/synth, Bob Maloney on bass and backing vocals and Dave Jarvis on drums, Worshipper recorded Light in the Wire with Chris Johnson (also of Deafheaven, Summoner, etc.) at GodCity Studios and The Electric Bunker. Their intention to capture a sonic narrative has resulted in a fluidity tying the two sides of the album together even as individual pieces stand out with a sheen of classic heavy metal, rock, psychedelia and prog. At the center, always, is the crafting of the songs themselves, so that each verse isn’t simply a placeholder for the next hook, but a statement unto itself, and each solo drips soul rather than devolving into a needless showcase of wankery.

Light in the Wire not only sees Worshipper grow as songwriters and performers, but it expands the palette they’re working with to do that. A stage-born chemistry pervades their musical conversation, but even more, the confidence with which they take on darkness and light, weight and drift, brings into focus how faithworthy their sound has become. They may push farther still, but hearing Light in the Wire leaves no question of their realization.

-JJ Koczan

https://www.facebook.com/worshipperband/
https://www.instagram/worshipperband
https://worshipper.bandcamp.com/
http://teepeerecords.com

Worshipper, Light in the Wire (2019)

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Sounds of the Heavy Fest Lineup Confirmed for May 24 in Yucca Valley, CA

Posted in Whathaveyou on May 17th, 2019 by JJ Koczan

One might think of Sounds of the Heavy next weekend in Yucca Valley, California, as a complement to the Planet Desert Rock Weekend that kicked off last night in Las Vegas and runs until this coming Sunday. Sure enough, the international contingent of bands — Saturna, Kaiser, Omega Sun and Green Desert Water — will I guess be hanging out in the desert for a week in between the two events. Could be worse, I’m sure. They’re joined by House of Broken Promises — whose guitarist, Arthur Seay, is among the organizing principals of the seven-band lineup, along with Vegas Rock Revolution — as well as Here Lies ManDiesel Boots out on the patio and The Battery Electric who hail from my beloved Garden State, which might as well be on the other side of the planet from Yucca Valley.

I’m not certain how it all came together, but if you’ve got the capacity to get yourself to the desert next weekend, it seems like a no-brainer good time will ensue.

Here’s the info and ticket links:

SOUNDS OF THE HEAVY POSTER SQUARE

Vegas Rock Revolution & Arthur Seay Presents: Sounds of the Heavy

Vegas Rock Revolution & Arthur Seay Presents: Sounds of the Heavy on Friday May 24th at Gadi’s Bar & Grill in Yucca Valley

House of Broken Promises from Indio featuring both Arthur Seay and Mike Cancino (Both with Unida / DEATH in Pretty Wrapping) along with frontman Joe Mora (Street Drugs DTLA) will be melting faces.

Here Lies Man / RidingEasy Records comes over from L.A. with their fuzzy psych afrobeat style. Super exciting to have them as part of the event!

The Battery Electric from Asbury Park New Jersey drops in as well as 4 up and coming European heavy rock bands.

SATURNA- -Spain
Kaiser —Finland
OMEGA SUN — Slovenia
Green Desert Water — Spain

Just might add 1 more band…….

Party starts around Happy Hour !

$12 now / $20 Door

A Vegas Rock Revolution Production

https://www.facebook.com/events/723191784763530/
https://www.eventbrite.com/e/vrr-presents-arthur-seays-desert-metal-meltdown-tickets-60915311336

House of Broken Promises, “Tornado” official video

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Sacri Monti Confirm July 5 Release for Waiting Room for the Magic Hour; Title-Track Posted

Posted in Whathaveyou on May 17th, 2019 by JJ Koczan

SACRI MONTI

I’m sitting across the kitchen table from The Patient Mrs. just now and she’s telling me about some dude she’s acquainted with in some tertiary way who has a condition whereby he passes something like six kidney stones a month. That sounds fucking awful. What doesn’t sound awful is new Sacri Monti. That sounds like organ-laced West Coast heavy boogie groovy goodness. Much preferable.

The band’s second full-length for Tee Pee Records is called Waiting Room for the Magic Hour, as previously noted, and they’ll tour Europe soon after the July 5 release. We knew that too. But the song they’re streaming — the title-track — is enough to earn its own post, and with the re-confirmed album info and tracklisting, well, yeah, I’m more than happy to reiterate a few known factoids in service to the greater good of this stuff. Album preorders are up now from Tee Pee.

Therefore, dig:

sacri monti waiting room for the magic hour

Sacri Monti to Release Sophomore LP, ‘Waiting Room for the Magic Hour’, July 5

California Heavy Psych Band Featuring Members of JOY, Monarch and Radio Moscow Expands Its Already Kaleidoscopic Sound on Electric New Album

San Diego psychedelic heavy rock champions Sacri Monti return with a vengeance on their sophomore LP ‘Waiting Room for the Magic Hour’. Recorded at Audio Design (Earthless) with producer Jordan Andreen (Joy, Arctic), ‘Waiting Room for the Magic Hour’ sees Sacri Monti firing on all cylinders, somersaulting between the spontaneous and the musically calculated. Blues rock, prog rock, proto metal, fusion; it’s all masterfully represented, as brash as it is beautiful. ‘Waiting Room for the Magic Hour’ will see a July 5 release via Tee Pee Records.

On ‘Waiting Room for the Magic Hour’, heaps of fuzzed vocals, waves of keyboards, boogie rhythms, and sick, spiraling leads merge with focus, energy and drive to send Sacri Monti soaring to a next level, riff-filled land. Proggy space rock jams erupt as melodies segue in and out, while vocals drift over the top, seemingly lost in the instrumental sea. Sacri Monti come fully charged and ready to party, adding a new twist on heavy psych while delivering the soundtrack to an endless summer with ‘Waiting Room for the Magic Hour’.

A first listen to what ‘Waiting Room for the Magic Hour’ holds in store can be heard now as Sacri Monti has released the title track to the upcoming LP. Hear it now at this location.

Track listing:

1.) Waiting Room for the Magic Hour
2.) Fear and Fire
3.) Armistice
4.) Starlight
5.) Affirmation
6.) Gone from Grace
7.) Wading in Malcesine
8.) You Beautiful Demon

Pre-order ‘Waiting Room for the Magic Hour’ at this location.

16/07 UK Brighton Hope & Ruin
18/07 UK London The Black Heart
19/07 BE zottegem kaffee maboel/klsjr kllktv
20/07 DE Zentrum Zinsholz Eastfilly Fest
21/07 DE Munich Import Export
22/07 AT Wien Viper Room
25/07 ITA Lecco La Bottega d’estate c/o Lido di Casletta
26/07 ITA Sezzadio(Alessandria) Cascina Bellaria
27/07 ITA Moos in Passeier,Südtirol Crystal Mountain Festival
28/07 ITA Padova Curtarock
31/07 FRA Paris Supersonic
01/08 DE Köln MTC
02/08 DE Beelen Krach am Bach Open Air
04/08 DE Aschaffenburg – secret show
07/08 DE Berlin Zukunft
08/08 CZ Louny TBA
09/08 DE Sizendorf Void Festival
10/08 PT Moledo Sonic Blast Moledo Festival
11/08 FRA Picardie Celebration Days Festival

Sacri Monti is:
Brenden Dellar -Guitar
Dylan Donovan- Guitar
Anthony Meier- Bass
Evan Wenskay- Organ, Synth
Thomas Dibenedetto- Drums

https://www.facebook.com/sacrimontiband/
https://www.instagram.com/sacri_monti_band/
https://sacrimonti.bigcartel.com/
https://soundcloud.com/sacri-monti
teepeerecords.com
https://www.facebook.com/teepeerecords/
https://twitter.com/teepeerecords
https://teepeerecords.bandcamp.com/

Sacri Monti, “Waiting Room for the Magic Hour”

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Øresund Space Collective Meets Black Moon Circle, Freak Out in the Fjord: Cosmic Collision

Posted in Reviews on May 17th, 2019 by JJ Koczan

oresund space collective meets black moon circle freak out in the fjord

It happened once upon a Nov. 17, 2017, that respected cosmic improvisationalists Øresund Space Collective made their way from Denmark/Portugal/Planet Omega to Trondheim, Norway, where they were set to join with Black Moon Circle and take part in the Freak Out in the Fjord festival for which they’d eventually name this album. The title, though, is more homage than descriptor, as what makes up the record isn’t the actual live set, but the results of a studio session the next day. That might seem counterintuitive — especially for a band who are not at all shy about putting out live material — until one actually listens to Freak Out in the Fjord, at which point the results become largely inarguable. I say that as a fan of Øresund Space Collective, of course, but if you want to try to make a case against gathering a nine-piece lineup together, sticking them in the studio like some kind of off-the-cuff orchestra — three drummers and all — I’m happy to entertain it.

Certainly by the time they get around in opener “Rendezvous in the Nebula” to tossing off a swaggering reference to Jimmy Forrest‘s “Night Train” (also recorded by James Brown for Live at the Apollo in 1963), any such issue should be settled. From that interstellar-swinging 26-minute leadoff on through the other three more-than-a-side-consuming pieces on the 119-minute Space Rock Productions-issued triple LP, the personality changes, but the ultimate course of exploration is consistent. It’s jammy bliss, and as a particular sucker for an interplay between more than multiple drummers/percussionists, it seems like the rhythms here stand up especially well to the wash of guitar, bass, keys and synth surrounding. For reference, here is the lineup for the session, with their credits directly cut and pasted from the Øresund Space Collective Bandcamp page:

Magnus Hannibal – Fender Rhodes, Synthesizer
Tim Wallander – Drums (right), Fender Rhodes (Side B)
Simon W. Gullikstad – Drums (left)
Hasse Horrigmoe – Bass (slight left)
Øyvin Engan – Bass (slight right)
Vemund Engan – Guitar (right)
Jonathan Segel – Violin, Guitar (left)
Scott “Dr. Space” Heller – Modular Synth, Kaoscillator, Korg Monotron
Per Andreas Gulbrandsen – Drums (side B right, side C/D center)

For those familiar either with Øresund Space Collective or with the Norwegian-native Black Moon Circle, it will come as little surprise that the common thread between the two — aside from a propensity for psych-jamming — is Scott “Dr. Space” Heller. The bandleader of Øresund Space Collective has been a member of Black Moon Circle live and in the studio (also live there, as it happens), and as the two outfits work here under the collective banner of Øresund Space Collective Meets Black Moon Circle, he’s the one tying them together. It is a noble endeavor. The general method of Øresund Space Collective is to hit the studio or stage, press record, and go. Like off-the-cuff jazz born of psychedelia and space rock, their work is always an adventure and always captures the specific moment of its creation, never to come again. Bringing Black Moon Circle — the Engans and Gulbrandsen, as well as Gullikstad and Heller himself — into the fold, they only expand the reach, and as Freak Out in the Fjord plays through its massive sprawl across “Rendezvous in the Nebula” (26:18), “Afterglow in the Sea of Sirens” (23:55), “Dinner with Gregg A. and Jerry G.” (33:16) and “Freak Out in the Fjord” (36:03), the pieces each develop a persona of their own.

This is true whether it’s the Southern guitar inflection of “Dinner with Gregg A. and Jerry G.” or the engrossing well of energy of “Rendezvous in the Nebula,” the organ and synth making their presence felt in the second half of “Afterglow in the Sea of Sirens” by building a tension that instead of blowing up pays off in arguably the record’s sleekest groove, or the title-track’s experimentalist pulse, manifest in bouts of noise and swells of volume as the group moves inextricably toward a grand finale every bit worthy of the nearly two hours preceding. But as with either the work of Øresund Space Collective on their own or Black Moon Circle‘s jammy material or really any such release, Freak Out in the Fjord isn’t about the destination so much as the outward trip to get there, however satisfying the end proves to be.

So far as I know, it doesn’t, but Freak Out in the Fjord should probably come with some manner of warning label about melted consciousness or “these people are professionals; don’t try this at home” or something of the like. The fact of the matter is that whatever else is going on, Øresund Space Collective Meets Black Moon Circle are in their element when mounting these sonic excursions, and it’s never going to be for everyone. It is a kind of extremity. Not of volume, or intensity — at least not in a “metal” sense — but of purpose. It is a constant drive to push deeper into the heart of creativity and to document its realization. Øresund Space Collective, its related outfits and especially Dr. Space have amassed an extensive discography, as a group like this will, but some of their best work is done when they force themselves into a different avenue of collaboration, whether it’s with Black Moon Circle or the likes of KG Westman or Gary Arce.

The core of their approach is unwavering, and well it should be, but over time, it is also showing itself as infinitely malleable to a range of contexts. Maybe that’s easy to say for Øresund Space Collective, since their approach is based on an open sensibility, but the prospect of improv space rock is one that could just as easily fall flat, or sound empty, and instead, Øresund Space Collective Meets Black Moon Circle are engaging and immersive in kind. Whether you’re putting it on for a two-hour chillout or sitting with your headphones and picking out which drums are in which channel on which track, Freak Out in the Fjord delivers an ultimately satisfying experience for the converted or those willing to be, and while I know the whole point of the thing is to preserve the ephemeral spirit of a moment already gone — remember this was late 2017; though the two bands are touring together — I can’t help but hope Øresund Space Collective and Black Moon Circle meet again for another studio session, as it seems like there’s still so much of the universe to be discovered.

Øresund Space Collective Meets Black Moon Circle, Freak Out in the Fjord (2019)

Black Moon Circle on Bandcamp

Black Moon Circle on Thee Facebooks

Øresund Space Collective on The Facebooks

Øresund Space Collective on Bandcamp

Øresund Space Collective website

Space Rock Productions website

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Iguana Sign to Tonzonen; Announce New Album Translational Symmetry

Posted in Whathaveyou on May 17th, 2019 by JJ Koczan

German progressive heavy rockers Iguana were last heard from with their 2015 full-length, Cult of Helios (review here), and though they’ve always been around and continued to do live shows, there hasn’t been much word of a follow-up. With the news that they’ve signed to Tonzonen Records for their next release and the announcement that said outing will be called Translational Symmetry, we come the closest we have yet to concrete evidence that, yes, such a thing exists.

And not like the footprint in the snow automatically means there’s a yeti. I mean like at some point the album will be out. As to what point, well, that’s still a little blurry on the horizon, but there’s plenty of 2019 left if it might happen then, or there’s always next year, though waiting that long would only seem to tempt the planet to open wide and swallow humanity whole before the thing is released. Which would be a bummer.

If you’d like a refresher, the Bandcamp stream of Cult of Helios is below. Here’s news from Tonzonen‘s site and the band’s social media:

iguana

IGUANA SIGNED TO TONZONEN RECORDS

I’m very happy to announce that IGUANA signed to Tonzonen Records for the new album.

We are in contact since one year and now we can start the collaboration.

More infos about the forthcoming album coming soon.

IGUANA can be found somewhere in the stylistic abyss that comprises symphonic Kraut, Stoner-beats, Nostalgic Grunge, British Invasion and Dreampop-Crooners. Rarily has Fuzz Rock sounded this diverse and experimental – at least not since the legendary Desert Sessions, which certainly struck a chord with the IGUANA boys. For a while now, they’ve been brewing up something of their own, carefully side-stepping the mainstream and any stereotypes, but dropping little pearls from the genre every now and then. And they’ve been playing with all sorts of acts (like Brant Bjork, Saint Vitus, Colour Haze, Kadavar, and Samsara Blues Experiement) at gigs and festivals, and on tours all across Europe.

Says the band: “We are happy to realize our next record ‘Translational Symmetry’ in cooperation with the Krefeld label Tonzonen. When, how and where – you’ll find out soon!”

Please welcome IGUANA.

www.iguana-music.de
www.facebook.com/iguana666
https://www.instagram.com/iguana_band/
www.soundcloud.com/iguanagermany
https://iguana.bandcamp.com/
https://www.facebook.com/Tonzonen/
https://www.instagram.com/tonzonenrecords/
https://www.tonzonen.de

Iguana, Cult of Helios (2015)

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Boris Announce Love & Evol 2LP Release & US Tour Dates

Posted in Whathaveyou on May 16th, 2019 by JJ Koczan

boris

2LP and digital release only for the new Boris record, Love and Evol. Fair enough, I guess, as CDs prove historically to more and more be the bastard-child of physical formats as tapes at least earn some kind of revisionist hipness. I’ll still take a tiny plastic platter if one’s on offer, but I’d be lying if I said didn’t say that more often than not it’s digital files I’m actually listening to these days, and if you’re having one or the other sit on a shelf, the vinyl is more impressive. For those of us who buy in bulk, however, there’s something to be said for saving every bit of space possible.

Either way, new Boris is nothing but good news, whatever format restrictions may apply, and even better that they’ll tour to support it. I’ll look forward to seeing them in… Jersey City?

Time does strange things to us all.

From the PR wire:

BORIS LOVE AND EVOL

BORIS ANNOUNCE ‘LOVE & EVOL’ & NORTH AMERICAN TOUR IN CELEBRATION

LOVE & EVOL will be released via Third Man Records in August. Re-issues of Boris’s Akuma no Uta and Feedbacker are forthcoming.

Boris have never been one for sentimentality—they simply wave goodbye to old worlds in favor of new horizons. That’s exactly the logic behind the band’s two forthcoming reissues of Akuma No Uta and Feedbacker, which will be released via Third Man Records this year, marking a new partnership between the band and label. The batch of reissues also makes way for Boris’s first new album in two years: L?VE & EV?L, due out this August on Third Man. The pioneering, monolithic trio will also be hitting the road with NYC industrialists Uniform this fall – tour dates are listed below.

L?VE & EV?L exist as two independent works, encapsulating conflicting connotations that interweave and become intricately entangled with one another, gradually eroding before becoming utterly singular. Continuing to tinker and toil with their sound since the release of DEAR, Boris have pivoted onward a more organic, non-grid literary style that L?VE & EV?L showcases.

Boris was formed in 1992, culminating in the current lineup of Takeshi, Wata, and Atsuo just three years later. Even in their infancy, the members of Boris boldly explored their own vision of heavy music, where words like “explosive” and “thunderous” barely do justice. Using overpowering soundscapes embellished with copious amounts of lighting and billowing smoke, Boris has shared with audiences across the planet an experience for all five senses in their concerts, earning legions of zealous fans along the way.

L?VE & EV?L will be released this August on double LP and digital formats via Third Man Records, with the reissue details to follow. Stay tuned for more news to come.

Boris is:
Takeshi — Vocal, Bass & Guitar
Wata — Vocal, Guitar & Echo
Atsuo — Vocal, Drums, Percussion & Electronics

L?VE & EV?L — Track Listing:
Disc [L?VE]
Side A
1. Away from You
2. Coma

Side B
3. EVOL

Disc [EV?L]
Side A
1. uzume
2. LOVE

Side B
3. In The Pain(t)
4. Shadow of Skull

BORIS — On Tour w/ Uniform:
August 19 San Diego, CA @ Casbah
August 20 Phoenix, AZ @ Valley Bar
August 22 San Antonio, TX @ Paper Tiger
August 23 Austin, TX @ Barracuda
August 24 Denton, TX @ Rubber Gloves
August 25 Houston, TX @ White Oak Music Hall
August 28 Mexico City, MX @ Galera *
August 30 Tampa, FL @ Orpheum
August 31 Gainesville, FL @ High Dive
September 1 Atlanta, GA @ Masquerade
September 3 Nashville, TN @ Exit/In
September 4 Asheville, NC @ The Orange Peel
September 5 Raleigh, NC @ Hopscotch Festival *
September 7 Washington, DC @ Black Cat
September 8 Jersey City, NJ @ White Eagle Hall
September 10 Brooklyn, NY @ Elsewhere
September 11 Boston, MA @ Paradise Rock Club
September 12 Portland, ME @ Port City Music Hall
September 13 Montreal, QC @ Theatre Plaza
September 14 Toronto, ON @ Lee’s Palace
September 15 Grand Rapids, MI @ Pyramid Scheme
September 17 Chicago, IL @ Lincoln Hall
September 18 St. Louis, MO @ Delmar Hall
September 20 Denver, CO @ Marquis Theater
September 21 Salt Lake City, UT @ Metro Music Hall
September 23 Seattle, WA @ Neumos
September 24 Portland, OR @ Doug Fir Lounge
September 26 San Francisco, CA @ Great American Music Hall
September 27 San Jose, CA @ The Ritz
September 28 Camarillo, CA @ Rock City
September 29 Los Angeles, CA @ Echoplex

* no Uniform

Artist photo by: Miki Matsushima

http://www.facebook.com/borisheavyrocks/
http://borisheavyrocks.com/
https://thirdmanstore.com/

Boris, Live at Psycho Las Vegas 2018

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Clutch and Killswitch Engage Announce Co-Headlining Tour

Posted in Whathaveyou on May 16th, 2019 by JJ Koczan

“Wow, called it!” said nobody. You know, a couple outdoor gigs, a fest or two along the way, and a decent amount of focus on the Eastern Seaboard — pretty standard fare for Clutch touring at this point, if a little bit shorter than some of the runs they go on. Then you throw in metalcore stalwarts Killswitch Engage as a co-headliner and things get a little more eyebrow-raising. Clutch of course are no strangers to touring with metal bands — they shared a bill with Slayer and System of a Down in ’98 as I recall and even recently they were out with Sevendust I guess to fill their quota of “odd pairings with bands who also started in the ’90s,” but it’s been a while I think since they’ve hit the road with a group so directly aggro as Killswitch Engage. Trying to reach different audiences is a tricky prospect, but no worries. Clutch‘ll be just fine.

They go supporting last year’s Book of Bad Decisions (review here) on Weathermaker. Worth noting as well that the Inwood, West Virginia, show is their third Earth Rocker Festival, which Killswitch Engage and Cro-Mags will also play, as well as Fireball Ministry.

Okeydokey then:

clutch kse tour

CLUTCH AND KILLSWITCH ENGAGE ANNOUNCE CO-HEADLINE SUMMER TOUR

Clutch and Killswitch Engage have announced co-headline tour dates for this summer. Tickets go on sale on Friday, May 17th at 10am.

Both bands will also be appearing on several festivals during their July 12th – August 4th run to include Earth Rocker Festival (July 13th), Rock Fest (July 19th), Heavy Montreal (July 26th) and Impact Festival (July 28th).

“We are really looking forward to heading out on the road with Killswitch Engage,” said Clutch’s vocalist Neil Fallon. “It’ll be a rager”.

Jesse Leach vocalist of Killswitch Engage adds “We’re excited to hit some of our favorite spots in July and to share the stage wtih Clutch, fun times ahead”

CLUTCH – KILLSWITCH ENGAGE CO-HEADLINE DATES
Tickets available at www.pro-rock.com
July 12th in Syracuse, NY at SI Hall
July 13th in Inwood, WV at Shiley Acres
July 14th in Myrtle Beach, SC at House Of Blues
July 16th in Fort Wayne, IN at The Clyde
July 18th in Sioux City, IA at Hard Rock Casino
July 19th in Cadott, WI at Rock Fest
July 22nd in Tulsa, OK at The Brady Theater
July 23rd in St Louis, MO at The Pageant
July 25th in Bethelehem, PA at Sands Event Center
July 26th in Asbury Park, NJ at Stone Pony (Outdoors)
July 27th in Montrael, QC at Heavy Montreal
July 28th in Bangor, ME at Impact Festival
July 30th in Huntington, NY at The Paramount
August 2nd in Pittsburgh, PA at Stage AE (Outdoors)
August 3rd in Port Chester, NY at Capital Theater
August 4th in Worcester, MA at Palladium (Outdoors)

CLUTCH:
Neil Fallon – Vocals/Guitar
Tim Sult – Guitar
Dan Maines – Bass
Jean-Paul Gaster – Drums/Percussion

www.facebook.com/clutchband
www.instagram.com/clutchofficial
www.twitter.com/clutchofficial
www.pro-rock.com
www.youtube.com/user/officialclutch

Clutch, Live at Riot Fest 2018

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