A while ago I've posted the magnificent EP's Floriculture and Flower Of Void byZero Nowhere.
This one-man Post Rock project from Lublin, Poland is back with the new EP Broken Flowers Of The Void. The previous EP's were a combination of Post Rock with Sludge and Stoner. Now it is just more atmospheric Post Rock with acoustic parts without the Sludge and Stoner elements.
Nevertheless is Broken Flowers Of The Void an impressive EP with outstanding compositions. The highlight of this EP is the eleven minute epic title track Broken Flowers Of The Void. Enjoy!
Zero Nowhere - Broken Flowers Of The Void EP (2012)
From Copenhagen, Denmark comes the band Town Portal. This trio plays Math Rock and Prog Metal influenced Post Rock.
Their EP Vacuum Horror is a pretty great one. These six instrumental tracks are quite complex. There are a lot of weird rhythms and that is the power of Town Portal. These guys show some great musicianship.
Their music sounds in my humble opinion a bit like bands as Khuda, Red Sparows and Pelican.
The EP is mixed/mastered by the mighty Carl Amburn (Russian Circles, Self-Evident, Riddle Of Steel etc).
Vacuum Horror is a good sounding EP that definitely must be heard! You can download this EP at their Bandcamp site for pay whatever you want. Enjoy!
Town Portal play instrumental rock that crosses borders of genres. Tapping on experience from earlier endeavors in genres like death metal, shoegaze and math rock, the three members bring components of it all into a melting pot, creating a unique niche of original melodies and harmonies, fixated on a skeleton of complex and playful rhythm structures. Under the dogma of forsaking vocals and other superfluous effects, the band throw themselves into a search of new meaningful ways to compose tones over time, with a heavy and dry precision.
After a European tour in 2010 and a minor row of Danish shows, they released their debut EP entitled Vacuum Horror in late 2011. The EP was followed up by another European tour in the beginning of 2012. In Denmark the EP was praised in several large- and small scale magazines, and the opening track Rosini is currently in rotation on national Danish radio, DR P6. A surprising outcome for an instrumental band, with its roots heavily planted in the DIY scenes ethics and methods. At the moment they’re preparing the recording of their debut album set to be released later this year.
Bear Baiting from Los Angeles USA is formed by the two bass players Matt and Dennis. These guys play, with addition of some electronic devices, some pretty nice Atmospheric Post Rock.Bear Baiting has just released their same titled EP. It contains six tracks, which are short and compact. So there are no very long drawn-out compositions. This is the strenght of Bear Baiting: Creating short and atmospheric songs. This EP is a great sounding recording and I wonder how these guys stand out on stage. Enjoy!
Bear Baiting was born as the brainchild of bassists Matt Boylan (Cuneiform) and Dennis Valles (Helen 55) in 2008. The two met at a mutual friend's, (National Sunday Law) show at the L.A. Knitting Factory and discussed to possibility of a 2 bass project. Shortly thereafter, the two got together and started writing material. The combination of Boylan's thunderous riffing, plus Valles' diversity of tones, made for interesting music, but the project lacked proper drums. The two contemplated getting a drummer to join the fold, but prospects were limited. Valles decided to program all the drums, rather than finding a drummer, and take a more DIY approach, resulting in a more realized vision for the music. After getting past the learning curve, the songs began to take shape. Multiple sounds and textures combined to form something truly unique. While not as technical as most instrumental artists, Bear Baiting sets out to form more of a soundscape than nonstop riffing.
We're proud of the results of our experiment, and hope you enjoy. (Their bio from Facebook)
Tuber is a trio hailing from Greece. This band plays an outstanding blend of Post Rock and Instrumental Stoner Rock. Until now, Tuber has released one EP. This EP is also available as free download on their Bandcamp site.
Their music is quite stunning. These guys are really good in what they're doing. They show some great musicianship. It all turns out in these four songs. Their music is pretty entertaining. It goes from atmospheric to heavy and everything what's in between. Beside that is the sound of this EP very good.
This EP must definitely be heard. Enjoy!
Tuber grew up in a sunny place, south of Greece, in an island called Crete. They were hiding from the sun, jamming in dark studios and playing their music in rock caves. As they moved north, sounds became lighter, since they started miss hot ground. Balance came as a result of smash, dark embraced light and improvisation turned into an effortless and instinctive process. Tuber moved their interest into new forms, founding themselves experimenting with compositions that combine mixed styles and sounds from different ground. Focus is now on rock aesthetic flirting with psychedelic atmosphere and a touch of romantic mood. At this time Tuber live in Serres, forming their feelings and thoughts into music and words, still learning how to leave with reality and reinventing it with love.
Iecava is the third album by the band Khuda from Leeds, UK. This album is a logical sequel to the 2010 album Palingenesia.
This duo presents again an impressive mixture of atmospheric Post Rock and aggressive Noise. The rhythm changes are, like the previous albums, again overwhelming.
Iecava contains eight tracks, which are all stunning. An absolute recommendation! Enjoy!
Khuda are extremely good at making me feel uncomfortable in new and interesting ways. For only two people, Tom Brooke and Steve Myles have done a lot to take the standard post-metal formula and twist some new life into it. And though the result is a bit confusing at first, it’s certainly an interesting and rewarding listen.
The first thing that becomes apparent is the sparseness of the music. While the twain certainly pack a whole lot of music in for a two-person outfit, the amount of space in the music is still immediately noticeable. The sound consists almost entirely of high-end guitars and percussion, and while there are lower parts in the mix, they take on an almost negligible role. This becomes extremely apparent in the band’s dynamics, especially on the forte end. Their climaxing crescendos come off as strained and unpleasing rather than emotional and cathartic. This is a pretty big hurdle when playing in a genre where dynamicism is one of the most prominent features. It’s not that it sounds bad—it merely gives the music an unsettling, almost ethereal quality.
Compounding this sense of uneasiness are the unusual arrangements. While Khuda have scaled back the length of their pieces since 2010’s Palingenesia, this newfound compactness doesn’t mean the music is any less confusing. The pair are still throwing around sudden tempo changes and playing through unusual time signatures like it’s no one’s business. And while they do so with extreme competence, the constant reframing of their music only serves to augment the initial sense of wariness this album presents.
To point at something solid, the percussion half of Khuda has always been an unexpected delight. While I’m not a fan of how the drums are mixed (the snare sounds extremely open and tinny, almost like a neglected tom), Steve Myles plays with an aggressive casualness that sounds extremely fluid and natural. His style of playing is busy yet confident, providing a stunning antithesis to the frequently scaled-back and minimalist guitar work of Tom Brooke. That isn’t to say Brooke can’t shred with the best of them when the piece calls for it; his guitar work can be as psychedelic as if it were 1969. But often he chooses to forgo elaborate guitar lines when a simpler one will suffice, and that constant tension between the frantic drumming and the restrained guitar lines gives the music a severe case of sonic schizophrenia.
After listening to it a few times, the real merit this music is hiding can shine forth. Though Khuda have always been extremely good at creating interesting musical ideas, it is only on Iecava where the music finally reflects that. One thing they’ve learned since Palingenesia is how to write music that doesn’t sound merely like musical ideas strung together without purpose. By sensibly compacting their writing, the pieces finally feel like legitimate songs, and not collections of unrelated ideas.
All in all, there are a lot of good things to be said about Khuda’s latest effort. While there is still certainly room for them to grow, there is no doubt in my mind that this band will bring some more great albums to the table.
Stone In is a duo from Vancouver, Canada. These guys play Heavy Stoner Rock with Psychedelic, Progressive and Post Rock influences. Their music is stunning and quite unique.
The Drop And The Sea is the title of their debut 12" single. This single is also available as free download.
Side A of this single is the title track. This song is an combination of four separate songs. Side B contains the awesome track Take A Look. This song is also subject to seventies influences. On this side there is also a bonus track called Backing In Future Days.
This 12" is a small masterpiece and I hope certainly to hear more from Stone In in the near future! Enjoy!
Stone In brings new meaning to the words 'stone' and 'in'. Held together by a common love of vintage heavies, psychedelic organisms from around the world, progressive noise making and ecstatic drone we sculpt the air around us.
Although there are many ingredients in our sonicfridge, none are more beloved than our ride cymbals, loop pedals and electric amplifiers. Canyon grooves deep and winding. High-flying guitar solos like a mermaid choir in heat.
Alberto Centurion on drums and Greg Valou on multi instruments incluiding the now-legendary double neck bass guitar.
The following contribution was brought to me by Dmitriy from the band Cosmonauts Day.
2011 is nearing it's end, and BANG! There is this stunning album that can be counted as one of the best of this year!
Cosmonauts Day from Moscow, Russia is a four piece band that plays outstanding Post Rock/Metal with Sludge and Space influences.
This band has released their Live Demo EP in may and now they're back with their full-length album called Paths Of The Restless. This eight track album is definitely an impressive masterpiece. The musicians do a great job with their instruments. Thereby is the sound of this album very good.
All of the songs of this album are great, but if I have to pinpoint some highlights, then I have to say it are the songs Captain, Rift, Satellite and The Great Disease.
Support this band by spending some money on their Bandcamp page!
From Dublin, Northern Ireland comes the band And So I Watch You From Afar. This Post Rock band has released this majestic full-length debut album in 2009.
There is a lot happened in Dublin over the past decades and this is reflected in the music of And So I Watch You From Afar. This is Post Rock with a quite aggressive appearance. Beside that there are also beautiful atmospheric passages in their music.
This album is absolute a recommended masterpiece with high musical skills. Two songs I want to mention as my favorites are Set Guitars To Kill and If It Ain't Broke... Break It. Enjoy!
That Derry’s finest instrumental rock troupe And So I Watch You From Afar are oh-so-frequently lumped in with the post-rock brigade is not so much unfortunate as it is downright wrong, but it does say something about the genre. In the eyes of all but the seasoned observer, a band doesn’t have to do anything, or sound a particularly way, to be labelled “post-rock”: just not having a vocalist is enough. Now, nothing irks a band more than being pigeon-holed, but it must hurt doubly to be holed in the wrong coop entirely. And with all due respect to post-rock, And So I Watch You From Afar’s music is so far removed from the post-crescendo genre that it warrants screaming from the roof-tops- in fact, that wouldn’t be such a bad idea. The Belfast-based band’s raucous sound is a pithy amalgamation of the ferocity and intensity of DC hardcore and the carefree abandon of arena rock. To point out the obvious contradiction would be to miss the point entirely.
Given the obvious lack of lyrics (apart from an “oi!” here and they odd “hey!” there), the song titles have to be a little more descriptive than they typically are. Opener ‘Set Guitars To Kill’ is a perfect example, kicking the album off with a crunching power chord riff and pulsating reverb-soaked drums that give way to increasingly more chaotic and dissonant exchanges. Likewise, the impeccably-titled ‘TheseRIOTSareJUSTtheBEGINNING’ is frenetically-paced and relentlessly aggressive, while ‘Don’t Waste Time Doing Things You Hate’ sees the band indulge their zanier pleasures: from signature shred-guitar moves rarely heard outside a guitarist’s bedroom to sexy Meters-like funk rhythms and a beer-soaked ‘Hey Jude’-style gang sing-a-long for the last couple of minutes. In truth, there is the odd moment within a song of overt post-rockishness: single ‘A Little Bit Of Solidarity Goes A Long Way’ works the silence-crescendo model to a T. But the overall effect is more comparable to compatriots and frequent touring partners Adebisi Shank, as they’re more likely to lock into a dynamic groove and play off that energy than to tease listeners with the quiet-loud formula.
Not only is And So I Watch You From Afar well-balanced between the band members, it’s also a quality effort from start to finish. It’s always tempting to load the best tracks to the front- and, to be fair, the opening three songs are the most immediate on the album- but the album ends just as strongly as it starts. ‘The Voiceless,’ one of two tracks to re-appear from the group’s debut EP, another track that hints at erupting into an Explosions In The Sky-like cacophonous crescendo, but instead holds off without really sacrificing anything in the way of grandeur. Following that, and finishing the album on a high, is ‘Eat The City, Eat It Whole’ (Pedants’ Corner: that should be a semi-colon). It’s stylistically different from anything else on the album, beginning with some country and blues-tinged motifs before patiently easing into a familiar mathy groove, the type that litters the album and makes it such a wonderful, coherent listen from start to finish.
Today is day that this blog is up for three years. So I like to celebrate that anniversary with the following contribution.
Your Protected is a Post Rock band from Brynmawr, South Wales, UK. According to their Facebook page is this four piece band influenced by the following: Cloudkicker, Baroness, Tool, Animals As Leaders, Maybeshewill and the awesome band And So I Watch You From Afar.
The selftitled EP contains six outstanding instrumental songs. Especially the guitars make quite an impression. The high level of musicianship has resulted in progressive and sometimes complex music, which me make think a bit of Math Rock.
This EP is a great start by this fantastic band. Enjoy!
Please allow us into your homes, phones, stereos and screens.
Music should be organic, like a symbiotic life form entwined with our minds; healing and helping, invoking and teaching. Mutually evolving and leading us down unforeseen corridors of thought, on adventures of mind and hope.
As dark or as bright as you like we shall write in this our voiceless tongue.
This is yet another fantastic free download Bandcamp discovery! From Tampere, Finland come the one-man project Consciousness Removal Project by Antti Loponen.
This guy plays impressive Post-Metal with Sludge influences. The album The Last Season is an atmospheric masterpiece. This album contains five amazing tracks that display great musical capabilities.
Antti Loponen had some help with this album of several musicians. Whereby I especially was touched by the violin in the songs Soil Sacrifice and Kyoto.
The Post-Rock genre is in general instrumental music. That is not the case with this project. Antti shows some great vocals, from clean to scream, it sounds awesome.
So The Last Season is for sure a need-to-hear album! Enjoy!
CONSCIOUSNESS REMOVAL PROJECT is a one-man post-metal band from Tampere, Finland. Its only official member Antti Loponen is solely responsible not only for compositions, lyrics and arrangements but also for most instruments and the record production. With the help of a live collective, Consciousness Removal Project has also been able to perform live since 2008.
The music of Consciousness Removal Project has been published on the internet for free since 2004. The style has evolved from guitar-based instrumental rock/ambient towards a post-metallish direction and vocals have been added into the equation. The 2011 album "The Last Season" was also released as a limited-edition CD Digipack.
(Bio from Facebook)
Consciousness Removal Project - The Last Season (2011)
Khuda is a duo from Leeds, UK. I saw these guys perform last week and they made quite an impression. Khuda plays stunnig Instrumental music that shifts from psychedelic and atmospheric Post Rock to aggressive Noise. A strong element of Khuda is the constant changing of rhythms. Their sound reminds me of bands like Red Sparowes, Pelican and Ahkmed.
Khuda has released one EP and two albums. This one is their first album from 2010 called Palingenesia. This album contains six excellent tracks. Enjoy!
It’s taken long enough, but the album finally came out. I spoke to these two (that’s right, there are only two of them) after a show having been local supports for Mouth of the Architect. I asked about an album to buy, and apparently it had been finished for over a year without a label to release it until Field Records (Her Name Is Calla, Maybeshewill) picked them up, and granted a foothold in the current post-genre trend. They were incredible live considering how so much of their music relies on the guitarist’s feet, and whilst Palingenesia certainly doesn’t fall short of this, it sadly doesn’t have quite the same feeling either.
The album begins with ‘Laleh’ and some compulsory ambient noise which sends us into the main theme of the song, a riff layered with another riff with another riff with some chords, but it’s all interesting so it’s nice. The drums are already pretty stunning. Throughout the album, they manage to keep everything somewhat fresh even when the melodic themes become a little stale and similar between songs; I’m not sure they use any more than two keys over the whole album. It’s still less linear than your average post-rock though, as there are surprising transitions all the time, and only having one guitarist can occasionally make the flow more inventive.
The second track, ‘Black Waters’ is testament to this, as mid-way through the song the feel completely changes to explore some fanciful polymetric work as a bridge, but this excitement doesn’t really last. Mid-album leaves much to be desired, sounding much like the other tracks, save for the latter part of track four, one of the highlights of the album with more variations on a blast-beat than is normal. ‘Mescalito’ again becomes something we’ve heard before, what with its 5/4 and its looping; and the final track doesn’t seem quite epic enough.
What’s strange is how, when listened to out of context of the album, all of these songs are pretty damn good; it’s just that when I first played from start-to-finish, I couldn’t help but lose concentration and catch my thoughts drifting away from the music. Within each song there is change and progression and melody and structure, all of which is attractive, yet as an album something doesn’t quite work. Even the freshest of goods become stale and while, as a two piece band, they do an amazing job imitating Russian Circles, that’s exactly the problem; they sound too much like they’re imitating.
Technically brilliant, mixing done well, never anything lost in the blurriness that loops can sometimes bring; by all accounts this band are great, and they deserve a better rating than an album of background metal. So go see them live, enjoy them, buy some merch; just don’t expect anything as novel as that guy who made the electronica album out of insect noises.
When you hear the name Maserati, you will probably think of a fancy Italian sports car. Beside that Maserati is also the name of a band from Athens, Georgia, USA. This foursome plays Progressive Instrumental Rock with Post Rock and Space influences. This band has released their first album in 2000 and since that time they've released a couple of Albums, EP's and split albums. This album is called Inventions For The New Season from 2007.
Characteristic for this band are the repetitive guitars and rhythms. The songs on this album exude an atmospheric mood. A major influence for Masarati must be Pink Floyd.
Maserati is a so called Post Rock band, but Inventions For The New Season is an album that goes beyond the Post Rock sound. Judge for yourself! Enjoy!
On Inventions for the New Season, Maserati move simultaneously forward and backward away from their clear associations with the modern post-rock of groups like Tortoise and the Mercury Program and seemingly back in time to the progenitors of prog rock (King Crimson, early Rush) and especially Krautrock (Kraftwerk, Tangerine Dream). Their nearest contemporaries may be the prolific yet obscure Finnish outfit Circle, especially their tendencies toward driving guitar/keyboard workouts in the motorik vein, as would befit a band named after the finest of Italian sports cars. These songs hurtle forward at an ever-increasing pace, which they rely on to build intensity rather than the standard quiet-to-loud dynamics of the post-rock genre. Actually, they're not alone in mining this realm of instrumental rock -- they also share with peers the Turing Machine and Ostinato the ability to sound elaborate without actually playing complicated music -- most of the riffs are built on simple, clean guitar figures augmented with chiming and echoing effects and building and expanding in their relentless repetition. Every track here is a stunner, especially the opening "Inventions" and the bass-driven Floyd-ian barnburner "Show Me the Season," culminating in a peak with the tongue-in-cheek nod to the Police's brief foray into progressive rock, knowingly titled "Synchronicity IV."
Zero Nowhere is a one-man Post Rock project from Lublin, Poland. His music sounds in my opinion similar to bands like Pelican and Red Sparowes, but there is more than just that. There are also some Sludge and Stoner influences present in his music.
The atrabilious and dejected atmosphere is in a great way propagated on these EP's. The first EP Floriculture contains six tracks and the second EP Flower Of Void contains one twenty minutes lasting track.
I'm pretty impressed of what this guy has acomplished on his own. These EP's are really great! The highlight for me is the triptych of the Floriculture EP called Portraits (I - Soul Dealer II - Dancing Trees III - The Fog).
When you read the bio below, you will see that this guy is capable of a lot. Enjoy!
So i'm a 21 year old musician from Lublin, Poland. I started making music as Zero Nowhere in 2008. It's a instrumental solo project, all music on these EP's was written & recorded by myself. I have also older EP called "Witchcraft" and a compilation of some of my older songs with some unreleased material called "Whispers Of Shooting Stars" which was released by Dairyola Records. Also Floriculture was released on limited CD-r edition on Kitty On Fire records. My name was taken from an Eyehategod song. I'm playing mix of stoner, psychedelic and sludge music with some drone and experimental elements. My biggest influences are stoner / psychedelic and drone bands like Dead Meadow, Yawning Man, Earth or Electric Wizard as well as sludge bands like Eyehategod or Buzzoven. I play also in some other various projects like a sludge / stoner metal project named Eyes Like Halogen with vocalist of Cerber, psychedelic and experimental band named Flora and my own drone project called Golden Cloud. I'm also planning to make some sludge band in future, as well as release some more experimental psychedelic rock material with vocals under the name Black Sunflowers.
Cultura Tres is a band from Maracay, Venezuela. This foursome plays Stoner/Sludge/Doom Metal, where the emphasis is quite focused on (Death) Metal. Their sound contains also a bit Post Rock. Their debut album La Cura did cause quite a worldwide buzz. Now Cultura Tres is back with their new album El Mal Del Bien. This album is again full of heavy riffs and thundering bass and drums that are finished with that great vocals. To give you an idea what this is about: Cultura Tres is according to their Facebook page influenced by the following bands: Black Sabbath, Pestilence, Sepultura, Gorefest, Fabulosos Cadillacs, Silvio Rodriguez, Slayer, Obituary, Godspeed You Black Emperor, Mars Volta, Iron Butterfly, Astor Piazzola, Entombed, Neurosis and Los Natas. This is a list of rather different names and styles, but it does cover what Cultura Tres stands for. This album contains also an excellent cover of the song Black Sabbath. Enjoy!
Now hailed as the national rock/sludge pride of Venezuela, Cultura Tres came from far. With the first EP "Seis" (2007) the band already outgrew the South American continent. But only after releasing debut album "La Cura" in October 2008, the band started to get noticed worldwide. During the preceding year of rigorous composing, Cultura Tres incorporated many influences into their sound, ranging from sludge to doom metal and from death metal to classic rock. Important magazines in Europe and Japan praised “La Cura” for its dark and original music, and Metal Hammer magazine even selected Cultura Tres as the month's global discovery. The release tour took the band for 18 months across Europe, South America and to the first well-received shows in Japan. During that period the band also released three video clips that gained them a world-wide cult following in the underground doom & sludge scene (for example being featured band on Doom Metal Alliance, Stonerrock.com and HeavyPlanet.com).
In the summer of 2010 the members locked themselves up in the studio to prepare the second album: “El Mal del Bien”. The result is - in the band members’ own words - “an album with a single clear direction”. Cultura Tres delves deeper into the dark atmospheric vein that already showed itself at moments in debut album La Cura. The daring album opener “Propiedad de Dios” sets the mood: it sounds like the soundtrack of a tragic cult movie. The songs that follow evoke the witchery, slavery, oppression and religious madness that influence the South American continent to this day. Being a concept album adds another dimension to the individual songs. A patient listener will be dragged into a hallucinating trip around the insane world the album paints. Interestingly, the band has chosen to cover what might well be the first doom track in South America: “Holy Graveyard” (1992) by Epitafio. Alejandro Londoño, having been a member of this band in the past, has now fully closed the circle. Cultura Tres is living proof that the genre of doom/sludge was not dead in South America but merely dormant. Now it has woken again, not only speaking Spanish, but more importantly, with its own face.
El Mal del Bien will be released on vinyl in March 2011, with a tour that will hit Venezuela, Argentina, Chile, Uruguay, Colombia, Europe and Japan. Don't miss this chance to hear the new sound of South American sludge! (Their bio from Facebook)
Thanks to the band Hijo De Mayo for sharing their album! Hijo De Mayo is a band from Rock city Eindhoven, The Netherlands. This band started originally as an instrumental trio. The female singer Boukje was added later to the band. Hijo De Mayo plays as they call it Stonernoisepostrock or Poststonernoiserock. This resulted in the excellent album In Sound Underground. This album contains nine awesome songs. An important role is played by Bauke. This girl has a charismatic and mesmerizing voice that is really convincing. Beside that, the musicians should certainly not be underestimated. These guys can really play well! All with all is In Sound Underground an impressive album. The beautiful artwork is done by Mirco. Enjoy!
Hijos de Mayo is a 4-piece band from Eindhoven, the Netherlands. They play stonernoisepostrock / poststonernoiserock: heavy riffs and grooves, screeching noise and psychedelic atmospheres. Hijos de Mayo started out as an instrumental band in 2006. In the begin- ning of 2007 they recorded and self-released their first instrumental mini- album. 2008 brought Part 1 of The 4-Track Tape Adventures, the first record- ing to feature Boukje (voice and noise). Near the end of 2008 drummer Joost decided to stop. He left and Ivo came to replace him. In May 2011 Hijos de Mayo released their first full album In Sound Underground. Before Hijos de Mayo Chris and Ronald played in gifkip. Boukje sang in Moral Anxiety and GodsChosenDealer, Ivo hit the drums in Red King Rising and the Ghouls. They did shows with My Sleeping Karma, Oceana Company, Heavy Lord and more. (Their bio)
Macaco Bong is a trio from Brazil. This band plays Instrumental Rock that balances between Jazz, Post Rock and Math Rock. Their album Artista Igual Pedreiro is not just an ordinairy album. It is an awesome masterpiece! These musicians can rightly be called virtuosos. This is wonderful music that is sometimes quite complex. All the songs are brilliant compositions. I say this album is highly recommended! Enjoy!
Macaco Bong comes from the middle of South America. And them... their music comes from nowhere. There's a story that they heard Hendrix just 2 months ago, but isn't a forced issue, it's true, isn't a story. Macaco Bong is simply the most incredible brazilian band, their instrumental music defy any logic, any description... defy everything, we can call "musical black hole", but them is easy. (From MySpace)
This contribution was sent in by the band Fura. Thank you for that, guys! Fura is a band from the Spanish island Mallorca. This foursome plays a Instrumental and Experimental combination of Post Rock, Math Rock and Shoegaze. The result is this three-track EP called Mustela Putorius, an epic and beautiful piece of work. I guess this is the first release of Fura, but it tastes definitely for more! Enjoy!
Fura was founded in late 2008 when 4 musicians from around the world decide to combine their artistic creativity resulting in a musical experiment with a sound that is similar to a ferret (fura in catalan): they could sleep many hours, entering in a state of absolute calm, to become a very active and curious animal. (From Facebook)
Thanks to Adam from the band naisian for sharing their promo! naisian is a band from Sheffield, U.K. This foursome plays some heavy Sludge Metal and these guys do that pretty well! There's also a pinch of Post Rock in their music. Their album Mammalian contains five awesome tracks that absolutely deserves some attention. Heaviness is definitely the term for this album. The guitars are mostly raw, but the some songs have some more subdued passages. The singer sounds most of the time angry but sometimes also disconsolate and sad. It sounds all very beautiful! According to the band, naisian sounds a bit like Kylesa, Lesbian, Saviours, Rolo Tomassi, Flatlands, The Mirimar Disaster and lots of others. This gives you a slight idea of what you're dealing with. This album is going to be released on february 26th. So you can consider this as a sneak preview. The scrabble board is not the definitive artwork. There's someone still working on. Enjoy!
This nice EP was dropped as a comment in one of my posts by Kenny from Time Columns! Time Columns is a Post Rock duo from Baltimore. These guys are according to their Facebook page influenced by: Explosions In The Sky, Battles, Tortoise, Steve Reich, Incubus, Toe, The Octopus Project, 65Daysofstatic, Tool, Don Caballero, Prefuse 73 and Flying Lotus. Their music is rather complicated and the rhythms are very complex. Nevertheless, it is very interesting music. Despite the difficulty of the music it is very pleasant to listen. The electronics are a very welcome addition to their sounds. Give this EP a chance and you might like it! Enjoy!
Baltimore’s instrumental math rock duo Time Columns combines the radical elements of live looping and tight instrumentation with elements of post-rock, hip-hop and progressive rock. After spending years with other projects in the blossoming Baltimore experimental scene, Eaton and Benny broke off to create a brainchild of their own, tapping into influences from contemporaries like Battles, Explosions in the Sky and Don Caballero. They have been performing as Time Columns since early 2009.
Central to the group’s existence is the Gibson Echoplex- a digital looper that allows keyboard and guitar lines to be played back and overdubbed on the fly. When used in a live setting, it gives the illusion of many performers playing at the same time and smashes what previous limits had been placed on the two-man band format.
Following a successful East Coast Tour in 2009-2010, Time Columns self-released their debut EP, Sunriseinthesea, on Mystery Ton Records. The five tracks on the EP marked a turning point in “modern” rock, expanding on the rhythmic foundations of Battles but emphasizing the need for melody and dynamic pacing reminiscent of the post-rock genre. (From CD Baby.com)
This is a blog for everyone who's addicted to Stoner Rock. All music I post is uploaded by myself or avialable on some websites! If you don't like your music is posted here, send me an e-mail and I remove it. When you download one of my post, please be kind and leave a comment! If you have a Stoner Rock band and you want your music posted on this blog leave a message below or send an e-mail to: riez.stoner@gmail.com
And boys and girls, don't forget to buy vinyl or other merchandise from these bands!
