The Book Of Intxixu - Selftitled (Superb Psychedelia 1977-82)

Size: 210 MB
Bitrate: 320
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Recorded in the late '70s and early '80s by Juan Arkotxa, Leslie MacKenzie and Carmeta Mansilla, and previously only (partly) issued on cassette, 'The Book Of Intxixu' basically is the follow-up to the magnificent 'Book Of Am'. Once again, 'Book Of Intxixu' is a combination of illustrations and ethereal trip/acid-folk. For this project the trio recorded about three hours of music, from which the highlights (some heavier and more electric than probably expected!) are now brought together on this DOUBLE-LP. 

Among the guests we find Daevid Allen and Gilli Smyth, while Cosmic Trip Machine's Will Z, oG, Majnun and Sammy helped Juan and Leslie to rescue the material and shape it into this gorgeous set. The accompanying illustrations are included in a 24-page booklet. This release is manufactured in an edition of 500 units.

The Book Of Intxixu is the follow-up to the magnificent The Book Of Am. Originally recorded in the late '70s by Juan Arkotxa in the Sant Mateu church (Ibiza) with the collaboration of Daevid Allen, Jerry Hart, Carmeta Mansilla and Gilli Smyth, and newly arranged and recorded in 2016 by Will Z. who has helped, with Cosmic Trip Machine, Juan and Leslie to rescue the old material.

Juan Arkotxa, Leslie MacKenzie and Carmeta Mansilla were the creators of The Book Of Am. The Book Of Intxitxu was another of their works, they began working on its songs and illustrations just after they finished the four parts of The Book Of Am in the late 1970s. It contained, again, a collection of illustrations plus three hours of music. The book was first published in 1982 by Desclee de la Brouwer (Bilbao) in a bilingual Basque-Spanish edition. In 1983 IZ issued a cassette containing a selection of the songs sung in Basque by Juan. A part of it was later performed with mime artists at the short-lived Stonehenge Festival in 1983. Conceptually it is again influenced by ancient myths and cults, you can find references to Sumerian hero Gilgamesh, the Meditarranean Moon Goddess cult, the hallucinogenic mushroom taker and healing woman from Oaxaca Maria Sabina, the works of Robert Graves, etc.

Musically, it follows the ethereal folk path set by their previous works, with an acid atmosphere and a progressive appeal that offers some heavier psychedelic passages due to a higher use of electric guitar pyrotechnics. Daevid Allen and Gilli Smyth guested as musicians, so here's one of his last recordings, as are also the last by Carmeta Mansilla, since sadly she also past away recentlyl. Will Z, oG, Majnun and Sammy helped Juan and Leslie rescue the old material and shape it into this gorgeous 2LP set with a 24 page booklet containing all the illustrations made for the Book. Please note it is a limited edition of only 500 copies, do not miss it and complete your Book Of Am saga collection!

✪ Juan Arkotxa - vocals, flute, fiddle, sitar, tanpura
✪ Leslie MacKenzie - percussions
✪ Carmeta Mansilla - vocals
✪ Will Z. - vocals, acoustic guitar, bass, synthesizers, sitar, percussions
✪ oG -  bass, glissando guitar
✪ Majnun -  electric guitar
✪ Sammy Goldstein -  drums
✪ Brian Abbott -  glissando guitar

Disc 1
01. Triple Personality And The One Mind 04:51
02. Dream Vision 02:36
03. The Pass Through The Set Of Squares 05:35
04. The Hot Bath 03:59
05. The Cromlech 03:09
06. Finding Immortality 04:14
07. Through Desert Wastes 03:51
08. The Master Of Dancers And Singers 02:22
09. The Old Man 03:57
10. Transmuting Immortality 02:42
11. Crossing The Great Waters 03:05
12. Ocean Moon 05:20
13. Epilogue 02:38

Disc 2
01. Start Here 02:40
02. Awakening The Organic 07:03
03. Imagination 03:52
04. Take Off 02:55
05. On The Other Side 07:06
06. Come Join The Mountain 08:49
07. Grandmother Moon 04:56
08. God Says But The Moon Says 03:13

Part 1: Intxixu
Part 2: Intxixu
or
Part 1: Intxixu
Part 2: Intxixu

Canyon - Selftitled (Retro Psychedelic Blues US 2016-18)

Size: 146 MB
Bitrate: 320
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Found in OuterSpace
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"Canyon is a psychedelic blues rock band from beautiful Philadelphia... steeped in blues and soaked in psych. High voltage psychedelic acid rock, steeped in blues...soaked in psych."

At four tracks and just under 19 minutes, the self-titled debut EP from Philadelphia three-piece Canyon give listeners just enough of a glimpse of where they might be headed to emphasize the potential at work. Canyon is their first outing since getting together in 2015 with the lineup of guitarist/vocalist Peter Stanko, bassist/vocalist Dean Welsh and drummer/vocalist Anthony Bove and after an initial digital self-release and tape through Anvileater Records, the short outing shows up as a full jewel-case CD with a picture of the band out front to emphasize the classic ideas they’re working from. I would not be surprised if some of the root jams out of which opener “Mashriq” was formed were some of Canyon‘s earliest, as there is definitely a formative aspect to their approach, vocals following the riff closely in a bouncing rhythm that, even compared to what follows on the palpably airier “She Comes to Me,” seems straightforward in a we’re-a-new-band-getting-our-footing kind of way.

That process itself, honestly represented as it is, can be and is refreshing to hear, and in the context of Canyon‘s style, which benefits greatly from an organic warmth of tone in the guitar and bass along with the interplay of vocals, it makes a particular sense that they would showcase where they’re at in this early stage of their progression. Their sound, captured here by Alex Santilli, who engineered and mixed at Spice House Sound while Mark Trewella at Full Circle Mastering handled the finishing touches, is raw, but still offers plenty to the curious listener, and even more so on repeat visits.

After some initial thud, “Mashriq” starts off with a righteously fuzzed impression. Philly has seen no shortage of heavy psych come through the last couple years, from Ruby the Hatchet and Ecstatic Vision to Meddlesome Meddlesome Meddlesome Bells, but right away, “Mashriq” positions Canyon as having a more earthbound take — fitting enough for their name, I suppose — given to roll and straightforwardness in structure. At just under three and a half minutes, it’s the shortest of the four inclusions on the EP and as “She Comes to Me,” “Radiant Light” and “Tell Me Mister” play out behind it, it becomes something of an outlier stylistically for that. Where Stanko, Welsh and Bove soon enough dig into a languid blend of heavy blues rock and, in the case of “Radiant Light” particularly, find a niche for themselves in dreamy vocal melodicism to complement a shimmer in Stanko‘s guitar, the leadoff cut seems more about establishing a context on which the subsequent material builds.

The Deep Purple-referential Mk II title of Canyon‘s second EP, also the follow-up to their 2017 debut LP, Radiant Light, refers to the lineup change that’s seen Dean Welsh move to drums so that he and guitarist Peter Stanko can welcome bassist/vocalist Fred Frederick to the fold. The three included songs, the hooky “Mine Your Heart,” expansively fuzzed “Morphine Dreams” and bouncing “Roam” make a hell of a first offering from the reconstituted trio, who capture classic heavy naturalism in a chemistry between players that’s mirrored in the songwriting itself. Canyon‘s 2016 self-titled debut EP held marked promise, and even after the full-length, that promise would seem to be coming to fruition here. Their tones and craft are both right on, and there’s still some gelling to do between the three of them, but they leave no doubt with Mk II that this incarnation of Canyon can get there. And, if they keep up like this, get there quickly.

Maybe that’s Canyon‘s way of easing the listener into their world, and that’s certainly valid, even on a short offering like this one, but “Mashriq,” while a strong opener and memorable in its hook, ultimately does little to account for some of the fleshed-out vibes that follow, even as “Tell Me Mister” rounds out with a return to a more energetic push and the gotta-hear-it buzz-tone that begs to be turned up even louder than it starts. How one accounts for that will depend on the listener, but if we look at the concept of a “debut EP” doing the work that a band’s “demo” used to do, then Canyon‘s establishes them as an outfit with an immediately varied approach of craft, however nascent it might otherwise be.

Could that be the work of multiple songwriters? I don’t know, but I’d believe it based on how the progression plays out front to back. Most importantly, however, Canyon offer intrigue and show several potential avenues for future growth and where their sound might go, toying with pop elements in their use of backing vocals in a kind of garage-grunge mindset — this happens in “Mashriq” as well — and dedicate themselves to a breadth of approach that stays apparent even in this abbreviated context. As to how that growth might manifest, it hardly seems fair to speculate, but as the self-titled plays out with increasing complexity almost on a song-by-song basis until “Tell Me Mister” bridges the gap in summarizing what the band has been putting together all the while, it’s easy enough to foresee Canyon stabilizing their approach to songwriting in a way that allows them to construct a full-album flow.

This, of course, is essential to the work of an initial outing like this one — to give the band lessons to learn as they move forward, and I hear nothing in the tracks to make me think Canyon won’t do precisely that. On the most basic level, it’s a quick debut outing — a demo by any other name — that shows potential in tone and in trading between bounce and blues and drift and thrust all while holding to identifiable markers and avoiding a direct, blatant flag-bearing of its influences. This already is more than one might reasonably ask of it, and it is not by any means the sum total of what is delivered.

♦ Fred Frederick - Bass, Lead Vocals
♦ Welsh - Drums, Percussion, Vocals
♦ Peter Stanko - Guita

01. Mashriq
02. She Comes to Me
03. Radiant Light
04. Tell Me Mister
05. Anytime Secrets
06. Ballad of John Gallagher
07. Soon
08. Brother
09. Under Her Spell
10. Outerlude in A Major
11. Mine Your Heart
12. Morphine Dreams
13. Roam

1. Canyon
or
3. Canyon

Nixon Now - Whatsoever (Outtakes, Live & Unreleased US 1999-2018)

Size: 93.2 MB
Bitrate: 320
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Ripped by: ChrisGoesRock
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Welcome to Whatsoever!
A carefully compiled album of unreleased stuff, live and compilation tracks from 1998 - 2018. It contains outtakes from all 3 albums, most of it has been issued almost 10 years ago on the freakishly limited "The Flag" CD but as almost nobody owns this and some other stuff piled up in the vaults - here comes this baby containing all the goodies restored and remastered - especially for you....

01. Madman (Alternate Version) 01:38
02. Dial "R" For Revolution 01:56
03. The Flag 02:15
04. Burning Down The Neighborhood (7") 03:21
05. Deutscher Girls 01:47
06. Dangerous 03:30
07. Down On The Street 03:16
08. Rouse (Alternate Version) 01:39
09. Full Ann Arbor 04:42
10. Hey Hey Let´s Get Shot In L.A. 02:00
11. Livermore Drone Pt 1 05:38
12. I´ve Been Around (Alternate) 03:52
13. Sick Me (Demo) 02:43
14. Sailor Man (Live) 02:07

1. Whatsoever
or
2. Whatsoever

The Chris Rolling Squad - Spitfire (Raw Rock ‘N’ Roll 2019

Size; 83.1 MB
Bitrate: 320
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Ripped by: ChrisGesRock
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Raw Rock ‘N’ Roll power-trio. Hard Rock riffing, Punk wildness, Psychobilly voodoo rhythm with wide and edgy backing vocals. The missing link between Bo Diddley and Slayer !!!

After an album with The Heavy Manic Souls, Chris Rolling decides to continue the adventure and creates The Chris Rolling Squad, a raw Rock ‘n’ Roll power-trio. 

Hard Rock riffing, Punk wildness, Psychobilly voodoo rhythm with wide and edgy backing vocals, the band is the missing link between Bo Diddley and Slayer! 

A 5 tracks EP was released in 2016 and received reviews from the whole world, they played many shows in bars, clubs and festivals and opened for bands like Ten Years After, 2018 seen the band started to play overseas with a couple of German shows.

This record contains 12 songs of awesome fast paced, high energetic, fuel octaned metal/punkabilly with great melodies, anthemic choruses and also raw and dirty rock n roll riffs in the basics of their song structures. The production is superb, but they still retained that dirty garage almost demo edge and you can feel the vibe of live shows on this record while listening. To me, the favorite songs on this record are Back on the horse again, psychobilly vibed Nothing we can do about it, and also We can be one. This is a great record for fans of metal, punks and billy´s too!

The Chris Rolling Squad is 
Chris Rolling : Guitar, Lead vocals
Brice Duval : Bass, Backing vocals
Thib' Adlersend : Drums, Backing vocals

01. Back On The Horse Again 03:00
02. Piece Of The Action 03:07
03. Crash And Burn (Vanishing Point) 02:09
04. Go Fuck Yourself 02:38
05. The Life You Waited For 02:34
06. We Can Be One 03:12
07. Tremors 02:10
08. The World Is Going Down 02:13
09. Nothing We Can Do About It 02:42
10. Get Back There 03:27
11. Devil Freak 02:10
12. The Sharpest Knife 03:58

1. Chris Rolling
or
2. Chris Rolling

Rivercult - Halcyon Daze (Brooklyn Based Retro Heavy 2018)

Size: 168 MB
Bitrate: 320
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Found in: Bandcamp Land
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Halcyon Daze is Brooklyn based, heavy psychedelic trio River Cult's debut effort. The band's style comes from a range of influences, starting with the heavy sounds of the past, then pushing them into the future with a modern sensibility. 

The album moves fluidly through a range of emotions but still holds together as a cohesive whole; refusing to be burdened by a single genre. Though undeniably rooted in stoner rock and psychedelia, the subjects of River Cult's songs set the band apart by discussing feelings of angst and a struggle with the human condition. 

Though undeniably rooted in stoner rock, Brooklyn-based heavy psychedelic trio River Cult fluently weave a far wider array of sonic touchstones into an enveloping amalgamation that offers constant surprises – what may sound familiar at first heads rapidly in unexpected directions.

Debut full-length Halcyon Daze ranges through retro-fuzz, sweeping psych-doom and stark, almost post-metallic soundscapes.

The core of spacious heaviness remains throughout, but to hear a band channel (at any given moment) elements of Blue Cheer, ISIS, Ty Segall, Pentagram and Earthless, all while maintaining a vibrant originality, is truly a singular experience.

Making pigeonholing a further impossibility are River Cult’s lyrics. Themes of disillusionment, angst, alienation, addiction, and the mutual exclusivity of rightness and victory are just some of the personal and philosophical considerations that surface.

Metal Sucks called River Cult’s 2016 EP, “a fuzzed-out psych rock quest that sounds like it was recorded in a ’70s rec room in outer space.”

New York Music Daily described it as, “a roaring, psychedelic envelope of sound that’s a lot more propulsive than your typical stoner metal or postrock band.”

Halcyon Daze moves fluidly across sounds and emotions, a cohesive whole that refuses to be burdened by a single identifiable genre. The album’s tracks were recorded live in the studio, with minimal overdubs and edits, flowing together seamlessly to create an immersive aural voyage.

I didn’t wind up writing nearly enough about it, but the 2016 Demo from Brooklyn trio River Cult was one of my favorite short releases of 2016, and one to which I’ve continued to go back periodically since. It’s only ever good for general international relations when a US band attracts the attention of Nasoni Records, as River Cult have apparently done, but to find them releasing their debut album, Halcyon Daze, through Pittsburgh’s Blackseed Records as well speaks to a multi-pronged approach that one hopes is a portent of how they’ll support the offering on tour.

Oh, and not that I’ve heard it yet or anything like that, but the record smokes. It’s out March 15 and I’m happy to be able to premiere a teaser video for it below. Fingers crossed I’ll have more to come about it before the release date as well.

Bursting on to the scene with a highly acclaimed self-titled EP in 2016, Brooklyn NY’s River Cult are amassing a loyal following with their unique style. Pulling inspiration from Sleep, Neurosis, and Pentagram, River Cult’s songs are modern, yet authentic hunks of Heavy Psych, Doom/Stoner rock.

Fusing atmospheric jams, gritty vocals, and garage rock eminence, River Cult are poised to keep riding the wave of their heavy jams to further praise in 2018, with a recording reminiscent of the Led Zeppelin, Hawkwind oeuvre. In collaboration with Blackseed Records, the independent heavy underground label based in Pittsburgh, River Cult will unleash their debut full-length, “Halcyon Daze”, on March 15th, 2018.

Blackseed Records will release “Halcyon Daze” on both CD and limited-edition cassette. A harmonic release to coincide with a vinyl issuance on Nasoni Records (Berlin), these limited black-matte cassettes are capped at 50 hand-numbered copies.

Getting and having one’s house inorder are two very different things, but River Cult seem to manage both on their Blackseed Records and Nasoni Records debut album, Halcyon Daze. The five-track long-player, on which not one song is under seven minutes long, follow a promising 2016 demo that was among the year’s best short releases, and takes a tack of exploring a variety of different styles and moods, all of them heay in one way or another and drawn together by an overarching sense of tonal heft that permeates whether it’s the tense build-up-leading-to-rolling-fuzz-wall of centerpiece “Seething” or the dreamy, drifting end of 11-minute second cut and highlight “The Sophist” just prior.

Either way, River Cult — the Brooklyn-based trio of Sean Forlenza, Anthony Mendolia, and Tav Palumbo — sound like they’ve definitely been to school when it comes to their influences, and whether it’s the Acrimony-style grit, roll, drift and nod of “The Sophist” or the West Coast boogie into spacious slowdown in opener “Likelihood of Confusion,” which only minutes prior to hitting the cosmos proffered softshoe-worthy wah swirl and swing and the first of the album’s many jammed-out-feeling leads. At various points throughout they ask aesthetic questions about what might’ve happened if Thrasher magazine had taken over the world circa 1997 and, particularly on the title-track, what might’ve happened had Chris Hakius taken on a role drumming for Acid King. These issues, along with shades of Dead Meadow-style shoegazing on closer “Point of Failure,” are met with workaday lyrics and a loose-swinging vibe that, at less than a moment’s notice, is prone to kick into explorations of full-on Man’s Ruin-style fuzz overdrive.

The key word there might be “explorations,” and that’s because although Halcyon Daze sets itself purposefully to the work of proffering earthy tonality and a classic stoner fuckall in its looseness of structure and willingness to depart from verses and choruses into more open jamming, River Cult by no means sound set in their ways, and the 41-minute album carries the spirit of a band in the process of discovering who they are together as players and where they want to go in terms of their sound. Having first gotten together in 2015, it’s not entirely surprising they’d be at this stage on their first full-length, and it’s much to their credit that they capture the moment with the obvious commitment to sonic organics they show here.

To wit, after unfurling a groove of such deeply-weighted fuzz, the title-track moves easily into a soundscape of vast, drifting post-rock guitar drones that work on a long fade into the garage-via-Stooges riff that starts closer “Point of Failure.” That they’d cover such a swath of ground on their first long-player is impressive enough, but to do so with the kind of fluidity they bring out of the patient opening minutes of “Seething,” for example, or the confidence on display as “Likelihood of Confusion” begins its pivot almost exactly at its midpoint before, at 4:30, crashing through the door of its next sonic dimension. They’re an East Coast band, to be sure, and “The Sophist,” “Halcyon Daze” and the crunchier, grunge-minded sections of “Point of Failure” show that edge, but there’s little here one might consider confrontational, and rather, River Cult invite their listeners along with them on their journey of discovery as they feel their way ahead into what one hopes is the just the beginning stages of a longer-term sonic development.

And to its credit and to the band’s credit, where that development might ultimately bring River Cult feels like a secondary consideration in comparison to the groove here, which at points recalls earliest Fu Manchu and other such before-stoner-rock-had-a-name rawness. 

Taking advantage of the room in each track to flesh out their parts and ride the riffs to hypnotic and repetitive effect, as on the title-track’s outward trajectory or what seems to be a switch from otherworldliness to personal criticism on “The Sophist,” the first chorus of which brings the standout lines, “Sophistry/Yeah, you talk too much.” This perspective, somewhat disaffected but not necessarily raging, is writ large throughout Halcyon Daze, and it helps River Cult find their balance between more weighted, riffier fare and more atmospheric psychedelia.

It’s also worth noting that, while I have little doubt that Halcyon Daze was put together with a vinyl release in mind — “Likelihood of Confusion” and “The Sophist” on one side, “Seething,” “Halcyon Daze” and “Point of Failure” on the other — the album works perhaps even better in linear form, taken as one whole work unfolding in different stages in ups and downs of energy, pace, volume and emotion, weaving its way into and out of jams whole always keeping its ultimate trajectory forward, as shown when the feedback and noise wash of “Seething” gives way into “Halcyon Daze” or the effects loops of “Likelihood of Confusion” seem to dive into the airy tones that spread themselves over the initial going in “The Sophist.”

The bottom line is there’s a lot happening on Halcyon Daze when it’s taken front-to-back — which is how it feels like it was meant to be taken — and while one might imagine or expect River Cult to continue solidifying their approach in style and structure, what they’ve crafted in the meantime stands among the most promising Brooklynite heavy psychedelic debuts since Naam‘s Kingdom EP and should be commended for its level of craft, naturalism of execution, and unbridled flow. It’s a good one to get lost in, so go ahead and get lost in it.

The Band:
Sean Forlenza: Guitar, Vocals
Anthony Mendolia: Bass
Tav Palumbo: Drums

Released February 9, 2018
01. River Cult - Likelihood of Confusion
02. River Cult - The Sophist
03. River Cult - Seething
04. River Cult - Halcyon Daze
05. River Cult - Point of Failure

Released July 7, 2016 (Recorded live at WFMU)
06. River Cult - Temps Perdu 
07. River Cult - Shadow Out Of Time 

Released February 4, 2016
08. River Cult - A Drop In The Ocean 

1. Rivercult
or
2. Rivercult

War Cloud - State of Shock (Great Heavyrock US 2919)

Size: 105 MB
Bitrate: 320
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Ripped by: CrisGoesRock
Some Artwork Included

Erupting out of Oakland, California in 2014, War Cloud has left a smoking path across much of the USA over the past five years. Formed by guitarist/vocalist Alex Wein after firmly planting his amps in the Bay Area, he unified a crew with Joaquin Ridgell on drums, Taylor Roach on bass, and most recently Nick Burks on guitar (also of Kentucky rockers, Stonecutters).

Adopting a classic 70s rock and 80s power metal approach and aggressively dousing it in modern sophistication, War Cloud released their self-titled debut album on Ripple Music to much acclaim in 2017. Their take on metal is a dish best served heavy and those that have dined on the likes of Saxon, Motorhead, Kiss, Thin Lizzy and Iron Maiden will no doubt appreciate the hard rock sophistication, dipped deep in ’70s fuzz.

Touring extensively in support of their debut record, War Cloud adapted a take no prisoners strategy with the intent to decimate all from the opening tone of each engaging live show and recently completed recording their sophomore full-length, State of Shock. Set to arrive this September, once again with Ripple Music, the song writing on the album led the band in the direction of a strong concept which thematically surrounds a life in war – be it with friend, enemy, or self.

Embracing their recognizable dual guitar harmonies, proto-metal licks, hard charging rhythms, adding heavy surges of British and Southern metal to inspire the fire, War Cloud has unquestionably upgraded their bomber jets for long-range pursuit.

State of Shock by War Cloud is officially released on 27th September 2019 on Ripple Music.

Whatever level of nostalgia you might ultimately feel for heavy metal’s alleged glory days — I’d argue there’s always been a lot of good metal and a lot of bad metal, same as anything — listening to War Cloud, you get it. You understand what they’re paying homage to and the legacy of brash, infectious, sonic impact to which they’re living up. Helps that they’re not exactly shy about it. Like, song-opens-with-a-siren-level not shy. No complaints. Their self-titled got them picked up by Ripple and no mystery why, and they’ll follow it up with State of Shock next month. Denim, leather, backpatches, mustaches. Heavy metal in 2019. Do it. 

Erupting out of Oakland, California in 2014, War Cloud has left a smoking path across much of the USA over the past five years. Formed by guitarist/vocalist Alex Wein after firmly planting his amps in the Bay Area, he unified a crew with Joaquin Ridgell on drums, Taylor Roach on bass, and most recently Nick Burks on guitar (also of Kentucky rockers, Stonecutters).

Adopting a classic 70s rock and 80s power metal approach and aggressively dousing it in modern sophistication, War Cloud released their self-titled debut album on Ripple Music to much acclaim in 2017. Their take on metal is a dish best served heavy and those that have dined on the likes of Saxon, Motorhead, Kiss, Thin Lizzy and Iron Maiden will no doubt appreciate the hard rock sophistication, dipped deep in ’70s fuzz, as showcased on their new single, ‘Striker’:

“The initial air raid siren warns the listener of the incoming attack they will soon meet by heavy metal force!” explains guitarist Alex Wein. “The lyrics are from the perspective of a fighter pilot, upon hearing the siren he rushes to his warplane to prepare for battle. As the launch pad to the album this song takes off with only lightning in its wake.”

Touring extensively in support of their debut record, War Cloud adapted a take no prisoners strategy with the intent to decimate all from the opening tone of each engaging live show and recently completed recording their sophomore full-length, State of Shock. Set to arrive this September, once again with Ripple Music, the song writing on the album led the band in the direction of a strong concept which thematically surrounds a life in war – be it with friend, enemy, or self.

Embracing their recognizable dual guitar harmonies, proto-metal licks, hard charging rhythms, adding heavy surges of British and Southern metal to inspire the fire, War Cloud has unquestionably upgraded their bomber jets for long-range pursuit.

‘State of Shock’ is deliciously old school. What War Cloud has made here would fit right in with the music we know and love from the 80s. There are elements here that call back to Deep Purple or AC/DC among many others from the era, but War Cloud manages to be very much their own thing instead of feeling like another band simply trying to copy what worked for others before. I think these days it is hard to be your own thing while following in the footsteps of the greats. They manage it here and it is good to see.

For me, music in this style is more about the experience. Track 2 “White Lightening” probably captured this the best for me. It is loud and fast-paced and a lot of fun. It brings to mind the wide-open American roads and speeds a little too fast with a blarings stereo. I can tell you it feels right at home there too. The rest of the album also fits right into a great road trip as well. The whole album is just a great feel-good experience that goes really well, as cheesy as it sounds, in an adventure.

Musically, the mix is rather good; however, I do think that the vocals are a bit low at times and tend to get lost. It doesn’t take too much from the overall experience and is not a deal-breaker, but it does need to be mentioned. Other than the vocals though the rest of the mix is well put together. The guitar is nice and clear with a very enjoyable crunch. The bass and drums are punchy and well defined and do really well to drive the music. This makes for a really fun, but unfortunately kind of short album.

‘State of Shock’ is definitely one that is worth a buy. I do not think you will be disappointed. It is a great album that is very enjoyable and will go well with whatever you are doing. Whether that is work or a road trip or a party with friends this goes well. Many of the songs I felt would fit right at home in Dean Winchester’s Impala from ‘Supernatural’. It just has that fun, something bigger, vibe to it. I think that many great memories will be made while listening to this album. It is well worth the ride.

WAR CLOUD:
♦ Alex Wein – Vocals, Guitar
♦ Nick Burks – Guitar
♦ Joaquin Ridgell – Drums
♦ Taylor Roach – Bass

01. Striker 03:36
02. White Lightning 02:53
03. Dangerous Game 05:52
04. Tomahawk 03:56
05. Seeing Red 04:59
06. Do Anything 02:56
07. Means of Your Defeat 04:20
08. State of Shock 04:54

1. War
or
2. War

Jan Dukes De Grey - Sorcerers (1st Album UK Folk-Prog 1970)

Size: 121 MB
Bitrate: 320
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Artwork Included
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Jan Dukes de Grey is a short-lived English psychedelic/progressive folk and progressive rock band that was primarily active in the early 1970s. Despite a relatively meager total output and a lukewarm contemporary reception in terms of sales, the band has attracted a cult following and has seen a moderate revival of interest following the 2010 release of their previously completed but unpublished 1977 album, Strange Terrain. Jan Dukes de Grey is considered to have been among the least conventional musicians associated with the progressive folk scene and in particular their 1971 album, Mice And Rats In The Loft, has come to be viewed as a seminal British acid folk album and as one of the wildest relics of the florid post-hippie era.

The origins of Jan Dukes de Grey can be traced to the 11-man early-to-mid-60s soul group, "Buster Summers Express". While performing as a member of Buster Summers, multi-instrumentalist and vocalist Derek Noy began to write his own music and to incorporate his material into Buster Summers' pieces. Receiving positive support for these innovations, and anxious to perform his own material exclusively, Noy split from the group in 1968 to pursue his own musical direction based more extensively on the emerging underground sound of the day (characterized by bands like Cream, Pink Floyd, and Jethro Tull). Noy, penning 50 to 60 titles within the next 6 months, was approached by guitarist/fipple-flautist Michael Bairstow who wished to join Buster Summers Express. Noy explained that he was interested in starting a new band instead, and Bairstow soon agreed.

Formed in Leeds in December 1968, the original incarnation of the band consisted of the duo Derek Noy and Michael Bairstow. The name "Jan Dukes de Grey" was developed by Noy as an exotic-sounding title with no further significance. Gigging and refining Noy's original compositions for the next several months at local venues, Jan Dukes de Grey was signed in 1969 by Decca Records. By October 1969, the 18-track Sorcerers was recorded. The album consisted entirely of original pieces by Noy that have been described by reviewers as naive and instinctive with good musicality but lacking in technique especially in the flute accompaniment.

In October 1969, just after Sorcerers had been recorded, former Buster Summers drummer Denis Conlan joined the band and a new brace of gigging began. 

Though all pieces performed were written by Noy, the band's sound changed considerably during this period to become more strongly progressive and improvisational. This new sound resonated favorably with the university circuit and soon they had achieved a small measure of success, opening for big-name bands like Pink Floyd in November 1969 and The Who in May 1970. 

Despite this encouragement, sales of Sorcerers (released in January 1970) were mediocre and the band was forced to sign with the better-distributed Transatlantic Records for their next album, the epic 3-track Mice and Rats in the Loft (released in June 1971). Markedly different from their debut album, the second Jan Dukes de Grey album has been described as less-fragmented and more extreme than Sorcerers. The much longer track-lengths provided the band the opportunity to expand their more improvisational sound and to develop complex progressive themes in a wild and manic manner often favorably compared to Comus' First Utterance.

Sales of Mice and Rats in the Loft were again tepid and the recording costs advanced by Transatlantic meant that savings had to be made in advertising and the album received little press. Jan Dukes de Grey carried on performing local shows for the next several years, briefly adding former Buster Summers keyboard- and saxophone-player Eddy Spence in late 1970. Bairstow left the band in early 1973 to be replaced by guitarist Patrick Dean, a fan who had written glowing reviews of the band for the Yorkshire Evening Post. By the end of 1973, Conlon also left the band and was replaced by Noy's wife Fiona Dellar. Two other musicians, bassist Danny Lagger and drummer Maurice McElroy joined immediately after Dellar.

Jan Dukes De Grey -
Article Record Mirror January 1970

By April 1974, the band changed its name to "Noy's Band" and added bass guitarist Alan Ronds to be signed to the Dawn label. As Noy's Band the group released only one single, a reinterpretation of "Love Potion Number 9" paired with Noy's original piece "Eldorado". When this release flopped the band began to unravel, finally disbanding in August 1975. Noy, Dellar, and McElroy then joined with musician Nick Griffiths to perform briefly as punk band, Rip Snorter, through 1976 and the start of 1977.

In the meanwhile, starting in late 1975, Noy had renewed acquaintance with Pink Floyd and had begun discussing the possibility of a solo-project on the side. This new incarnation of Jan Dukes de Grey would consist primarily of Noy, with Dellar, McElroy, and the newly added keyboardist Peter Lemer providing backup. Additional guests including former Jan Dukes de Grey members as well as a slew of other musicians and personalities would also contribute to songs in an ad hoc manner. At the time, Pink Floyd drummer Nick Mason was heavily involved with Britannia Row Studios and Noy was offered a production deal in 1976 for a new Jan Dukes de Grey album to be recorded at Britannia Row. The third Jan Dukes de Grey album, Strange Terrain took just over a year to complete and cost nearly £100,000 to make. Guest performers on various tracks included Ray Cooper, actor Michael Gothard (playing saxophone), and actress Lydia Lisle, among others. The album was never released and the band dissolved for good shortly afterward. The third and final album at last saw a release in 2010 under the Cherrytree label.

Influences
The most apparent early influence on Jan Dukes de Grey was the British soul group, "Buster Summers Express" of which 3 one-time members of the band were members and that founding member Bairstow had originally intended to join. The Jan Dukes de Grey sound diverged from Buster Summers considerably, however, beginning with the influences of Cream, Pink Floyd, and Jethro Tull. Bairstow's use of the flute drew directly from Noy's interest in Donovan, and in creating their debut album Sorcerers the band drew inspiration from such bands as T. Rex and The Incredible String Band. Later in the lifespan of Jan Dukes de Grey, a heavier and more progressive sound was adopted such that Strange Terrain was described as demonstrating influence from Arthur Brown, David Bowie, and mid-70s Pink Floyd.

01. Dragons (0:55)
02. Rags, Old Iron (2:24)
03. 28th June, Village Song (3:03)
04. High Priced Room (2:39)
05. Sorcerers (2:41)
06. Ode to a Schoolgirl (1:25)
07. Cheering Crowd (2:34)
08. Out of the Eastern Hills (2:31)
09. MSS (2:00)
10. Texas (2:44)
11. Yorkshire Indian Sitting in the Sun (2:17)
12. Wonder Child (2:24)
13. Dominique (3:59)
14. Trust Me Now (3:33)
15. Forms (1:42)
16. City After 3:00 Am (4:04)
17. Butterfly (3:32)
18. Turkish Time (4:56)

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