Category Archives: Uncategorized

24.11. EARTH + HELEN MONEY

Earth is an American musical group based in Seattle, Washington, formed in 1989 and led by guitarist Dylan Carlson. Earth’s music is mostly instrumental, and can be divided into two distinct stages. Their early work grew out of the Seattle-area grunge scene and is recognized as pioneering the genre of drone doom — an experimental offshoot of doom metal, characterized by droning, minimalist, lengthy, and repetitive structures.


Earth’s early albums were usually recorded as a duo (Carlson and a bass guitarist), and could be seen as a variation of the experimental doom-influenced metal of The Melvins. Earth currently features a markedly different sound, slow-paced and lengthy, but now with a drummer and featuring strong elements of country music and jazz.

With their latest album “Full Upon Her Burning Lips”, Earth purges the layers of auxiliary instrumentation that embellished some of their previous records and deconstructed their dynamic to the core duo of Dylan Carlson on guitar and bass and Adrienne Davies on drums and percussion. In the process, they tapped into the Platonic ideal of Earth—an incarnation of the long running band bolstered by the authority of purpose, where every note and every strike on the drum kit carries the weight of the world.

Full Upon Her Burning Lips opens with “Datura’s Crimson Veils”, a twelve-minute opus that adheres to Earth’s 21st century approach with Carlson’s sepia-toned Bakersfield Sound guitars lurching across a barren landscape while Davies punctuates the melodies with death knell drums. It’s a sound that harkens back to the riff-constructed vistas of their Angels of Darkness, Demons of Light albums, but stripped of their ornateness.

“It was definitely a very organically developed record,” Carlson says of the process. “I limited the number of effects I used. I always like the limiting of materials to force oneself to employ them more creatively. Previous Earth records were quite lush sounding, and I wanted a more upfront and drier sound, using very few studio effects.” In less capable hands, these kinds of limitations might diminish the aural scope of the compositions, but Carlson and Davies have always thrived on reductive methods.

The stripped down approach had another advantage. “I really wanted the drums to be present,” Carlson says. “I felt with previous Earth records that other instrumentation took up so much of the sonic space that the drums were kind of pushed to the side.” This tactic helps highlight Davies’ ability to elevate the drum kit beyond its mere metronomic functions and allows it to serve as an expressive, nuanced, and tonally rich component to Earth’s arsenal of sound.

In addition to scaling back on their ranks, Earth altered their previous trajectory by entering into Full Upon Her Burning Lips without a conceptual arc to guide the process, relying instead on their collective subconscious to hone in on the overarching muse as the songs developed. “In the past I’ve usually had a strong framework for an album,” Carlson says. “This one developed over the course of writing and recording. It just felt like ‘Earth’—like just the two players doing their best work at playing, serving the music.”

The absence of a pre-existing narrative guiding the compositions meant that the songs were more open and intuitive, often resulting in more terse musical vignettes like the richly harmonic “Exaltation of Larks” or the dreamily itinerant “Maidens Catafalque”. Yet subconscious impulses gradually created their own subtext for the album. “I wanted this to be a ‘sexy’ record, a record acknowledging the ‘witchy’ and ‘sensual’ aspects in the music… sort of a ‘witch’s garden’ kind of theme, with references to mind altering plants and animals that people have always held superstitious beliefs towards. A conjuror or root doctor’s herbarium of songs, as it were.”


thronesanddominions.com


Alison Chesley aka Helen Money is a cellist who has become known for her adventurous sound, bold compositions, and compelling stage performance. Called “A classical-cellist-turned-avant-metal virtuoso” by the Boston Phoenix, Chesley channels her sensibilities and experience as a rock musician through a classical instrument, altering both genres without apology. She has played on over 150 albums with artists such as Disturbed, Bob Mould, Mono, Anthrax, Broken Social Scene, Russian Circles, and Archer Prewitt among others.

She began composing music for films, theater and dance including two world premiers with the modernist icon Shirley Mordine. And, in 2007, Alison wrote the first Helen Money album and released it on her own label, Cellobird Records. Since then, she’s recorded three additional albums as Helen Money, the latest of which, Become Zero, is available on Thrill Jockey Records. Helen Money has toured the world several times over opening for bands such as Sleep, Shellac, Earth, Mono, Neurosis, Magma and Jarboe including a 2015 appearance on The David Letterman Show with Bob Mould and an appearance at the 2012 ATP Festival in London curated by Portishead.

helenmoney.com

Arena Vienna / “Small Hall” / adv 20 € / doors 19.00

Tickets: arena.wien

23.11. KADAVAR + HÄLLAS + PABST

For the few lucky bands who live to see a career blossom out of their passion, even fewer manage to avoid the hopeless creative stagnation that happens when hobby turns into ”work”. We all know that as soon as rock n roll starts to resemble going to the office, there are no winners – everybody’s screwed. As the German trio KADAVAR – arguably the hardest working band in European rock – stand on the brink of releasing their fourth full length album, they look back at a seven year long career of doing things the other way around. Rather than this being the time to start talking about how music is just another way of paying the bills, they could not be more in tune with the main reason anybody starts a band in the first place – liberation.

“We used to put ourselves under a lot of pressure,” says guitarist and vocalist Christoph ‘Lupus’ Lindemann. “We didn’t want to be just another rock band, we wanted to be the best. Now we are free from the idea that we need to hit the charts or fill big halls to become happy. To get to that point everyone involved needs mental maturity, and this satisfies me more than any full arena.”

Not that they are strangers to neither chart positions nor sold out venues. After being formed in the German capital city back in 2010, the word of KADAVAR playing in a different league from their retro rock-labelled peers quickly spread worldwide, resulting not only in audiences growing past the 1000 mark on their many tours, but also in chart positions for their third and latest album »Berlin« – entering on position 18 in Germany and 21 in the US Heatseekers charts. Highly regarded as one of the most explosive live experiences on contemporary rock scene, their secret seems to be boiled down and brewed from three ingredients: an accessible yet personalized brand of classic rock; a no-frills approach to everything they do (”minimal arrangement, maximum effect”); and that undeniable German tenacity, yet again.

The trio form a uniqe symbiose, challenging each other to fill the sonic space between them when the curtain goes up – and to grow even closer after it’s gone down. “Being only three on stage does not give you much margin of error, so each and every one of us need to kick ass every night. But at least it gives everyone enough space to express himself, sonically and physically on stage,” Simon says.



In the beginning of 2017 the band prepared to start a new album cycle by literally rolling up their sleeves and building a brand new recording studio from scratch. Over 100 square metres inside an industrial complex in the area of Neukölln in Berlin is now their creative haven and workplace alike, and this is where the follow-up to »Berlin« has started to take form.


“We have been giving it quite a lot of thought, how we want to continue after the last album,” says Tiger. “Maybe I try not to only be a musician, but to think, write and play like an artist. It sounds corny, but I mean it in the way a brick layer differs from an architecht. Not to only lay brick by brick, but create a nice vision of a house with different rooms.”

“We would not respect ourselves and our followers by putting out just another KADAVAR album. It needs to be different and hopefully better!” They might have eased up on the competitive attitude, but don’t believe for a second the hunger is gone. : “When you realise you have taken it to the next level, where you can live from music and see the world – you work your ass off to keep that. What else should we do? We are useless in the normal world. And maybe it looks harder than it is…”

www.kadavar.com

In a parallel time a knight and a seer walks a dark earth trying to solve the mysteries of the world, guided only by the stars. If you want to escape reality for while and flee into this madness, you’re welcome to open this heavy door and enter the enchanted universe of Hällas.

By the ancient landscapes, woods and medieval relics, the Swedish quintet takes their inspiration to express their way of making music into tales, blending progressive rock with early heavy metal. Hällas invites you to an adventure you’ll never forget. You can’t escape your fate.

www.hallasband.com


PABST are a Berlin-based power trio who are ready to transcend the definitions of modern rock music. In an era where grunge has been marginalized into a fashion statement, PABST revitalize the genre with elements of noise-rock, stoner-rock and R&B.

With their debut EP, they tramp the territory that lies between NIRVANA, DINOSAUR JR. and TAME IMPALA, while unabashedly flirting with female pop groups from the early 00s. Both sexy and profound, Skinwalker is a “petite mort” for grunge fans that definitely lasts beyond a one-night stand. (Robert Westerveld)


pabstband.bandcamp.com

Arena Vienna / “Big Hall” / adv 25 € / 19.00h

Tickets: arena.wien

6.11. CONAN + UN + SIXES

Conan,  a  monumentally  brutal  three  piece  (in  the  grand  tradition  of  all  the  hallowed  three  pieces  through  time)  hold  a  sinew-tight  line  and  an  iron-grip  command  over  the  uber-synchronised  powerchord  changes  and  tempo-shifts  of  the  anti-holy  trio  of  bass,  drums  and  guitar.  Two  weary  yet  defiant  men  have  the  task  of  vocalising  wretched  thoughts  over  the  turgid  weight  of  Conan’s  metalized  bombast.  They  bear  it  well,  for  the  task  is  immense.

Hear  the  roar  of  battle.  Smell  the  stench  of  split  blood.  A  thousand  heads  piled  high  like  a  grim  mound  of  suffering  –  a  blasphemy  to  nature.  Hail Conan!

If troglodytes could have gotten their paws on a Fuzzthrone or other fuzz pedals…they would have probably bashed each other`s skulls in. Conan on the other hand use these beautiful tools to wrench the maximum out of their legendary Caveman Battle Doom.

The British trio presents a tar monster named Existential Void Guardian that seems even more menacing as soon as it gets high on its own downtuned groove frenzy.

Two years after the remarkable Revengeance, Conan once more leave us baffled with a previously unknown side to dual vocal sludge – behold the painful melody splinters ‘Eye To Eye To Eye‘ leaves behind or the insane grind intermezzo that is ‘Paincantation‘. True beauty lies in dissonance, and it always will.

www.hailconan.com


UN is a doom metal band from Seattle, WA. UN received critical praise from across the heavy metal underground for their groundbreaking sophomore opus, “Sentiment” (released September 28, 2018 via Translation Loss Records).
Praised by Decibel Magazine, Metal Injection, Revolver Magazine, Stereogum, and more, Sentiment earned widespread recognition and became 2018’s most sought after doom record.

Unafraid to reveal somber themes of tragedy, sorrow, and isolation, UN fueled each note of Sentiment with purpose, resulting in overwhelming waves of thunderously crushing doom and emotive sonic soundscapes. Blending soaring post-rock, shoe-gaze, and funeral doom, UN have carefully crafted monoliths that deeply explore the romance and poetry of fragile human existence making Sentiment one of the year’s most gripping and emotive doom records.

unvibes.bandcamp.com


Sixes are a blackened doom/sludge band from Southern California.
They are known to elicit the statement of “Worship Amps Not Gods” as part of their ethos.

“If I could describe SIXES in one word, it’d be “Grindhouse.” Not because their craft is shabby, but because the approach to their core focus, even in this day and age, is taboo, violent, and abrasive.”
-Elizabeth Gore, Doomed & Stoned.

“This has all that a growing sludge fan needs: slow riffs – check, sandy growling bass – check, claustrophobic drums – check, feedback – check”
-Regnars Breikss, Shit Regnar Says.

“A powerful knockout session to your senses.”
-Marty Jones, Vitriol Inc.

sixesdoom.com


Arena Vienna / “Small Hall” / adv 19 € / 19.00h

Tickets: arena.wien

 

5.11. MARS RED SKY + DÄTCHA MANDALA

Beyond a highly recognizable sound, MARS RED SKY have been opening gateways to new dimensions with their otherworldly songs since their self-titled debut back in 2011. Whether you experience their records or live performances, their hulking yet trippy brand of stoner rock takes you onto an infinite journey. From the early days, the Bordeaux trio has established as an essential live act, treading upon the biggest rock and metal stages (SXSW, Hellfest, Roadburn, Desertfest, Eurockéennes festival) and opening for the likes of Sleep, Dinosaur Jr., Kyuss Lives!, Killing Joke or Gojira.

With their sophomore full-length “Stranded In Arcadia” (2014), a sci-fi odyssey filled with dystopian reveries, MARS RED SKY quickly became a cornerstone band among the heavy rock scene, garnering praise from international critics.

“Hypnotic”, “massive”, “charismatic”, “psychedelic” are some of the tags used to define the prolific trio’s sound, floating atop the stoner rock constellation and 70s psych pop nebula. Two years and hundreds of shows across Europe and Americas later, the band releases their third album “Apex III (Praise For The Burning Soul)” (2016). Once again produced by Brazilian engineer Gabriel Zander, their behemoth sound blends perfectly with Julien Pras ethereal vocals and guitars, opening a door to even more bewitching paths.

In 2017, MARS RED SKY treated the fans to a highly collectable item with the “Myramyd” EP – an instrumental odyssey in the form of a 17-minute live recording. After another two years spent on the road, 2019 felt like the right time to return with their brand new album “The Task Eternal” on Listenable Records, which is set to be followed by a couple of extensive European tours.

www.marsredsky.net

Dätcha Mandala is a power trio. Founded in 2009, the band’s members include Nicolas Sauvey (lead vocals, bass and mouth organ), Jérémy Saigne (guitar and back-up vocals) and Jean-Baptiste Mallet (drums and back-up vocals). With influences ranging from Led Zeppelin to The Beatles, Black Sabbath and The Black Angels, they tend to describe themselves as a psychedelic rock band engulfed in heavy blues.


Since its beginnings, the band has performed more than 500 gigs, travelled in different coutries (Italy, Germany, Spain, Holland, Slovenia, Switzerland) and shared the stage with The Bellrays, Radio Moscow, The Datsuns, Mars Red Sky, DeWolff, Angelo Moore, Samsara Blues Experiment, Endless Boogie, 7 Weeks, Shaka Ponk, The Cosmic Dead, Bob Wayne, The Dictators…

www.datchamandala.net

Arena Vienna / “Dreiraum” / adv 16 € / 20.00h

Tickets: arena.wien

24.10. NIGHT OF FUZZ: PARASOL CARAVAN + SAVANAH + MINUS GREEN

Ready for take-off? Buckle up and hold on tight when the “fuzztronauts” of PARASOL CARAVAN start their spaceship and speed across the stage with the riff force of a supernova. The Linz-based band counts on calm psychedelic moments merged with heavy fuzz and driving guitar riffs, a fusion epitomizing the right amount of progressiveness and beaming the listener directly into orbit.

Since their formation in 2009, Parasol Caravan’s fuzztronauts have worked tirelessly on their reputation as an outstanding live act in the stoner rock cosmos.

Parasol Caravan have been working hard on their new record and are proud to finally unleash „Nemesis“ (töchtersöhne Records) on to the public on October 25th.

parasolcaravan.com/

Savanah is an Austrian Stoner Rock Trio from Graz, formed in 2014.
The band takes influences from Doom, Desert and Psychedelic Rock to create their unique sound, once described as aggressive Stoner with a deafening bass and powerful riffs. Energetic Live-Performances are part of the bands character and attitude.


The moment rock appears to be manifested in the brain, Savanah lifts the listener with hypnotic heavy riffs and alternating loud and apathetic tones into a world that covers all facets of the emotional palette. The different moods offer the audience the freedom to dive into different states of mind. Wether they lose themselves in the darkness of their own, or withdraw with a smooth spirit into the sphere of the magellanic clouds is up to them.

Their latest Album „The Healer“ was released on Stone Free Records.

www.stonefree.co.at/savanah.html

savanah1.bandcamp.com

The instrumental stoner band MinusGreen was founded in early 2013 in Vienna.
The idea behind their music is the creation of atmospheric and down tuned sounds, mixed with melodic components and driving riffs.

After more than a year of work in the rehearsal room, the four musicians made their concert debut in Vienna in May 2014. In the same year followed a few more concerts in Austria and at the end of the year, the first demo recordings were produced.

After a first small tour through Austria and Germany, their first record was recorded in the summer of 2015 in Linz. The self-titled album „MinusGreen“ officially appeared on vinyl in November 2015.
In March 2016, together with the band Savanah, the first European tour was on. The tour led through Germany, Poland, Hungary, Slovakia and Austria.
The 2nd tour with Savanah in November 2017 took the bands through Germany, the Netherlands, Belgium, Switzerland and Austria.
At the end of 2017, the band worked hard on their new album.
Minus Green released their second record „Equals Zero“ on 31st of July 2019

www.facebook.com/pg/MinusGreenBand/

Arena Vienna / “Small Hall” / adv 18 € / doors 22 € / 19.00h

11.10. CHURCH OF MISERY

From the Land Of The Rising Sun come these not so jolly murder-obsessed Sabbath freaks, Church Of Misery. Born back in 1995 out of a love of early 70s Hard Rock and traditional Doom Metal, Church Of Misery set about assaulting ears and minds the world over with their notorious dedications to some of the sickest known serial killers in modern history; Denis Nilsen, Jeffrey Dahmer and Richard Ramirez to name but a few.

This combination of disturbing lyrical imagery infused with their frantic brand of Wah Wah driven Acid Metal conjures up images of a latter-day Manson Family sitting around in blood-spattered tie-dye contemplating their next sinister move.


Whereas other left field Japanese rock bands such as Boris, Melt Banana, Galhammer or Boredoms have managed to achieve a reasonable amount of media coverage and live status on European shores over the past couple of decades, the activities Church Of Misery seem to have remained encased in a morgue of confusion and mystery.

That being said they are easily one of the most devastatingly heavy & crushingly intense bands playing live music today.

www.churchofmisery.net

Arena Vienna / “Dreiraum” / adv 16 € / 20.00h

Tickets: http://arena.wien

7.10. NEBULA / THE QUILL


Guitarist Eddie Glass and drummer Ruben Romano formed NEBULA in 1997 after breaking away from desert rock pioneers Fu Manchu, eventually recruiting bassist Mark Abshire. The power trio specializes in feedback-drenched heavy rock, incorporating liberal doses of Black Sabbath riffery, psychedelia, and space rock. The band released a number of EPs before moving onto full-length albums like 1999’s To the Center and 2001’s Charged. They’ve mainly distinguished themselves as a very hard-working live unit

NEBULA creates pure guitar-driven, conscious expanding rock for the 21st century. They are a culmination of their rock forbearers such as Jimi Hendrix, MC5, The Stooges and Mudhoney turned up a notch, taken to the next level and blasting through space. NEBULA spread their gospel through their music and what they are preaching will leave the congregation on the floor.

In 2017 the band decided to reissue three of their crucial early works via Heavy Psych Sounds Records: 1998’s Let it Burn, 1999’s To the Center and 2002’s Dos EPs, which includes the material originally released on 1999’s Sun Creature and a Nebula/Lowrider split.

Followed by the re-release of NEBULA’s Charged and the special release of Demos & Outtakes ’98-02 in early 2019, this summer and after 13 years will be seeing the band return with not only a new line-up but also their brand new full-length, a news that will definitely make every desert rock-heart beat faster.

“Holy Shit” was released in June 2019 on Heavy Psych Sounds Records.

www.atomicritual.com

The classic The Quill line-up who created the albums Silver Haze, Voodoo Caravan and Hooray! It’s A Deathtrip has reunited. Lead singer Magnus Ekwall (Ayreon) is back behind the mic together with the dynamic power of drummer Jolle Atlagic (Hanoi Rocks, Electric Boys, Firebird), guitarist Christian Carlsson and bassist Roger Nilsson (Spiritual Beggars, Firebird). This unique foursome has kept the 70́s feel intact and their new album “Born From Fire” contains 12 smashing tracks.

The new record is back to the roots, no frills, just full throttle real QUILL rock! The lyrics are based on my life and things in life like, birth, death, sorrow and happiness, and I think that everyone can relate to that.

After two months on the road with Monster Magnet and all big European festivals on top of that we had achieved pretty much everything we aimed for. It was hard to reload and we slowly drifted apart as a band, it obviously took us 10 years to recover, says Christian.

thequill.se

Arena Vienna / “Small Hall” / adv 20 € / doors 25 € / 20.00h

Tickets: http://arena.wien

1.7. RADIO MOSCOW / SUCCOPUSS


Trends come and go, but the idea of a bunch of guys getting together in a garage and playing the kind of music that makes the neighbors call the cops — that’s forever. And it’s that idea that’s crystallized in the form of Radio Moscow. The power trio led by the Stratocaster genius Parker Griggs have found THE formula : powerful, crunching Sabbathstyle chords and fiery solos that earn the right to be called Hendrixian and plants its flag firmly in the territory where psychedelic rock and cranked-up blues meet.

Parker’s demo caught the ear of The Black Keys’ Dan Auerbach, who produced the 2007 self-titled debut. With « Brain Cycles », their second album Radio Moscow proves that they’re not a cheap time machine but a direct descendant from the golden age of Rock’n’Roll. In 2011, Griggs continued his psychedelic trip with « The Great Escape of Leslie Magnafuzz » realesed by Alive Records. 2014 the band recorded their first album as a full trio untitled “Magical Dirt”.

The follow up Albums “New Beginnings” & “Live in Californoa” are, aswell considered modern classics of the Psychedelic / Blues Rock genre.

The band has been touring heavily to an ever growing audience for the past few years, cementing their status as one of the most exciting Rock n Roll live acts around today.

radiomoscow.net

Succopuss is the name of a rock and roll, stoner, blues duo based in Vienna, founded after Tobias Paul (vocals, guitar) and Krystof Hümer (drums) met each other at a nightclub in their hometown 2013, one dressed up as a sailorboy and the other as Nick Cave.

Tobias’ 24-year-old voice sounding more like he had already lived decades of rock and roll lifestyle, complementary to Krystof’s drumming, a rythmic eardrum stimulating penetration. Their notorious live performances, with jam passages often resulting in more or less obvious acoustic sexual innuendos, are a damage of space and time, causing the crowd flashbacks to a more analog era, when psychedelics were taken before breakfast.

succopuss.bandcamp.com

Arena Vienna / “Small Hall” / adv 20 € / 19.00h

 

28.5. ELECTRIC CITIZEN / IDLE HANDS

Based in Cincinnati and signed to California based heavyweight, RidingEasy Records, Electric Citizen has spent the last several years touring the world headlining and opening for acts like King Diamond, Pentagram, The Crazy World of Arthur Brown, Fu Manchu, Budos Band, Charles Bradley, Joan Jett, Wolfmother and playing renowned festivals like Psycho Las Vegas, Psycho California and Desert Fest Belgium.

After bursting to the American heavy rock forefront with their 2014 debut album, Sateen, Electric Citizen released their second album, Higher Time in 2016; a breakout moment for the band as a whole and for vocalist Laura Dolan. Like its predecessor, Higher Time was recorded at The Diamonds studio in Cincinnati by Brian Olive (The Greenhornes, Dan Auerbach, Dr. John, etc.), and in search of an even more expansive feel, Laura, Ross and Brian traveled to mix alongside Black Keys engineer Collin Dupuis at Easy Eye in Nashville, TN.

Helltown, their third album is, in many ways, a homecoming.

While the title may seem fittingly metal (if not exceedingly so), it actually has real relevance. Helltown (all one word), while also multidimensional, is named after the Cincinnati, OH neighborhood in which the band lives, practices, and where the album was written, recorded and mixed. Now known more prosaically as Northside, Helltown earned its name in the 1800s due to its reputation for rowdy taverns frequented by the neighborhood of factory workers and immigrants.

Inasmuch as Helltown is an ode to the band’s home and its buried past, it also represents a return to the grittier sound of their 2014 debut, Sateen. Furthermore, it marks the return of original bassist Nick Vogelpohl, who rejoins vocalist Laura Dolan, guitarist Ross Dolan and drummer Nate Wagner. It’s a fun, tough, dirty rock n’ roll album.

electriccitizenband.com


Idle Hands introduce their first full-length album, “Mana”, to be released by Eisenwald. Rising out of ashes of traditional heavy metal quintet Spellcaster like a new wave phoenix, Idle Hands is bound to catch the attention of anyone who loves NWOBHM, occult rock or the sleaze of the 80s.

Entering into the studio only 4 months after the release of their highly acclaimed EP Don t Waste Your Time , “Mana” conjures up an emotive 40-minute ride into the realms of heavy metal, new wave, goth rock, and continues to solidify the bands unique brand of heavy music.

Mana was recorded between the months of November 2018 to January 2019. Drum production executed at Sharkbite studios in Oakland, CA with producer Zack Ohren (Machine Head). Tracking of all guitars and vocals were completed at Falcon Studios in Portland, OR with Producer/Engineer Gabe Johnston, and followed by mixing by Gabe Johnston and Gabriel Franco. Brad Boatright gave the album it`s final touches at his esteemed Audiosiege mastering studio (Corrosion of Conformity, Yob, Poison Idea, Mantar). With the first EP and Album under their belt, the band is set to tour heavily in 2019 across EUROPE and NORTH AMERICA.

idlehandspdx.bandcamp.com

Arena Vienna / “Small Hall” / adv 18 € / doors 22 € / 19.00h
Tickets: http://arena.wien

27.5. MOTORPSYCHO / CADU

 

Named for a movie by American sexploitation auteur Russ Meyer, Motorpsycho are an eclectic Norwegian band whose music is an adventurous amalgam of progressive rock, psychedelia, alternative rock, folk-rock, hard rock, jazz, country, and old-school heavy metal.

Based out of Trondheim, the group emerged fully loaded in the late ’80s, but really caught fire with the release of their ambitious third album, Demon Box, which spanned two LPs and earned the group a Norwegian Grammy nomination. With a loyal fan base established, Motorpsycho set out to make a name for themselves both at home and abroad, issuing a string of acclaimed albums that chewed through genres with impunity, with highlights arriving via Phanerothyme (2001), Child of the Future (2009), and The Tower (2017).

2019 saw the release of their latest LP „The Crucible“.

Both visually and musically, The Crucible starts where the last album The Tower ended, but it soon takes on its own hue, and it is clear that it cannot be called a ‘sequel’ as such:  this is very much a step further out than anywhere the band ventured on The Tower. While it is broader lyrically speaking, it is even sharper focused musically and, if possible, even more idiosyncratic and insular than ever. Unarguably a Motorpsycho album, it is one that is going to make the novice Psychonaut’s head spin, but feel comfortingly unfamiliar to the acolyte. Motorpsycho was always too gnarly for prog nerds as well as too musically unwieldy for punks, and as their appeal becomes ever more selective, they are still proudly falling between all cracks, stools or chairs one might think of putting in their way. ‘Prog rock’? Call it Motorpsychodelia!


The Crucible was recorded at Monnow Valley Studios in Wales in August 2018 by Hans Magnus Ryan (guitars, vocals), Bent Sæther (bass, vocals, sundry) and Tomas Järmyr (drums), with co-producers Andrew Scheps and Deathprod. To these ears, and to the band’s satisfaction, this co-production ploy worked out wonderfully, and has resulted in a beautifully crafted record, smaller in size but at least equal in ambition to its celebrated predecessor. It is somehow both more focused, and denser in content, but also compositionally more ambitious than The Tower. One would perhaps think that this necessarily results in a diminished sonic assault, but the album still packs a wallop like a good rock record should. And – ‘for once’ some waggish tongues would say – does not outstay its welcome.

motorpsycho.no

Cadû is a 4 piece ProgRock / TripHop formation hailing from Vienna Austria.

With band members emerging from all corners of the Viennese underground scene, Cadu benefits from a vast variety of stylistic influences ranging from Trip Hop to Jazz to contemporary music and progressiv theatre music, which being incoporated, combined and torn apart by heavy riffs and mindless screams.

Their songs are mirrors and reflections of deep rooted subconscious dreamworlds hitting the 21st century human experience.

Never resolving but always evolving their arrangements move back and forth between utopia and dystopian breakdowns forming a unique dark yet colorful musical experience.


cadu.bandcamp.com

Arena Vienna / “Big Hall” / adv 25 € / doors 30 € / 19.00h