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Good compression and tensile toughness, suitable for CNC machine tools
Introduction:
The drag chain looks like a tank chain and consists of many unit links, which can rotate freely between the links.
The inner height, outer height, and pitch of the same series of drag chains are the same, and the inner height and bending radius R of the drag chains can be different.
The unit chain link is composed of left and right chain plates and upper and lower cover plates. Each link of the drag chain can be opened, which is convenient for assembly and disassembly. Separator can be provided to separate the space in the chain as required.

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Material amp; Construction:
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3. Bendi

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Elder Announce Fall 2022 European Tour With Pallbearer

Posted in Whathaveyou on September 8th, 2021 by JJ Koczan

Last they were heard from, which is when the above photo was taken, was just a couple weeks ago, and word had come down that Elder‘s next studio album had completed the recording process. Good news. Fair enough. Today, the band announces a full round of European touring that includes stops at Up in Smoke Festival in Switzerland, Damnation in the UK, and will see them in venues all around the continent in the company of… wait for it… Pallbearer. Significant company, indeed. That’s a good bill no matter which of them is headlining a given night.

Irist will provide support, and before you get all “live music is back!” note that these are 2022 dates. It’s still 2021. If you know what the world will look like in 2022, play the stock market. For the rest of us, the dates below should probably be considered with the by-now-usual caveats that join together like wretched Power Rangers to form the Zord that is “plague permitting.”

Either way, one assumes Elder‘s new record will be out by the time they head abroad, even with the delays that everyone is facing in production times. So that’s good news too. Get your shots.

From social media:

We’re beyond excited to announce our first new tour dates in way too long – and couldn’t be happier to share the stage with Pallbearer and Irist on this upcoming European run in 2022.

Tickets are on sale now – links at www.beholdtheelder.com/elder-tour/

More shows are in the works for the US and beyond in 2022, stay tuned!

Artwork by Mercerrock (Brian Mercer Design)

22.09.2022 – DE – Berlin, SO36
23.09.2022 – DE – Leipzig, UT Connewitz
24.09.2022 – CZ – Prague, Futurum Music Bar
25.09.2022 – PL – Warsaw, Proxima
26.09.2022 – AT – Vienna, Arena
27.09.2022 – HU – Budapest, Dürer Kert
28.09.2022 – SI – Ljubljana, Orto Bar
30.09.2022 – DE – Munich, Feierwerk
01.10.2022 – CH – Pratteln, Up In Smoke Festival
02.10.2022 – IT – Milan, Circolo Magnolia
03.10.2022 – FR – Grenoble, L’Amperage
06.10.2022 – ESP – Barcelona, AMFest
08.10.2022 – PT – Porto, Amplifest
09.10.2022 – ESP – Madrid, Okkult Session 3
11.10.2022 – FR – Toulouse, Le Rex
12.10.2022 – FR – Montpellier, Rockstore
13.10.2022 – FR – Nantes, Le Ferrailleur
14.10.2022 – FR – Paris, Petit Bain
15.10.2022 – TBA
16.10.2022 – NL – Tilburg, 013
18.10.2022 – DK – Aarhus, VoxHall
19.10.2022 – NO – Oslo, Parkteatret
20.10.2022 – NO – Drammen, Union Scene
21.10.2022 – NO – Stavanger, Folken
22.10.2022 – NO – Bergen, Kulturhuset
25.10.2022 – SE – Stockholm, Slaktkyrkan
26.10.2022 – SE – Gothenburg, Pustervik
28.10.2022 – DK – Copenhagen, Pumpehuset
29.10.2022 – DE – Hamburg, Grünspan
30.10.2022 – TBA
31.10.2022 – DE – Dortmund, Junkyard
02.11.2022 – UK – Brighton, Chalk
03.11.2022 – UK – Bristol, The Fleece
04.11.2022 – UK – London, Earth
05.11.2022 – UK – Manchester, Damnation Festival

Elder is Nick DiSalvo (guitar, vocals, keyboards), Jack Donvan (bass), Michael Risberg (guitars, keyboards) and Georg Edert (drums).

http://facebook.com/elderofficial
https://www.instagram.com/elderband/
https://beholdtheelder.bandcamp.com/
http://armageddonshop.com
https://www.stickman-records.com/

Elder, Omens (2020)

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Crystal Spiders Premiere “Septix” Video From Morieris

Posted in Bootleg Theater, Reviews on September 8th, 2021 by JJ Koczan

DHP Metal Trundle for Daybed Frame, FIts Twin Size, White

Raleigh, North Carolina, duo Crystal Spiders release their second album, Morieris, Oct. 1 on Ripple Music. That date puts it about a year and six days from their Sept. 2020 self-titled debut (review here), and yet the sense of growth is palpable from one to the next and the lineup has somewhat shifted around founding members bassist/vocalist Brenna Leath (also The Hell No, Lightning Born) and drummer/backing vocalist Tradd Yancey, bringing in Mike Dean — best known as bassist for Corrosion of Conformity, but also a bandmate of Leath‘s in Lightning Born — as the third of a sometimes-trio on guitar. His guitar, in fact, is the first thing you hear on the record.

That’s no minor change and Dean‘s contributions throughout the eight-song/45-minute outing are significant, from the hypnotically rolling riff of “Morieris” itself to the fuzzy lead line in the second half of “Septix” (premiering below) that’s like a successful gritty reboot of Kyuss‘ “Demon Cleaner” and onward hooky closer “Golden Paw,” which starts as another nodder until at 2:19 into its 5:14 it suddenly shifts into a solo jam — don’t worry, the nod strikes back; which, if you wanted to think of as an alternate title for the entire proceedings here, I wouldn’t be able to argue. Nonetheless, as much as Dean — who also produced this and the first album — brings to the songs, there’s just about no way in listening that Leath‘s vocals aren’t a focal point. Often in layers, the verse melodies and smoothly executed choruses carry through with a room-reverb that sounds like it’s ready to break down walls pressing in.

The separation of the instruments in the recording, likewise, gives each a place of its own in the mix. The speedier, sample-laced “Offering” is that much clearer in its Misfitsian purpose for its bass and drum showcase. It goes someplace markedly less Misfitsian, mind you, but that core rhythm is never entirely absent. And whoever’s doing what at a given point, whether the guitar is moving in and out of the arrangement, or the bass is about to take a forward spot, or that and the drums are about to disappear and it’s the vocals taking over, Morieris never quite becomes predictable, and it never loses that sense of choose-your-adventure in finding how you want to listen, by which I mean that if you want to put it on and follow the drums, they’re ready to go, and likewise each individual track/instrument. Everything is so clear and yet raw in sound that the recording itself is a character among everything else.

One might accuse Morieris of being slower than Crystal Spiders‘ debut generally, but then how to explain “Offering,” or the side B leadoff “Pandora” or even the galloping outset of penultimate cut “Maelstrom?” The truth is, the slow is slower and the fast is faster, and the shifts between the two can be stark, as when “Harness” leaves behind its Dio Sabbath-era sprint for a break into a languid, at-least-dual-layered solo, then hits back in to re-gather the wind with that main riff just before the four-minute mark. And if a more plodding overarching impression might win the day, there’s no question the eight-minute “En Medias Res” is a part of why. The longest track included, it willfully consumes the momentum coming out of “Pandora” — an ample meal — and unfurls Morieris‘ melodic highlight atop its most atmospheric instrumentation, daringly slow and dirty-psychedelic.

It’s also the most immersive, and the most effective in creating a sense of space in its echo, and it would make a fitting closer if “Maelstrom” and “Golden Paw” didn’t so much to earn their final-duo placement. The former is a wakeup slap from the far-gone finish to “En Medias Res” at the beginning and end with that callback nod between, and the latter marries that laid-back-feeling, rolling groove with a memorable chorus, as on the title-track or “Harness” earlier, and gives final undulations of fuzz worthy of riding out as they do. Perhaps with a sophomore outing it’s not saying as much, but Morieris is Crystal Spiders‘ most complex material to-date. Their songs play out in various structures that feel intentional in their construction as well as where they show up on the album itself. At the same time, it’s a hard record to write about because I keep losing my head while listening. There it goes again, following another pied-piper bassline off a cliff into the guitar solo.

Still, if that is to be the order of the day from Crystal Spiders, it’s only a win and forward progression for the band. Morieris builds on the self-titled, is more confident in its approach and works to explore new ideas of how to form their particular place in heavy rock. Are they a blues band? Are they sludge or stoner rock? Doesn’t matter even a little, since by the time they’re underway in song one, they’re carrying the listener with them in the manner of a band who know who they want to be. Less than a year later, Crystal Spiders come through with a more refined sense of vision and the work they want to do in heavy. They are pushing themselves in the moment while maintaining a sense of forward potential for things to come. Would they do an entire album like “En Medias Res?” Or like “Pandora?” Would that be Crystal Spiders? Somehow, one gets the feeling they revel in the changes.

You can hear one of them in the accompanying video for “Septix,” premiering here, followed by more from the PR wire.

And enjoy:

Crystal Spiders, “Septix” official video premiere

CRYSTAL SPIDERS New album ‘Morieris’
Out October 1st via Ripple Music
World preorder: https://ripplemusic.bandcamp.com/album/morieris
North American preorder: https://ripplemusic.bigcartel.com/products?utf8=%E2%9C%93&search=morieris

CRYSTAL SPIDERS is:
Brenna Leath – Bass/Vocals
Tradd Yancey – Drums/Vocals
Mike Dean – Guitar

Crystal Spiders on Facebook

Crystal Spiders on Instagram

Crystal Spiders on Bandcamp

Ripple Music on Facebook

Ripple Music on Bandcamp

Ripple Music website

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The Obelisk Questionnaire: Wojciech Kaluza of Grieving

Posted in Southco E5-2-005-051 Cam Latches on September 8th, 2021 by JJ Koczan

The Obelisk Questionnaire is a series of open questions intended to give the answerer an opportunity to explore these ideas and stories from their life as deeply as they choose. Answers can be short or long, and that reveals something in itself, but the most important factor is honesty.

Based on the Proust Questionnaire, the goal over time is to show a diverse range of perspectives as those who take part bring their own points of view to answering the same questions. To see all The Obelisk Questionnaire posts, click here.

Thank you for reading and thanks to all who participate.

The Obelisk Questionnaire: Wojciech Kaluza of Grieving

How do you define what you do and how did you come to do it?

I like to think of myself as an amateur singer in a number of bands but then again I’m not entirtely sure that defines me as a person. There’s a lot more than just one quality to all of us, don’t you think? But when it comes to singing, it all started with watching music videos as a kid and thinking “Yeah, I could do that!” And over 25 years later, it’s going surprisingly well.

Describe your first musical memory.

It definitely isn’t the first but I do recall my dad buying me Guns ‘n’ Roses tapes when I was a kid, not knowing that in fact he’s creating a monster. :) Back in the ’90’s most of the music we got in Poland was on tapes and these were usually not licensed, meaning that we got all sorts of wacky “albums” such as “Guns N’ Roses: The Best Ballads” and whatnot. Still have some copies back at home. Good times.

Describe your best musical memory to date.

I guess I’ve had a few of those but as always, it’s hard to pick just one. Supporting Philip Anselmo on a show in Warsaw and having the man himself watch us from the side of the stage and nod with appreciation would definitely be one of the highlights. Hell, every time I put any of the albums I’ve recorded on my shelf, that’s a rad memory right there.

When was a time when a firmly held belief was tested?

I guess in my college years when I was still sort of Catholic and actually believed in God. That changed in the course of maybe two years and I’ve never looked back since. Happy that burden’s off my chest, life without faith and religion is so much more rewarding and fulfilling.

Where do you feel artistic progression leads?

Better art? Or perhaps a better understanding of your abilities? Either way, always bet on progress, you can’t go wrong.

How do you define success?

Being happy with your life. Simple as that.

What is something you have seen that you wish you hadn’t?

Pretty much every Dream Theater video or concert. But to take matters more seriously — I think that the worst thing to see and then wish you didn’t, is your friends or loved ones acting like assholes. That includes myself of course.

Describe something you haven’t created yet that you’d like to create.

I guess writing a book was always up there somewhere. Definitely a horror novel but I have this unsettling feeling that all the best ideas have already been discovered. Wouldn’t mind recording a proper hardcore album at some point too.

What do you believe is the most essential function of art?

Give joy. Make us think. Make us feel.

Something non-musical that you’re looking forward to?

https://www.facebook.com/Grieving666
https://www.instagram.com/grieving.666/
https://grieving666.bandcamp.com/
https://www.facebook.com/Interstellar-Smoke-Records-101687381255396/
https://interstellarsmokerecords.bigcartel.com/
https://www.facebook.com/godzovwar/
https://www.instagram.com/godz_ov_war_productions/
https://godzovwar.com/

Grieving, Songs for the Weary (2021)

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Buss Premiere ‘Live at Dežolation Fest’ Video

Posted in Bootleg Theater on September 8th, 2021 by JJ Koczan

Trieste, Italy, raw heavy rock three-piece Buss are currently at work on their full-length debut, impending for next year. That’s good news for anyone who heard their self-titled EP (review here) last year and thought to themselves they could do with more. I count myself in that number. It was right on earlier this year when they posted a couple live songs filmed on what looked like a nice patio, and the clip below for the Leaf Hound cover “Freelance Fiend” and the band’s own new song “Astrosatan,” filmed at Dežolation Fest follows in a similar spirit.

Don’t know Dežolation Fest? Well, the narrative — blessings and peace upon it — is that Buss threw a big ol’ party about a month ago, and the video would seem to prove it worked out. Buss play on a small bare-wood stage lit by floodlights in the dusky evening that would be night by the time they’re done, and sure enough there are people there, outside among the trees. “Freelance Fiend” is already in progress as the video fades in, and “Astrosatan” has a darker riff, standing it for an additional element of proto-metal amid the boogie and ’70s rock vibes.

It looks like a good time. A lot does at this point, right? Let’s assume if you’re reading this, you weren’t there for this, so maybe it’s that much easier to consider it the embodiment of a certain ideal. Show up and play. Think of generator parties in abandoned desert skate parks. Think of forest-fests throughout Europe, some official in the sense of having any permits whatsoever, some decidedly not. I don’t know where Buss‘ to-do fell on that particular scale, but kudos to them for making a thing happen one way or the other, and further, for filming at least part of their set to give a teaser for their upcoming debut. I’ll be looking forward to hearing that.

Until then, enjoy the clip:

Buss, Live at Dežolation Fest 2021

Sick of silence, Buss & friends had organized the first edition of the Dežolation Fest. Lot of beer, awesome grill, great music and good people had transformed an empty field into a memorable land.

Here for you Buss live at Dežolation Fest performing Freelance Fiend by Leaf Hound and Astrosatan from the upcoming album.

Buss is a trio influenced by 70s underground sounds and 90s desert rock. We met in high school and started playing together just for fun.

Later we started writing some songs and performing live gigs. In May 2020 the band released the self-titled debut EP with the support from Rocket Panda Management.

Buss are now recording new stuff for their first LP that will be out in 2022, followed by an EU tour.

BUSS DEBUT EP:
https://bussband1.bandcamp.com/album/ep

BUSS is:
Erik Carpani – bass & vocals
Patrik Pregarc – guitar
Ivan Kralj – drums

Buss, Buss EP(2020)

Buss on Instagram

Mejor Solid Brass Single-Handle Waterfull Bathroom Faucet,Lavato

Buss on YouTube

Buss on Bandcamp

Tags: , , , , Power Stop K6965 Front and Rear Z23 Carbon Fiber Brake Pads with,

When the Deadbolt Breaks Announce As Hope Valley Burns: Eulogy Release

Posted in Whathaveyou on September 7th, 2021 by JJ Koczan

Back in May, long-running Connecticut atmospheric/extreme doomers When the Deadbolt Breaks announced they’d release their next full-lengthAs Hope Valley Burns, through Argonauta Records. I’m still not sure when that’s actually coming out, but the band, along with Electric Talon Records, have set an Oct. 31 arrival for As Hope Valley Burns: Eulogy, a companion-piece/continuation to the album itself. So. It’s entirely possible As Hope Valley Burns will be out by the time As Hope Valley Burns: Eulogy is issued. Definitely possible. But you might also be getting what they call ‘part two’ before ‘part one’ arrives.

This is very much in the vein of Deadbolt. For over a decade and a half and amid a rotating cast around founding gutiarist/vocalist Aaron Lewis, the band have explored the darker recesses of doom — sometimes they’re downright creepy — and have refused any and all compromise or attempt to inhibit that mission. Their years have brought them into alignment with labels like Salt of the EarthSliptrickSpare ChangeFuzzTown and Ear One, and the expanses they’ve created have no doubt alienated as many as they’ve swallowed whole. That’s just how they do.

You can stream “I Live in the Dirt” on the player at the bottom of the post. PR wire info follows:

WHEN THE DEADBOLT BREAKS to Release As Hope Valley Burns: Eulogy

Connecticut psychedelic doom band WHEN THE DEADBOLT BREAKS have joined forces with Electric Talon Records for the release of their 9th album, As Hope Valley Burns: Eulogy. Featuring four original tracks and a mind-bending cover of THE DOORS’ “Not to Touch the Earth,” As Hope Valley Burns: Eulogy ushers in a new era of doom.

Stream album track “I Live In The Dirt” at https://talonrecordsusa.bandcamp.com/track/i-live-in-dirt

Electric Talon Records will release As Hope Valley Burns: Eulogy on digital, CD and vinyl formats on October 31.

As Hope Valley Burns: Eulogy is the second chapter of a story that starts with As Hope Valley Burns (to be released in late 2021 by Argonauta Records). The band comments on the dual releases:

“’As Hope Valley Burns’ and ‘As Hope Valley Burns: Eulogy,’ are unique albums for WHEN THE DEADBOLT BREAKS. We have pushed our boundaries sonically. Originally recorded with the intention of a 10-song record, we found that the length of the songs did not fit the time frame of a single release. The decision was made to split the songs up, and release it as essentially, part one and part two. The heavy is heavier, and the mellow, spacial parts are even more so. Akin to our first few records, we have returned to more aggressive drumming, and psychedelic spaces, yet this record has a certain depth and maturity to it that was missing in the past.”

The album was written and recorded during the early part of the pandemic, sonically reflects uncertainty and hopelessness with massive volume. With gorgeous artwork crafted by Leanne Peters, and layout by the infamous Bill Kole, this album is a monstrous sculpture of beauty, angst and despair.

Music for As Hope Valley Burns: Eulogy was recorded and produced at Room SevenZeroEight. Drums were recorded and produced at Project 7:06 by Rob Birkbeck. The album was mastered by Juno-Six.

TRACK LISTING:
1) I Live In The Dirt
2) Cleanse the Death
3) Gods Eyes
4) Forever in the Fire
5) Not to Touch the Earth

Recorded by: Aaron Lewis at Project 7:06 HQ (except drums)
Engineered and mixed by: Aaron Lewis at Room Sevenzeroeight
Mastered by: Juno-Six
Cover Image by: Leanne Peters
CD Layout by: Bill Kole

Personnel:
Aaron Lewis: Guitar & Vocals
Charlie Platteborze: Bass & Vocals
Rob Birkbeck: Drums
Steve Wieda: Synth/Soundscapes
Ambler Leigh: Additional Vocals

https://www.facebook.com/WhentheDeadboltBreaks/
https://whenthedeadboltbreaks.bandcamp.com/
https://www.facebook.com/TalonRecordsUSA/
https://talonrecordsusa.bandcamp.com/
https://www.electrictalonrecords.com/

When The Deadbolt Breaks, As Hope Valley Burns: Eulogy (2021)

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Caustic Casanova Post “Memory King” Video

Posted in Bootleg Theater on September 7th, 2021 by JJ Koczan

Capitol City heavy rockers Caustic Casanova released God How I Envy the Deaf (review here) the better part of two years ago. If you were wondering — or, I guess, if you weren’t — it’s still awesome. The underrated D.C. outfit would have probably informed you of that in-person while playing on any number of tours throughout the last year and a half supporting the LP, but, well, you know. I’m pretty sure you were aware of what was happening during that time, what continues to be happening, and what will apparently be happening for the foreseeable future. To be honest, I’d like to take the rest of this post off from thinking or writing about it.

Perhaps in that regard, Caustic Casanova‘s new clip for “Memory King” can serve as a somewhat ironic accompaniment to a few minutes of willful forgetting. I’ve been trying to write about it for the last few days and have been caught up in other whatnot that doesn’t need detailing here, so the initial drifting guitar line, underlying rhythmic solidity and the overarching groove that emerges therefrom are only welcome presences in my brain, escapism or not. And if you’re feeling bad from taking a couple minutes off from fretting unproductively about the state of the world, don’t. The clip has a relevant censorship message, if transposed onto pigeons. And fair enough.

You ever see Caustic Casanova? It’s kind of hard to convey how much their material manages to be theirs while ultimately staying in familiar terrain. As a group, they have a presence that’s not quite like anybody else making heavy rock, and they’ve done it well enough and long enough at this point that they just get on stage, deliver, and are done. In a way, it’s no-frills, almost punk rock, and then they might sludge out and embarrass any number of surrounding acts stacking speaker cabinets for a showcase of tone-worship. I’ve been fortunate enough to catch them a couple times now. All they do is impress. They put out a live EP this year. It’s not quite the same, of course, but it ain’t nothing. And they made fridge magnets, which is aces in my book.

Okay, back to the slog I go. You enjoy this:

Caustic Casanova, “Memory King” official video

CAUSTIC CASANOVA comment: “Jase Harper, with whom we’ve collaborated for well over a decade, and I worked on the concept and story for this video for months and months, before his work schedule and the pandemic nearly put an end to the whole project”, states singer and bass player Francis Beringer. “We pressed on, thankfully, and Jase’s tireless work finally paid off. We now present the complete, beautiful, insane music video for “Memory King”, off our 2019 album God How I Envy The Deaf. Within the dystopian bird universe depicted in that album’s art, the story revolves around a pigeon drummer who has her livelihood taken away because she will not agree to produce only government approved music. She signs up for an extremely dangerous space mission, one of the few available jobs for former artists who refuse to comply with the regime’s orders. In her cosmic journey, within her own mind and out in deep space, she encounters characters from throughout the Caustic Casanova artistic universe, including the legendary space squid and the banana cow. As for the thrilling conclusion of self-sacrifice, well, you’ll just have to watch the video.”

Taken from the album ‘God How I Envy the Deaf’ (2019)
http://lnk.spkr.media/caustic-casanova-god-how

Video/animation by Jase Harper
Directed by Jase Harper and Caustic Casanova

Line-up
Francis Beringer – vocals, bass
Stefanie Zænker – vocals, drums, percussion
Andrew Yonki – guitar
Jake Kimberley – guitar

Caustic Casanova, Lïve Läugh Löve Malört (2021)

Caustic Casanova, God How I Envy the Deaf (2019)

Caustic Casanova website

Caustic Casanova on Facebook

Caustic Casanova on Instagram

Caustic Casanova on Bandcamp

Magnetic Eye Records on Bandcamp

Magnetic Eye Records website

Magnetic Eye Records on Facebook

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The Obelisk Questionnaire: Bence Ambrus of River Flows Reverse, Lemurian Folk Songs & Psychedelic Source Records

Posted in Zkenyao-Router Bit 3mm Shank HSS Router Bits, Woodworking Drill on September 7th, 2021 by JJ Koczan

The Obelisk Questionnaire is a series of open questions intended to give the answerer an opportunity to explore these ideas and stories from their life as deeply as they choose. Answers can be short or long, and that reveals something in itself, but the most important factor is honesty.

Based on the Proust Questionnaire, the goal over time is to show a diverse range of perspectives as those who take part bring their own points of view to answering the same questions. To see all The Obelisk Questionnaire posts, click here.

Thank you for reading and thanks to all who participate.

The Obelisk Questionnaire: Bence Ambrus of River Flows Reverse, Lemurian Folk Songs & Psychedelic Source Records

How do you define what you do and how did you come to do it?

I’m a simple semi-musician, who is not talented and diligent enough to live from music. This why I started to collect talented musicians from surrounding bands. I organize jam sessions, where all tunes are recorded. I also play on guitar or bass most of the times. When I work I’m a gardener, so in winter times I do my own projects, like River Flows Reverse and the project under my name. In these days I spend hours in a small dirty shed outside the house, surrounded with funny toy-instruments, boar skulls, candles, banjos and a big picture of Alvin Lee.

Describe your first musical memory.

I was 5-6 years old and my father brought me a Mickey Mouse cap for some children’s day or what, then took me to a gig of his friends in next town. I don’t remember the music, but the Mickey-cap, yes, and that I really liked the blues.

Describe your best musical memory to date.

I have a lot, almost all are best. I loved the times when around 2015 we lived on the coasts and hills of Andalusia with my girl Kriszti and my dingo Rozi. We played Western-style street music with a guitar and a mandolin, when we had enough gold we continued to walk through. If we made more, we bought ticket to the ferry to Canarian Islands. Then we continued there. It was even the best time in my life. Cave dwelling, busking, spending time stoned only outside in the mountains and seacoast.

When was a time when a firmly held belief was tested?

It’s always being tested when you look around in the music business and see the bands, shitty pop stars, radio programs, and realize that, this is really the level what the people need, and you are just a freak with false thinking and feelings, and the real music is there in the TV and radio and giant festivals.

Where do you feel artistic progression leads?

Hopefully not back in the ’80s haha.

How do you define success?

If you see there are people who really appreciate and like your work. If there is one guy who says he loved the gig, or if someone who send you an email from the Philippines, that your music has changed his or her life etc. Or when some label ask you if they can print your music to vinyls. These things are enough satisfying for me.

What is something you have seen that you wish you hadn’t?

If you travel on foot with no money, etc., you can see the real face of the world. The most beautiful coasts and mountains, communities, but the other side too. For example, if looking for hidden places to sleep around cities where are less possible that the police or a thief will alarm you, you can find the places where those people used to meet or hide who don’t want you to see them. Suppressed souls on the edge of society. Perverts, prostitutes, killers, thieves. I have seen cabins built by caines with bloody condoms thrown around, 17 year old heroinists who just wanted to have fun in Barcelona, then they stucked on speed and ketamin living in a bush. But the worst thing to see is the youngsters of today (I’m 29). I really feel like 90 percent of them don’t have any sense of life. Only cellphones, Instagram stupid talking taking light drugs. Respect to the exceptions.

Describe something you haven’t created yet that you’d like to create.

To build a worldwide organization to help poor, and talented musicians with good taste. Organize tours, vinyl releases gigs on the beach like Duna Jam, make small festivals. To give this to someone to work with, and then build my own roadhouse style studio-bar-laboratory by a big lake surrounded big olden pine trees, no neighbours. And just live with the loveds and the banjo.

What do you believe is the most essential function of art?

To realize and manifest spiritual contents, projecting symbols of the sub and superconscious. Help the dying soul. This was the original basis of alchemy not to make material gold. To slowly create a symbol from yourself, a vertical quintessence of all arts in the world. This why I really like the original alchemist art, so concrete and straightforward. For me this old knowledge turned into the music of eternal soul. For example an Øresund or Tia Carrera or Causa Sui jam session is real art, fills more this expression then a million-dollar modern copper statue, etc.

Something non-musical that you’re looking forward to?

Of course a yellow ’79 Corvette.

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Psychedelic Source Records, Nagykör? Sessions (2021)

Bence Ambrus, Gardenside Ambient Sessions I (2021)

River Flows Reverse, When River Flows Reverse (2021)

Lemurian Folk Songs, Logos (2020)

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Scarecrow Premiere “Blizzard” From II; Album Out Oct. 22 on Wise Blood Records

Posted in audiObelisk on September 7th, 2021 by JJ Koczan
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Russian proto-heavybringers Scarecrow will release their second album, II, on Oct. 22 through Wise Blood Records. The first-names-only four-piece of vocalist/flutist Artemis (also harmonica), guitarist Max, bassist Elijah and drummer Vadim — somebody’s playing keys too — will also issue their 2019 self-titled debut through the label, and there’s little mystery why upon listening. With its rockers up front and a generally longer, more progressive-vibing B-side whose tracks, “The Moors” (8:11), “The Mushroom Wizard” (4:15), the initially-acoustic “The Golden Times” (5:46) and finale “The Endless Ocean” (7:14), give a sense of narrative through their titles alone never mind the actual flow between them, the 43-minute eight-songer basks in its more grandiose aspects from orchestral intro/opener “The Endless Ocean Overture” (4:10) onward into the crashing “Blizzard” (premiering below) calling to mind then-via-now practitioners like Horisont or Sweden’s glammier Hällas, though Max‘s sweeping guitar and Artemis‘ ready-to-soar vocals stand them apart.

In setting up the broader reaches of II‘s second half (‘II point five?’), Scarecrow are likewise unafraid to actively engage either doom rock on “Blizzard” or to emerge from their lumbering crash and noise for a dual-layered, NWOBHM-gone-boogie guitar solo in the also-harmonica-laced 12-bar blueser “Magic Flower,” and though “Spirit Seducer” is the shortest cut on the record at 4:02, it unleashes a blend of ’70s rock and ’80s metal that’s denim-clad one way or the other, and even as they shift into “The Moors” (the riff structure in the first half of which I can’t help but hear and think of King Crimson‘s “Starless and Bible Black,” having just seen that band live, but you’d be no more wrong to say Sabbath), they keep their underlying propensity for speed, Vadim‘s drums punctuating a run in the back end of the track that serves as a bed for an echoing flute solo. The comparative strut of “The Mushroom Wizard” — everybody stepping out of the way this time for snare pops between measures — and the lead work in the midsection would seem to indicate that though the self-titled, 2019’s Nosferatu EP, and II have all featured different guitarists, Scarecrow have found their guy in Max. I don’t know who’s composing the foundations of the songs to allow for such consistency of intention across their offerings to this point — Elijah‘s basslines are a steady, welcome presence one way or the other — but yes, the dynamic between these players very much works, and it sounds like it’s been happening for longer than it apparently has.

They cap, as noted, with “The Endless Ocean,” in complementary fashion to “The Endless Ocean Overture” at the beginning, and even find room for a flourish of sax at the back end amid the meandering guitar and slow-fading boogie, which gives way gradually to bass and drums in a jam before a last big finish — quick — sends Scarecrow off and on their way to whatever adventures await them on those particular seas. The social perspective as described by Artemis in the quote under the “Blizzard” premiere below is interesting, though whether that persists through a song like “The Moors,” I’m not certain, having not seen a full lyric sheet. Nonetheless, like the progressive nuance that underlies the outward ’70s vibes of II as a whole, it’s another layer of complexity to what Scarecrow bring forth for those ready to dig deeper. If you’re going to vibe on it, understand that there’s more going on in arrangement and structure than shuffle and blues, though there’s definitely some of that too.

Track follows on the player below, quote’s after that.

Enjoy:

Artemis on “Blizzard”:

A song about life in the conditions in which we live day by day. And it’s not only about weather conditions: severe winters, icy wind, snowy wastelands, frozen swamps, impenetrable snow-covered forests, and endless night.

All this metaphorically reflects what is happening in this country throughout our life: eternal stagnation, frozen minds, suffering that is not only considered a common human norm, but even culturally and socially encouraged, the absence of any confidence in tomorrow (and today, to be honest, too), ubiquitous corruption, bureaucracy, crime, the cultivation of monstrous, destructive stupidity and this eternal, ridiculous expectation of a “bright future” that will never come.

Preorder: https://scarecrow-official.bandcamp.com/album/scarecrow-ii

Scarecrow’s doom rock will lure you to the ocean when Wise Blood Records releases II digitally and on Digipak CD within the United States on October 22nd. Scarecrow’s debut will also finally be available in the states. Make time and listen to Scarecrow summon the sunset.

Scarecrow is:
Artemis – Vocals, Harmonica, Flute
Elijah – Bass Guitar
Vadim – Drums, Percussion
Max – Guitars

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