Tuesday, April 28, 2020

Hetouht – "Planet B" Review and Interview

Hot on the heels of the Kinetic EP earlier this year, Hetouht appear with two new tracks already.
XXXX starts big and fuzzy then kicks in to thick driving stoner rock. Its upbeat and the guitar drives all over before it soars in and out and never really lets up for the next 3 minutes. For two members they make one of hell of a fuzzy racket that could be the soundtrack here to a good desert car chase.
Planet B kicks off with a killer guitar riff with a darker side to it that pulls you away into the big fuzzy planes populated by the likes of Dozer and Lowrider. Lots of big drum work, crashing cymbals and wah-wah guitars. The song sounds huge as it rolls through a big open space before the ongoing riff builds and builds to massive proportions. The back end of the track starts to drift in a few different directions, which can only mean an even more pic jammed version of it live. They’ve even complimented this awesome track with a promo video.


Following on from this, the band where kind enough to answer a few questions about life at the moment.....
Q. So how is lockdown and social isolation working for Hetouht and the people of Belgium? Have you had to spend time in complete isolation?
We have been isolated for 6 weeks until today and we should get some news soon. It means that we can’t play together or see each other since the quarantine. We have kept in contact through social media as well and try to make this particular situation is easy as possible with all the changes in our habits and freedom.
Q. For anyone who is unaware of Hetout, can you tell us a bit about how the band have evolved from the beginning?
A few years ago we played in different bands in the same rehearsal rooms place and heard, with interest, each other’s playing through the doors. Shortly after we played with the same band "Molk" (Sludge/Stoner). After one of our rehearsals, we decided that we wanted to play more jamming and try something else. We were immediately amazed to see how fast and creative we were together and we decided to try and to start with a new band. So, from the beginning we recorded everything, rehearsals and shows, we bought everything to be able to record good decent quality demos with the great help of our sound engineer Gabriel Hanquet (Opack Records) who has followed us since the beginning.
Q. You have just dropped a new two track single “Planet B”, tell us about both songs and the journey you took to release it?
Well actually, as usual we recorded a full session before the quarantine, and only kept these two songs because they were more effective. We always try to play something different. So, we just had to wait for Gabriel to mix and master the songs. In the meantime, as we are locked in quarantine, we still wanted to share it and made the video as a bit of fun. To go with the story, we remember that late on that evening, “XXXX” seems to be lost and not saved on the PC and during the breaks we had listened to, among others, Mos Generator (Shadowlands album and Isaak split), Desert Sessions (Vol 5/6), Lowrider (Refraction) and discovered Holy Monitor (II). 
Q. And tell us about the official “Planet B” video?
Considering the situation, we wanted to shoot something a bit funny, with what we realised we had available. With our taste, we thought of something that reminded us of Red Fang or Black Flag music videos, the kind of videos we like. But in fact, this is what we do when we write our songs in the studio! Have a beer, a smoke, and as time passes between the recording and the final mix we usually forget a bit what we played. So the video sort of puts us in the same place as our fans. 
Q. What’s the song writing process for Hetouht? Do you plan songs or do you just create from your improvised jams?
It's always been improvised jams since the beginning. The important thing to know about us is that we are very influenced by everything around us. When we play in our rehearsal room sometimes we just plug in the amps. Sometimes we play for 5 hours straight or sometimes we only play for 2 hours because we're not in the mood but that doesn’t happen very often. For example if we are alone in the warehouse where we practice, it's easier to dive into ourselves and what we do without having some cover bands playing near us. When playing gigs, it's a bit different but basically anything happens and will influence our show.


Q. Hetouht has a unique way of releasing music. Sometimes it’s an EP or a single on Bandcamp then next it’s new songs or a jam on YouTube. Do you plan how and when you release new music, or does it just evolve and you want to get it out to people before you’re on to the next idea?
Our main idea is to try to record everything we play, because after playing this or that, it could be doomed to be played only once. We take time to reflect on our selections and it also depends on the situation at the time, like how we are living at the moment or any recording problems. With these kind of things, so we just go with the flow.
Q. Do you see the next few releases being singles and EP’s or is there another full length album in the making? 
We would love to make a full length album definitely, so yeah, maybe we'll think about releasing one in 2020, but in the meantime we'll keep it this way and we'll see where it take us. We have got a lot of ideas for the next record.
Q. Are there any plans to release new or previous material physically, on vinyl, CD or cassette? 
That is something we talk about a lot, we really need some physical products, and to find a way to finance them and make good quality interesting products and a decent quantity of them. About the cassettes, we had a few of them made which was really fun, made out of real beer cans, we probably should do that again. This quarantine and isolation has given us the motivation to get back on track and to go further, so stay in touch and watch out.
Q. Tell us about the Hetouht live experience and what people can expect?
Every show is different, if we play for 30 minutes or 2 hours, people can expect some good fun on stage with both heavy riffs and the quiet parts trying to put peoples and ourselves into an another state of mind and push all of us through to introspection in a special kind of way. We also often use projections, incense and other things that touch the crowd’s senses.
Q. Finally, what’s next for Hetouht? What does the rest of 2020 hold for the band?
It really depends on the current situation, about shows, and the rest, but the goal is to keep going further. All we know is that when the nearest possible time comes, we will have good new music for people, some merchandise for the fans and we will keep improvising for all of this. Thanks again.

Incoming: New All Souls songs/video

The thing I like about LA-based rockers All Souls is that however I try to describe them to someone, I just can’t. They have a unique way of mixing 90 Alt Rock with 80’s Post Punk whilst adding all their own twists and turns from their respective bands (Totimoshi, Fatso Jetson and Black Elk) and in the live environment they really know how to rock out.

After the success of their debut self-titled album and a string of high profile touring, they have a new upcoming album Songs for the End of the World, that should be out soon. Right now, there probably couldn’t be a more aptly titled record.


As a warm up for this they have released two new songs, You Just Can’t Win and Death Becomes Us. One’s a bit moody and the other is a real rocker. Check them out, keep an eye out for the new record and if you get the chance to see them live, make sure you go. Below is also some footage I took from their UK tour a couple of years back.




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Review: Moontoy - s/t


Polish instrumentalists Moontoy return with their first official release containing five new tracks that span well over 40 minutes, which is always a good thing. Recorded at the end of 2019 it appeared on bandcamp and immediately sparked lots of interest on Facebook groups due to their long laid back spacey jams.
The drum work at the beginning of Mega Chrabaszcz shows straight away that the 3 piece know their instruments and as the guitar meanders through the night sky interlocking with the percussion, you can almost feel the laid back warmth of the desert. The drums have a jazz swing feel to them and take the song towards the distance and almost silence before it brings you back in and the songs most memorable riff hooks you in and repeats itself again and again, and all three members really let go and rock out. Then almost instantly they take you back into the wilderness to near silence. As a reference point, think Yawning Man.
B.C.O is slow, more psychedelic and dreamy and takes you up passed the stars and out into the cosmos, reminding me of some of the slower/quieter times of Sungrazer. Again, the drums and bass float in complete harmony as the guitar work takes you on a warm instrumental journey that could be endless in time. I will be playing this again and again. 
There is more of an atmosphere building in Kosimazaki which make me think of Colour Haze with how the track is structured. Whether recorded in a studio or in a live setting, all three members show a real awareness of each other and how their music keeps evolving.
Swinder has a lot more distortion in the guitar sound at the beginning and it feels more like a song that vocals would fit with, but not for long as we are off into jam territory again before the structure of the song builds and builds back up and evolves into soaring guitars and lots of cymbals crashing. 


You can immerse yourself in the atmospheric warmth of final track, Miedzygaz. Probably the most laid back song on the album, it picks you up and as you close your eyes you’re drifting away into another dimension in time, before everything concludes with a final rock out.
Overall, Moontoy really do shine here with their psychedelic instrumental jams that travel between the desert and the stars, and I’m really looking forward to seeing what other trips they will be taking us on in the future.
The band have released the album digitally and Galactic SmokeHouse have just pressed a run on CD digipack.


Review: Gorm – Elysium

It only seems like a few months since I reviewed their first record, yet Gorm are back already with their latest offering Elysium. Split into Part I and Part II both running at 12+ minutes each, the German 3 piece are progressing nicely and refining their heavy psych craft into some aural magic.
Elysium Part I doesn’t take long to kick in as the song begins to build like the launch into space Gorm are about to take you on. Guitars dive in and out and create big atmospheric soundscapes that build layer upon layer as the journey into the cosmos unfolds.
To make musical comparisons, the obvious are Elder, Rotor and My Sleeping Karma, but Gorm are forging their own path throughout the planetary systems. With this style of instrumental rock, bands can either travel into the desert or the night sky and Gorm sit well up within the comets and the nebulas.


Elysium Part II feels more of an upbeat track that has its interstellar course already set. There’s lots of rolling drum beats and crashing of cymbals before the song takes a different course and the bassline ramps up (ala Pink Floyd) and the guitars float in and out as you feel the gradual descent back towards land. 
With the endless cancellation of shows right now due to Covid-19, we are just going to have to wait a little longer to witness the whole of Elysium being played live.
After several listens to this already, I have no doubt that they will have their own “Dead Roots Stirring” epic in the making soon, hopefully in the next record.
The digital version is already out there to consume on all the usual platforms and the two vinyl versions (White/Blue Smash and Blue Translucent) which look rather special, will be available any day now.

Also, if you didn't manage to see their livestream session on Saturday night, I have included it here as it was rather good!


 
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Review: The Fizz Fuzz – Palmyra

After years of playing in bands such as Hermano and Orquestra del Desierto, Dandy Brown released his first solo album Scattered Days in 2018, a collection of songs covered in blues and desert rock with a twist of Southern California. I must still play this album once a week as it sounds as fresh today as when the songs were written and I still think someone needs to give it the magic vinyl re-release treatment.
So, role on a couple of years and Dandy is back with a collaboration of songs with Dawn Brown (nee Rich), now his wife, under the title The Fizz Fuzz.
Hereby roles in like a classic 70’s convertible heading out into the heat of the Californian desert. With that laid back grooving guitar riff that Dandy is so good at writing mixed with Dawn’s more intricate guitar work and solo’s that really elevate the first four minutes of the album. If I didn’t already know this was to be the single/video to promote the album, I would have picked it straight out as the warm fuzzy classic to get people’s heads nodding.
Collapse continues with the fuzzy guitars and slowly drifts through the warm night sky with a more trippy psychedelic feel to it. Both guitars soar in and out, and if you close your eyes you can picture the oil mixed with coloured water effect as you’re taken out to that place and beyond. Like in Hereby, you instantly know Dandy’s vocals as they are so distinctive on their own and when harmonised here sound so good.
If Dark Horse II sounds familiar, that’s because it was original recorded as a Hermano track. It still has that raw dark feel to it, which would sit well on a film soundtrack with its acoustic strum that holds the verse’s together. You can make the comparisons with John Garcia’s vocals, but the vocal harmonies with Dawn over the chorus really tops the track off. Everything about the song has you thinking dark grey filmography work.
Following on in the same slow meandering mood is Shame. Starting off with just vocals and distant guitars, Shame builds into a slow moody affair with a simple but affective guitar line that goes up then down over the chorus and vocal harmonies. Then just as you think you know the lay of the song, both guitars kick the saloon doors open and let rip in style for 90 seconds, before Shame slowly drifts off into the night.

Conditional Love flips a totally different switch with a lighter, cleaner, uplifting sound with Dawn taking vocal duties. It sounds positive and paints a picture of new beginnings. Midway through there’s a really good lighter psych solo that strums along nicely.
I’m really digging Dawn’s vocal whaling throughout Dear Old that has that desert sound and mixes well over Dandy’s voice. The track has that warm fuzzy feel again but this time the guitars feel a lot more powerful and the leading riff really hooks you in and hold’s everything together and is, again, a real head nodder.
The album closes with Loose Lips and its big soaring guitar work then the dreamy drifting psychedelic Sunkissed.
I hope I am already preaching to the converted, but if not Palmyra stands up as a really good album that has that desert sound to it, but is a variation that is unique to what Dandy and Dawn are doing. They have managed to mix that gritty “Sons of Anarchy” biker soundtrack feel with a warm red fuzzy sunshine element to it which to me at least, has that Southern California big open road feel. The stand out bright red album artwork (produced by Dawn) may have contributed to this feeling.
The Fizz Fuzz also features performances from David Angstrom (Hermano/Luna Sol), Steve Earl (Afghan Whigs), Mike Callahan (Hermano/Earshot), Alice Albertazzi and Gianfranco Romanelli (Alice Tambourine Lover) and Mark Engel (Orquesta del Desierto).
Palmyra is being released on CD and digitally in Europe by Taxi Driver Records and Slush Fund Recordings Worldwide. Hopefully a vinyl version will be coming in the future as it more than deserves it.


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