Category: 2008

Kuruucrew – Battle Disco (2008)

“Someone once called them a “Violent Neu!” and that’s not a bad assessment. However, there is nothing vintage about Kuruucrew’s mix of relentless rock assaults and noisy head-banging cacophony. Neu! and other Krautrock bands of the 70’s are often defined by their experimenting with electronics over a steady motorik drum beat. Kuruucrew takes the same trance-inducing repetitive groove of Krautrock’s motorik and modernizes it into a hardcore rock sensation that grinds your head to a pulp. In addition to the stone solid rhythm section, wailing saxophone lines run through effects pedals from saxophonist Akkun (also from Henrytennis) and flagrant guitar massacres from Murata make Kuruucrew worthy carriers of the Japanoise torch. But be careful when getting lost in Kuruucrew’s music, you may snap out of it to find your ears bleeding and your brain washed.”

Twin Tail – Everything Is Permitted (2008)

“Twin Tail is a three piece improvisational, instrumental band. Made up of drums, bass and violin, they bring something of a unique sound to the table. Violinist Yuji Katsui uses the same set of floating, delayed and syrupy effects as sgt’s Mikiko Narui. The sound is so similar as to make one wonder if there isn’t some sort of conspiracy going on amongst post-rock instrumental bands in Japan. It’s obvious from the start that Twin Tail is all about improv and jamming out thorough extended passages. Their songs build (very) slowly, with tempos stretching and breathing along with the intensity of the music. There are really no “songs” or hooks per se. Yuji plays his violin like a screaming, psychedelic guitar more like a blissed-out solo from Jimi Hendrix than any sort of classical piece, while drummer Tatsuya Nakamura and bassist Toshiyuki Terui pound out a trance-like tribal backdrop.”

Elephant9 – Dodovoodoo (2008)

“Elephant9 is a Norwegian jazz/prog rock band. Their music sounds like a modern take on 70’s prog and hard rock, with clear influences from Miles Davis. Their live shows are said to be stunning. Classic Hammond driven prog fusion and great big real deal analogue instrumental pieces on a direct line from somewhere in 1974. Flowing jazz flavoured progressive rock pieces that feel like well considered structured focused jams. Well focused is a relative term, they’re not afraid of a long piece (or two) of healthy prog rock self indulgence, a self assured style, tight accomplished musicians who just let it all naturally flow rather then feeling any kind of need to show off how good they are. Thrilling ride through the glories of organ driven 70’s sounding jazzy prog rock, bits of funk, Deep Purple sounding hard rock jams, and more notes that you can reasonable expect to be coming at you none stop in such a gloriously good way.”

Husky – The Sea King (2008)

“Based in Charlotte, NC, Husky is made up of Mark Hadden (bass), Phil Strickland (guitar), and Nate Wilkinson (drums)… In the past nine years, the instrumental trio has grown from spinning improvised epic rock jams to firing off focused, intelligent yet simple tunes. Ranging from thick, head nodding Southern grit-rock to echoing bluesy twang and swirling psychedelia to ambient soundscapes, Husky’s masculine punch has been embraced by fans of blues and classic rock to modern and stoner rock aficionados to fans of sweeping melodic post-rock. Their improv skills often come into play during live shows, and they rarely play the same show twice.”

Bandcamp

Pink Fairies – Finland Freakout 1971 (2008)

“The first European excursion for The Pink Fairies saw them blowing amps, money and minds at the three-day Ruisrock Festival in Turku, Northern Finland in 1971. Recorded by the state radio station, the three-piece, now without Twink, consisted of Russell Hunter on drums, Paul Rudolph on guitar and vocals, and Duncan Sanderson on bass. Unleashing heavy, acid-drenched jams on the audience, beginning with a blistering attack on The Beatles’ psych classic Tomorrow Never Knows, the Fairies must have blown away the opposition – Juicy Lucy, Jeff Beck, Canned Heat and Fairport Convention – with sheer force.”

Space Debris – Elephant Moon (2008)

“Space Debris are a German band whose music will transport you back 30 years to the pioneering days of Krautrock and Progressive influenced Psychedelia. Lots of lengthy stretch out guitar jams and an old time organ sound that will make you swoon. Influences range from Amon Düül and Can on the one hand to a psychedelicious take on the Santana, Allman Brothers, and early Deep Purple stylings. If you like early 70’s styled jamming hard prog-psych you’ll love this.”

Bandcamp

Over-Gain Optimal Death – Over-Gain Optimal Death (2008)

“Over-Gain Optimal Death, or OGOD, are a heavy psych power trio from Pasadena, California. Playing blown-out overgaining speed-freak-outs, their sound is enveloped in a total nihilist fuzz atmosphere, mating intoxicating pulsing repetition with hyperactive improvisations and out of body guitar solos. Resurrecting US 60s punk and acid-riffage from the likes of Blue Cheer, the Stooges, MC5 and live Hendrix Experience, OGOD also draws greatly on the in-the-red sound aesthetic and high energy of the Japanese Speed Freak trios of the 80s/90s: High Rise, Mainliner, Musica Transonic. OGOD are quickly rising as one of the heaviest psych bands of the U.S.”

Squadra Omega – Tenebroso (2008)

“Squadra Omega is an Italian psychedelic free-form jam band that knows how to bend your ears. It is The Grateful Dead, Sun Ra and Coltrane all rolled together in one night of all joy and dread abandoned. This is some of the best free improvisation you will find in avant jazz and rock. There’s a lot of 70s jam rock influence but they interact and mix their influences together totally 21st century.”

The Julie Mittens – The Julie Mittens (2008)

“Primarily inspired by the free improvisation scene of the ’60s, the Julie Mittens are fundamentally a rock power trio with little to no interest in playing rock music. The tracks are live-in-the-studio improvisations named after the date they were recorded and ranging in length from nine-and-a-half to just over 22 minutes. Guitarist Aart-Jan Schakenbos favors extended drones, often exploring all the harmonic possibilities of a single note for several minutes at a time.”

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