Posts Tagged ‘Sonic jesus’

Sonic Jesus

Italy’s Sonic Jesus are one of the most revered outputs in the modern psych-rock scene. Following a split-single with Austin heavyweights The Black Angels, in 2015 the band released the hypnotic, droning psych-rock of their debut album release “Neither Virtue Nor Anger” to international acclaim. Earlier this year they released LP2, titled “Grace” it saw the band reinvent themselves, delving into more melodic, synth-driven horizons and channelling an expansive 80s-indebted new wave/post-punk sound.

Following a deep creative frenzy on the road during the European tour in support of Grace, Sonic Jesus are back already with two new songs  pushing past previous boundaries once again and reappearing with a new-found direction. The impassioned, introspective post-punk of Grace and take it down a sinister path. Whilst the reverb-drenched vocals, 80s synths and drum machines are still there, this is a far darker affair – the haunting, motorik psych-rock of their early material coming back with a vengeance.

Sonic Jesus is helmed by multi-instrumentalist Tiziano Veronese who handles vocals and all songwriting and recording duties, lyrics are composed by Marco Barzetti. The project was formed in Doganella di Ninfa, Italy in 2012 and has since gone on to tour relentlessly, sharing the stage with Damo Suzuki, Dead Skeletons, A Place To Bury Strangers and Singapore Sling along the way.

SONIC JESUS – ” Dead Man “

Posted: November 28, 2017 in ALBUMS, MUSIC
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Its Really exciting to find that Italian band Sonic Jesus will be releasing a new 7″ from ‘Dead Man’ s due for release December 2nd to coincide with the London Show of their upcoming European tour, hosted at The Waiting Room. You can stream ‘Dead Man’ and the B-side, ‘Transpose’,
The two new tracks take the impassioned, introspective post-punk of Grace and take it down a sinister path. Whilst the reverb-drenched vocals, 80s synths and drum machines are still there, this is a far darker affair – the haunting, motorik psych-rock of their early material coming back with a vengeance.

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Image of The Jesus And Mary Chain - Damage And Joy

The Jesus And Mary Chain are set to release their long-awaited new album ‘Damage and Joy’ on March 24th, their first since ‘Munki’, back in the summer of 1998. The Reid brothers have enlisted the help of super (as in cool, not megabucks!) producer Youth and he has coaxed and cajoled these perma-scrapping siblings (still, even now!!) into producing a magnificent distillation of everything we’ve come to love about their sound.

Fuzzed up trashy or broken and blue, Jim’s honeyed voice takes us over familiar territory while William scuzzes things up in the wings. The songs are all classic Mary Chain.
With the help of Isobel Campbell, Sky Ferreira and the Reids’ own sister Linda on vocals, there’s also a freshness to their palette, bringing their much imitated sound back up to date, here in the now.  It’s great to have them back!

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500 limited edition 12” on Cadillac pink vinyl. Manchester all-female five-piece Pins release a new EP Bad Thing, through Haus Of Pins and features Aggrophobe, their single with the legendary Iggy Pop. Following the release of their acclaimed second album Wild Nights last year, Pins went back into the studio to work on new tracks. Recorded in a studio on the Scottish Borders last October and produced by Mark Vernon and the band themselves, the EP features 5 new tracks, which includes a cover of Joy Division’s Dead Souls. The EP opens with the teasing Bad Thing before moving into the addictive Aggrophobe, featuring Iggy Pop’s iconic vocal, leading onto the chant-like pop of All Hail and the dreamy and synth-laden In Nightmares, before ending with Pins own take on Dead Souls. The four new tracks are synonymous with Pins’ sound but also showcase a vigorous, more mature side to the band, making up a solid and impressive musical body of work.

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Desperate Journalist release their second album, Grow Up, ostensibly eleven tracks of rocketing leftfield delights propelled forth with thundering rhythms, thunderously spectacular guitar and Jo Bevan’s thunderstruck vocals. Such is intense life with Desperate Journalist, one of the most potent, important DIY bands lurking on the underground scene right now.

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They began as a fictional band from a fictional town featured on the Eccentronic Research Council’s 2015 concept album Johnny Rocket, Narcissist And Music Machine… I’m Your Biggest Fan. Now The Moonlandingz have lurched, sticky and bleeding, into the real world and are releasing the first great album of 2017. Interplanetary Class Classics, released on Transgressive Records, is a feast of swirling juddering synths, wailing guitars, motorik stomp and extraordinary songwriting. The Moonlandingz have proven themselves to be one of the best live bands in the UK (“Magnificent, cosmic and batshit!” said The Quietus. “Feral antics and louche anarchy!” said The Guardian) and now they’ve produced an album of proper weird catchy glorious filthy pop.
The Moonlandingz is Eccentronic Research Council’s Adrian Flanagan and Dean Honer in cahoots with Fat White Family’s Lias Saoudi (aka frontman Johnny Rocket) and Saul Adamczewski. They recorded the album with Sean Lennon at his studio in upstate New York. Also on the record: Randy Jones the Cowboy from The Village People, Rebecca Taylor from Slow Club, drummer Ross Orton, bassist Mairead O’Connor, Phil Oakey and YOKO fucking ONO, who sings and yowls on epic closer This Cities Undone.

Image of Sonic Jesus - Grace

Sonic Jesus is an Italian musical project lead by multi-instrumentalist Tiziano Veronese. Since signing to Fuzz Club, the project has released a split single with The Black Angels and been remixed by Sonic Boom aka Pete Kember. Their internationally acclaimed debut ‘Neither Virtue Nor Anger’; an industrial barrage of hypnotic, dark psychedelia. Sonic Jesus’ new album ‘Grace’ goes beyond the past boundaries, pushing towards enthralling melodic horizons and modern pounding beats, delivered by a new-found pop sensibility. There’s still a darkness brooding beneath the noise but these new tracks see the project take on a magnificent and insatiable new form.

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Limited to 1000 Copies. Long Time is the second single off Blondie’s new album Pollinator and comes backed with exclusive B-Side Breaks.

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On her first proper album as Jay Som, Melina Duterte, 22, solidifies her rep as a self-made force of sonic splendor and emotional might. If last year’s aptly named Turn Into compilation showcased a fuzz-loving artist in flux – chronicling her mission to master bedroom recording – then the rising Oakland star’s latest, Everybody Works, is the LP equivalent of mission accomplished. Duterte is as DIY as ever – writing, recording, playing, and producing every sound beyond a few backing vocals – but she takes us places we never could have imagined, wedding lo-fi rock to hi-fi home orchestration, and weaving evocative autobiographical poetry into energetic punk, electrified folk, and dreamy alt-funk. Everybody Works was made in three furious, caffeinated weeks. She came home from the road, moved into a new apartment, set up her bedroom studio and dove in. Duterte even ditched most of her demos, writing half the LP on the spot and making lushly composed pieces like Lipstick Stains all the more impressive. While the guitar-grinding Jay Som we first fell in love with still reigns on shoegazey shredders like 1 Billion Dogs and in the melodic distortions of Take It, we also get the sublimely spacious synth-pop beauty of Remain, and the luxe, proggy funk of One More Time, Please.

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Fifth album (third for Full Time Hobby) from Samantha Crain, following 2015’s “Under Branch & Thorn & Tree” and the 2014 album “Kid Face.”

Written over 4 months at the back end of winter whilst at home in Norman, Oklahoma, You Had Me At Goodbye was penned whilst Samantha was working shifts at a pizza place to save up money for touring, recording, paying bills, and as a self-confessed ‘film nerd,’ binge watching movies. “Oklahoma is beautiful but my relationship with it is complicated. There are mountains, plains, prairies, rolling hills, high deserts and plateaus, with an amazing creative community of people making beautiful visual art, interesting films and loud music. But it’s extremely Christian, conservative, and whilst people say it’s ‘friendly,’ really, people are only friendly if you’re white and aren’t dressed unconventionally. I feel welcome and alienated all at once.”
Bolstered by the visionary production of John Vanderslice (Spoon, the Mountain Goats, Strand of Oaks), mixed and engineered by Jacob Winik (The Magnetic Fields, Hot Buttered Rum), Samantha returned to the Bay Area in California to, once again, record the album in analog at Tiny Telephone Studio.

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Iggy Pop had hit bottom after the messy breakup of the Stooges and he needed help, and when friend and fan David Bowie offered to lend him a hand, he was smart and grateful enough to accept. Bowie produced Iggy’s first solo album, The Idiot, and after Iggy set up a tour to promote the record, Bowie put together the band and tagged along as their keyboard player. Bowie’s presence insured a larger audience than Iggy had attracted during the grim final days of his band, and he was determined to prove he could deliver the goods without making a spectacle of himself or collapsing into a drug-sodden heap on-stage. Unfortunately, anyone familiar with Iggy’s body of work knows the last thing you want from one of his live shows is a professional-sounding performance without a sense of danger, and unfortunately, that’s what the audience got during this March 21st, 1977 show in Cleveland, OH, part of a three-night stand Iggy and the band would perform at the Agora Ballroom. Iggy & Ziggy: Cleveland ’77 finds Iggy in fine voice, and at a time when he had a lot to prove, he leaves no doubt he was a solid musician and showman, singing with a sense of control and dynamics he couldn’t approach with the Raw Power-era Stooges. However, Iggy also seems clearly afraid to push this material too far, and the caution robs the songs (nine of which are drawn from the Stooges‘ songbook) of much of their life force. Even worse, guitarist Ricky Gardiner doesn’t seem to know what to do with the Stooges material — he’s at least as skillful as Ron Asheton or James Williamson, but his attack is so toothless and polite that he reduces some of the greatest rock songs ever to mush. (Bowie’s keyboards are not nearly as ill-advised but they don’t fit the old material very well, though Hunt Sales and Tony Sales are a great rhythm section who do what they can to give Iggy the energy he needs.) Some of the material from this show also appeared on Iggy’s lamentable live album TV Eye Live.

Spectres

Spectres release their second album Condition via Sonic Cathedral. The follow-up to their acclaimed 2015 debut, Dying, it was recorded by Dominic Mitchison in the band’s adopted home city of Bristol and mastered by Frank Arkwright (Mogwai, 65daysofstatic) at Abbey Road in London. It’s louder and more abrasive than their debut, but also a real progression. It sounds huge and adds a genuinely innovative and confrontational edge, partly inspired by last year’s remix album, Dead, which saw everyone from Factory Floor to Richard Fearless instructed to “kill” the songs from Dying. “There were discussions about experimenting with electronics, but the idea soon petered out when we realised we still wanted to experiment with guitars,” reveals singer and guitarist Joe Hatt. As a result tracks such as End Waltz have a relentlessly pounding, almost techno structure, in contrast to the kinetosis-inducing dirge of Dissolve – the first single from the album that came with a suitably stomach-churning video late last year. Elsewhere the almost restrained (by Spectres’ standards) white noise and wordplay of A Fish Called Wanda and the sprawling Colour Me Out are counterbalanced by brutal assaults such as Neck and Welcoming The Flowers, which keeps threatening to drown itself in its own roiling diamond sea.

LP – Limited-edition Black vinyl LP in a Gatefold sleeve, featuring lyrics and artwork by Laurie Lax and photography by Stephanie Third.

LP+ – Limited-edition Cream vinyl LP in a Gatefold sleeve, featuring lyrics and artwork by Laurie Lax and photography by Stephanie Third.

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Semper Femina is Laura Marling’s sixth album – an intimate, devoted exploration of femininity and female relationships, and among her finest work to date. Written largely on the tour that followed 2015’s Short Movie and recorded in Los Angeles with production from Blake Mills, it is at once a distinctive and musically compelling collection of songs, run through with Marling’s fierce intelligence; a keen, beautiful and unparalleled take on womanhood.

2LP+ – Limited Deluxe 2LP Edition including Bonus Material Live tracks and digital download card.

2LP – Standard Version with Download.

Buzzcocks timesup

‘It’s the Buzz, Cock’. Howard Devoto read this headline from a January 1976 Time Out review of ‘Rock Follies’, the 1970s TV musical drama following the ups and downs of the fictional female rock group, ‘Little Ladies’. Adapting and appropriating it as the name for his new band that he had just formed with Pete Shelley having realised what a Sex Pistol was before anyone else. Buzzcocks formed having witnessed firsthand the white-heat of the early Sex Pistols. Howard and Pete went about organising the now infamous 1976 Lesser Free Trade Hall gigs that brought punk to the provinces and galvanized the new Manchester music revolution. The plan was to simply play support to the Pistols and then see what happened next…Featuring the original line-up of Howard Devoto (vocals and songwriter), Pete Shelley (guitar and songwriter), Steve Diggle (bass guitar) and John Maher (drums), Time’s Up was recorded at Revolution Studios, Bramhall Lane Stockport on the 18th of October 1976. The session, recording Buzzcocks’ live set at the time, cost £45 and was engineered by Andy MacPherson.

LP – The long-out-of-print Time’s Up 12” Vinyl LP, re-pressed on heavyweight black vinyl with a printed inner sleeve.

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In early 2016, the release of Talk Tight put Rolling Blackouts Coastal Fever on the map with glowing reviews from Spin, Stereogum, and Pitchfork, praising them as stand-outs even among the fertile landcape of Melbourne music. Chock full of snappy riffs, spritely drumming and quick-witted wordplay, Talk Tight was praised by Pitchfork “for the precision of their melodies, the streamlined sophistication of their arrangements, and the undercurrent of melancholy that motivates every note.” The band was born from late night jam sessions in singer / guitarist Fran Keaney’s bedroom and honed in the thrumming confines of Melbourne’s live music venues. Sharing tastes and songwriting duties, cousins Joe White and Fran Keaney, brothers Tom and Joe Russo, and drummer Marcel Tussie started out with softer, melody-focused songs. The more shows they played, the more those driving rhythms that now trademark their songs emerged. Since then, Rolling Blackouts Coastal Fever rode that wave from strength to strength. Touring around the country on headline bills and festival slots all the way to Bigsound, the entrenched themselves with their thrilling live shows while prepping their next release. The French Press levels up on everything that made Talk Tight such an immediate draw. Multi-tracked melodies which curl around one another, charging drums and addictive bass lines converge to give each track its driving momentum. Honed through their live shows, this relentless energy carries the record through new chapters in the band’s Australian storybook. Rolling Blackouts Coastal Fever’s songs have always had all the page-turning qualities of a good yarn and The French Press is no different. Somewhere between impressionists and fabulists, lyricists Fran Keaney, Tom Russo and Joe White often start with something rooted in real life – the melancholy of travel on French Press, having a hopeless crush on Julie’s Place – before building them into clever, quick vignettes. The result is lines blurred between fiction and reality – vibrant stories which get closer at a particular truth than either could alone. Blending critical insight and literate love songs, The French Press cements Rolling Blackouts Coastal Fever as one of Australia’s smartest working bands.

LP – Black Vinyl with Download.

LP+ – Limited Loser Clear Coloured Vinyl with Download.

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This remixed and expanded reissue of Soundgarden’s Ultramega OK is a long-planned correction of the legendary band’s Grammy®-nominated debut full-length. The album was originally recorded and released in 1988 on SST Records. While the band enjoyed working with the original producer, Drew Canulette, they soon realized they weren’t quite happy with the final mix. Thus, shortly after the album’s release, the band decided to remix the album for subsequent pressings. However, success intervened: the band rapidly scored a deal with A&M and began work on their major-label debut, Louder Than Love, and the Ultramega OK remix project fell by the wayside as Soundgarden climbed their way to (ultra)mega-stardom. In 2016, after worldwide success, a breakup, a reunion, and many albums and tours, the band finally acquired the original multi-track tapes to Ultramega OK and carved out time to dig into the remix. They handed the tapes over to longtime friend and engineer Jack Endino (Nirvana, Mudhoney, Screaming Trees, Skin Yard), who worked with the band to create a fresh mix of the album that, for the band, ties up this persistent loose end and remedies the sound of their debut full-length. While they were at it, the band dug out six early versions of tracks that wound up on Ultramega OK. The songs were recorded in 1987 on 8-track tape by Jack Endino and Chris Hanzsek at Reciprocal Recording in Seattle, and mixed by Jack Endino in 2016. These versions feature the band in raw, powerful form – sonically closer to the band’s Endino-recorded six-song debut, Screaming Life – and provide a fascinating window into the development of songs that eventually became staples of the band’s set. The six songs comprise what the band refers to as Ultramega EP, and they are included in this reissue. Hailed as grunge innovators, Soundgarden redefined rock music for a generation. In the late ‘80s, the band – singer Chris Cornell, guitarist Kim Thayil, bassist Hiro Yamamoto, and drummer Matt Cameron – combined a punk ethos, brutal metal soundscapes, and Cornell’s ravenous roar to capture the attention of the masses. Jagged and ferocious, their music was deeply at odds with the synth-pop and hair metal which dominated the ‘80s airwaves. Early indie releases, including seminal Screaming Life and Ultramega OK, quickly led to a dedicated indie following as the band toured on both sides of the Atlantic. Subsequent albums, including Badmotorfinger, Superunknown, and Down on the Upside, achieved multi-platinum sales and launched the band to international fame.

2LP – Double Black Vinyl in Foil-stamped Gatefold packaging with custom dust sleeves plus Download.

2LP+ – Limited Double Loser Blue Marbled and Violet Coloured Vinyl in Foil-stamped Gatefold packaging with custom dust sleeves plus Download.

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The husband and wife duo of Alaina and Patrick, otherwise known as Tennis, return with Yours Conditionally, their new album on the band’s own label Mutually Detrimental. Building on their dreamy combination of perfect melodies and classic songwriting, Yours Conditionally sees a full circle return to their nautical roots of sorts, with the duo even writing part of the album while sailing at sea, what Alaina calls “a grandiose gesture”, a necessary venture of revisiting the past to reinvigorate the present. However, the pair dig deeper and darker this time round, with the resultant album wedding discussions of identity and self-sacrifice to some of their most pristine and infectious hooks yet. Achingly beautiful lead single In the Morning I’ll Be Better, written about the “precariousness of our lives”, sums up this paradox completely, with gorgeous melodies belying its subject matter of Riley seeing a family member through a serious illness. Please Don’t Ruin This For Me and Fields of Blue also deliciously straddle the light / dark divide, while others, like Ladies Don’t Play Guitar and the divine swoon of Modern Woman hit the pop bullseye square on the nose while unpacking conflicting themes of feminism and industry archetypes. Taken in toto, Yours Conditionally sees a band at maturation point, looking fondly to the past while also staring down the uncertainty and confusion of the future without flinching. This is Tennis at their contrary, compelling best.

LP – White Vinyl.

Shins

The Shins release of their fifth studio album, Heartworms. In contrast to 2012’s Port of Morrow, Heartworms ushers in a return to the handmade. Heartworms is, as always, entirely written by James Mercer, with exception of So Now What (produced by band member Richard Swift). Heartworms is the first Shins album to be self-produced by Mercer since Oh, Inverted World in 2001. Heartworms features Mercer’s most diverse lyrical palette to date. The result is a cohesive, yet genre defying album marked by Mercer’s distinct voice and melodic composition. Unified by his singular vision, Mercer creates a sound that is both familiar – a nostalgic nod to the album’s predecessors – and distinctly new. The album’s first single, Name For You, is a resounding call for female empowerment inspired by Mercer’s three daughters.

LP – 180 Gram Vinyl with Download.

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Cameron Avery has arrived as a new breed of nocturnal crooner, a train-wreck romantic creating timeless, ambitious music for the modern age. Utilizing his soulful wit, shrewd arrangements, and a deep, husky baritone, Avery harnesses the dark power and humor of artists like Nick Cave, Scott Walker, and Tindersticks to expertly walk the fine line between vulnerable and venerable. Hailing from the late 2000’s-era Perth, Australia, a healthy scene of hard-hitting garage rock bands, including a long stint as the drummer of Pond, Avery found his musical footing while playing with friends but sought the reward of his own outfit. Encouraged by his friend Kevin Parker of Tame Impala to record on his own, Avery started The Growl as his solo project in 2007, making an EP and an album of aggressive, distorted psychedelic rock and roll. When Parker asked him to join Tame Impala as its touring bassist in 2013, Avery jumped at the chance and rose with that band to the top of the psych-rock heap, but all the while remained focused on carving out his singular identity as an artist and following his own muse. On a break from touring, Avery decided to head to the US to work on his album. He would settle in Los Angeles at the behest of Jonathan Wilson, the Echo Park musician and producer who also encouraged Avery to shine a spotlight on his baritone singing voice, unlike the snarling, obscured vocals of The Growl. It was a lofty idea, but one to which Avery aspired, encouraged by the challenge. Melancholic machismo is written into the very DNA of Ripe Dreams, Pipe Dreams. From the classical, finger-picked guitar on the opener A Time and Place and the orchestral vamping of Do You Know Me By Heart? to the bombastic, self-assured swagger of Dance with Me. He takes an emotive page from the Leonard Cohen songbook-of-longing on Big Town Girl just as naturally as he thumbs an aggressive note of Bad Seed strut and Cramps rut on Watch Me Take It Away. And by the time he purrs that earnest refrain of “Baby, it’s you” on the album’s closer C’est Toi, Avery has surely mastered that drunken tightrope dance. Now a resident of New York City, Avery looks to continue his search for the ultimate sensations from a fresh vantage point.

LP – With Download.

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Throughout years of traveling, John Andrews has documented his life with his home recordings. His first record, Bit By The Fang, found him living in the amish country of Lancaster, PA. On his latest record, Bad Posture, he waves farewell to Pennsylvania and greets the wooded hills of Barrington, NH. These songs were written slowly and quietly throughout the winter, usually late at night next to the wood stove. It was recorded in Andrews’ barn with the doors ajar, welcoming the springtime — inviting the outside noises in. You can hear the crickets chirping and the occasional truck driving by. The songs themselves lend their hand like slow backwoods Beatles demos covered in a thin blanket of tape hiss. Andrews’ band, The Yawns, has been crystallized with staples from the New England freak scene: Rachel Neveu and Lukas Goudreault (MMOSS / Soft Eyes) and Joey Schneider. The album was mixed with headphones at the foot of Emma Critchett’s grave, who lived in the Yawns’ house during the 1800s. The record is an ode to her and all who have lived there. It paints a picture of living in the “freecountry” on the precipice of a rapidly changing political climate.

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Sonic Jesus is an Italian musical project lead by multi-instrumentalist Tiziano Veronese. Since signing to Fuzz Club, the project has released a split single with The Black Angels and been remixed by Sonic Boom aka Pete Kember. Their internationally acclaimed debut Neither Virtue Nor Anger; an industrial barrage of hypnotic, dark psychedelia. Sonic Jesus’ new album Grace goes beyond the past boundaries, pushing towards enthralling melodic horizons and modern pounding beats, delivered by a new-found pop sensibility. There’s still a darkness brooding beneath the noise but these new tracks see the project take on a magnificent and insatiable new form.

Available on 180gm white vinyl and CD.

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From adversity can come triumph, and from catharsis inspiration. Such has been the case for Gnoomes, the threesome hailing from Perm, Russia, whose second release for Rocket Recordings, Tschak! arrives in the wake of considerable turbulence and tumult within their personal lives and society itself, all of which has only been fuel for a creative epiphany that has seen them create a deeply evocative work rich with vibrant experimentation and saturated in a widescreen sense of wonder. It may only have been eighteen months since Ngan!, the band’s first release for Rocket, whose self-styled ‘stargaze’ approach marked a glorious collision between melodic sweetness, skysurfing guitar experimentation and motorik magnificence, yet the band have already moved on to a sonic landscape still more adventurous and ethereal on Tschak!, not to mention an emotionally resonant approach that’s bewitching to witness. Taking in torrents of guitar noise and electronic extrapolations both blissfully kosmische and aggressively abrasive, it exists outside of all or any convenient genres, a vivid and singular work by three dreamers-at-heart forced to manifest their vision into a psychic defence to the circumstances surrounding them. Working in splendid isolation thanks to a studio space provided by their work for a local radio station, the band had time and space for the alchemical process of creating Tschak! entirely on their own terms. Central to the this were a collection of Russian synths that they gathered, whose eccentric arpeggios and analogue textures form crucial ingredients on songs like Severokamsk and the title track, arriving at a sound that forms a star-crossed and timeless marriage between the experimentation of krautrock and the lineage of Warp Records. Forging forth into unknown realms both physical and metaphysical, Gnoomes recently completed a UK tour – including an appearance at Liverpool International Festival Of Psychedelia. Yet with the dreamlike radiance of the potent and otherworldly Tschak! on their side, this adventure is already well on its way.

LP – Limited Green Vinyl with Download.

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Psych-pop masterpiece from two of the best to ever do it. Los Angeles native and weirdo-pop enthusiast Ariel Pink joins forces with lo-fi pop pioneer R. Stevie Moore in a crazy freak-out extravaganza. Back in 2012, two leaders of the modern psych scene colluded together in making a 60+ track album. Here, we have the definitive collection of songs from ‘Ku Klux Glam’. Re-mastered and compiled by R. Stevie Moore, this is a presentation of this record in it’s clearest form.

Tape – Double 63 Track Tape.

Song Premiere: Sonic Jesus – “I’m In Grace”

After the release of the widely praised double LP “Neither Virtue Nor Anger” and an intense period of touring around Europe, it seemed like Sonic Jesus’ fate was set to follow an already traced path .  Their hypnotic, industrial psych-drone has been transformed into a dense, synth-driven coldwave/post-punk sound.

Sonic Jesus is the Italian music project of multi-instrumentalist Tiziano Veronese. Following on from an incredibly well-received double LP and a split single with The Black Angels on Fuzz Club Records

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Sonic Jesus – Neither Virtue Nor Anger

The psych scene is one that has never seemed to really go away since its birth in the mid-60s under the guidance of bands such as the Thirteenth Floor Elevators and early Pink Floyd. It may have faded into the background from time to time, but every few years it comes back with something new and interesting added to the recognisable template. Out of the present incarnation of this crowd, which includes the likes of Swedish tribalists Goat, the hypnotic Wooden Shjips and a slew of bands that have featured on the excellent Reverb Conspiracy compilations, comes Italian duo Sonic Jesus. Their debut album, “Neither Virtue Nor Anger” is a set of predominantly drone-based psychedelic tunes married to a motorik groove that blows the mind and moves the hips.

Sonic Jesus’ influences may occasionally be glaring, such as on the Black Angels’ pastiche “My Lunacy” and by the beyond-the-grave appearance of William Burroughs, Patron Saint of the Spaced-out, on “Monkey on my Back”. The whole certainly adds up to more than the sum of its parts, however, and Neither Virtue Nor Anger is much more than a retro attempt to recapture something from the distant past. Stand-out tune “Reich” is an unrelenting cacophony of howling synths which underlay a twangy trip with chanted vocals and urgent drumming. “Telegraph” suggests Syd Barrett-era Pink Floyd getting it together with original New York electro-punks Suicide, with its pulsating synth groove, reverb-heavy beat and spidery guitar lines, while album closer “Kali Yuga” has a dreamy, off-kilter vibe with bubbling electronics driven by an understated groove.

An 80-odd-minute double album of psych rock might be a bit much to swallow for some, but for those who like their psychedelia fried, “Neither Virtue Nor Anger” has some very tasty treats.

Sonic Jesus produced by Fuzz Club Records
Song written and recorded by Sonic Jesus
Scene from “Teatro sin fin”, a Panic Movement by Alejandro Jodorowsky

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Sonic Jesus is the darkwave/post-punk recording project of Italian multi-instrumentalist/composer Tiziano Veronese and vocalist Marco Baldassari. They formed in 2012, and immediately signed to Fuzz Club Records. Before they even had a record out, they were playing sold-out shows and getting rave reviews. In 2015, they released a double album of noise/psychedelic rock stuff called “Neither Virtue Nor Anger”, which earned them even more praise.  They’re set to release their highly anticipated sophomore album “Grace” via Fuzz Club on March 10th.

The new record is getting lots of advance praise, and some folks are saying that it’s reminiscent of Interpol and Editors.Following on from an incredibly well-received double LP and a split single with The Black Angels,This could be the record to break this band into the bigger scene after last years set at Liverpool Psych Fest.

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If there was a ‘packaging of the year’ prize it would, for me, certainly go to Sonic Jesus and Fuzz Club records with a beautifully crafted double gatefold sleeve, fronted by Mirco Marcacci’s amazing take of Bernini’s sculpture, ‘The Ecstasy Of Saint Theresa’, and two amazing splatter discs of vinyl. This, however, had nothing to do with the band’s inclusion in this list, which goes entirely on aural merit. This is a double album of dark beauty and intensity which more than matches the expectation that the physical form creates. From beginning to end this is an sonic experience that fuses diverse musical and cultural ideas into a coherent and thoroughly satisfying whole. This is an album for the mind and the soul

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Late last year, Britain’s Fuzz Club Records launched a split single series, which brings together an established heavyweight act and a fresh-faced riser on one extremely limited colored 10-inch vinyl. For the fifth entry in the series, Italian upstarts Sonic Jesus will have “Lost Reprise” featured as the B-side to The Black Angels’ “Molly Moves My Generation”.

While much of The Black Angels’ Clear Lake Forest EP from earlier this year showcased sun-soaked psych, this new track is a much darker affair. There’s plenty of pounding drum beating a hurried escape through the knotted forest of echoing guitar wails. But that’s only the first third of the track; the final acts of the song will send you straight towards mental collapse.

The Black Angels/Sonic Jesus split single is out December 15th and will be available for purchase at the Fuzz Club online store. Future singles will see contributions from Anton Newcombe of Brian Jonestown Massacre, A Place to Bury Strangers, and Lee Ranaldo.

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Shindig Magazine has called them “one of Psych’s best kept secrets”. combined with the sonic intensity of A Place To Bury Strangers. Last year they grasped the attention of Psych Nouveau godfathers The Black Angels, who were enthusiastic of sharing a 10″ split single, collecting astonishing reviews .Shortly after getting together in 2012, the band from Doganella Del Ninfa, Italy, released their first self-titled EP and almost immediately sold-out, followed by their mind-blowing London live debut at The Shacklewell Arms. Since then, they have taken part in the Reverb Conspiracy compilation (curated by Fuzz Club and Austin Psych Fest) twice and toured intensively around Europe. They also shared stage with Damo Suzuki and collaborated with iconic Icelandic artist Jón Sæmundur aka Nonni Dead of Dead Skeletons, who did the cover art for the EP and joined them on stage at Eindhoven Psych Lab 2014. After leaving their fans lying in wait for a follow-up for two years, they are now about to release their debut album ‘Neither Virtue Nor Anger’, a double LP out on Fuzz Club Records. Recorded in their studio between 2013 and 2014, ‘Neither Virtue Nor Anger’ is something beyond the colourful blend of 60s Psychedelia, Folk, Krautrock, Shoegaze and Post-Punk anticipated by Locomotive. The more it progresses, the more it turns into a desperate stomping Bacchanalia, spiced up with an hypnotic flavour and distorted atmosphere a la Faust. Obscure ceremonies for Greek-Roman mystery rituals, songs like My Lunacy and Cancer are the perfect soundtrack for a futuristic and dystopian Fellini’s Satyricon. The album features the artwork of prominent Italian artist Mirco Maracci. His work has been exhibited in Palazzo Taverna in Roma in 2014, along with Andy Warhol, Giorgio De Chirico, Keith Haring and Amedeo Modigliani.